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Filmmakers and the Female Gaze · To All the Men I've Tolerated Before

• 0:21
  Speaker 1: Hey tolerators, listens to all the men I've tolerated before
• 0:24
  Speaker 1: with Namilee Katona, your weekly look at everyday misogyny. Today,
• 0:29
  Speaker 1: I'm introducing you to a new friend, Morgan from The
• 0:32
  Speaker 1: Female Gaze The Film Club podcast. On her podcast, Morgan
• 0:36
  Speaker 1: invites guests on to discuss films that are directed by women,
• 0:40
  Speaker 1: and I was recently on an episode talking about Nanally
• 0:44
  Speaker 1: Morales's film Plan B. Morgan is here today to help
• 0:48
  Speaker 1: me get a better definition of the female gaze and
• 0:51
  Speaker 1: how we can achieve it in film. Thanks for being here, Morgan.
• 0:55
  Speaker 2: Thanks so much for having me. I'm so excited to
• 0:57
  Speaker 2: talk about film and women in film than everything in between.
• 1:02
  Speaker 1: Ah. We love talking about film. We love talking about
• 1:05
  Speaker 1: women in film and what ends up getting represented. And
• 1:10
  Speaker 1: the reason I ended up reaching out to you is because,
• 1:13
  Speaker 1: like I who was just like help me. I'm a
• 1:16
  Speaker 1: lady who watches movies, but I don't know what the
• 1:19
  Speaker 1: female gaze is. And I recently realized it was because
• 1:25
  Speaker 1: I don't like defining the female gaze through the lens
• 1:30
  Speaker 1: of sexuality, because I'm like, no, we're more than that,
• 1:33
  Speaker 1: and those are men who just want boobies and like
• 1:37
  Speaker 1: blondes in their movies or whatever. So I don't know
• 1:39
  Speaker 1: if it's like a wall I've been putting up, but
• 1:42
  Speaker 1: I'm sure we'll get to it today.
• 1:45
  Speaker 2: Yeah, it's always just so interesting to kind of talk
• 1:48
  Speaker 2: about perspective when it comes to filmmaking, because I think
• 1:53
  Speaker 2: when we talk about films, when we talk about the
• 1:56
  Speaker 2: movies that receive achievements, it's largely white, male, sis gender
• 2:02
  Speaker 2: straight men, and so I think that there's just a
• 2:05
  Speaker 2: lot of work that we have to do to kind
• 2:09
  Speaker 2: of unpack what that pinnacle of cinema is because obviously
• 2:14
  Speaker 2: we know that movies speak to us in very different ways,
• 2:18
  Speaker 2: and being able to have representation in film is just
• 2:23
  Speaker 2: extremely important.
• 2:25
  Speaker 1: Yeah, and well, why don't you talk a little bit
• 2:28
  Speaker 1: about how the Female Days the Film Club podcast came
• 2:32
  Speaker 1: to be. What threw you into starting the podcast.
• 2:36
  Speaker 2: Yeah, I've realized that throughout my life, women in film
• 2:43
  Speaker 2: have been very important to defining the movies that I enjoy.
• 2:48
  Speaker 2: For instance, Harriet the Spy directed by a woman, one
• 2:53
  Speaker 2: of my favorite films as a kid, The Trouble with
• 2:54
  Speaker 2: Angels directed by Ida Lupino, who was kind of one
• 2:58
  Speaker 2: of the only women directing in the fifties and sixties
• 3:01
  Speaker 2: after Dorothy Arsner was kind of given the boot from Hollywood.
• 3:08
  Speaker 2: And you know, it wasn't until I was a bit
• 3:11
  Speaker 2: older and kind of understanding that there was a difference
• 3:15
  Speaker 2: in what I was watching. I was probably in high school.
• 3:18
  Speaker 2: I watched the film Waitress by the great late Adrian Shelley,
• 3:23
  Speaker 2: and the film centers on a woman who finds out
• 3:25
  Speaker 2: that she's pregnant. She's in an unhappy marriage and so
• 3:29
  Speaker 2: this pregnancy is not something that she's particularly excited about.
• 3:33
  Speaker 2: And it felt very revolutionary to see a film about
• 3:36
  Speaker 2: a woman that we still care deeply about who was
• 3:40
  Speaker 2: not having the like joyous maternal experience that we normally
• 3:44
  Speaker 2: see on film. And so that was kind of like
• 3:49
  Speaker 2: a huge turning point for me as just someone who
• 3:52
  Speaker 2: wanted to watch film. And then, starting in about twenty nineteen,
• 3:58
  Speaker 2: I started writing for the online publication In Their Own League,
• 4:03
  Speaker 2: which focuses on films directed by about women, and so
• 4:09
  Speaker 2: my normal I'm just primarily watching films directed by women
• 4:14
  Speaker 2: kind of became something that other people shared, which was
• 4:18
  Speaker 2: really fun and exciting. I've written for Filmotomy, which also
• 4:22
  Speaker 2: has the Femme Film Festival, which also focuses on films
• 4:26
  Speaker 2: directed by women, and so it really just became something
• 4:31
  Speaker 2: that I started working on more and then with friends,
• 4:35
  Speaker 2: including my friends over at Offscreen Central, started to be
• 4:39
  Speaker 2: able to branch out a bit more in understanding film
• 4:43
  Speaker 2: and film criticism, and I being surrounded by all these
• 4:46
  Speaker 2: really incredible supportive people, said I want to just start
• 4:51
  Speaker 2: my own little podcast then, where I talked to my
• 4:55
  Speaker 2: friends and people that I meet that become friends to
• 4:59
  Speaker 2: discuss films that they like that are directed by women.
• 5:03
  Speaker 2: And it's been a really fun experience that was very
• 5:06
  Speaker 2: long witted.
• 5:07
  Speaker 1: No, it's fine. It was a very fun experience. I
• 5:10
  Speaker 1: got to talk about lu made for Hulu movie Plan B,
• 5:14
  Speaker 1: which is about two friends on a road trip journey
• 5:18
  Speaker 1: to try and get Plan B after a little party mishap,
• 5:25
  Speaker 1: and it was a great episode. It got me thinking
• 5:28
  Speaker 1: about that film in all different ways because I had
• 5:31
  Speaker 1: just watched it late one night because I needed something
• 5:34
  Speaker 1: on the TV. And I do think, for one thing,
• 5:38
  Speaker 1: like I could talk until I blue in the face.
• 5:41
  Speaker 1: And I was talking about it last night with my
• 5:43
  Speaker 1: stepmom about how media literacy and the way that we
• 5:49
  Speaker 1: think about movies is getting so diluted and people don't
• 5:54
  Speaker 1: know how to talk about movies anymore. And I used
• 5:58
  Speaker 1: my favorite movie, Dropped a Gorgeous as an example, and
• 6:01
  Speaker 1: I was like, it would be so hard for me
• 6:04
  Speaker 1: to show drop Dead Gorgeous to a seventeen year old now,
• 6:08
  Speaker 1: because I probably watched that movie when I was fourteen
• 6:11
  Speaker 1: to seventeen years old, and for them to be able
• 6:14
  Speaker 1: to understand the satire and get past the dated language
• 6:19
  Speaker 1: and how the dated language also plays a role in
• 6:22
  Speaker 1: the satire totally.
• 6:24
  Speaker 2: There is just I think one of the things that
• 6:28
  Speaker 2: we're kind of experiencing just in general, is a paradigm
• 6:32
  Speaker 2: shift in how we understand our role as people who
• 6:37
  Speaker 2: talk about film, whether you are a critic who gets
• 6:41
  Speaker 2: paid to talk about film or just people who enjoy
• 6:45
  Speaker 2: film to begin with, because I think that there are
• 6:47
  Speaker 2: more avenues for people to talk about what they like,
• 6:50
  Speaker 2: what they don't like, and I think that there's a
• 6:54
  Speaker 2: lot of learning that comes with it, and especially when
• 6:58
  Speaker 2: you start out like you might just sit there and
• 7:01
  Speaker 2: just trash something because you are looking at film as
• 7:07
  Speaker 2: this total product where there are dozens of art forms
• 7:13
  Speaker 2: working in tandem to make a film, and so maybe
• 7:17
  Speaker 2: you don't like the writing, but the cinematography is great,
• 7:20
  Speaker 2: and maybe you don't like one performance, but the costuming
• 7:26
  Speaker 2: is like really incredible. So it is just having to
• 7:30
  Speaker 2: find ways to discuss things with nuance, which is very
• 7:35
  Speaker 2: difficult to do. That's not to say I'm hearing nuanced
• 7:40
  Speaker 2: all the time because I'm better than everyone else. That's
• 7:43
  Speaker 2: absolutely not the truth. I think having to lean into
• 7:46
  Speaker 2: nuance is a skill, and it's very counterintuitive because trying
• 7:52
  Speaker 2: to put things into categories, having to be very direct
• 7:59
  Speaker 2: is how we have survived for so long, and so
• 8:04
  Speaker 2: that's just kind of a difficult thing. And in addition,
• 8:07
  Speaker 2: you know, we're actually starting to see more women, more
• 8:11
  Speaker 2: people of color, more queer filmmakers making movies, and so
• 8:16
  Speaker 2: for people who may have seen themselves reflected more often
• 8:20
  Speaker 2: in film, it is a bit of a jump to
• 8:26
  Speaker 2: have to sit there and try to critique something that
• 8:30
  Speaker 2: you don't have any lived experience with and try to
• 8:34
  Speaker 2: dispel your own biases while also having to critique something,
• 8:39
  Speaker 2: because that is what film criticism is, is sitting there
• 8:43
  Speaker 2: and kind of picking pieces apart. So it's very difficult,
• 8:47
  Speaker 2: and in this very long paradigm shift that we're in,
• 8:52
  Speaker 2: you can kind of see where those tensions are and
• 8:54
  Speaker 2: just see the places where we all can myself include
• 9:00
  Speaker 2: can do better at talking about films in the language
• 9:04
  Speaker 2: that we use with it as an art or form.
• 9:07
  Speaker 1: Yeah. I think a perfect example of a show that
• 9:10
  Speaker 1: I'm very critical on and have gotten a lot of
• 9:15
  Speaker 1: jokes off of is the Netflix show Virgin River, because
• 9:19
  Speaker 1: it's like something really sappy and or dramatic and or
• 9:22
  Speaker 1: devastating will have an on Virgin River in the most
• 9:26
  Speaker 1: land way, and then they'll just shoot to a picture
• 9:30
  Speaker 1: esque like mountain scene and your brain immediately goes. But
• 9:34
  Speaker 1: I do want to be here because it's so pretty,
• 9:38
  Speaker 1: you know.
• 9:39
  Speaker 2: And I also think because sometimes one of the things
• 9:43
  Speaker 2: that I try not to lean into is trying to
• 9:47
  Speaker 2: just find dramatic art and have that be the you know,
• 9:52
  Speaker 2: the pinnacle of what film is. I am famously a
• 9:56
  Speaker 2: Madam Web defender ooh yeah, five stars on letterboxed. I
• 10:03
  Speaker 2: not only support women's rights, but they're wrongs too, And
• 10:07
  Speaker 2: I think that we need movies that are just fun
• 10:12
  Speaker 2: and silly and nonsensical and that you can sit there
• 10:16
  Speaker 2: and go, I hope the Spiders were worth it, mom, Like,
• 10:20
  Speaker 2: it just is such a silly fun time, and I think,
• 10:25
  Speaker 2: you know, I've been given so many films from the
• 10:28
  Speaker 2: male perspective, from male filmmakers that are really just like,
• 10:32
  Speaker 2: look at this cool technology that we have, look at
• 10:36
  Speaker 2: this silly, campy fun time that we're having, and or
• 10:42
  Speaker 2: are interpretation of what campy is, even though it's not
• 10:45
  Speaker 2: actual camp But yeah, you know, we get that from
• 10:49
  Speaker 2: men all the time, and I'm just like, I feel
• 10:51
  Speaker 2: like women have that capacity too. You know, It's not
• 10:56
  Speaker 2: just Madam Webb. It's tank Girl, which No. One to
• 11:00
  Speaker 2: the nineties and my friend Gavin brought it to my
• 11:03
  Speaker 2: podcast and it was really just such an interesting film
• 11:08
  Speaker 2: to watch, and it's like, I want more of that.
• 11:11
  Speaker 2: I want more. I don't know what's going to happen next,
• 11:15
  Speaker 2: you know, what is Laurie Petty going to do? What
• 11:18
  Speaker 2: is Dakota Johnson going to do? Why are we still
• 11:22
  Speaker 2: using the same busted up taxi that is? Those are
• 11:25
  Speaker 2: my questions.
• 11:26
  Speaker 1: But yeah, your Madam web is my Meg two because
• 11:32
  Speaker 1: people will admit that Meg one was a fun movie,
• 11:34
  Speaker 1: but when it comes to Meg two, they're like they've
• 11:36
  Speaker 1: pushed it too far. It's not good and at one moment,
• 11:40
  Speaker 1: make of it makes sense, and I was like, everything
• 11:42
  Speaker 1: about the Meg two makes sense. They made up movie
• 11:45
  Speaker 1: science for any question you could have had. And they're like,
• 11:48
  Speaker 1: that's the problem, it's made up science. I go, of course,
• 11:51
  Speaker 1: it's made up science. Jason Statum is fighting a crack in.
• 11:55
  Speaker 2: Yeah, it's you know, it needs sometime if you take
• 12:01
  Speaker 2: art too seriously. Sometimes if it's not being presented as
• 12:04
  Speaker 2: a serious thing, then you are missing out on joy.
• 12:08
  Speaker 2: You know, there's a current political candidate who has been
• 12:12
  Speaker 2: asked what makes him happy and he can't answer it,
• 12:16
  Speaker 2: and so you know this is a he who must
• 12:18
  Speaker 2: not be a name situation. But you know, I think
• 12:21
  Speaker 2: that that happens in film too, where sometimes we get
• 12:25
  Speaker 2: a little too wrapped up in the awards of it,
• 12:29
  Speaker 2: all of the prestige of it all that sometimes we
• 12:32
  Speaker 2: narrow ourselves to watching things that are silly, fun or
• 12:37
  Speaker 2: again things that I don't have lived experience in. I
• 12:40
  Speaker 2: love the film Hank for Jesus Save Your Soul. I
• 12:44
  Speaker 2: loved it absolutely, nowhere near the life experience that I've had.
• 12:49
  Speaker 2: But anything that lets Regina Hall just do what she
• 12:53
  Speaker 2: does best, I'm there for Sterling K. Brown amazing. It
• 12:57
  Speaker 2: was such a great film, and I I am very
• 12:59
  Speaker 2: excited to see what that filmmaking team does next.
• 13:04
  Speaker 1: Yes, that movie I watched with my favorite aunt and
• 13:08
  Speaker 1: my favorite aunt and I have this uncanny ability to
• 13:13
  Speaker 1: believe that we are picking a really funny movie, and
• 13:16
  Speaker 1: then we get halfway into the movie and we're like,
• 13:19
  Speaker 1: are we devastated? We picked a movie where I believe
• 13:22
  Speaker 1: it's it is Tony Collette and I think Drew Barrymore
• 13:27
  Speaker 1: is her sister, and we're like, oh, what could go
• 13:30
  Speaker 1: wrong here? And it's like cancer, cancer could go wrong here.
• 13:37
  Speaker 2: I was gonna say, I think that's miss You already
• 13:39
  Speaker 2: miss You.
• 13:40
  Speaker 1: Yeah.
• 13:41
  Speaker 2: Directed by Catherine Hardwick. It is great love Catherine Hardway.
• 13:49
  Speaker 1: It was a great movie. It was devastating when I
• 13:52
  Speaker 1: just wanted like a Drew Barrymore Tony Collette power rom
• 13:56
  Speaker 1: or whatever. And I knew that hunk for Jesus Savior Soul.
• 14:03
  Speaker 1: It was going to be a heavy movie, but I
• 14:07
  Speaker 1: thought that it was also going to be more satirical
• 14:10
  Speaker 1: than heavy. So I thought that like I would be
• 14:13
  Speaker 1: able to watch it with a family member and them
• 14:15
  Speaker 1: not even notice like all of the things that I
• 14:17
  Speaker 1: was getting out of it. And my aunt just looked
• 14:20
  Speaker 1: at me and she was like, well, what the hell
• 14:22
  Speaker 1: was that. I was like, well, it turns out Sterling
• 14:27
  Speaker 1: had a point to make.
• 14:29
  Speaker 2: Yeah, I just there are just so many good films,
• 14:34
  Speaker 2: and I just love to encourage people to like watch
• 14:38
  Speaker 2: films that you're like, oh, this might not be my
• 14:41
  Speaker 2: normal vibe, but you know, I really loved last year.
• 14:45
  Speaker 2: My favorite film was Are You There, God, It's Me Margaret?
• 14:48
  Speaker 2: And the amount of men that I somehow convinced to
• 14:52
  Speaker 2: watch that movie was really just heartwarming because it also
• 14:59
  Speaker 2: made so many people, regardless of gender, agree with me
• 15:02
  Speaker 2: that Rachel McAdams is one of the greatest actresses of
• 15:05
  Speaker 2: all time.
• 15:05
  Speaker 1: So one of the greatest actresses of all time. Her
• 15:10
  Speaker 1: and Amy Adams are some of my top tier actresses.
• 15:16
  Speaker 1: And I went and saw are you there, God, It's
• 15:19
  Speaker 1: Me Margaret, because someone should have taught me about my
• 15:22
  Speaker 1: period at some point, so it might as well be
• 15:25
  Speaker 1: Rachel McAdams. And it was so beautifully well done and
• 15:29
  Speaker 1: the just really subtle way of well, what happens when
• 15:34
  Speaker 1: religion is playing a huge role in your life when
• 15:38
  Speaker 1: you haven't even chosen a religion yet because you're eleven.
• 15:43
  Speaker 2: Yeah, and I just I love Kelly Fremont Craig, the filmmaker.
• 15:47
  Speaker 2: She also did the Edge of seventeen, and I think
• 15:51
  Speaker 2: she just has such a beautiful way of capturing girlhood
• 15:55
  Speaker 2: while also kind of balancing it with I like to
• 15:59
  Speaker 2: call it coming up certain age, because we don't always
• 16:03
  Speaker 2: get to see women asked thee as I like to
• 16:06
  Speaker 2: say Leonardo DiCaprio prime actually have nuanced lives, and so,
• 16:12
  Speaker 2: you know, seeing a woman in her forties having her
• 16:16
  Speaker 2: own existential crisis and having to rediscover herself at the
• 16:20
  Speaker 2: same time that her eleven year old daughter is. It
• 16:23
  Speaker 2: also kind of reminded me of the show My So
• 16:25
  Speaker 2: Called Wife, which was created by a woman. And you
• 16:28
  Speaker 2: can tell because Angela played by Claire Danes and her
• 16:32
  Speaker 2: mom Kattie played by the Great Best Armstrong, they have
• 16:37
  Speaker 2: such parallel journeys that are also very unique to the
• 16:42
  Speaker 2: stages of their life. And I just, you know, I
• 16:47
  Speaker 2: have that nostalgia watching Are you there, God, it's me Margaret,
• 16:52
  Speaker 2: And yeah, it just felt so different and so lovely.
• 16:57
  Speaker 1: I love that you got men every whey where to
• 17:00
  Speaker 1: sit down and watch it too. My dad loves to
• 17:03
  Speaker 1: cry to waitress and he like it's not like he'll
• 17:06
  Speaker 1: be like Nadley waitresses on TV, come sit in the
• 17:09
  Speaker 1: basement with me, let's have a cry. He literally has
• 17:12
  Speaker 1: to sequester himself alone, like maybe the dog gets to
• 17:16
  Speaker 1: be there, and he's like, it's time for me to
• 17:18
  Speaker 1: cry to waitress and just like have this cathartic afternoon.
• 17:24
  Speaker 2: It's a great cry, great cry. I agree, yeah, it is.
• 17:29
  Speaker 2: I think another film that I championed a lot and
• 17:33
  Speaker 2: got people to watch after it had been nominated for
• 17:36
  Speaker 2: a few Independent Spirit Awards was Lauren Hadaway Is the
• 17:40
  Speaker 2: Novice really incredible directorial debut. Because it was COVID times,
• 17:48
  Speaker 2: I was able to listen to how do I talk
• 17:51
  Speaker 2: about her film? And not only was that her first
• 17:54
  Speaker 2: time directing, it was her cinematographer's first feature film. They
• 17:59
  Speaker 2: shot all the Water. I just hyped that film up
• 18:03
  Speaker 2: so much, and it was really wonderful to see people
• 18:07
  Speaker 2: who also took a chance on that film and ended
• 18:10
  Speaker 2: up really enjoying it because it really is just I
• 18:14
  Speaker 2: have likened it to Black Swan just based off of
• 18:19
  Speaker 2: the tension that it builds, but I think it's so
• 18:22
  Speaker 2: singularly her vision.
• 18:24
  Speaker 1: I think something else that's great that you brought up.
• 18:27
  Speaker 1: Is this like nuanced layer version of girlhood or womanhood
• 18:33
  Speaker 1: or motherhood that we get through these female made films.
• 18:37
  Speaker 1: A book that I've championed on this podcast a million
• 18:41
  Speaker 1: times night, Bitch truly gave me words to why I
• 18:45
  Speaker 1: did not want to be a mother. And my mother
• 18:49
  Speaker 1: and my sister and I spent a lot of time
• 18:52
  Speaker 1: together this weekend, and you know, we were talking about
• 18:55
  Speaker 1: like that decision to be a mother and how some
• 18:59
  Speaker 1: people really weigh until the aha moment I really want that,
• 19:03
  Speaker 1: and some people just never know until it happens or
• 19:06
  Speaker 1: it don't or it doesn't or whatever. And I was like, well,
• 19:10
  Speaker 1: I know that I definitely had the aha, I never
• 19:13
  Speaker 1: want this, ever, don't do it to me moment when
• 19:17
  Speaker 1: I was nannying and I told my sister, I go,
• 19:19
  Speaker 1: I hope you don't take this personally, because I spend
• 19:22
  Speaker 1: a lot of time with my nephew now and I
• 19:23
  Speaker 1: am in charge of him solo sometimes. But I was like,
• 19:27
  Speaker 1: but part of my problem is it doesn't stimulate my
• 19:31
  Speaker 1: brain in a way that makes my brain fiery. I'm
• 19:35
  Speaker 1: bored after twenty five minutes. Even if I'm having a
• 19:39
  Speaker 1: good time, my brain is like, this is what we're doing.
• 19:42
  Speaker 1: I guess sing Pink Pony Club again.
• 19:46
  Speaker 2: It's always it's just so interesting the way in which
• 19:50
  Speaker 2: we're starting to see a bit more of that in
• 19:53
  Speaker 2: the culture.
• 19:54
  Speaker 1: So I so Night Bitch is becoming a movie. It's
• 19:58
  Speaker 1: being released this December with Amy Adams at the front
• 20:02
  Speaker 1: of it. She is Night Bitch and Annie and other
• 20:06
  Speaker 1: friends and I have talked about like the perfect like
• 20:09
  Speaker 1: how to make our perfect book Dight Bitch into a movie.
• 20:12
  Speaker 1: And I think it's going to be fine. Like I
• 20:14
  Speaker 1: think at the end of the day, I'll be able
• 20:15
  Speaker 1: to put a lot of what I would have wanted
• 20:17
  Speaker 1: compared to what they did away, and I'll just love
• 20:20
  Speaker 1: it because I love the book and I love the story.
• 20:23
  Speaker 1: But my sister was like, I have no interest in
• 20:25
  Speaker 1: seeing that at all. What is it even about? And
• 20:27
  Speaker 1: I was like, well, it's about the how often women
• 20:30
  Speaker 1: have to tamper down their own fair illness because they
• 20:36
  Speaker 1: are mother, because they are wife, because they are caregiver,
• 20:41
  Speaker 1: and how that slowly starts to eat away at your
• 20:44
  Speaker 1: brain and your soul and maybe you're turning into a werewolf.
• 20:47
  Speaker 1: Maybe you're just spiraling, But it all feels the same,
• 20:51
  Speaker 1: and she's like, and my mother said out loud. She goes,
• 20:54
  Speaker 1: I was never bored as a mother, And I was like,
• 20:57
  Speaker 1: were you not bored or were you just so stressed
• 21:01
  Speaker 1: and busy that you didn't know that your brain was stimulated?
• 21:05
  Speaker 1: Because I can tell the difference. I can be very,
• 21:09
  Speaker 1: very busy with children and also go, my god, is
• 21:14
  Speaker 1: this not what my brain wants to be doing.
• 21:17
  Speaker 2: Yeah. I haven't watched the trailer for Night Bitch, mainly
• 21:20
  Speaker 2: because I just want to go into a blind. I
• 21:23
  Speaker 2: haven't read the book, but it is directed by Mary
• 21:26
  Speaker 2: O Heller, and I just love what she does as
• 21:30
  Speaker 2: a filmmaker. I've finally watched The Diary of a Teenage Girl,
• 21:34
  Speaker 2: but I've seen her other works A Beautiful Day in
• 21:36
  Speaker 2: the Neighborhood and can You ever Forgive Me? And I
• 21:39
  Speaker 2: think that she takes really complicated matters and is able
• 21:46
  Speaker 2: to kind of subvert our expectations of where we're going
• 21:50
  Speaker 2: to go, even with something like A Beautiful Day in
• 21:53
  Speaker 2: the Neighborhood, which is very it's about mister Rogers. It's
• 21:56
  Speaker 2: about a man who interviewed mister Rogers, and I think
• 22:00
  Speaker 2: considering just how special mister Rounders is to generations of people.
• 22:06
  Speaker 2: I think that she brought so much humanness to him
• 22:09
  Speaker 2: and didn't really make him like a mythical creature, just
• 22:12
  Speaker 2: showed like, no, there are men who are capable of
• 22:15
  Speaker 2: these things, and there are men of who are capable
• 22:18
  Speaker 2: of admitting their own fears and insecurities, like they're not perfect,
• 22:24
  Speaker 2: they are people too, and can you ever forgive me?
• 22:28
  Speaker 2: I was really struck by the fact that we have
• 22:31
  Speaker 2: a main character who is deeply unlikable, just there's almost
• 22:37
  Speaker 2: no redeeming qualities about her. And yet the way in
• 22:40
  Speaker 2: which she's framed, the space that Heller gives Melissa McCarthy
• 22:45
  Speaker 2: to really inhabit that character, she makes it so engaging
• 22:50
  Speaker 2: to watch this scammer basically reach the highest of highs
• 22:56
  Speaker 2: and plummet to the lowest of lows. And I'm just
• 23:00
  Speaker 2: really excited to see what she does.
• 23:01
  Speaker 1: No, I like, it's on my calendar. I might see
• 23:05
  Speaker 1: it once a week once it hits the theater. It's like,
• 23:08
  Speaker 1: I I love the book. I'm so excited. I love
• 23:11
  Speaker 1: Amy Adams, and I love when Amy Adams gets to
• 23:15
  Speaker 1: be weird. And I find even when like weird means
• 23:18
  Speaker 1: that she's Giselle and Enchanted. I'm like, yes, this is
• 23:22
  Speaker 1: exactly what I want you to be doing. Amy. So yeah,
• 23:25
  Speaker 1: even when being weird for Amy Adams is being super
• 23:30
  Speaker 1: over the top Giselle and Enchanted, I'm like, give it
• 23:33
  Speaker 1: all to me, Amy, just give it all. She's so
• 23:36
  Speaker 1: good at inhabiting her characters that I can't wait to
• 23:41
  Speaker 1: see what ends up happening with Night Bitch. And well,
• 23:46
  Speaker 1: I guess we should get to what is your definition
• 23:50
  Speaker 1: of the female gays?
• 23:51
  Speaker 2: I think I have a very brown definition because I
• 23:54
  Speaker 2: think what it means to be a woman is very different,
• 23:59
  Speaker 2: because you know, you have the white female gaze, you
• 24:04
  Speaker 2: have the queer female gaze, you have an intersectional of queer,
• 24:12
  Speaker 2: person of color woman of color type gaze, and so
• 24:17
  Speaker 2: I like to leave it broad, but I think.
• 24:19
  Speaker 1: It is.
• 24:21
  Speaker 2: Understanding the world from a woman's experience of living in
• 24:28
  Speaker 2: the world. You know, because Mira and Naire. I just
• 24:33
  Speaker 2: watched her film Mississippi Massala for the first time. Her
• 24:38
  Speaker 2: experience of moving through the world is very different than
• 24:42
  Speaker 2: you know, Mary. Maybe you know, like Cheryl Dunier who
• 24:46
  Speaker 2: did The Watermelon Woman, their experiences are very different than
• 24:50
  Speaker 2: my favorite filmmaker Lynn Shelton, who's doing works like your
• 24:55
  Speaker 2: sister's sister. And yeah, so I think that the female
• 24:58
  Speaker 2: gaze is just from a woman's lived experience and that's
• 25:03
  Speaker 2: influencing her work as a filmmaker.
• 25:07
  Speaker 1: Yeah, And I think because whenever I think about the counterpart,
• 25:14
  Speaker 1: the male gaze, it was always and you're looking at
• 25:20
  Speaker 1: something through the lungs lens of objectification, like that is
• 25:24
  Speaker 1: what classifies the male gaye for me. And when I
• 25:28
  Speaker 1: think that, it starts to click in my brain, but
• 25:31
  Speaker 1: I don't know how to verbalize it. It's like when
• 25:34
  Speaker 1: I'm watching something through the lens of the female gaze.
• 25:39
  Speaker 1: Because I myself have lived a female existence, I'm sold
• 25:43
  Speaker 1: not only visually but mentally, emotionally and usually spiritually. And
• 25:51
  Speaker 1: that has happened with male filmmakers before. Because Barbarian made
• 25:55
  Speaker 1: me feel that way, I was convinced Barbarian was a
• 25:58
  Speaker 1: female team.
• 26:00
  Speaker 2: Yeah, there are you know. I love an unmarried woman.
• 26:05
  Speaker 2: It's written and directed by Paul Mazerski. He said that
• 26:08
  Speaker 2: the way that he was able to write Jill Clayburg's
• 26:10
  Speaker 2: character was because he talked to women, and I was like, oh, fascinatinating.
• 26:16
  Speaker 2: That is pretty cool there, sir, But I just it's
• 26:20
  Speaker 2: a really beautiful portrayal of a woman at a crossroads
• 26:24
  Speaker 2: in her life when divorce no fault divorce was kind
• 26:27
  Speaker 2: of becoming more popular in the late seventies. But yeah,
• 26:34
  Speaker 2: you know, there are some things that I've noticed as
• 26:36
  Speaker 2: I've watched more films and have done the podcast kind
• 26:40
  Speaker 2: of you know, you know, because you were on. But
• 26:43
  Speaker 2: I like to end every episode with what about the
• 26:46
  Speaker 2: female experience? Does a film capture best? And does a
• 26:50
  Speaker 2: film feel different because it was directed by a woman,
• 26:53
  Speaker 2: And a few things I've noticed is I think, first
• 26:56
  Speaker 2: of all, as you mentioned, the way in which women
• 26:59
  Speaker 2: are shown on screen is very different. You know. I
• 27:03
  Speaker 2: remember watching The Virgin Suicides for the podcast, and there
• 27:08
  Speaker 2: is a scene with a woman who is playing tennis,
• 27:11
  Speaker 2: and I was really struck by the way that Sophia
• 27:14
  Speaker 2: Coppola shot those scenes because we saw this woman who
• 27:19
  Speaker 2: she's really only in that scene, but you see her
• 27:22
  Speaker 2: as strong as athletic as is capable, where I think
• 27:26
  Speaker 2: if a man had been shooting it, it would have
• 27:29
  Speaker 2: gone to either purposely or subconsciously kind of sexualized that moment.
• 27:38
  Speaker 2: But we don't get that same with the Norwegian film
• 27:42
  Speaker 2: Girl Picture, there's a lot of instances where there are
• 27:47
  Speaker 2: teenage girls understanding their sexuality and understanding sex and what
• 27:52
  Speaker 2: that means for them, and there is zero nudity. And
• 27:56
  Speaker 2: the filmmaker purposely did that because she said, I know
• 28:00
  Speaker 2: that that happens, but doesn't mean that I have to
• 28:03
  Speaker 2: show these women, these young women in that light. We
• 28:08
  Speaker 2: get the picture without having to show everything. And that
• 28:12
  Speaker 2: was just I'm not a prude, but I just didn't
• 28:15
  Speaker 2: feel that this was necessary. And then Miller, who I
• 28:18
  Speaker 2: talked to, actually interviewed the filmmaker and have that discussion about,
• 28:23
  Speaker 2: you know, her desire to make sure that she told
• 28:26
  Speaker 2: an authentic story without it potentially leaning into exploitation. So
• 28:31
  Speaker 2: that's one thing I've learned. And the second big thing
• 28:33
  Speaker 2: that I've learned is that women really give grace to
• 28:38
  Speaker 2: men in ways that men do not always give grace
• 28:42
  Speaker 2: to themselves. And that's actually I had listened back to
• 28:45
  Speaker 2: our episode as I was editing, and that's something that
• 28:48
  Speaker 2: we talked about of you know, we very largely again
• 28:53
  Speaker 2: not to blanket statement it, but we largely see films
• 28:59
  Speaker 2: directed by men where men are either the hero like
• 29:03
  Speaker 2: a godlike hero, they are the anti hero, or they
• 29:07
  Speaker 2: are just a despicable villain, and there are no variations
• 29:11
  Speaker 2: between those characterizations. But then you know, as you mentioned
• 29:15
  Speaker 2: a Beautiful Day in the Neighborhood, you get complex men.
• 29:19
  Speaker 2: In Mirinaer's Monsoon Wedding, you have a father who is
• 29:24
  Speaker 2: dealing with a lot of societal pressures that are very
• 29:29
  Speaker 2: negative to him, and he doesn't always make the right choices,
• 29:33
  Speaker 2: and you can hold him accountable for making those wrong choices,
• 29:37
  Speaker 2: but you can also give him grace as he tries
• 29:41
  Speaker 2: to learn to amend those choices. From those choices. Greta
• 29:45
  Speaker 2: Gerwig giving us Kyle and Ladybird Kyle sucks is he
• 29:51
  Speaker 2: is a bad boy who is very self centered, who
• 29:55
  Speaker 2: has had his world catered to him. However, his father
• 29:59
  Speaker 2: is actively dying. He is in the living room dying
• 30:03
  Speaker 2: of cancer, and he has his own struggles and so
• 30:06
  Speaker 2: it never condones his actions, but it does give breadth
• 30:12
  Speaker 2: and layers to who this person is. And so that's
• 30:17
  Speaker 2: something that I've seen so much pop up in these
• 30:20
  Speaker 2: films as I've been watching them.
• 30:22
  Speaker 1: It's so interesting that you bring up the virgin suicides
• 30:25
  Speaker 1: because the point of view of the Virgin Suicides are
• 30:30
  Speaker 1: these neighborhood boys who are in fact objectifying their female neighbors.
• 30:36
  Speaker 1: And yet Sophia, that's never clicked for me except for
• 30:41
  Speaker 1: right now. How not objectified the women are by the movie,
• 30:47
  Speaker 1: even though the whole book is an objectification of young women.
• 30:52
  Speaker 2: It is, Yeah, and it's all told from like this
• 30:54
  Speaker 2: male perspective. And I think Sophia is one of my
• 30:59
  Speaker 2: favorite filmmaker is working today. I just rewatched Somewhere with
• 31:04
  Speaker 2: Stephen Dorf the other night, and she does incredible things
• 31:08
  Speaker 2: with him and that character. But yeah, it's so interesting.
• 31:11
  Speaker 2: The Virgin Suicides is from the male perspective, but it
• 31:16
  Speaker 2: is the male perspective under the female gaze. And she
• 31:20
  Speaker 2: gives them that grace again that maybe we don't always
• 31:26
  Speaker 2: get based because they are teenage always looking back on
• 31:30
  Speaker 2: a very traumatic event. You know, they watch this family
• 31:37
  Speaker 2: crumble and perish in front of their eyes. You know,
• 31:41
  Speaker 2: they are the ones that are called to the Lisbon
• 31:45
  Speaker 2: House by Lux to basically discover her and her deceased
• 31:49
  Speaker 2: sisters after they've all died by suicide. And I think
• 31:56
  Speaker 2: if you had let a man adapt that book, we
• 32:03
  Speaker 2: might not have been able to kind of see that
• 32:06
  Speaker 2: there are some constraints for them too. They're under a
• 32:10
  Speaker 2: patriarchal society just like the Lisp and Sisters, and having
• 32:15
  Speaker 2: to understand what happened to them is very difficult when
• 32:18
  Speaker 2: people brush that out of the rug that they are
• 32:22
  Speaker 2: just not interested in speaking further about it. And yeah,
• 32:27
  Speaker 2: I just it's such a brilliant piece.
• 32:30
  Speaker 1: It is, and it does really balance the idea of
• 32:35
  Speaker 1: what is our fantasy that we project onto a woman
• 32:39
  Speaker 1: compared to what is actually going on with that woman,
• 32:43
  Speaker 1: because a lot of the movie is also those boys fantasizing.
• 32:47
  Speaker 1: We have like a montage of them being like and
• 32:49
  Speaker 1: we knew that we would take them to Paris, to
• 32:51
  Speaker 1: Rome and like all of these like made up scenarios
• 32:54
  Speaker 1: that they've put upon the object of their desires. Meanwhile,
• 32:59
  Speaker 1: their father is literally the women's fathers, burning their records,
• 33:03
  Speaker 1: locking them in their bedroom. They're only allowed to wear
• 33:06
  Speaker 1: nightgowns now, like horrific circumstances.
• 33:11
  Speaker 2: Yeah, and it's also their mother is really kind of
• 33:14
  Speaker 2: pushing a lot of these patriarchal ideas too. And there's
• 33:18
  Speaker 2: so much to unpack with that Haafleen Turner character. It's yeah,
• 33:22
  Speaker 2: there's just so. It's so rich in trying to understand
• 33:26
  Speaker 2: that projection. It's similar to the Jonathan Dayton Valerie Ferris
• 33:30
  Speaker 2: film Ruby Sparks, which was written by Zoe Kazan, and
• 33:35
  Speaker 2: it's about a male writer who writes a woman from
• 33:40
  Speaker 2: his dreams and she manifests in his house. And I
• 33:43
  Speaker 2: think that that was such a brilliant film about expectation
• 33:49
  Speaker 2: and projection that we do that men due to women.
• 33:54
  Speaker 2: That you know, I understood that. I loved it when
• 33:57
  Speaker 2: I first saw it, but after being in my thirties
• 34:01
  Speaker 2: for a little bit, rewatched it for the first time
• 34:04
  Speaker 2: in many years and was like, oh, I misunderstood so
• 34:07
  Speaker 2: much of what was happening in this film.
• 34:10
  Speaker 1: Yeah. Well, and that's wild too, because I was probably
• 34:15
  Speaker 1: too young twelve thirteen if I had made it into
• 34:20
  Speaker 1: high school, what a feat Before I was watching The
• 34:24
  Speaker 1: Virgin Suicides every time it was on cable. Every time
• 34:28
  Speaker 1: it was on cable, I'd be like, oh, my favorite
• 34:30
  Speaker 1: movie with my girl Kursten dunce like, And I mean
• 34:36
  Speaker 1: my mom used to joke with it all the time
• 34:38
  Speaker 1: about like, ah, yes, another Virgin Suicides, watching from like
• 34:43
  Speaker 1: my two little virgins at home and it's like, yeah,
• 34:46
  Speaker 1: that's what we're doing all day, every day. We're just dark.
• 34:50
  Speaker 1: This is girlhood.
• 34:52
  Speaker 2: Yeah. I mean the film literally does start with I
• 34:56
  Speaker 2: think the youngest sister, Cecilia, telling the doctor you have
• 34:59
  Speaker 2: no idea what is to be a girl, and you're
• 35:01
  Speaker 2: just like, yeah, okay, that's.
• 35:04
  Speaker 1: Yes, right yeah. Because also, like movies like The Virgin
• 35:08
  Speaker 1: Suicide and others made me think about things that had
• 35:12
  Speaker 1: happened that in my mind I was pretty sure was okay,
• 35:17
  Speaker 1: and then I was like, wait a minute, was it
• 35:20
  Speaker 1: And then you know, half the time the answer is no,
• 35:25
  Speaker 1: and that's Girlhood And oh my gosh, yes I do.
• 35:30
  Speaker 1: I love that movie. My sister loves the book. I
• 35:33
  Speaker 1: think she took a college class where she got to
• 35:35
  Speaker 1: go in depth on the book and the movie at
• 35:38
  Speaker 1: the same time. And I had another movie that I
• 35:41
  Speaker 1: would say, oh, when it comes to Ruby Sparks, I
• 35:45
  Speaker 1: immediately thought to my other pop culture reference, which is
• 35:48
  Speaker 1: Weird Science, where two boys do come up with their
• 35:52
  Speaker 1: quote unquote perfect woman and then the rest of it
• 35:56
  Speaker 1: is just like an objectification comedy.
• 35:58
  Speaker 2: Rob yep, sure, is it very much?
• 36:02
  Speaker 1: Is?
• 36:03
  Speaker 2: You had also mentioned this when we had talked was
• 36:06
  Speaker 2: kind of the exact opposite of Lisa Frankenstein, where you
• 36:11
  Speaker 2: have a young woman who is making the man of
• 36:15
  Speaker 2: her dreams and there is a lack of objectification on
• 36:20
  Speaker 2: that male character that we've clearly seen is not given
• 36:25
  Speaker 2: to women when it has when it's done in the
• 36:29
  Speaker 2: opposite manner.
• 36:30
  Speaker 1: And it's so interesting in Lisa Frankenstein because while she
• 36:33
  Speaker 1: is not objectifying him, she is also not investing in him,
• 36:38
  Speaker 1: because she's mostly talking over him.
• 36:43
  Speaker 2: She's a very peculiar teenage girl.
• 36:45
  Speaker 1: But I love her so much, the most confident, insecure
• 36:50
  Speaker 1: woman you'll ever see walk on screen. I just I
• 36:55
  Speaker 1: love her. Be gave Zoe's Have you seen Blink twice yet?
• 37:00
  Speaker 2: I haven't yet.
• 37:01
  Speaker 1: Oh you have to, and then you have to text
• 37:04
  Speaker 1: me when you do. Because I believe that Zoe Kravitz
• 37:07
  Speaker 1: really did a very good job with that movie.
• 37:11
  Speaker 2: I'm excited to see. I really love something else that
• 37:15
  Speaker 2: I love as kind of a very weird intersection when
• 37:18
  Speaker 2: it comes to women in films. I love when female
• 37:21
  Speaker 2: actors become directors. I think that there's something very special
• 37:27
  Speaker 2: about that leap, you know, I love. I mean, I
• 37:30
  Speaker 2: mentioned Lynn Shelton. She went to school to be an actor.
• 37:34
  Speaker 2: She ended up becoming a director and was one of
• 37:36
  Speaker 2: the most incredible and very influential on me. You have
• 37:43
  Speaker 2: Britney Snow just had her directorial debut with Parachute, which
• 37:48
  Speaker 2: is maybe the best depiction of mental health I've ever
• 37:51
  Speaker 2: seen on screen. You have Rebecca Hall with Passing. She
• 37:55
  Speaker 2: spent eleven years trying to get that movie made and
• 37:59
  Speaker 2: it is nothing short of a masterpiece. Olivia Wilde with BookSmart,
• 38:04
  Speaker 2: even Older, with Barbara Loden and Wanda Cassie Lemons and
• 38:09
  Speaker 2: eves By. You you have all of these women who
• 38:12
  Speaker 2: started as actors making that transition, and I think that
• 38:16
  Speaker 2: there's something about knowing what has helped you as an
• 38:21
  Speaker 2: actor make you be better as a director. But also,
• 38:25
  Speaker 2: you know, after Lyn Shelton passed away, she had done
• 38:29
  Speaker 2: a lot of television work, and so some of the
• 38:31
  Speaker 2: actors that she had worked with had come together for
• 38:34
  Speaker 2: kind of a virtual roundtable to talk about what it
• 38:37
  Speaker 2: was like working with her. And Gillian Jacobs worked with
• 38:41
  Speaker 2: her on the show Love and one of the scenes
• 38:45
  Speaker 2: that they were going to be working on in an episode,
• 38:47
  Speaker 2: there was going to be a sex scene, and before
• 38:51
  Speaker 2: they even filmed, Lynn Shelton reached out to Gillian Jacobs
• 38:55
  Speaker 2: to be like, Okay, where is your comfort level? Where
• 38:59
  Speaker 2: do we where do we even start to pull back
• 39:04
  Speaker 2: a little bit so that we don't even push that boundary?
• 39:08
  Speaker 2: What is something that we can do to make you
• 39:10
  Speaker 2: feel safe? And now we obviously have more intimacy coordinators
• 39:14
  Speaker 2: on set, but having a woman start that conversation and
• 39:19
  Speaker 2: not being making someone feel ashamed to say I don't
• 39:24
  Speaker 2: feel comfortable doing X, Y or Z, I think is
• 39:28
  Speaker 2: really a powerful way to lead because that then there's
• 39:33
  Speaker 2: a ripple effect on set when you have your leader
• 39:36
  Speaker 2: as someone that's just like, we're not here to make
• 39:39
  Speaker 2: this a bad experience for other people.
• 39:42
  Speaker 1: Yeah, speaking of Olivia Wilde, my girl, I do have
• 39:47
  Speaker 1: it on our outline that there are things that female
• 39:52
  Speaker 1: filmmakers will get backlash for that male filmmakers simply don't.
• 39:59
  Speaker 1: And my favorite thing to talk about Olivia Wilde is
• 40:03
  Speaker 1: that movie that everyone is convinced as trash but I'll
• 40:06
  Speaker 1: die on the hill. It's a perfect movie. Don't worry, darling.
• 40:10
  Speaker 2: It's not my favorite, but fine, it's fine. I don't
• 40:15
  Speaker 2: understand the visceral reaction to it, and I think the
• 40:20
  Speaker 2: other thing is, you know, Olivia Wilde is kind of
• 40:23
  Speaker 2: a more recent example, but we know what happens when
• 40:27
  Speaker 2: women make a quote unquote bad movie. They get what
• 40:30
  Speaker 2: happened to Elaine May. She famously worked on Ishtar, which
• 40:34
  Speaker 2: had too many egos to finish properly, and they basically said,
• 40:40
  Speaker 2: no more movies for you. Rachel Talaway has moved into
• 40:45
  Speaker 2: television and is doing incredible work there, but Tank Girl
• 40:48
  Speaker 2: did not because people didn't understand her vision. They weren't
• 40:51
  Speaker 2: willing to finance anything else that she was going to do.
• 40:55
  Speaker 2: I'm glad it sounds like Olivia Wilde does have another
• 40:57
  Speaker 2: project lined up, so I'm happy that she's not following
• 41:01
  Speaker 2: in the footsteps of misogyny there. But yeah, you know,
• 41:05
  Speaker 2: it was kind of I remember, I think it was
• 41:07
  Speaker 2: Michelle Wolfe when she was on The Daily Show joked
• 41:11
  Speaker 2: about Wonder Woman that if Patty Jenkins didn't do a
• 41:15
  Speaker 2: good job with Wonder Woman, then no more female movies. Yes,
• 41:19
  Speaker 2: women directors are done.
• 41:21
  Speaker 1: We had that feeling with Barbie. What are you allowed
• 41:23
  Speaker 1: to criticize when it comes to Barbie? Because if we
• 41:26
  Speaker 1: criticize Barbie to the place that we convinced people it
• 41:30
  Speaker 1: actually wasn't a good movie or smartly done or made
• 41:34
  Speaker 1: very good statements about women's treatment in our society. Then
• 41:38
  Speaker 1: by Greta and Goodbye Polly Pocket.
• 41:42
  Speaker 2: I'm more importantly goodbye Monopoly. I'm very excited Margot Robbie
• 41:47
  Speaker 2: picking up some really interesting ip there, which I mean,
• 41:51
  Speaker 2: Monopoly as a game was invented by a woman who
• 41:54
  Speaker 2: basically was trying to show that capitalism was bad, and
• 41:58
  Speaker 2: men saw it and they were like, we should make it,
• 42:00
  Speaker 2: we should capitalize on this a bunch of money. So
• 42:04
  Speaker 2: if you're ever playing a very long game of monopoly,
• 42:07
  Speaker 2: just stop and think of the woman who invented it
• 42:10
  Speaker 2: and say, maybe I should just stop, because the whole
• 42:12
  Speaker 2: point was that everyone loses.
• 42:14
  Speaker 1: The whole point was this is actually torture.
• 42:18
  Speaker 2: Yes, yeah, it's just Barbie's a great example too, because
• 42:23
  Speaker 2: it was. I think there are criticisms for Barbie. It's
• 42:28
  Speaker 2: largely white. The few women of color are kind of
• 42:31
  Speaker 2: having to teach white women things which no woman of
• 42:35
  Speaker 2: color should be required to teach a white woman something
• 42:38
  Speaker 2: that they cannot get the resources themselves. Even with those criticisms,
• 42:44
  Speaker 2: I think it kind of goes back to the very
• 42:46
  Speaker 2: beginning of our conversation is the fact that we really
• 42:50
  Speaker 2: struggle with nuance and being able to say I love something,
• 42:56
  Speaker 2: here's something that doesn't sit well with me, or here's
• 42:59
  Speaker 2: you know. I think Seeing a Woman is a great
• 43:01
  Speaker 2: example of this too. The critiques of that film I
• 43:05
  Speaker 2: wholeheartedly understand, and many of them I can't agree with.
• 43:10
  Speaker 2: I still love that movie.
• 43:12
  Speaker 1: I love that movie.
• 43:13
  Speaker 2: I love arm Old fan Now, I love Carrie Mulligan.
• 43:16
  Speaker 2: I really liked the work that they were doing together.
• 43:19
  Speaker 2: But my appreciation for that film should not one make
• 43:24
  Speaker 2: me defensive to the point that it is nauseating, but
• 43:27
  Speaker 2: two should not invalidate someone's own experience of watching that movie.
• 43:33
  Speaker 2: Because again, I've watched many films by men that I
• 43:36
  Speaker 2: do love. Shout out to the Iron Claw. Sean Derkins
• 43:40
  Speaker 2: is one of my favorite male directors out there. He
• 43:43
  Speaker 2: just breaks me every time I watch none of his movies.
• 43:46
  Speaker 2: But you know, I have watched. I have a very
• 43:52
  Speaker 2: good friend who loves catch me if you can, I'm
• 43:55
  Speaker 2: not interested. I was very bored, and that was my experience,
• 43:58
  Speaker 2: and I don't think that that my lack of appreciating
• 44:01
  Speaker 2: it should not negate his love for that film. His
• 44:05
  Speaker 2: love for that film should not negate my own ambivalence
• 44:09
  Speaker 2: towards it. I do think that if there are very
• 44:11
  Speaker 2: harmful things, that we should be able to talk about those.
• 44:15
  Speaker 2: I know that there were some criticisms for the film Challenger,
• 44:18
  Speaker 2: because you have Sendaea as the only person of color
• 44:21
  Speaker 2: in that film, and there are some things about it
• 44:24
  Speaker 2: that people understandably did not like her characterization. And I
• 44:30
  Speaker 2: think that we should be able to hold those truths
• 44:33
  Speaker 2: with our own opinions as well, because we can have multitudes.
• 44:38
  Speaker 1: That's could you imagine multitudes? Multitudes? Yeah, I mean the
• 44:44
  Speaker 1: Zoe Kravitz Blink Twice movie completely changed my viewpoint of
• 44:50
  Speaker 1: Channing Tatum, which is that I used to joke that like,
• 44:54
  Speaker 1: are we sure Channing can read like are we sure?
• 44:59
  Speaker 1: And then I go to dead Pool Wolverine because I'm
• 45:01
  Speaker 1: a Hugh Jackman slut and he does his little casion accent,
• 45:06
  Speaker 1: and I'm like, oh my god, Channing, they should have
• 45:09
  Speaker 1: let you do that movie. I'm so mean. And then
• 45:14
  Speaker 1: I go and see Blink Twice and my sister still
• 45:16
  Speaker 1: talks about she doesn't only talk for the rest of
• 45:18
  Speaker 1: the day. I'm just so proud of Channing. She goes
• 45:21
  Speaker 1: like he was our cousin. I'm just giving him, give
• 45:25
  Speaker 1: him an award. I was like, I didn't think he
• 45:27
  Speaker 1: could pull it off, and I didn't understand why Zoe
• 45:30
  Speaker 1: was dating him because he's She's so cool and he's
• 45:35
  Speaker 1: so not cool. There's not one cool thing about Channing
• 45:39
  Speaker 1: to you.
• 45:39
  Speaker 2: It does kind of give off himbo vibes. Yeah, but
• 45:43
  Speaker 2: I do think he has done some really there are
• 45:46
  Speaker 2: some works that he has done that I have really enjoyed,
• 45:49
  Speaker 2: so I'm excited to see him in this. I also
• 45:50
  Speaker 2: think that the cast of women who every person's name
• 45:54
  Speaker 2: has miraculously left my mind, but I'm so excited to
• 45:57
  Speaker 2: see them because I think that there's such an interesting
• 46:01
  Speaker 2: group of women in that film who've come from such
• 46:04
  Speaker 2: different backgrounds as artists that I'm like, let's see what happens,
• 46:08
  Speaker 2: you know. I just also recently rewatched Marie Antoinette, and
• 46:12
  Speaker 2: when Molly Shannon appeared, I was just like, I thought
• 46:15
  Speaker 2: you were in this. It was such a delight to
• 46:18
  Speaker 2: see Molly Shannon sw up and a Sofia Coppola film
• 46:23
  Speaker 2: had completely forgotten that she was there.
• 46:26
  Speaker 1: It's like when Will Ferrell is the Wheel of Fortune
• 46:30
  Speaker 1: guy on Quiz Show or Quiz Lady on another made
• 46:35
  Speaker 1: for Hulu movie that I adore and I currently I
• 46:39
  Speaker 1: don't think I've ever been more in love with Will Ferrell,
• 46:42
  Speaker 1: and I've always been a fan, like I love the
• 46:46
  Speaker 1: Ice Skate. Now I can't name a movie who is
• 46:49
  Speaker 1: Will fer.
• 46:50
  Speaker 2: Blades of Glory, Blades of Glory.
• 46:52
  Speaker 1: Talladega Knights, like if Will Ferrell Old School, if Will
• 46:56
  Speaker 1: Ferrell was in it, I was in a movie theater
• 46:59
  Speaker 1: in the nineties, early two thousands. But now he's just
• 47:02
  Speaker 1: like this quaint old man who's like, I've been thinking
• 47:07
  Speaker 1: about how other people should be viewed as people, and
• 47:11
  Speaker 1: it's like, will I love this for you? We hope
• 47:13
  Speaker 1: this only for our father's grandfathers and uncles as well.
• 47:18
  Speaker 2: Yeah, and he's done. His production company has also produced
• 47:22
  Speaker 2: a lot of films that I've really enjoyed, one being
• 47:27
  Speaker 2: one that I rewatch almost on a monthly weekly basis,
• 47:32
  Speaker 2: Theater Camp, co directed by Nick Lieberman and Molly Gordon.
• 47:40
  Speaker 2: I think Molly Gordon has a very specific eye when
• 47:42
  Speaker 2: it comes to comedy, so I love that film endlessly.
• 47:48
  Speaker 1: The friendship dynamics in Theater Camp and how fragile friendships
• 47:54
  Speaker 1: can actually be when egos are involved, especially creative egos. Huh.
• 48:02
  Speaker 1: Perfect the perfect way to cap to show that on film,
• 48:09
  Speaker 1: and I love every second of Theaters.
• 48:13
  Speaker 2: It's such a It's such a beautiful film that's like
• 48:17
  Speaker 2: a love letter to creatives while also just having some
• 48:22
  Speaker 2: of the most outrageous comedy. I still love Molly Gordon
• 48:26
  Speaker 2: entering playing a recorder and there's just such a wild
• 48:32
  Speaker 2: tune and then asking the class, okay, play that back
• 48:35
  Speaker 2: to me and they all have to sing it back
• 48:37
  Speaker 2: to her. I just that is like that, and her
• 48:41
  Speaker 2: going I want her to scream daddy, a guttural daddy.
• 48:46
  Speaker 2: And they're talking.
• 48:46
  Speaker 1: About children, They're talking about eight year olds.
• 48:50
  Speaker 2: It's just but I really that film is so good.
• 48:54
  Speaker 2: It also has Iowa Debris and it was another woman
• 48:57
  Speaker 2: in comedy that she can do wrong to show up
• 49:00
  Speaker 2: in everything place.
• 49:02
  Speaker 1: Yes, because Bottoms is also one of my favorite movies.
• 49:05
  Speaker 2: Bottoms is so good. I just recorded an episode with
• 49:11
  Speaker 2: my friend Jesse, and most of that episode was just
• 49:16
  Speaker 2: talking about a scene and then laughing about a scene
• 49:19
  Speaker 2: because it's just so smart and so funny. And between
• 49:25
  Speaker 2: that and the Seligman's other film shit a baby. I
• 49:28
  Speaker 2: can't wait to see what she does next.
• 49:30
  Speaker 1: I was deeply devastated to find that me and my
• 49:33
  Speaker 1: friend and maybe three other people were the only people
• 49:37
  Speaker 1: in the movie theater four Bottoms. But then it was
• 49:40
  Speaker 1: also lovely because I got to talk through the whole movie,
• 49:43
  Speaker 1: because Bottoms is a movie that you have to talk
• 49:47
  Speaker 1: through because at some point I'm like, ah, that's red,
• 49:50
  Speaker 1: white and royal blue. She's like what I was like
• 49:54
  Speaker 1: the Brits. And then I was like, there's a man
• 49:56
  Speaker 1: in a cage. Do you think we're ever going to
• 49:58
  Speaker 1: learn why? And then it's it's like, oh, we learned
• 50:01
  Speaker 1: why that man was in a cage.
• 50:04
  Speaker 2: It is I Yeah. So I went and saw that
• 50:08
  Speaker 2: film in theaters a couple of times, because my rule
• 50:10
  Speaker 2: is if I love a film, especially if it's an
• 50:12
  Speaker 2: independent film, I will go. Even though I'm sure my
• 50:17
  Speaker 2: ten dollars is just a drop in the bucket. I
• 50:20
  Speaker 2: am just I feel like I'm manifesting for studios to
• 50:26
  Speaker 2: make more fun, quirky independent films. So I supported Bottoms
• 50:30
  Speaker 2: just like I supported Theater Camp eight bajillion times in
• 50:34
  Speaker 2: the movie theater. But in one of my showings of
• 50:37
  Speaker 2: bottoms after again this is a high school comedy. After
• 50:43
  Speaker 2: a group of girls blow up a car, I hear
• 50:47
  Speaker 2: someone behind me turn to whomever they're sitting with and
• 50:50
  Speaker 2: just go, this is insane. And I was like, this
• 50:54
  Speaker 2: is why we come to the theater. This is what
• 50:56
  Speaker 2: Nicole Kitma was talking about. That's the magic is.
• 51:00
  Speaker 1: What Nicole Kidman is talking about. And Nicole Kidman, what
• 51:03
  Speaker 1: are career renaissance? I guess for calling it she's having
• 51:07
  Speaker 1: because I for her. I'm excited for her. She was
• 51:11
  Speaker 1: the butt of my joke about this new season of
• 51:14
  Speaker 1: Dancing with the Stars because when they announced the new
• 51:17
  Speaker 1: season of Dancing with the Stars, I had to flip
• 51:19
  Speaker 1: five people before I recognized some one and I asked
• 51:24
  Speaker 1: my friends. I was like, are we are we out
• 51:28
  Speaker 1: of former celebrities that need to check? Because the A
• 51:32
  Speaker 1: listers on Netflix Movies would tell me otherwise.
• 51:38
  Speaker 2: Yeah. She just won the Boldy Cup at the Venice
• 51:42
  Speaker 2: Film Festival. Super excited to see her and Baby Girls,
• 51:45
  Speaker 2: directed by the same filmmaker who did Body's Body's.
• 51:49
  Speaker 1: Bodies, another one of my favorites.
• 51:51
  Speaker 2: I mean, yeah, let's also add in the trifecta of
• 51:54
  Speaker 2: like Rachel Sennett being one of the best sillennial gen
• 51:59
  Speaker 2: Z actors out there. Her other film of hers that
• 52:04
  Speaker 2: I saw very recently, I Used to Be Funny, which
• 52:08
  Speaker 2: is not a comedy that would lead to preface by
• 52:13
  Speaker 2: Ali pank is finally on Netflix in the US if
• 52:17
  Speaker 2: you have not seen it. But she's really just such
• 52:21
  Speaker 2: a dynamic performer, and I love how many women that
• 52:24
  Speaker 2: she's worked with again bodies, I Used to be Funny,
• 52:28
  Speaker 2: Should the Baby Bottoms? Just so many female filmmakers that
• 52:32
  Speaker 2: she's been working with.
• 52:35
  Speaker 1: Yes, there was a good part of last year where
• 52:39
  Speaker 1: it felt like every time I was walking into five
• 52:43
  Speaker 1: dollars movie night, it was because there was a Bottoms,
• 52:47
  Speaker 1: there was a Love Lies Bleeding, there was a Lisa Frankenstein,
• 52:52
  Speaker 1: and I was like, we must tryumph these movies made
• 52:56
  Speaker 1: by women for women, even though I have to go
• 52:59
  Speaker 1: on cheap.
• 53:02
  Speaker 2: You know, but seeing someone like Rose Glass with Love
• 53:06
  Speaker 2: Life Bleeding, coming off of Saint Maude, which is just
• 53:10
  Speaker 2: such a disturbing little horror film, I really love watching.
• 53:17
  Speaker 2: You know, some of these more independent minded production companies
• 53:22
  Speaker 2: like A twenty four Neon really champing championing women in
• 53:28
  Speaker 2: making another film. Amazon's done that obviously Blinked Twice is
• 53:33
  Speaker 2: an Amazon MGM, Amazon. I think you have they've worked
• 53:38
  Speaker 2: Saltburn was on film that they also produce, co produced
• 53:42
  Speaker 2: and distributed as well. You have Margot Robbie's production company
• 53:46
  Speaker 2: Lucky Chap that is just giving so many opportunities to women.
• 53:51
  Speaker 2: So we we love to.
• 53:52
  Speaker 1: See that, I know, And I'm like on the verge
• 53:55
  Speaker 1: of being of Reese Witherspoon hater because I'm like, those
• 53:58
  Speaker 1: movies make me feel so much different than anything that's
• 54:01
  Speaker 1: ever come out of Oh Hello Sunshine.
• 54:05
  Speaker 2: Yeah, I just really hope Reese Witherspoon some of her
• 54:09
  Speaker 2: early stuff that she's produced. I mean, Gone Girl was
• 54:11
  Speaker 2: really cool.
• 54:12
  Speaker 1: Oh Gone Girl was amazing.
• 54:13
  Speaker 2: Incredible, Wild was really good. Yeah, I just hope that
• 54:17
  Speaker 2: she kind of gets back and gets inspired by other
• 54:22
  Speaker 2: people around her. And I think that, you know, people
• 54:26
  Speaker 2: go through an ebb and flow. I feel like Nicole
• 54:29
  Speaker 2: Kimmon's a great example too, because you look at her
• 54:33
  Speaker 2: nineties and early two thousands, just some breath taking work
• 54:38
  Speaker 2: and then a period of just kind of self discovery
• 54:40
  Speaker 2: of like trying things, not all of them working, and
• 54:43
  Speaker 2: so I'm just really excited to now see her working
• 54:46
  Speaker 2: with a female director in what seems to be just
• 54:51
  Speaker 2: like a career redefining moment, saying with Angelina Jolie getting
• 54:56
  Speaker 2: to have a moment in the spotlight after many years
• 55:00
  Speaker 2: where we haven't gotten to see her in such a
• 55:04
  Speaker 2: spotlight is really exciting to witness.
• 55:07
  Speaker 1: Being thirty five and knowing that I can still be
• 55:13
  Speaker 1: surprised because Sandra Bullock's going to show up in a
• 55:16
  Speaker 1: rom com and it's going to be opposite of Channing Tatum,
• 55:19
  Speaker 1: who's playing his version of BOBBYO. Is beautiful. I love
• 55:24
  Speaker 1: that my girls are getting back into movies.
• 55:28
  Speaker 2: I you know, I'm so excited too because it sounds
• 55:30
  Speaker 2: like Practical Magitude might actually be a thing.
• 55:34
  Speaker 1: It is a thing. It was officially announced by Warner Brothers.
• 55:37
  Speaker 2: I think I'm still until it's in production. I'm not
• 55:41
  Speaker 2: going to I've talked about it a lot. I'm just
• 55:46
  Speaker 2: going to play it safe a little bit. But so
• 55:49
  Speaker 2: excited for Santra Bullock and Nicole Kimmon to be like
• 55:51
  Speaker 2: back together. I have some women that I would love
• 55:54
  Speaker 2: to direct it.
• 55:55
  Speaker 1: God, I hope a woman.
• 55:58
  Speaker 2: I mean no, I think griffined on to a really
• 56:00
  Speaker 2: great job with that. It was the screenplay was written
• 56:05
  Speaker 2: by two women and a male screenwriter, and I think
• 56:09
  Speaker 2: that that really helped having those voices on the page.
• 56:14
  Speaker 2: And I appreciate Griffin Dunn kind of like Rob Reiner
• 56:17
  Speaker 2: did with When Harry Met Sally, really let there be
• 56:20
  Speaker 2: a lot of what was on that page be what
• 56:24
  Speaker 2: grounded him in his filmmaking.
• 56:26
  Speaker 1: Practical Magic is my I know that. I just said
• 56:30
  Speaker 1: that another movie was my favorite movie and it was
• 56:32
  Speaker 1: dropped dead gorgeous, but Practice, Oh my god. I watched
• 56:36
  Speaker 1: Practical Magic. As soon as there's a cool breeze in
• 56:40
  Speaker 1: the air. I'm like, it's time fall. Tricia yearwould Stevie
• 56:44
  Speaker 1: Nix and Stocker Channing Baby.
• 56:47
  Speaker 2: I just I always say Practical Magic is has everything, Magic, Murder,
• 56:53
  Speaker 2: Margarita's Margot Martindale, What do you need?
• 56:56
  Speaker 1: What more do you need? Nothing? And if they fuck
• 57:00
  Speaker 1: this sequel for me and I have to go on
• 57:04
  Speaker 1: a hot mic and be like, you fucked, because I've
• 57:07
  Speaker 1: read every Alice Hoffman book and I don't know how
• 57:11
  Speaker 1: they're turning the prequel of Practical Magic into the sequel
• 57:16
  Speaker 1: of Practical Magic. So just like I don't know, I
• 57:19
  Speaker 1: might have to go into HYDI after the movie releases.
• 57:23
  Speaker 2: I I just hope that they kind of do what
• 57:26
  Speaker 2: they want, because I mean, the book is so different
• 57:29
  Speaker 2: than the film, so I hope that they kind of
• 57:33
  Speaker 2: have that same energy with the sequel of like, maybe
• 57:37
  Speaker 2: take some pieces of the book that you really enjoyed
• 57:40
  Speaker 2: and translate it, but make it be its own thing.
• 57:42
  Speaker 1: Maybe its own thing.
• 57:44
  Speaker 2: Sandy and Nick can do it.
• 57:47
  Speaker 1: I often tell people when they're like, what's a little cute,
• 57:50
  Speaker 1: little anecdote fact about you, I'm like, I'm the only
• 57:53
  Speaker 1: person on the globe that can take the book Ellen
• 57:57
  Speaker 1: Enchanted and the movie Ellen Enchanted and love them as
• 58:00
  Speaker 1: separate entities, because you could never make me hate you
• 58:04
  Speaker 1: and have the.
• 58:05
  Speaker 2: Way there are, you know. I think it's kind of
• 58:09
  Speaker 2: like I really love Greta Gerwrigg's adaptation of Little Women,
• 58:13
  Speaker 2: and it's very different than other adaptations, different than the book.
• 58:16
  Speaker 2: And I think that that's kind of like the beauty
• 58:19
  Speaker 2: of a film adaptation is you don't have to make
• 58:23
  Speaker 2: it exactly as a book because that's not the forum
• 58:30
  Speaker 2: that you're working in. You're working in cinema. So I
• 58:34
  Speaker 2: really like to see them as almost like a cover
• 58:38
  Speaker 2: or an acoustic version of a song you know, is
• 58:43
  Speaker 2: the Nirvana version of the Man Who Sold the World
• 58:46
  Speaker 2: better than David Bowie's. Some might say so, some might
• 58:50
  Speaker 2: say that they're both great. Some might still prefer the
• 58:52
  Speaker 2: original to the Nervana. That's fine, but they are two
• 58:56
  Speaker 2: different things.
• 58:58
  Speaker 1: Yes, exactly, I am not. I mean, did the Hobbit
• 59:02
  Speaker 1: have to be three films? Of course not. The forty
• 59:04
  Speaker 1: five minute cartoon was perfect. It was perfect.
• 59:09
  Speaker 2: I sometimes forget that The Hobbit was three films, which
• 59:12
  Speaker 2: is also now my pitch for why Mama Mia should
• 59:15
  Speaker 2: be a trilogy, because if we can turn the Hobbit
• 59:18
  Speaker 2: into three films, then we can have three Mama Mia movie.
• 59:21
  Speaker 1: I think we're getting three Baba Villas. I think it
• 59:24
  Speaker 1: doesn't make sense. So because in Mama Mia two spoilers,
• 59:28
  Speaker 1: they kill off Donna, Like.
• 59:31
  Speaker 2: I already have a vision in my mind of how
• 59:34
  Speaker 2: this can be universal.
• 59:36
  Speaker 1: Call me anything that requires Colin Firth to mumble scene
• 59:41
  Speaker 1: in hot pants in a in a seventies disco leotard outfit.
• 59:52
  Speaker 2: And look, we're going to bring back Lily James.
• 59:54
  Speaker 1: It'll be great. I loved Mama Mia too, and they
• 59:58
  Speaker 1: could never make me hate too.
• 1:00:02
  Speaker 2: It is an incredible film. It's perfect also directed by
• 1:00:07
  Speaker 2: a man, though, so I will.
• 1:00:08
  Speaker 1: Give Parker that, you know, you get a gold star.
• 1:00:12
  Speaker 1: One of the things that I also wanted to talk
• 1:00:14
  Speaker 1: about about the different treatment of female stories is who
• 1:00:19
  Speaker 1: actually gets to tell female stories, because I hinted to
• 1:00:22
  Speaker 1: you after we had wrapped recording that the thing that
• 1:00:26
  Speaker 1: infuriates me the most about the It Ends with Us
• 1:00:30
  Speaker 1: drama is that I was mad that Justin got to
• 1:00:33
  Speaker 1: tell that story to begin with, even though the author
• 1:00:36
  Speaker 1: wanted him to, because it would have literally raised my
• 1:00:39
  Speaker 1: hackles to be on that set and have him tell
• 1:00:42
  Speaker 1: me what to do.
• 1:00:43
  Speaker 2: See, I mean, I love other people's drama, so this
• 1:00:48
  Speaker 2: Ends with Us drama is exhausting. I think it's a
• 1:00:52
  Speaker 2: bunch of really privileged people not centering the idea that
• 1:00:55
  Speaker 2: this is supposed to be about in domestic science. Yes,
• 1:00:58
  Speaker 2: and that also is to author as well, because I
• 1:01:01
  Speaker 2: read a synopsis of the book and it just is
• 1:01:04
  Speaker 2: not it's a white lady, white feminist views of the world,
• 1:01:10
  Speaker 2: which again I did say I support women's rights and
• 1:01:13
  Speaker 2: women's wrongs, but maybe not this wrong. That said, I
• 1:01:17
  Speaker 2: do think it is very difficult for anyone from an
• 1:01:24
  Speaker 2: underrepresented community to be able to tell their own story.
• 1:01:27
  Speaker 2: And I think that what happens there is you get
• 1:01:34
  Speaker 2: the finance people involved, because cinema is an art that
• 1:01:39
  Speaker 2: is financed by people who do not understand art. So
• 1:01:43
  Speaker 2: I will talk about one of my nemeses, David Saslaw.
• 1:01:48
  Speaker 2: This this really beautiful film, funny, thoughtful film am I Okay
• 1:01:55
  Speaker 2: co directed by Tick Nataro and Stephanie Allen and after
• 1:02:00
  Speaker 2: Sun Dance, HBO Max at the time before they rebranded
• 1:02:05
  Speaker 2: for the umpteenth time acquired the film and then did
• 1:02:08
  Speaker 2: nothing with it. And again it's two women directing this film.
• 1:02:15
  Speaker 2: Dakota Johnson is fantastic in it. She produced it, It
• 1:02:20
  Speaker 2: was written by Lauren Pamarans. There were just a lot
• 1:02:24
  Speaker 2: of women involved in this movie. And then it sat
• 1:02:27
  Speaker 2: there and then eventually kind of got like a very
• 1:02:30
  Speaker 2: rushed release. So that said, if you have MAX people,
• 1:02:34
  Speaker 2: please go watch that film, because I'd been talking about
• 1:02:37
  Speaker 2: it for like two years, two maybe three years time.
• 1:02:41
  Speaker 2: As a social construct I have trouble with sometimes, you know,
• 1:02:45
  Speaker 2: it was a numbers thing and they sat on it
• 1:02:48
  Speaker 2: for forever, you know, sus same as I was very
• 1:02:52
  Speaker 2: concerned Anna Kendrick's directorial debut, The Woman of the Hour,
• 1:02:58
  Speaker 2: was acquired by Netflix, have a release date for a
• 1:03:01
  Speaker 2: really long time, and then all of a sudden, we
• 1:03:03
  Speaker 2: get both a trailer and a release date six weeks
• 1:03:06
  Speaker 2: away from said release date. So I just think that
• 1:03:10
  Speaker 2: there are not enough creative people providing creative input on
• 1:03:16
  Speaker 2: what films should be made. And I think it also
• 1:03:20
  Speaker 2: has to go to the films that we decide deserve
• 1:03:24
  Speaker 2: to be preserved. So not to congratulate white men, but
• 1:03:29
  Speaker 2: you do have men like Martin Scorsese, Steven Spielberg, Paul
• 1:03:33
  Speaker 2: Thomas Anderson who really fight for film preservation, and they're
• 1:03:38
  Speaker 2: not just fighting for the films with people that look
• 1:03:42
  Speaker 2: like them. Martin Scorsese has really done an incredible job
• 1:03:45
  Speaker 2: of uplifting voices of all different types of filmmakers, regardless
• 1:03:50
  Speaker 2: of their background. Steven Spielberg was really just probably Jane
• 1:03:56
  Speaker 2: Campion's biggest supporter when she was nominated for the Power
• 1:03:59
  Speaker 2: of the Job. But because we've moved away from physical media,
• 1:04:04
  Speaker 2: we're starting to see that again. People without a creed
• 1:04:07
  Speaker 2: a bone in their body, who house some of the
• 1:04:11
  Speaker 2: most beautiful creative works, are very flippant with keeping that work,
• 1:04:16
  Speaker 2: and so having places like the Criterion Collection which does
• 1:04:22
  Speaker 2: preserve that work is so important. But what we see
• 1:04:26
  Speaker 2: is the works that are kept first are largely white
• 1:04:30
  Speaker 2: male stories, and sometimes our more nuanced stories of from women,
• 1:04:37
  Speaker 2: from people of color, from the queer community, from the
• 1:04:40
  Speaker 2: intersectionality of all of that, from non Americans. We forget
• 1:04:45
  Speaker 2: that there are people making films, not just in America,
• 1:04:49
  Speaker 2: not just in the UK, but those artists, their works
• 1:04:53
  Speaker 2: are not kept. And so you have something like the
• 1:04:58
  Speaker 2: site and Sound Pole, which highlighted Chantell Ackerman's John Dielman,
• 1:05:03
  Speaker 2: which is a three and a half hour movie with
• 1:05:05
  Speaker 2: almost no dialogue. It is one of the most unnerving
• 1:05:10
  Speaker 2: endings of a film I've ever seen. But a whole
• 1:05:12
  Speaker 2: bunch of people who are artistic, who have access to
• 1:05:17
  Speaker 2: films that are very difficult for regular people to access,
• 1:05:20
  Speaker 2: talked about how much they loved that film, and all
• 1:05:23
  Speaker 2: of a sudden you saw retrospective screenings of it, you
• 1:05:26
  Speaker 2: saw people buying it off of the Criterion Collection. You
• 1:05:29
  Speaker 2: saw these people starting to support this film, and I
• 1:05:32
  Speaker 2: think that's really beautiful and wonderful to see that happen.
• 1:05:36
  Speaker 2: And so I think we just kind of have a
• 1:05:40
  Speaker 2: duty to champion works. And I really hope that as
• 1:05:45
  Speaker 2: we're coming to have a reckoning with the streaming model,
• 1:05:52
  Speaker 2: that we begin to realize how special physical media was,
• 1:05:56
  Speaker 2: because if Netflix decides to take passing off of their plan,
• 1:06:00
  Speaker 2: it's nowhere.
• 1:06:01
  Speaker 1: Where does it go?
• 1:06:03
  Speaker 2: Mm hmm?
• 1:06:04
  Speaker 1: Because I ran into this, doing an episode of pop
• 1:06:09
  Speaker 1: culture makes me jealous for a movie that I picked,
• 1:06:12
  Speaker 1: and I usually check to make sure that they're streaming
• 1:06:15
  Speaker 1: because I'm broke. Muppets Take Manhattan isn't on Disney Plus
• 1:06:20
  Speaker 1: the best Muppets movie if they were just like, not
• 1:06:24
  Speaker 1: this one. And I was flabbergasted. And then when I
• 1:06:29
  Speaker 1: was moving, it turned out I had two physical DVDs
• 1:06:33
  Speaker 1: of Buppets Take Manhattan because I probably see it in
• 1:06:37
  Speaker 1: stores and then panic that I don't have it and
• 1:06:40
  Speaker 1: then purchase it. I just brought that up to my
• 1:06:43
  Speaker 1: dad because my dad's like, you watch any Muppet movie
• 1:06:46
  Speaker 1: that you want. We have Disney Plus. And I was like,
• 1:06:48
  Speaker 1: not my favorite, not the one that moves me, not
• 1:06:52
  Speaker 1: the one with the wedding, not Muppets Takes Manhattan. Where
• 1:06:56
  Speaker 1: is it? Where I had to rent it?
• 1:07:01
  Speaker 2: Well, it's also like Disney, which owns. Hulu had taken Rosaline,
• 1:07:06
  Speaker 2: directed by Karen Maine, off of there, and it was
• 1:07:10
  Speaker 2: just kind of nowhere, And then eventually they make it
• 1:07:13
  Speaker 2: available for rent, but it's like, but you can also
• 1:07:17
  Speaker 2: then revoke our ability to rent it at some point
• 1:07:20
  Speaker 2: in time, which means once again, I won't be able
• 1:07:23
  Speaker 2: to watch this film and enjoy Caitlin Deavers's fun performance
• 1:07:30
  Speaker 2: because you've decided you're just not it's not worth it anymore.
• 1:07:35
  Speaker 1: Disney is my nemesis, and I talk about it pretty openly,
• 1:07:38
  Speaker 1: despite the fact that I believe that they're dangerous and
• 1:07:41
  Speaker 1: will put a hit out on me one day and
• 1:07:44
  Speaker 1: I'll be killed with an arrow to the heart by
• 1:07:48
  Speaker 1: Jeremy Runner and he'll be in full costume. And but
• 1:07:53
  Speaker 1: Disney is my nemesis. And over my nephew's current conferent
• 1:07:58
  Speaker 1: movie is Racket. So we queue up for bedtime Disney Plus,
• 1:08:03
  Speaker 1: and Disney Plus is a trash streaming service that works
• 1:08:07
  Speaker 1: thirty five percent of the time.
• 1:08:10
  Speaker 2: Yeah, there's just I mean, I think that there is
• 1:08:14
  Speaker 2: something really great and beautiful about having a platform that
• 1:08:19
  Speaker 2: you can go to to discover new films. I mean,
• 1:08:22
  Speaker 2: when Netflix was early in what it was doing. I
• 1:08:27
  Speaker 2: watched foreign films that I would have never seen before
• 1:08:32
  Speaker 2: or had access to. I do now have the Criterion Channel,
• 1:08:36
  Speaker 2: which has been the most revolutionary thing that I've ever
• 1:08:39
  Speaker 2: gifted myself. I love it so much. But now we're
• 1:08:44
  Speaker 2: kind of getting into the cable of it, all of
• 1:08:48
  Speaker 2: bundling all of these things together, and it's you know,
• 1:08:52
  Speaker 2: it's becoming a bit too much. And so I hope
• 1:08:55
  Speaker 2: that again, kind of as we're confronting what this is,
• 1:09:00
  Speaker 2: that we make some choices in the right direction.
• 1:09:03
  Speaker 1: Yeah, because my brother in law, who's a very intelligent man,
• 1:09:06
  Speaker 1: he was like, if it's his comfort movie and we're
• 1:09:08
  Speaker 1: gonna watch it every night, just buy Bracket Ralph, so
• 1:09:10
  Speaker 1: we don't have to rely on Disney and the fact
• 1:09:14
  Speaker 1: that their own streaming service doesn't work, we couldn't buy it.
• 1:09:18
  Speaker 1: Disney was like, no, you have to watch it through us.
• 1:09:20
  Speaker 1: I was like, but you don't work. So we watched
• 1:09:23
  Speaker 1: Super Mario instead, which I had never seen because Chris
• 1:09:26
  Speaker 1: Pratt is also my enemy, but I love Jack Black
• 1:09:30
  Speaker 1: and I was a Bowser sympathizer that entire movie, and
• 1:09:34
  Speaker 1: I was like, I think I could fix them. I'm
• 1:09:36
  Speaker 1: team Mary Bowser. Yeah, Yeah, I.
• 1:09:41
  Speaker 2: Mean there's a lot of complexity to Bowser there.
• 1:09:44
  Speaker 1: There truly is he wrote her a theme song. What
• 1:09:48
  Speaker 1: did Chris Pratt Mario do nothing but Jack Black? Bowser charmie,
• 1:09:54
  Speaker 1: Jack Black, always charming. Okay, they could never make me
• 1:09:58
  Speaker 1: hate you, Jack Black. We should probably wrap up before
• 1:10:03
  Speaker 1: I just literally start listing movies for us to talk about. Yeah,
• 1:10:07
  Speaker 1: and move into our closing out ceremony. So, as you've
• 1:10:12
  Speaker 1: been looking at, specifically movies directed and created by women,
• 1:10:20
  Speaker 1: what has been your biggest lesson or takeaway that you
• 1:10:23
  Speaker 1: kind of carry on with you when you're making decisions
• 1:10:26
  Speaker 1: or when you're doing critical analysis of something that maybe
• 1:10:31
  Speaker 1: has nothing to do with movies, but it's just like
• 1:10:33
  Speaker 1: a little life lesson.
• 1:10:35
  Speaker 2: Gosh, that's such a good question. I think one thing
• 1:10:39
  Speaker 2: that it has taught me is to seek out films
• 1:10:46
  Speaker 2: that I might not always be comfortable with, or seek
• 1:10:51
  Speaker 2: out films that just don't look like a hashtag Morgan movie.
• 1:10:59
  Speaker 2: You know, to be daring and to let an artist
• 1:11:06
  Speaker 2: provide their voice and in turn give them your time
• 1:11:12
  Speaker 2: and attention in their art.
• 1:11:16
  Speaker 1: Yeah. And I think my biggest lesson is and I
• 1:11:20
  Speaker 1: say this a lot like you have to be the
• 1:11:23
  Speaker 1: champion of the thing that you love. So I talk
• 1:11:25
  Speaker 1: about that, like I'm a champion of the libraries because
• 1:11:28
  Speaker 1: when I was too broke to sit in public where
• 1:11:32
  Speaker 1: it cost you money to be there, the library was
• 1:11:34
  Speaker 1: always there with a craft and sometimes a spaghetti dinner.
• 1:11:39
  Speaker 1: And the drive through is another thing that a friend
• 1:11:42
  Speaker 1: once asked me, like, you just said that you love
• 1:11:44
  Speaker 1: the drive through. How often have you been this summer?
• 1:11:47
  Speaker 1: And I said, I have it And he said, then
• 1:11:49
  Speaker 1: when the drive through is gone, you have to ask
• 1:11:52
  Speaker 1: yourself whether or not you were a part of that.
• 1:11:57
  Speaker 1: So I think the idea of making sure or like
• 1:12:01
  Speaker 1: I was like, I have to go see Blink twice.
• 1:12:05
  Speaker 1: You know, I want Zoe making movies. I want people
• 1:12:08
  Speaker 1: making horror movies, romantic movies, comedy movies that represent my
• 1:12:15
  Speaker 1: experience as a woman, Like I have to be that champion,
• 1:12:19
  Speaker 1: and then I have to like truly strong arm other
• 1:12:24
  Speaker 1: people into watching these movies to be like sit down
• 1:12:29
  Speaker 1: Bottoms is the perfect way. My sister, who is often
• 1:12:33
  Speaker 1: very critical of me and my taste and I am
• 1:12:37
  Speaker 1: always stupid, when I told her, I go, you have
• 1:12:41
  Speaker 1: to watch Bottoms. It will never waste your time. She
• 1:12:45
  Speaker 1: texted me the moment the credits rolled and when I
• 1:12:48
  Speaker 1: have no notes for this movie.
• 1:12:52
  Speaker 2: I yeah, I mean I totally agree with you gotta
• 1:12:57
  Speaker 2: champion things that you love, because I also think there
• 1:13:00
  Speaker 2: are so many things that I hate. But is that
• 1:13:04
  Speaker 2: really worth my energy? Or could I be talking about
• 1:13:07
  Speaker 2: Sometimes I think about Dying, which is a tiny independent
• 1:13:10
  Speaker 2: film that you can now watch on movies. Yes, that
• 1:13:13
  Speaker 2: really is one of the most beautiful things that I've seen.
• 1:13:16
  Speaker 2: Or do I talk about something that annoyed me? Or
• 1:13:20
  Speaker 2: do I take my friend to go see Janet Planet
• 1:13:23
  Speaker 2: and have someone to be able to talk with afterwards
• 1:13:28
  Speaker 2: of what a beautiful film that is?
• 1:13:31
  Speaker 1: Yeah? I get really caught up into this idea of
• 1:13:34
  Speaker 1: be a champion for the things that you love instead
• 1:13:37
  Speaker 1: of like a nitpicker of the things that you love.
• 1:13:40
  Speaker 1: When it comes to drop Out TV, my favorite independent
• 1:13:44
  Speaker 1: streaming service that doesn't sponsor this podcast but basically gets
• 1:13:47
  Speaker 1: me through life, because so many people will take the
• 1:13:50
  Speaker 1: thing that they love and be like, but remember when
• 1:13:53
  Speaker 1: you pissed me off this one time and literally wait
• 1:13:56
  Speaker 1: until Samurai's CEO of Dropout answers your Instagram DM to
• 1:14:01
  Speaker 1: be like, real, sorry about that. One bro, It's just
• 1:14:05
  Speaker 1: real and it happens to critical role in all of it.
• 1:14:08
  Speaker 1: And I would rather go to every Dropout video as
• 1:14:13
  Speaker 1: it pops up on my feet to be like, hell, yes,
• 1:14:16
  Speaker 1: I'm so glad Giovanni is on this episode of Money's
• 1:14:21
  Speaker 1: Slumber Party, because more drag representation online and on my
• 1:14:26
  Speaker 1: TV is what I fucking want all day every day.
• 1:14:29
  Speaker 1: Literally blow them up, tag them all to be like
• 1:14:32
  Speaker 1: I love you, I love your work. Here's my seven
• 1:14:35
  Speaker 1: dollars every month, Like please doing this because I would
• 1:14:38
  Speaker 1: hate and I've made this point in videos and in
• 1:14:42
  Speaker 1: comments on other people's videos where it's like I would
• 1:14:45
  Speaker 1: hate for Dropout to stop taking risks because I was
• 1:14:49
  Speaker 1: having a bitchy day, Like I don't want filmmakers to
• 1:14:53
  Speaker 1: stop taking risks because all of a sudden, like I
• 1:14:57
  Speaker 1: have to be catered too, and I'm feeling frad jel
• 1:15:00
  Speaker 1: like I'm mentally ill, I have PMDD. No one should
• 1:15:03
  Speaker 1: take what I'm saying.
• 1:15:07
  Speaker 2: There are plenty of filmmakers that I have tried to
• 1:15:10
  Speaker 2: watch their movies and I don't like any of them,
• 1:15:14
  Speaker 2: and that's okay because there are people who really connect
• 1:15:18
  Speaker 2: with them. Just don't recommend it to me because I
• 1:15:22
  Speaker 2: already know where I'm going to stand on it. It
• 1:15:25
  Speaker 2: is what it is.
• 1:15:27
  Speaker 1: Yeah, don't send me Chris Pratt movies, because then I'm
• 1:15:30
  Speaker 1: going to have to remind you how Chris Pratt ruined everything,
• 1:15:33
  Speaker 1: including Anna Faris Okay, where's my Anna Faris renaissance? Chris
• 1:15:38
  Speaker 1: Pratt still holding it hostage because he still makes her
• 1:15:41
  Speaker 1: sad every day.
• 1:15:42
  Speaker 2: I'm just waiting for The House Bunny too, He's crossed.
• 1:15:46
  Speaker 2: May that happen?
• 1:15:48
  Speaker 1: Was The House Bunny directed by a woman?
• 1:15:52
  Speaker 2: It was not, but it was written by the women
• 1:15:54
  Speaker 2: who also wrote Ten Things I Hate about It? You
• 1:15:57
  Speaker 2: legally blonde? She's the man?
• 1:16:01
  Speaker 1: Why is the House Bunny so funny? And we stop
• 1:16:03
  Speaker 1: talking about it? Like when I see clips of the
• 1:16:06
  Speaker 1: House Bunny, I'm like, this is brilliant.
• 1:16:09
  Speaker 2: I will never stop talking about the House Bunny.
• 1:16:12
  Speaker 1: They could never make me hate you, Anna Faris Morgan.
• 1:16:17
  Speaker 1: What would be a manifestation that you would want the
• 1:16:19
  Speaker 1: listeners to help add to the collective energy when it
• 1:16:22
  Speaker 1: comes to female filmmakers.
• 1:16:25
  Speaker 2: Well, I guess maybe let's manifest a three out of
• 1:16:34
  Speaker 2: five best directors being a female being female lineup. I mean,
• 1:16:40
  Speaker 2: I would like five for five women in the Best
• 1:16:43
  Speaker 2: Director's category. I'm realistic, though, let's manifest an eventual three
• 1:16:49
  Speaker 2: because I can already see I want maryle Color to
• 1:16:54
  Speaker 2: get some recognition. There are so many women with works
• 1:16:58
  Speaker 2: coming out later this year. Yeah, I'm super excited about So.
• 1:17:02
  Speaker 1: I would like the entire Academy Awards a ceremony that
• 1:17:07
  Speaker 1: I did not watch last year because they pissed me
• 1:17:09
  Speaker 1: off by being like comedy.
• 1:17:10
  Speaker 2: Is it real art?
• 1:17:12
  Speaker 1: Fantasy you? So I didn't watch because I was in protest.
• 1:17:18
  Speaker 1: But I would love the entire Academy Awards to be
• 1:17:21
  Speaker 1: that moment on the Emmys where all of those women
• 1:17:24
  Speaker 1: held hands and pretended that it was a beauty pageant.
• 1:17:28
  Speaker 2: Yeah.
• 1:17:28
  Speaker 1: I cry every time that comes across my feeing and
• 1:17:31
  Speaker 1: the fact that Eddie Falca was supposed to go first
• 1:17:34
  Speaker 1: and then she's like, I'm really nervous to start off
• 1:17:36
  Speaker 1: this bit because we're not supposed to be doing bits.
• 1:17:38
  Speaker 1: It was unscripted, and someone will change the whole order.
• 1:17:42
  Speaker 1: Who cares?
• 1:17:44
  Speaker 2: I just yeah, I mean, I really loved watching. I
• 1:17:48
  Speaker 2: think that's one of the things in general that I
• 1:17:51
  Speaker 2: just love watching is women supporting women. I mean, we've
• 1:17:57
  Speaker 2: mentioned her Kirson. Dunst has worked with women her entire career,
• 1:18:02
  Speaker 2: from Julian Armstrong and Little Women to Leslie Hedlin with Bachelorette,
• 1:18:09
  Speaker 2: her constant collaborations with Sophia Coppola, finally getting her first
• 1:18:14
  Speaker 2: OSCAR nomination with Jane Campion. I you know, I think
• 1:18:19
  Speaker 2: that there is room for us to support women, and
• 1:18:23
  Speaker 2: as women, we can do that either with our time,
• 1:18:26
  Speaker 2: our money, if you are a creative of working with women,
• 1:18:33
  Speaker 2: there's just there's ample opportunities for us.
• 1:18:37
  Speaker 1: So I think that's also my manifestation too, is like
• 1:18:39
  Speaker 1: anytime anyone anywhere is like, aren't we super excited for
• 1:18:45
  Speaker 1: the new Star Wars movie? Probably I love lasers, but
• 1:18:51
  Speaker 1: also I hope that at the tip of my tongue
• 1:18:55
  Speaker 1: I have like a female filmmaker, like I want Greta
• 1:18:58
  Speaker 1: Burwig's name to be said out loud as often as
• 1:19:02
  Speaker 1: Steven Spielbert's, as often as George Lucas, Like I truly
• 1:19:07
  Speaker 1: always want someone to be talking to me about a
• 1:19:10
  Speaker 1: new female filmmaker that I haven't even conceptualized yet.
• 1:19:15
  Speaker 2: Yeah, I want, and not just because I think we
• 1:19:19
  Speaker 2: always tend to talk about like the Gretiger Rags and
• 1:19:22
  Speaker 2: the Sofia Coppolas. But you know there is Gina Prince
• 1:19:26
  Speaker 2: Fightwood who did The Woman King. Yes, I still just
• 1:19:32
  Speaker 2: love everything that Lulu Wang has been doing. The Farewell
• 1:19:37
  Speaker 2: is just such a beautiful film. I happen to recommend
• 1:19:42
  Speaker 2: it recently, hence why I have to bring it up now.
• 1:19:45
  Speaker 2: But you know, Chloe Joo being the second woman ever
• 1:19:49
  Speaker 2: to win an Academy Award, first woman of color to
• 1:19:52
  Speaker 2: win Best Director, I just think that we and also
• 1:19:57
  Speaker 2: I think that awards are silly. They are awards don't words,
• 1:20:01
  Speaker 2: don't matter until they do matter, because you know, it
• 1:20:04
  Speaker 2: does matter to see someone like Michelle Yo win Best
• 1:20:07
  Speaker 2: Actress when for ninety five years, no one like Michelle
• 1:20:12
  Speaker 2: Yo was really considered in that category. Their art, their
• 1:20:17
  Speaker 2: craft was not considered. Again, it doesn't matter until it
• 1:20:21
  Speaker 2: does matter. But I hope that we find ways to
• 1:20:25
  Speaker 2: not put so much pressure. Maybe that's another manifestation is
• 1:20:29
  Speaker 2: let's not put so much pressure on women excelling. We
• 1:20:33
  Speaker 2: don't ask Zack Snyder to make a good movie ever,
• 1:20:37
  Speaker 2: and we still give him money. It still never happened,
• 1:20:42
  Speaker 2: So I just not I mean, I wish I could
• 1:20:46
  Speaker 2: say no offense Zack Snyder, but I mean offense. But yeah,
• 1:20:50
  Speaker 2: I just I think that there are so many stories
• 1:20:52
  Speaker 2: that if we just took the time and we weren't
• 1:20:57
  Speaker 2: sitting here going like, oh, is this going to be
• 1:20:59
  Speaker 2: the new contender? Is this going to be the thing
• 1:21:02
  Speaker 2: that wins all the awards? Okay, yeah, go and see that,
• 1:21:05
  Speaker 2: but also like, go touch grass, Go watch a movie.
• 1:21:09
  Speaker 2: Go watch Fancy Dance that's on Apple TV. Erica Tromblay
• 1:21:13
  Speaker 2: made this beautiful movie that I think more people should see.
• 1:21:16
  Speaker 1: You can't get me to watch Openheimer. I do not
• 1:21:20
  Speaker 1: have the time. Even when I'm knee deep into selling
• 1:21:23
  Speaker 1: Sunset that I've watched four times through all of the seasons.
• 1:21:28
  Speaker 1: I'm a slut for selling Sunset. You can't get me
• 1:21:31
  Speaker 1: to watch Openheimer.
• 1:21:34
  Speaker 2: I won't, And that's fine because Fancy Dance is under
• 1:21:38
  Speaker 2: two hours and it has Lily Glasstone. It is one
• 1:21:43
  Speaker 2: of the most heartbreakingly beautiful films that I've seen in
• 1:21:46
  Speaker 2: the past couple of years. People should watch that.
• 1:21:50
  Speaker 1: And I will watch any Lily Gladstone project that is
• 1:21:54
  Speaker 1: a Pillars of the Flower Moon because I can't Stan
• 1:21:57
  Speaker 1: Leonardo DiCaprio, and that's my right as a who's over
• 1:22:00
  Speaker 1: twenty five.
• 1:22:02
  Speaker 2: It's yeah, it's tough with him being around. But wille
• 1:22:07
  Speaker 2: Blodstone's in this other great film called The Unfold Country,
• 1:22:12
  Speaker 2: which I cannot recommend enough by Marissamlts.
• 1:22:15
  Speaker 1: That's a sound bite. Yeah, it's just really tough with
• 1:22:18
  Speaker 1: Leonardo around. Remember Titanic Leonardo. Remember Growing Pains Leonardo. Every
• 1:22:23
  Speaker 1: time I want to go hey on Leonardo DiCaprio, which
• 1:22:26
  Speaker 1: is every day, I just like moored Growing Pains Leonardo
• 1:22:31
  Speaker 1: di Caprio.
• 1:22:33
  Speaker 2: I might have been too young to have been sold
• 1:22:35
  Speaker 2: on early Leonardo DiCaprio when he was you know, Romeo
• 1:22:39
  Speaker 2: and Romeo and Juliet. I've never gotten the appeal. And
• 1:22:43
  Speaker 2: it is what it is. Marince Corsace loves him, and
• 1:22:46
  Speaker 2: I love Lily Lily Gladstone, so she gets all my money.
• 1:22:53
  Speaker 1: Marts Merstase loves leanderd Yeahrie, and I love Lily Glass
• 1:22:58
  Speaker 1: not even and I love mart and so maybe I'll
• 1:23:00
  Speaker 1: go fast though. And I love Lily. I do love Lily.
• 1:23:05
  Speaker 1: I wanted her to win a trophy. I wanted to
• 1:23:08
  Speaker 1: cry during that speech. I was very toward this year
• 1:23:11
  Speaker 1: at the O.
• 1:23:13
  Speaker 2: I was very excited to see her win the Sack Award,
• 1:23:16
  Speaker 2: and I'm just so excited that, you know, we saw
• 1:23:20
  Speaker 2: her in Certain Women by Kelly Reikhart, beautiful film.
• 1:23:24
  Speaker 1: She's got that Hulu series about crime.
• 1:23:27
  Speaker 2: I'm just very excited for you know, the opportunities that
• 1:23:32
  Speaker 2: they're going to get, the work that they're going to
• 1:23:35
  Speaker 2: be doing, and you know, she's just a dynamic performer.
• 1:23:39
  Speaker 2: I'm so excited.
• 1:23:40
  Speaker 1: Well, Morgan, thank you so much for being here.
• 1:23:43
  Speaker 2: Thank you so much for having me. This has been
• 1:23:44
  Speaker 2: a delight.
• 1:23:45
  Speaker 1: I love talking to you. I love that I pay
• 1:23:48
  Speaker 1: attention to all of my friends social media with a
• 1:23:51
  Speaker 1: fervor that when al Rinthia was on your show, I
• 1:23:54
  Speaker 1: was like, Morgan, must be on my show. We are
• 1:23:57
  Speaker 1: women who appreciate women. We are Yeah, let the listeners
• 1:24:02
  Speaker 1: know where they can find you.
• 1:24:04
  Speaker 2: Yeah, you can find me slash my podcast on Instagram.
• 1:24:08
  Speaker 2: Female Games. The Film Club new episodes pretty much every Sunday.
• 1:24:12
  Speaker 2: Every so often we go on a little hiatus, but
• 1:24:16
  Speaker 2: we have some a very wide range of films, which
• 1:24:19
  Speaker 2: has been so fun to go from a check new
• 1:24:25
  Speaker 2: way of film to something like Bottoms to you know,
• 1:24:30
  Speaker 2: both romance and drama of Mississippi Masala. So great times
• 1:24:35
  Speaker 2: over there.
• 1:24:36
  Speaker 1: I love it. I love it. It's a great show.
• 1:24:39
  Speaker 1: Because again, if you're a person who isn't constantly trolling
• 1:24:43
  Speaker 1: movie trailers like I am, it'll just like open your
• 1:24:46
  Speaker 1: world up to be like, could I like that movie?
• 1:24:49
  Speaker 1: I bet you I would, because I saw the preview
• 1:24:53
  Speaker 1: for Woman Keen and I was like, that's gonna be
• 1:24:56
  Speaker 1: the hottest movie of my life, but probably also devastating,
• 1:25:01
  Speaker 1: just devastating in a very sexy way.
• 1:25:04
  Speaker 2: Yeah. I think it's been so fun to have people
• 1:25:07
  Speaker 2: pick their own films because it's also just so interesting
• 1:25:10
  Speaker 2: for someone to, you know, you might have a preconceived
• 1:25:13
  Speaker 2: notion of the types of films that they might pick,
• 1:25:15
  Speaker 2: and they're like, I want to talk about The Babbadoo,
• 1:25:20
  Speaker 2: which I had never seen, and it was such a
• 1:25:23
  Speaker 2: fun time. So I really have also loved while I
• 1:25:28
  Speaker 2: merrely watch films directed by women, there are only so
• 1:25:31
  Speaker 2: many hours in the day, and so I miss some
• 1:25:34
  Speaker 2: and I really enjoy the opportunity to watch something that
• 1:25:37
  Speaker 2: I've never seen and for someone to introduce that to
• 1:25:40
  Speaker 2: me and have that conversation of like, what made you
• 1:25:43
  Speaker 2: watch it? Because you made me sit and watch this film,
• 1:25:48
  Speaker 2: And I enjoyed it, but how did this come to pass?
• 1:25:52
  Speaker 2: So's it's very fun.
• 1:25:55
  Speaker 1: No, That's why I try to go on as many
• 1:25:58
  Speaker 1: movie podcasts as I can because I love it, especially
• 1:26:01
  Speaker 1: when they'll assign me a movie because they want my
• 1:26:04
  Speaker 1: take on the movie and I'm like, oh, yes, Scary
• 1:26:07
  Speaker 1: on the Prairie on Netflix, which was called The Wind,
• 1:26:11
  Speaker 1: but I call it Scary on the Prairie like a
• 1:26:14
  Speaker 1: beautiful film that I would have never watched. It would
• 1:26:17
  Speaker 1: have never ended up in my algorithm, even though I
• 1:26:20
  Speaker 1: love horror. And hey, tolerators, you know where to find us.
• 1:26:24
  Speaker 1: It's Men I Have Tolerated Pod. I'm gonna actually wrap
• 1:26:27
  Speaker 1: up this episode because again I'll just list movies till
• 1:26:30
  Speaker 1: I die. And I guilted my sister into coming over
• 1:26:32
  Speaker 1: to my father's house today, so that's not cool on me.
• 1:26:37
  Speaker 1: But you can find us on Men. I Have Tolerated
• 1:26:40
  Speaker 1: Pod on Instagram, had Lee K one two four on Instagram,
• 1:26:43
  Speaker 1: and TikTok. We drop everything on Thursdays. Check us out
• 1:26:47
  Speaker 1: on Patreon for blog posts. I review things. I've reviewed
• 1:26:51
  Speaker 1: the book for Night Bitch. I think I reviewed Bottoms
• 1:26:56
  Speaker 1: at some point. Who's to say time in my brain
• 1:26:59
  Speaker 1: is a construct? And remember, tolerators, you don't have to
• 1:27:03
  Speaker 1: smile through anything you're tolerating, including winding up on a
• 1:27:07
  Speaker 1: date with someone who's only seen Steven Spielberg movies or
• 1:27:13
  Speaker 1: movie starring Leonardo DiCaprio. Smiles are for joy.