Latest / Off The Shelf With Phil and Dave- A Movie Review Podcast / 1954's Rear Window

Transcript

1954's Rear Window · Off The Shelf With Phil and Dave- A Movie Review Podcast

• 0:01
  Phil, it's been a few weeks, so I need to addressed a blunder,
• 0:07
  need to address it. I don't need to, but I want to,
• 0:10
  OK? It's best for everyone, alright?
• 0:12
  And it's actually an apology to you.
• 0:15
  Oh, I'll take it. Yeah, I figured you would.
• 0:17
  Even if it takes a couple of weeks.
• 0:19
  Well, funny, this actually hasn't aired yet, but by the
• 0:22
  time this airs it would have aired.
• 0:24
  Someone asked why we just don't go back and fix.
• 0:26
  It. Well, it's already scheduled.
• 0:29
  I don't want to go back. It's during our Dave episode, if
• 0:33
  you recall the great Kevin Kline film near the beginning of the
• 0:37
  film. And now this is a very sensitive
• 0:38
  topic for you. We were talking about how the
• 0:40
  White House had changed and in 2001 they made some changes to
• 0:46
  the artwork of certain movies and you called them The Two
• 0:50
  Towers. And I corrected you, telling you
• 0:54
  that's the second of the Lord of the Rings movies, The Two
• 0:56
  Towers. If you haven't seen it, it's
• 0:58
  great. Take space in New Zealand.
• 1:00
  I know I mentioned I was there. Well, it takes place in Middle
• 1:02
  Earth. I don't know.
• 1:03
  It was shot in New Zealand. Yeah.
• 1:06
  You don't know where Middle Earth was.
• 1:07
  Maybe. You know, it's a long time ago.
• 1:10
  Ecuador. OK, in the middle.
• 1:11
  There you go. And I said they were called the
• 1:14
  Twin Towers, which you acknowledged.
• 1:16
  About two minutes later, we were talking about the movie.
• 1:19
  Remember when that you had forgotten and I called?
• 1:23
  Them the two towers. I don't know if you picked up on
• 1:27
  it, you let it. Slide I did not notice.
• 1:29
  I only listened to most of the stuff I say so I tuned me out
• 1:33
  pretty good. So what I went through for
• 1:35
  quality control should I do? I'm like Oh well I felt bad and
• 1:37
  I want to issue you a semi formal apology for being a
• 1:42
  hypocrite there. Well, I appreciate it.
• 1:44
  I also need to apologize then because I think I saw the wrong
• 1:49
  types of pictures around the White House and that is the East
• 1:52
  Wing that is getting demolished. My God.
• 1:54
  But the actual White House itself should be intact.
• 1:57
  I believe It's a whole separate building, not not.
• 2:00
  Half you were way off man that gets in a lot of trouble.
• 2:03
  Might are like nothing. Wow, so.
• 2:06
  You brought that up. Misunderstanding.
• 2:07
  Yeah, we get. That's the problem with that
• 2:09
  photo. Yeah, it's a problem with a lot.
• 2:11
  I got duped. Duped you did, which is not easy
• 2:13
  for you to get duped. Another thing actually, if I can
• 2:17
  extend this, not a blunder, but we missed something that needs
• 2:20
  to be addressed from that same movie.
• 2:22
  OK, was it half the White House? This got omitted?
• 2:26
  Redacted perhaps? I'm not sure.
• 2:29
  It's about Laura Linney. We had a major discussion in
• 2:33
  Love Actually. Yeah, I took great displeasure
• 2:37
  in the scene where Laura Linney couldn't spare just 5 minutes to
• 2:42
  Make Love her coworker. Yeah, and I was very critical of
• 2:48
  it. We're on the airy critical.
• 2:49
  Very critical. You were on the other side of
• 2:50
  things. Yeah, you were team.
• 2:53
  Pick up the phone. Pick up your.
• 2:54
  Team, pick up the phone. That's right, the president
• 2:57
  happily made 5 minutes for Laura Linney.
• 3:02
  Out of his. Busy out of his If the President
• 3:05
  can spare 5 minutes for Laura Linney, she can spare 5 minutes
• 3:10
  for this heartthrob of a man. Was the phone ringing?
• 3:14
  You don't know. There you go.
• 3:16
  He had to give 5 minutes, but he didn't have a pressing phone
• 3:19
  call on the go. So it's not apples to apples is
• 3:23
  all I'm saying. OK, fair enough.
• 3:26
  It is still fruit though. It is still fruit.
• 3:29
  We're dealing with vegetables here.
• 3:30
  Not at all. Her brother wasn't.
• 3:31
  That. Probably is now.
• 3:34
  Maybe and lastly, I went on record like I always do.
• 3:39
  Big fan of vinyl saying that Brent Spinner and Kevin Kline
• 3:44
  looked alike. Yeah.
• 3:45
  Yeah, I got some pushback. The weirdest take.
• 3:48
  And then I realized afterwards that Brent Spiner played two
• 3:52
  characters on Star Trek, so he would have had the same
• 3:55
  experience of the sliced screen. Because Halso played Lore, who
• 4:01
  also coincidentally kind of looks like Kevin.
• 4:04
  Right lower. Interesting.
• 4:05
  Yeah. I wonder if either of them took
• 4:08
  5 minutes for Laura Linney. An Android doesn't need 5
• 4:13
  minutes, buddy. Glass.
• 4:14
  Tasha Yar. Hello and welcome to Off the
• 4:20
  Shelf with Phil and Dave, the movie talk show where each week
• 4:23
  one of us takes a movie off our show, presents it to the other,
• 4:26
  and discusses it at length. This week coming off of my.
• 4:38
  Shelf. Take it easy, Alfred.
• 4:40
  Hitchcock's masterpiece, 1954's Rear Window, starring James
• 4:46
  Stewart and Grace Kelly. Directed, of course, by Alfred
• 4:49
  Hitchcock, Written by John Michael Hayes and Cornell
• 4:53
  Woolrich. David, here we are, back on the
• 4:56
  couch, our first Hitchcock. Welcome to it.
• 4:59
  The couch or to the Hitchcock? Movie to the Hitchcock movie,
• 5:01
  Mon Ami. Alright, how are you doing this
• 5:04
  week? What's happening, what's new,
• 5:05
  what's shaking, and what's your first impressions?
• 5:09
  Give it to me. Straight.
• 5:10
  Well, I'll give you something that's new.
• 5:12
  I am a proud owner of a blood pressure monitor.
• 5:15
  Wow. Which is an indication that I
• 5:19
  might be middle-aged. Oh, the good news is 115 / 60.
• 5:25
  Seems like you don't need it. Apparently not, but was there
• 5:28
  concern or is it just when you're listening to the podcast
• 5:30
  you're your blood races? I just like to know.
• 5:35
  OK, so it's paranoia, even if it's perfect, I will find a way
• 5:38
  for it not to be perfect. OK.
• 5:39
  I said to my wife, isn't 60 a little low, but it's still in
• 5:44
  the well within the range. It's Well, yeah, it's good.
• 5:46
  It's if not, it's like really good.
• 5:48
  Are these taxpayer dollars that are paying for your paranoia or
• 5:51
  you you're your own, my own. OK.
• 5:54
  Costco. OK, Yeah.
• 5:56
  You get 2% back sounds. Great, I want to buy the teeth
• 6:01
  whitening toothpaste 6 pack but I lost that battle again.
• 6:07
  But I'm a proud new daddy for the.
• 6:12
  But if you ever want your blood pressure tested, there is a mode
• 6:15
  for a guest. Oh, I guess it's tailored
• 6:18
  directly to you. Yeah. 2, there's two.
• 6:20
  There's like two people. But if you have one and two
• 6:22
  together, you can do a guest reading.
• 6:25
  OK, It won't save your data. I hope not.
• 6:27
  But in a pinch I can get you some numbers.
• 6:30
  I've checked my blood pressure here and there at the
• 6:33
  pharmacies. I'm always right in the spot,
• 6:35
  man. Wonderful.
• 6:36
  Great to hear. You're wonderful.
• 6:37
  You probably, I assume, ask me My first Impressions and Oregon
• 6:41
  history of the movie and or Yeah, I've never heard of it.
• 6:45
  OK, I've heard of Alfred Hitchcock, of course.
• 6:49
  Almost goes without saying. Almost.
• 6:51
  It's my first Hitchcock movie, though.
• 6:53
  Fantastic, I assume. Maybe I have.
• 6:56
  One psycho Vertigo. No, my mom has Vertigo, which
• 7:00
  could be hereditary. I don't know.
• 7:02
  I'm not. Take the blood pressure as well.
• 7:05
  As they get older, we'll see if I get a little dizzy.
• 7:08
  Wobbly. You know me.
• 7:10
  I don't like the wobble. God, no, Especially in a hockey
• 7:14
  park. My first impression is I thought
• 7:20
  it was in black and white. Hmm.
• 7:22
  Now it didn't affect me to the point of requiring me to preface
• 7:26
  it, so I'm not prefacing it by saying that.
• 7:29
  OK, I thought it was in black and white, but I did OK.
• 7:33
  Was it originally No, in 54? No, we got colour back then.
• 7:38
  Doyle's got some really beautiful blue eyes.
• 7:40
  Gorgeous blue eyes. Wow, I thought that colour
• 7:43
  processing pops Jimmy Stewart. He's got.
• 7:46
  Incredible. Jimmy Stewart, Wow, was I do
• 7:49
  have some history with him through you.
• 7:52
  In black and white, yeah. In It's a Wonderful Life and
• 7:55
  it's so wonderful. The best life, really, if you
• 7:58
  think about it, that's it for me.
• 8:02
  That's all. I have no history, no history
• 8:04
  questions. You thought it was black and.
• 8:05
  White, I don't. Answer your break.
• 8:07
  That's what you're bringing. It don't wanna say too much too
• 8:10
  soon. OK, always a good sign.
• 8:12
  IMDb is forcing this one down my throat though, saying you better
• 8:17
  like this movie. Yeah sure.
• 8:19
  If not, you are a major, major outlier.
• 8:22
  You are the humbler. I am.
• 8:26
  I have to put my Cape on for this one.
• 8:29
  We have a score, a you and me type of person, score of 8.5,
• 8:34
  OK. And then you have the people
• 8:36
  with a degree or diploma and they're sitting at 100%.
• 8:39
  Yeah, it's one of the great movies.
• 8:43
  Sure. I don't think it's perfect,
• 8:44
  though you can agree with me, it's not perfect.
• 8:48
  There is something that you don't like.
• 8:49
  About it, I've admitted as much, yeah.
• 8:51
  He did in that preamble. But that's enough about me.
• 8:55
  Tell me your history and I want to know why this movie and why
• 8:59
  now. I was going to try to figure it
• 9:01
  out. Then I realize you're just going
• 9:02
  to tell me anyway. It's fair, so why put the work?
• 9:04
  In that's good reasonable the why now is yearning and a
• 9:10
  hankering for Hitchcock. I can't believe we've gone five
• 9:12
  years without talking about the man.
• 9:14
  No complaints. And why this movie?
• 9:16
  I was trying to think about accessibility and something that
• 9:21
  you probably hadn't seen. Yeah, I thought if I had taken
• 9:23
  Psycho off the wall, which I'm very excited for.
• 9:26
  Is that with Christian Bale? No, that's American Psycho,
• 9:29
  Right? That is American Psycho, yeah.
• 9:31
  It did come out 40 years after Psycho though, so I could see
• 9:33
  how you might confuse the two. And I'm just an idiot.
• 9:38
  That ones with Anthony Perkins, Janet Lee.
• 9:41
  OK, so that would be, I suppose Hitchcock's most famous Vertigo
• 9:47
  or North by Northwest are is sort of most popular and all of
• 9:50
  them are incredible, though. I mean, you look at this guy,
• 9:52
  stretch dial in for murder, Rob rear window to catch a thief.
• 9:57
  The Manor knew too much. The birds, Marnie, Lifeboat
• 10:00
  saboteur. Strangers on a Train is
• 10:03
  incredible movie. So anyway, I was looking around.
• 10:05
  What did I want to talk about and what I think would be most
• 10:08
  ironically, I suppose, easily acceptable?
• 10:11
  And you named off all those movies and we're near 6 just so.
• 10:15
  You know, yeah, it's true. Yeah, how good are they?
• 10:17
  That's why. They're excellent.
• 10:19
  I just, you know, like with some of these totemic directors in
• 10:21
  movies, it's a challenge sometimes because, you know, an
• 10:26
  audience, our audience might not want to go back to 1954.
• 10:31
  I've enjoyed it absolutely as as a vibe.
• 10:33
  But are 61 I believe. We try and acknowledge or try to
• 10:37
  acknowledge the listenership and accommodate that.
• 10:40
  So I think that there's a benefit to minimizing, let's
• 10:44
  say, the amount of way, way back machines.
• 10:46
  And there's probably more people like your wife than people like
• 10:50
  me that are listening. She's not gonna like that tone
• 10:52
  by the. Way I have the whitening
• 10:54
  toothpaste buddy, I don't have to have that fight.
• 10:58
  Yeah, that's what I thought. I thought this would be a great
• 10:59
  opportunity and it would be an easy in because it is not too
• 11:04
  violent or too suspenseful, but just a well crafted movie.
• 11:07
  So I was really excited. For that.
• 11:08
  But by holding back these movies, when I look at the
• 11:11
  demographic, we're not penetrating the 70 up lost.
• 11:17
  It's just my dad, Margaret. He's the only one.
• 11:20
  When I look at the, everyone's mostly our age.
• 11:22
  OK. Maybe 1 tier below tier tier,
• 11:26
  Yeah. Yeah.
• 11:26
  Well, I mean, you know, everything's tiers.
• 11:28
  Buddy sure, 18 to 2525 to 50. Yeah, there's even tiers of
• 11:32
  voyeurism, which we'll get into a little later.
• 11:34
  OK, so maybe we do more. We'll tap into.
• 11:37
  That I'm happy to do it, 70 plus.
• 11:39
  I just didn't wanna take too many liberties, let's say, with
• 11:42
  their audience. But I'm happy to do.
• 11:44
  It Yeah, well, I appreciate it. And for all those people who
• 11:48
  clearly don't know what this movie is about, maybe you can
• 11:51
  share with us what I am DB. Well done, it's a new year.
• 11:56
  Well done. It's a new.
• 11:57
  Year get on board. Still February.
• 11:59
  But what do they have to say about it?
• 12:01
  That's a good one. Here it is.
• 12:02
  A board photographer recovering from a broken leg passes the
• 12:06
  time by watching his neighbors and begins to suspect one of
• 12:09
  them of murder. That gets you hooked to me, and
• 12:13
  that's exactly what happened. Yeah.
• 12:15
  So, yeah. So 2 for two if you wanna look.
• 12:17
  At both, 100% I think. I think that that nails.
• 12:19
  It yeah, I think you were gonna give it to no matter what.
• 12:21
  Though, Well, I don't I think. Favoritism is all insane, much
• 12:26
  like the Metascore buddy. But you're right, I'm not
• 12:28
  disagreeing with you. It hooks you, and that's exactly
• 12:31
  what's happening. Yeah, it's just right to the
• 12:34
  bone. Love the bone.
• 12:36
  So does the dog. We'll get to that.
• 12:39
  Again, we'll get to the dog. Yes.
• 12:42
  Tell us, Phil. I mean, I know because I've seen
• 12:45
  it twice. Two times.
• 12:46
  How do we get this one going? This movie, The introduction,
• 12:50
  some good credits. Well, today's before really
• 12:53
  elaborate credit sequences. However, what I will tell you is
• 12:57
  right away, it's an invitation. And that is a unique approach.
• 13:02
  So the blinds come up right over the credits.
• 13:06
  Three blinds rise. Very fitting.
• 13:08
  Exactly. And it is a tacit understanding
• 13:11
  and an agreement with the audience to say, come with us.
• 13:14
  This is what we're doing here. And I mean, ultimately, that's
• 13:18
  the movie, right? Looking out those windows to
• 13:20
  what happens outside. Do you think that's a conscious
• 13:23
  thing that we're thinking though?
• 13:25
  Like we can speak for you, You and me?
• 13:27
  Sure. Oh, that's clever curtains
• 13:29
  coming up, walking him into A to a voyeur type of film.
• 13:32
  But you think in 1954 that people like, oh, that's a really
• 13:37
  smart idea. I get what he's trying to do.
• 13:38
  Or they just enjoying it but not really knowing why maybe?
• 13:41
  I mean, I think that's a good point.
• 13:42
  And ultimately it comes down to those that want to think and
• 13:45
  those that don't. In the latter.
• 13:49
  Not even just think, I mean sort of analyze or think about
• 13:52
  things, right. Most of us, all of us on some
• 13:54
  level go to movies to be taken away someplace and some of the
• 13:58
  people which drives me nuts is to check your brain at the door
• 14:00
  thing. But like ultimately.
• 14:01
  An escape. That's right.
• 14:02
  So there's things that are deliberate and there's things
• 14:04
  that are unconscious and we just sort of accept it and we walk in
• 14:07
  and we accept what the terms are or not.
• 14:09
  I suppose. So.
• 14:10
  I don't know if the intelligencia would have said,
• 14:13
  ooh, look at this, but I think it's intentional.
• 14:16
  So it doesn't matter if the audience gets it, it's what's
• 14:19
  happening, right? And then so on some subliminal
• 14:22
  level, we are being brought in, and this movie does that a dozen
• 14:25
  more times throughout the movie. It's funny because I was showing
• 14:28
  one of my videos to my wife. Like check it out, it's your
• 14:31
  draft number. 2. And I made something that was
• 14:34
  subtle and like, did you get that?
• 14:36
  Like she's like, no, I don't think your audience would
• 14:38
  understand that You you said this and you did this.
• 14:42
  Yeah, I get it now, but I think it's a little too subtle.
• 14:44
  I'm like, you're probably right, but I didn't really there
• 14:47
  because maybe somebody will get it or maybe on a subconscious
• 14:50
  level it'll make sense. So.
• 14:52
  And it's your intention. So if your belief or your story
• 14:56
  is in that is, you know, integral to it, then the
• 15:00
  audience can catch up or not, as far as I'm concerned.
• 15:02
  Now, I'm not trying to compare myself to Alfred Hitchcock.
• 15:03
  I hope not. So we're on different levels.
• 15:07
  I was doing a screenplay when I was 12.
• 15:09
  I don't know if he was. Fair.
• 15:13
  And you know, Hitchcock has such a, a distinct visual style and
• 15:18
  we'll get to some of the the bread crumbs of his style
• 15:20
  throughout. But I think right away there's
• 15:23
  an efficiency in storytelling. We talked about this a lot, 1st
• 15:25
  5 minutes and so forth, setting a scene.
• 15:27
  There are very few movies I think as successful and more to
• 15:32
  the point playful then this one in terms of introducing a
• 15:37
  character in the circumstances. Now if you remember the camera
• 15:40
  is holding on the windows. Yeah, post credits tilts over,
• 15:45
  we see thermometer very hot. Yeah, right.
• 15:50
  I got that. And then we tilt down.
• 15:51
  We see Jimmy Stewart sweating profusely because the
• 15:55
  temperature that's right continues down.
• 15:57
  We see broken leg. Yeah, we have an introduction of
• 16:00
  his characters name. Here lies the broken leg of LB
• 16:03
  Jeffries. That's true, yeah.
• 16:05
  How did he get his broken leg? Camera continues to move.
• 16:09
  Three shots. Car accident.
• 16:11
  Car very close. Coming right up.
• 16:14
  You're like, OK, so he's a photographer.
• 16:16
  He got injured this way. Through a montage of three or
• 16:18
  four different photos of explosions on the race track.
• 16:20
  Yeah, we find out. Does he have a girlfriend?
• 16:24
  Well, we have the negative frame from his.
• 16:27
  Photo. Pan over again to a fashion
• 16:31
  magazine and we have this portrait.
• 16:33
  We don't know who. So we've established in like 2
• 16:36
  1/2 minutes, Yeah, how this guy got here, what his circumstances
• 16:41
  are in life and where he's at, his relationship status, His
• 16:44
  relationship status, well within reason.
• 16:47
  I think this is a bit of a lost art because I feel like I saw
• 16:50
  that in other older movies that we've watched last weekend.
• 16:54
  Days of Wine and Roses. I could be wrong, but these are
• 16:57
  very specific camera moves I feel that I don't see very
• 17:01
  often, and we don't do these movies very often, so I thought
• 17:04
  maybe that was the connection there.
• 17:05
  I mean, there's obviously a lot more types of camera moves now
• 17:08
  and there's, you know, whatever, but we're talking many times
• 17:10
  before about like keep it simple right now.
• 17:13
  There is. The simplicity of it I think
• 17:14
  goes a long way. That works well for me.
• 17:18
  But also just in terms of the, you know, just because you can
• 17:21
  doesn't mean you have to, right? Like it's it's always in service
• 17:23
  of the movie. True.
• 17:24
  This isn't showing off for showing off sake.
• 17:27
  This is storytelling. This is narrative.
• 17:29
  He doesn't have to show it upside down just because he can.
• 17:32
  That's right, exactly right. Like, oh, you can do that and
• 17:35
  technology allows a drone shot or whatever, right.
• 17:37
  But this is very simple camera movement.
• 17:39
  But everything you need to know about at least to set things up.
• 17:42
  You don't know the character inside and out, obviously, or
• 17:44
  how the movie is going to go. But we've seen outside in the
• 17:47
  courtyard. Who's going to be involved and
• 17:49
  what their circumstances? Are the right shot for the right
• 17:52
  scene? Yeah, that's important.
• 17:54
  I was a little worried though, Phil, because we saw a
• 17:57
  helicopter scene. OK, Now we've done four straight
• 18:03
  movies with helicopters. OK, Most of them with glass.
• 18:07
  Groundhog Day and helicopter. No, this one Everest.
• 18:11
  Sure. Dave, Dave.
• 18:13
  Crocodile Dundee. Ohhhhh yeah.
• 18:15
  Yeah, Groundhog Day would been #5 yeah, yeah, yeah.
• 18:18
  If they came in with the weather chopper, it might be on the
• 18:22
  cutting room floor. A Doppler out there.
• 18:26
  This one clearly didn't age well, but luckily it's just, I
• 18:30
  don't know. You can cut the scene out, even
• 18:32
  know why it's in there, but there's just a helicopter for a
• 18:34
  brief moment. That's.
• 18:36
  Probably. If anything, I'll be honest, I
• 18:38
  didn't. I didn't recognize it.
• 18:40
  I didn't notice it. I mean, this movie took place on
• 18:42
  a backlog. It was all shot on a stage and
• 18:44
  so it could B to open it up, to expand it.
• 18:48
  They built obviously everything that you see.
• 18:50
  So this is like, oh, it's a real life courtyard.
• 18:53
  So there's helicopters and there's whatever else going
• 18:55
  around. There's a windy day, that's all
• 18:57
  I can say. You asked about my history with
• 18:59
  it, and I didn't divulge in the moment.
• 19:02
  I appreciate that. But I will say that my first
• 19:06
  moments with this movie were not with this movie at all.
• 19:09
  They were at Universal Studios Florida in 1992.
• 19:14
  OK. And the Alfred Hitchcock
• 19:16
  exhibit, it was called The Magic of Filmmaking and it was the
• 19:19
  most incredible experience I've ever had in a theme park.
• 19:23
  I had gone to Disney World a couple years prior and that was
• 19:25
  lovely and it was really great. But I was a lot of experience,
• 19:27
  really love horror movies. I loved Psycho.
• 19:29
  I was really excited about this thing.
• 19:31
  And there were just a bunch of movies I hadn't seen before.
• 19:33
  And one of the things you could do with this was they set up
• 19:36
  miniature and you gave everybody binoculars and you could look
• 19:40
  out on a courtyard of a miniature apartment complex with
• 19:44
  video images in each of the windows.
• 19:47
  And it was Jimmy Stewart narrating Did your sheet of
• 19:50
  murder? That would drive me nuts after a
• 19:54
  while. And I was like, God, this is so
• 19:56
  cool. And then there was also saboteur
• 19:58
  and a bunch of other things. But interest.
• 19:59
  So that was my first rear window anything.
• 20:02
  And then I sought the movie out afterwards.
• 20:04
  I just thought what a cool. So you did that before you saw
• 20:07
  the Christopher Reeve movie? That is true.
• 20:09
  Yes, made for TV so we can't do it.
• 20:12
  That's true. I want to you had your chance.
• 20:16
  It's on my short list, but you got all uppity when I did Monk
• 20:21
  anyways. Never again.
• 20:22
  We did murder in space, but anyways.
• 20:25
  Yeah, I still 2 for one, you still have the special
• 20:26
  relationship. That's true.
• 20:27
  I gave you, I gave you that extra 1.
• 20:29
  Well, that was just a way of saying that you're special to.
• 20:31
  Me good friend. That's our special relationship.
• 20:34
  Original title for the podcast. Yeah, but we workshopped it.
• 20:39
  Yeah, we came out. My question though for you,
• 20:43
  Phil, I'm going to have a few throughout the.
• 20:44
  Movie as usual. Because you're the expert here
• 20:46
  on A H Alfred Hitchcock. Now, as I said, I watched this
• 20:50
  movie twice. Just let me say that.
• 20:52
  And I was more accepting of this the second time, but I was
• 20:56
  wondering if there was a curtain shortage in 1954?
• 21:01
  Yeah, I'm unaware, Unaware, OK, the draperies situation.
• 21:07
  Some may wonder why nobody was using curtains for the most
• 21:11
  part, except for the newlyweds we'll get to.
• 21:13
  That sure. Blinds, yes.
• 21:15
  Curtains No. Well, just a generally everybody
• 21:17
  is just their life is on display.
• 21:19
  I keep my curtains closed mostly in my main room.
• 21:22
  I don't want my neighbors could see in if I don't.
• 21:25
  So I proactively close them just in general so they're not
• 21:29
  watching me watch TV, watch me cook.
• 21:31
  They could do that, sure, But then the second time I watched
• 21:34
  it, the heat thing, OK. No air conditioning, so you need
• 21:39
  to breathe. You need to let it in.
• 21:40
  Because that much like cleaning a trunk, if you don't buy into
• 21:45
  the fact that there's a a shortage of curtains and blinds
• 21:49
  and everybody's just living their life with this window wide
• 21:52
  open, anybody can look in, you're going to have problems
• 21:55
  accepting this movie. And I did a little bit the first
• 21:57
  time, but it's a big thing, right?
• 21:59
  That's the whole movie. Thank God that camera shot on
• 22:04
  that thermometer the second time really clicked in me and said OK
• 22:08
  well you got people sleeping outside, it's clearly hot and I
• 22:12
  suppose keeping the curtains open helps keep it cool.
• 22:16
  Though I think it's the opposite.
• 22:18
  Just saying the sun's coming in, you want to block the sun, but
• 22:22
  it's not getting into technical stuff.
• 22:24
  I guess I don't really have a question for you.
• 22:27
  That was my observation. OK, I guess.
• 22:30
  Is that something that no you thought I know I.
• 22:33
  Know I would not even think twice about.
• 22:34
  It we're driving down different roads, yeah, in that, and I
• 22:37
  understand that and that's perfectly.
• 22:38
  Fine. The premise of the movie is the
• 22:39
  guys looking at windows. I think if everybody had their
• 22:42
  curtains down, it'd be a pretty boring movie.
• 22:43
  Of course, you think everyone would see him as well.
• 22:45
  He's always worried about that. The thing is, no one expects
• 22:48
  particularly, I imagine in 1954, but don't expect anybody.
• 22:51
  Like I was in Paris. It's against the law.
• 22:53
  People could see into the bathroom window and I was using
• 22:56
  the washroom. You don't care.
• 22:58
  I don't care, but I didn't think that part of why I didn't care
• 23:02
  was because I was like, who's looking in the window?
• 23:05
  Like why would you bother? Jimmy?
• 23:07
  Sure, but I don't think that you would cross anybody's mind that
• 23:10
  there was a guy in this apartment across the courtyard.
• 23:13
  They don't really do a great job of establishing how far those
• 23:17
  rooms are apart, but he does address in a number of different
• 23:21
  times off the light back me up right, getting that right.
• 23:23
  So there is an. Appreciate that.
• 23:24
  So I just need the effort. So that's why I was accepting of
• 23:28
  it, because they did it directly addressed that.
• 23:32
  Four people maybe like me. Who's going to pick that apart?
• 23:35
  Yeah, I think ultimately it is that if people living their
• 23:38
  lives as an example, I have sheer curtains on my front
• 23:42
  window, nothing more than just, you know, so there are
• 23:44
  relatively translucent. That's what shear is, right?
• 23:47
  Exactly. I don't know.
• 23:48
  I walk past it all the time on my way to the washroom totally
• 23:51
  naked. Like, you know, I don't care.
• 23:54
  You're proud, man. But the point is, why would
• 23:57
  anybody look in and. And if they are, I, I just
• 23:59
  doesn't register. And I think that's what's
• 24:01
  happening here, people living their lives.
• 24:02
  And the fact that he's watching them is incidental.
• 24:06
  It's not like, oh shoot, privacy privacy, privacy.
• 24:09
  Yeah, I don't care either, actually.
• 24:10
  There's sometimes where I'm like, you know what?
• 24:12
  If you're looking to see, let him say nothing to you.
• 24:15
  Know get shamed of. Well, I do, but I don't care if
• 24:19
  people see it anyways. Yeah, Problem is they can't see
• 24:21
  it no matter what, so. Yeah, it's kind of funny in the
• 24:24
  modern age, we're here, we're going to talk about this a
• 24:25
  little bit later, but the concern about privacy and yet
• 24:28
  the the the terms and conditions that we are just dismissing at
• 24:32
  all times, right, so. Try I get through maybe a
• 24:35
  sentence 2 and I'm like Nah. Except I want to go.
• 24:39
  Doesn't matter. Take what you.
• 24:40
  Want. I probably already accepted him
• 24:42
  on something else anyway, so I don't know.
• 24:44
  It's a bad attitude to have, but I don't know anybody that
• 24:48
  actually reads them. Because if you did, you would be
• 24:50
  declining it. Probably.
• 24:52
  Probably. With your declining means you
• 24:54
  don't use the phone, use the phone.
• 24:56
  Literally cannot use an iPhone, so yeah.
• 24:59
  They've really got you in a corner.
• 25:00
  That's it. So I think when you're dealing
• 25:02
  with somebody so like personally, Oh my gosh, don't
• 25:05
  see in my house like, well, I've just given away everything else
• 25:08
  anyways, so what's one more thing?
• 25:09
  We're at the Super Bowl. I mean, we were talking about
• 25:12
  something and I immediately got something on my feet.
• 25:14
  I'm like, it's not like I don't know.
• 25:16
  I just, the way I see it is like they just want my money.
• 25:19
  They want to market to me. I hope that's it because I can
• 25:23
  have the willpower not to buy what you're trying to sell me
• 25:26
  because I'm aware of it. But are you going to use?
• 25:29
  Richards or access to your Why does a telephone app require
• 25:36
  access to your media, like to your photos on your?
• 25:38
  Phone. Why would you?
• 25:40
  Why would that be? Necessary.
• 25:41
  I wondered when I downloaded the flashlight app the why does the
• 25:44
  flashlight need access to everything?
• 25:46
  Like, wait a minute. Just like that.
• 25:48
  It's very strange. Feel this.
• 26:01
  Provide the lay of the land. Let's do it for the courtyard.
• 26:05
  Yeah, as it were. We got about half a dozen, I
• 26:09
  think, of players. I want to call him that.
• 26:12
  He wasn't sure. There's really only one player
• 26:14
  and that's the guy with the piano.
• 26:15
  Piano player Well, Miss Torso is playing.
• 26:18
  Yeah. Player misses Torso.
• 26:21
  Miss or missus? Well, we don't know.
• 26:23
  We don't know. They refer to her as Miss Torso,
• 26:25
  so let's just go with. That she had a lot of energy.
• 26:27
  I thought she was on. Or.
• 26:29
  Something and vitality. She's always bouncing around.
• 26:33
  Pretty edgy for 50 four, I think.
• 26:36
  Yeah, like for sure progressive. She's just taking off her top or
• 26:40
  putting it on like you don't see anything.
• 26:41
  Obviously, but from the back, pretty sexy.
• 26:43
  Yeah, it's a nice back. Hitch loves blondes and loves
• 26:48
  women. We have the newlyweds who?
• 26:51
  I thought this is me classic, trying to find a face.
• 26:58
  Sure. I thought the woman was Mrs.
• 27:00
  Cunningham from Happy. Days.
• 27:02
  Wow. Marion Ross.
• 27:03
  Very good. I can think of her real name or
• 27:05
  even her first name in the show, but I knew she was Richie's mom.
• 27:08
  Yeah, and I couldn't find her in the credits.
• 27:11
  Not her. So I thought there was nobody.
• 27:14
  Then when I got here in good preparation, fire up the old
• 27:19
  IMDb and lo and behold, Raymond Burr is the bad guy.
• 27:25
  Yeah, Canadian Perry. Mason.
• 27:27
  And I wasn't a religious watcher of Perry Mason.
• 27:30
  It was a poor man's Matlock. Sure.
• 27:33
  And my books took in a few episodes.
• 27:36
  I don't watch the new one. OK, how do you know Kathy Bates?
• 27:40
  That's Matlock. Yeah.
• 27:41
  Got this. Matlock.
• 27:43
  The new Matlock. Whoopsie.
• 27:45
  There was a new Perry Mason I don't remember anything about.
• 27:48
  It didn't take. So that was kind of neat to see
• 27:51
  somebody like a recognizable face.
• 27:53
  Heavy set, man always has been. I don't want to bring up weight,
• 27:57
  but I don't get scolded after the Groundhog Day episode.
• 28:03
  Mr. Ramos observation Who I'm missing, Phil that cover it all.
• 28:10
  It's pretty close. You got Miss Lonely Hearts.
• 28:13
  Let's talk about her. Yeah, there's a couple sleeping
• 28:16
  on the balcony. That's.
• 28:18
  True, They have a dog as well. Yeah, they play a key part of
• 28:21
  the movie. Uh-huh.
• 28:22
  Again, we're just talking about setting up the scene.
• 28:24
  Here's everybody that you're gonna be interacting with, and
• 28:26
  some of them are going to be at all times.
• 28:28
  Some of them are going to be in and out the musics said Diegetic
• 28:31
  score on some level when he's playing.
• 28:32
  We're hearing it often and you see the way that they interact
• 28:35
  with one another as well. And I think it's, it's a great
• 28:38
  introduction, the banality of what's happening and how easy it
• 28:43
  is to not notice or care. We talked about earlier, right?
• 28:47
  Oh, my windows open. So what, what are you doing?
• 28:49
  I'm reading a book, you know. Do I need the blinds down for
• 28:52
  that? The only thing I read is
• 28:54
  penthouse forums. Oh, yeah, a little privacy for
• 28:56
  that, but I like it. I think it's a great way to set
• 29:00
  up who we're watching and why. And it's basically a list of
• 29:05
  suspects at this point. We don't yet know what's
• 29:08
  happening. Obviously, if you're looking at
• 29:09
  it in Hitchcock was where his bread and butter.
• 29:11
  If you're over these thrillers and suspense movies and horror
• 29:14
  movies as if you can call it that, he's gotta type.
• 29:16
  Yeah. And so I think the introduction
• 29:19
  is who could it be? And setting up 20 potential
• 29:23
  candidates, if you will, is an interesting way.
• 29:26
  Not 20. There's about 6, maybe 8.
• 29:29
  OK, maybe. Who's counting?
• 29:31
  When you first mentioned this movie Rear Window, I thought it
• 29:35
  may be a car rear window. Oh, interesting.
• 29:39
  Because you don't really refer to an apartment window as a rear
• 29:44
  window. Just saying.
• 29:45
  OK, so you're. I'm not out, but almost almost
• 29:50
  jumping out the window. The front or the rear?
• 29:55
  Because in my apartment we just had a window, like it didn't
• 29:58
  matter if you at the front or the back of the building.
• 29:59
  But I didn't live in a courtyard so I don't have any courtyard
• 30:02
  experience, so maybe it's a little different there.
• 30:05
  Could be, yeah. Could.
• 30:06
  Be. We'll get our researcher on end.
• 30:09
  Please, please, now it's important to know like in 54, we
• 30:13
  do have phones. Yeah, yeah, there's phones.
• 30:17
  They're not portable. Not no.
• 30:19
  Certainly not cellular party lines.
• 30:23
  Jimmy Stewart is, like you mentioned before, clearly in a
• 30:27
  cast. Yep, held up in a swamp of
• 30:30
  boredom. Yep.
• 30:32
  I get the impression he's itching to get out.
• 30:35
  Itching for sure. And at the same time, he
• 30:39
  actually has a literal itch in the cast.
• 30:43
  Yeah. And I think he portrayed that
• 30:46
  really well, by the way. Hmm.
• 30:47
  I felt he felt the itch. I felt the scratch.
• 30:50
  That's how good. It was.
• 30:51
  You were relieved. Yeah, Yeah.
• 30:54
  And then I remembered that you were laid up for a while after a
• 30:59
  Super Bowl, I believe, was it not?
• 31:02
  December 30th, 2015. Wow, 10 years. 10.
• 31:06
  Years 10 years ago today, I would have been just it's.
• 31:10
  Anniversary, yeah, and we left for dead.
• 31:13
  Yeah, yeah, on a street. Corner, we dropped you off.
• 31:16
  We figured you knew how to walk. So did I.
• 31:18
  You were sober. Yeah, that's on you.
• 31:21
  Yeah, totally. 3:00 AM December 30th at that point.
• 31:24
  And yeah, I don't know what happened.
• 31:26
  We were playing board games at Mikes.
• 31:28
  Yeah, that sounds about right. Yeah.
• 31:29
  And got dropped off. Yeah.
• 31:31
  You've never come. Back for that you know a.
• 31:33
  Little shimmy shake down the road and yeah, I was on my butt.
• 31:36
  Broke my ankle, fractured it hardcore.
• 31:40
  Yeah. So 10 years ago.
• 31:42
  And you were in a cast for couple months, Six weeks, six
• 31:46
  weeks. OK.
• 31:48
  Yeah, it was unpleasant. Lost some weight, though.
• 31:51
  Yeah. You look good.
• 31:52
  Yeah, it was a different type of cast.
• 31:54
  Luckily, they've got the whole thing.
• 31:56
  Yeah, for sure. Come a long way.
• 31:58
  And I could remove the cast at some point, let it breathe for a
• 32:01
  bit. Always elevated, but I could let
• 32:03
  it. Breathe for a bit.
• 32:04
  Yeah, those are crazy times, my man. 10 years ago that was
• 32:07
  happening and I felt when I was watching this, I didn't have a
• 32:10
  courtyard to look out on, but there was that.
• 32:13
  What am I gonna do all day? Luckily, I live in a
• 32:15
  technological. World yeah I was going to say we
• 32:17
  gained a lot I. Imagine a lot of gaming, a lot
• 32:19
  of watching a movies and so forth.
• 32:20
  But at some point you just need the fresh air of some kind.
• 32:24
  So I would go out to the balcony and put my foot up and yeah,
• 32:28
  yeah. But there's like, you know, it's
• 32:30
  just traffic, right? There's no noise.
• 32:33
  Whereas here you got some action.
• 32:35
  Yeah, there's people, there's people, there's activity,
• 32:37
  there's an atmosphere. Yeah, because I know where your
• 32:40
  balcony was and like, there's nothing happening lot and
• 32:43
  street. I figured you're inside all day
• 32:44
  watching porn. That's just what I assume.
• 32:47
  Porn. Porn by day, video games by.
• 32:49
  Night. Don't put that on me.
• 32:52
  Your fantasy is not rejected, OK?
• 32:56
  Just itching to break my leg. I assume you didn't have an
• 33:02
  insurance lady come in? Yeah.
• 33:05
  And service you. Absolutely.
• 33:06
  You did. Of course.
• 33:08
  Ohhhhh. Yeah.
• 33:09
  Sponge baths. Really.
• 33:11
  Yeah. No.
• 33:12
  Yeah. I couldn't do anything.
• 33:14
  Really. Yeah.
• 33:15
  So you would bathe me? Yeah.
• 33:17
  She's good looking. No, no, no massages.
• 33:21
  But I was given. But she wasn't an insurance lady
• 33:25
  for for us, like we didn't send her because, yeah, because, you
• 33:30
  know, we were the. You know, part of the larger
• 33:32
  part of the long term disability packages they send her along.
• 33:35
  Yeah, OK, so I got taken care of.
• 33:39
  Happy to hear I I did bring you food.
• 33:41
  Once. Yeah, absolutely.
• 33:42
  And many great friends of mine took good care of me.
• 33:45
  Not so much my ex. She decided not to bother to
• 33:48
  come back. That's why she's the.
• 33:49
  Ex and visit, but I had good friends taking good care of me.
• 33:53
  Absolutely. Yeah.
• 33:54
  I'll never forget it. I just did it once.
• 33:56
  Yeah, six weeks, one time. Yeah, but we do get a character.
• 34:03
  Stella is that insurance lady. Lovely gal.
• 34:06
  Thought it was Grace Kelly. Wow.
• 34:08
  I don't really know who Grace Kelly is.
• 34:11
  It's not Sela, you'll find out. She's just a name to me.
• 34:13
  I know she's quite famous. Doesn't mean she's necessarily
• 34:16
  good looking. To me she's just a famous
• 34:18
  actress. And Stella, let me tell you
• 34:20
  good. Actor.
• 34:21
  I think she's great in this movie.
• 34:23
  You know she's got a good script to work.
• 34:24
  With Absolutely. She's got some great, great,
• 34:26
  great lines. Yeah, I did love everything
• 34:27
  about this movie. And I have to not because you
• 34:30
  do. Seems like that's in the
• 34:32
  contract. You really like something.
• 34:33
  I gotta humble. Yeah, that's part of my job.
• 34:37
  But I cannot argue. Older movies in general, like
• 34:40
  from this era, are typically pretty tight.
• 34:43
  At least the ones I present to you.
• 34:44
  Exactly as I guess there's a lot of crap out there as well, but
• 34:47
  just well conceived, witty without sounding scripted.
• 34:52
  We've listened to Nick Nolte talking like oh God, you're
• 34:54
  reading off the page like that's just written for you.
• 34:57
  But this just sounds mostly natural.
• 34:59
  Totally ignores tons of quotes. I'll try to get some in.
• 35:01
  If you could give me a couple minutes, maybe later.
• 35:03
  Anything I miss, I love to share.
• 35:06
  Just my appreciation for the writer.
• 35:09
  I might not be a Hitchcock guy, but whoever wrote this maze, was
• 35:12
  it maze? This is a maze.
• 35:13
  I think Willie, Willie don't know.
• 35:18
  But right from the start, soon as Stella enters something OK,
• 35:21
  I'm going to get some entertaining.
• 35:23
  Dialogue. I mean, we already got Jimmy
• 35:25
  with Gunnerson talking about how the wives, oh, they don't nag,
• 35:30
  they discuss. That's a edgy, modern take.
• 35:34
  But Stella, Stella really cuts to the bone.
• 35:36
  To me, she's great and her evolution as a character is
• 35:39
  fantastic. But one of the first things she
• 35:40
  says is we're in a generation of peeping Toms, a race of peeping
• 35:44
  Toms. And you could do six months for
• 35:47
  that back then, apparently. It's crazy to think now in 2026,
• 35:51
  but she's talking about how, you know, no one goes outside.
• 35:55
  Look inside for change, you know, and suggest that very
• 35:59
  relevant that Jimmy Stewart is looking for trouble when he's
• 36:03
  sort of got his eyes on the outside world.
• 36:05
  What's he supposed to do? He doesn't have a PlayStation.
• 36:08
  He can't just leave. It's like there by choice.
• 36:11
  No, absolutely not. She's obviously pro marriage.
• 36:13
  She's kind of colluding with Grace Kelly's character Lisa To
• 36:18
  in there, which I love. Gorgeous.
• 36:20
  He says he's not ready for marriage.
• 36:23
  Yes, she says. That's normal.
• 36:25
  Yeah, he's got Gray hair. Yeah.
• 36:28
  Now, again, I thought maybe they got the colouring wrong, but
• 36:30
  this is shot in colour, so I think you're ready.
• 36:33
  If you got the Grays coming in, it might be time to settle down.
• 36:36
  Settle down? I don't like blondes, but I
• 36:38
  mean, she's clearly a looker. Yeah, she's got some money too.
• 36:41
  That's the only real reach I would say is a bit of a hurdle
• 36:45
  is the hesitation. He sells it pretty.
• 36:48
  Good deal. Yeah, He's.
• 36:49
  I love it. Yeah.
• 36:50
  But it's like, dude, come on, get out of your own ass for a
• 36:54
  minute. Think about what's going on.
• 36:56
  But I love his justification, Right.
• 36:58
  I don't want to be tied down. I wanna be nagged.
• 36:59
  I wanna be this. So it's not too dissimilar.
• 37:01
  If you recall, too, It's A Wonderful Life, George Bailey.
• 37:05
  The whole time it's like, I don't want to be here.
• 37:07
  I've got big ambitions. I want to tour the world.
• 37:09
  I want to see everything. That didn't want to settle down.
• 37:12
  Don't want to settle down. I don't want any plastics.
• 37:14
  I don't want any ground floors. I don't want anybody, you know,
• 37:17
  like I am my own person. It's very themed in this movie.
• 37:19
  Like that's an overtone about how relationships were back
• 37:24
  then. I think Stella says something
• 37:26
  about intelligence, that all intelligence has done is, well,
• 37:30
  it's done nothing good. That's right.
• 37:32
  That's not exactly the quotes. Basically though, that is the
• 37:35
  gist of it. She's a misfit.
• 37:37
  I think she calls herself a misfit.
• 37:38
  Yes, her and her husband and we're still misfits and we loved
• 37:41
  every minute. Of it.
• 37:42
  That's right. So intelligence has brought us
• 37:44
  nothing but trouble. That's a lot of truth to that.
• 37:47
  I think she's ultimately. Really.
• 37:50
  On Lee's side, Which? Is she's team Lisa?
• 37:53
  That's right, she's right for any man with half a brain.
• 37:56
  Well, maybe it's at 48%. And Jimmy Stewart responds, I
• 38:00
  believe something like, well, she's not the girl for me.
• 38:03
  And she's telling, says, yeah, right, She's only perfect.
• 38:07
  And Jimmy, well, that's, that's just it.
• 38:09
  She she's too. Perfect.
• 38:11
  So. Ever get it up, Jimmy?
• 38:13
  For a while? I think they mentioned something
• 38:17
  about emotional levels. Yeah, it's really trying to set
• 38:19
  up this, this dichotomy between the two.
• 38:21
  He's in a different spot. She's a little younger than he
• 38:23
  is, if not a lot younger depending on.
• 38:25
  Yeah, he's if you look at the Gray hair indicator.
• 38:29
  He spends a lot of time in Pakistan.
• 38:31
  Sure, Everywhere. Everywhere but there.
• 38:33
  And she's a fashionista. Fashionista indeed.
• 38:37
  And that paradox is something that the movie is going to
• 38:39
  contend with. And that's their arc.
• 38:41
  And I thought, as you're saying, the introduction of Stella,
• 38:44
  which is a kind of covert introduction of Visa and Jimmy's
• 38:48
  banter, is all in service of establishing that these two are
• 38:55
  at an impasse. They're at a crossroads.
• 38:57
  And I think to hang out a suspense movie in that context
• 39:02
  or in that tone is pretty interesting.
• 39:05
  I think to kind of have a romantic drama underneath it,
• 39:08
  almost romantic comedy with some of the banter and the way it.
• 39:10
  Is, yeah. Leading in this undercurrent
• 39:13
  across the hall or across the courtyard is a little darker,
• 39:16
  more sinister. I like that juxtaposition.
• 39:18
  I think it's really talented. Had some entertainment value to
• 39:20
  the movie because I know the primary purpose of the film,
• 39:24
  tension. Yeah, certainly.
• 39:26
  I didn't get a lot of tension in this movie.
• 39:29
  I might have back then. Maybe I didn't feel it.
• 39:32
  I don't know if that was a me thing.
• 39:34
  Well, I think we'll get into Hitchcock's approach when it
• 39:37
  starts to, you know, kind of unravel, let's say.
• 39:39
  OK, one of the things that reminded me a little bit of The
• 39:44
  Fisher King was when Stella is speaking about how people can
• 39:50
  just meet. If you remember in the Fisher
• 39:52
  King, Mercedes Rules character was talking about I believe in
• 39:56
  love at first sight. I can sit next to somebody in my
• 39:59
  job my whole time and never notice them.
• 40:01
  And then I can see someone across the street across the
• 40:05
  city and just like nothing could keep them apart.
• 40:08
  It's like, bam. Stella kind of talks a little
• 40:10
  bit about that as well, which is just like, you have to be open
• 40:14
  to things for things to happen. And because he's so closed off,
• 40:18
  certain things maybe aren't progressing.
• 40:20
  Like that element? Stella brings a lot to the
• 40:22
  table, there's no doubt about that.
• 40:23
  Including sandwiches. Just saying she makes good
• 40:26
  sandwiches. You know who does better than
• 40:28
  sandwiches Is Lisa. Lisa Carol Fremont.
• 40:32
  That's right, starting from the beginning, this woman, Grace
• 40:38
  Kelly, gorgeous, you mentioned and just the introduction of
• 40:41
  that face, that dress dress. Just $1100.
• 40:45
  Phillip in 1954 money. Come on.
• 40:47
  I know. Forget about it, it's like
• 40:49
  10,000. Today.
• 40:50
  Gorgeous and delightful. I love her in this movie.
• 40:54
  I think she's so great. She's fine, absolutely.
• 40:56
  And basically is just in love with Jeffries.
• 41:00
  Yeah, that's it. Just comes in and says go for
• 41:04
  dinner. What are you out of?
• 41:06
  You're not. Get out of your nut.
• 41:10
  Yeah, that's the thing he says in It's a Wonderful Life.
• 41:12
  I thought you misspoke. Sorry, no, no, goes to Burton.
• 41:15
  If you're not. I thought he went to Ernie, Not
• 41:18
  sure. So she comes, which basically
• 41:20
  says, well no, I brought 21 to you.
• 41:22
  Yeah, that was a clothing store. Forever 21.
• 41:27
  Yeah. Do you know that guy's name that
• 41:30
  brought the food? No.
• 41:31
  Carl's attention to details. Buddy's attention to detail.
• 41:35
  Alvin. Long, Low, Carl, that's what
• 41:37
  we're talking about here. She had a quick drink with
• 41:39
  Madame Dufrane. Yes, sure.
• 41:41
  Is that somebody? No, not that I know.
• 41:44
  Maybe, but just somebody with a French.
• 41:47
  Name, historic name, Frame. OK, just checking.
• 41:51
  Ultimately, this character is introduced to be gorgeous,
• 41:53
  supportive, loving, just wants him to succeed.
• 41:57
  So when she's trying to talk him into go your own way, start your
• 42:01
  own things, settle down if you will.
• 42:02
  But he doesn't have. That he can't fit into her
• 42:05
  world. Yeah, with what he's saying, but
• 42:07
  he's really not open to anything.
• 42:11
  Like you can't wear high heels in the jungle.
• 42:12
  You will freeze in Finland. Yeah, Yeah, you're probably
• 42:15
  right. Yep.
• 42:16
  I'm not being stubborn, just truthful.
• 42:18
  Good. But there might be a better life
• 42:20
  for you here you don't need to be doing.
• 42:23
  Or a middle ground, right where we still do this and then off
• 42:26
  and on you're on assignment and then you come back or what have
• 42:29
  you, right? Like that doesn't have to be all
• 42:31
  or nothing. The best middle ground is
• 42:33
  actually in Middle-earth, ironically.
• 42:35
  Very good, solid, great soil. Great soil in middle.
• 42:38
  Earth, Middle Earth, New Zealand.
• 42:40
  But it gets to the point where it boils over and I think
• 42:43
  they're breaking up. I think she's kind of fed up
• 42:46
  with it and I can appreciate it after all of that.
• 42:49
  She's trying desperately to chip away at him and he's just got an
• 42:53
  answer. He's deflecting.
• 42:54
  He's well you. Let me talk.
• 42:56
  For you just let me shut. Up.
• 42:58
  Right. And ultimately he tears her
• 43:02
  apart and she's just like, I just want to be part of your
• 43:05
  life. And he's like, this is not going
• 43:07
  to happen. So then she's like, goodbye.
• 43:09
  Oh, you. You mean goodnight?
• 43:11
  I'm not going to see you for a long time, at least till
• 43:14
  tomorrow. Night, at least till tomorrow
• 43:16
  night she slams off the door. I think that that is honest.
• 43:19
  She knows she's coming back. I think it's hilarious, and it's
• 43:22
  also really sweet that they know that they can fight and come
• 43:26
  back, that it's not going to be irrevocable.
• 43:27
  But also it's important enough that I just need to leave.
• 43:31
  This is actually a pretty mature relationship in a strange way.
• 43:33
  Yeah, this is a big scene for them.
• 43:34
  I really enjoyed it. As soon as it's over, he rolls
• 43:38
  back over and looks out the courtyard.
• 43:41
  Even when she went to the kitchen to check on the dinner,
• 43:43
  he goes. Back.
• 43:45
  It's the addiction, man. He's hooked.
• 43:47
  I'm watching a movie, someone gets up and goes to the kitchen,
• 43:51
  flip the phone over. I scroll for a bit, they come
• 43:53
  back and put it down. Hmm, can't just let that go.
• 43:56
  And I think it's a lot like that in a weird way this movie is
• 43:59
  touching on, obviously not intentionally, but yeah, that's
• 44:01
  the world. You're captivated by the things
• 44:05
  that aren't in your circle that are on the outside of.
• 44:08
  It Speaking of which, let's check in with everybody see
• 44:12
  what's up with our our slew of. Of neighbors.
• 44:16
  Well, we go to Miss Lonely Heart.
• 44:18
  Yes, when she's pretending she has a date.
• 44:21
  That's sad. I thought so you've done that?
• 44:23
  Totally. Not so much the date.
• 44:25
  I did pretend that I was dancing with somebody back when I was
• 44:27
  like 12 years old. That's 12, you know, And I would
• 44:30
  just like, I danced with a girl, Victoria, at a Grade 7 dance.
• 44:35
  It was like a mad crush on her. And I would hear that song later
• 44:40
  and I would close my eyes and stand up and I would pretend as
• 44:44
  if I was reliving that moment because it was such a this
• 44:46
  turning point of a 12 year old boy.
• 44:48
  I'm like, Oh my gosh, she danced with me.
• 44:50
  So I relive that and that that's as close as I got to that kind
• 44:53
  of creepiness. Patheticness, You're 12.
• 44:57
  What we can forgive. That sure.
• 45:07
  Alfred Hitchcock presents himself hanging out with the
• 45:10
  piano guy. Do you know Hitchcock to see?
• 45:12
  Yeah, OK. Somewhere along the line in my
• 45:14
  life he would have showed up on PBS or something.
• 45:17
  Alfred Hitchcock Presents. He was definitely, yeah.
• 45:20
  It was on and that's one of four channels I got in the country.
• 45:23
  So yeah, I definitely knew his look.
• 45:25
  That's wonderful. We got Miss Torso juggling
• 45:28
  wolves as Lisa. I thought that was odd, her
• 45:31
  hosting three men. Yeah, what does she And they're
• 45:35
  sort of saying, ohe, he wins, right?
• 45:36
  The guy on the balcony wins. The.
• 45:38
  What's going on there? I don't know.
• 45:39
  They don't know, but it's curious.
• 45:41
  Yeah, I'm curious. I wanna see it.
• 45:43
  I want to talk. About an interesting dynamic and
• 45:46
  then the the main event, if I can call it that, I just kept
• 45:50
  writing down dude. Well, we don't know yet that
• 45:52
  it's the. Main event is not, it's Raymond
• 45:56
  Burr commands the screen. Buddy.
• 45:57
  We know who we're dealing with here, and his wife's in bed.
• 46:03
  It's an interesting dynamic. I don't quite get it.
• 46:06
  But she laughs at him. He's on the phone making a call.
• 46:10
  I'm not sure if it's long distance at this point.
• 46:12
  Sure. Yeah.
• 46:13
  I don't know what's going on in that relationship.
• 46:15
  My impression was she's bedridden but faking it.
• 46:18
  Oht just to get the treatment. OK.
• 46:21
  That's what I got out of it. I'm curious like anybody else.
• 46:24
  I looked at it more from a hen pecking that he was unhappy.
• 46:27
  He thinks she's in the other room so he can call whomever his
• 46:31
  girl. Friday if you.
• 46:33
  Will, I didn't peg. Him as she kind of laughs at him
• 46:35
  for, yeah, that attempt or what have you.
• 46:38
  So definitely dysfunctional. I'll say that at the very least,
• 46:40
  I would agree with that statement.
• 46:42
  And Jeffrey's suspicion has risen a little bit when we see
• 46:46
  Raymond Burr go out in the rain. Yeah, it's with a briefcase.
• 46:50
  It's around 2:00 AM Yeah, that would peak my interest.
• 46:54
  Yeah. And that's a big roof case, Yes.
• 46:56
  It's not like your standard issue.
• 46:58
  No, it's big. The.
• 46:59
  Halliburton or something. It's silver Samsonite.
• 47:02
  It's designed to have body parts in it.
• 47:04
  I know, I know the model. It's the Torso, 2000.
• 47:09
  And then he goes out again around 2:40.
• 47:13
  You might be nodding off too, I'm not sure, but he nods.
• 47:16
  Off. It's not a.
• 47:17
  God, he's a nodder. A couple I respect.
• 47:19
  It well, I mean, like, here's a guy with a broken ankle nodding
• 47:22
  off. He's my people.
• 47:24
  Yeah, it's also in the middle of the night, so the nod is
• 47:26
  expected and accepted and accepted more so than at 4:00 in
• 47:31
  the afternoon on my couch. Then outcomes the binoculars.
• 47:39
  Those aren't binoculars. That's binoculars.
• 47:42
  This is binoculars. And then brings out this giant
• 47:44
  lens. You would think, though, with
• 47:46
  lens like that, he didn't have to be on the racetrack.
• 47:49
  Fair. He could have been safely in the
• 47:52
  stands. But the blonde got home.
• 47:54
  She had a bad date, you know. What's that?
• 47:56
  Yeah. Yeah.
• 47:56
  Miss Torso. Torso is not happy.
• 47:58
  She's not happy. Neither is Miss Lonely Heart.
• 48:00
  I assume it's lonely heart is not.
• 48:02
  Happy Jeffries is getting very curious and Lisa is getting more
• 48:06
  and more annoyed. That is, she is yet to buy into
• 48:09
  what's happening, so she is rebuked and rebuffed at every
• 48:12
  turn. She's trying to get his
• 48:13
  attention, and this is where this movie loses all
• 48:17
  credibility. Are you talking about when she's
• 48:18
  kissing him kissing and he won't shut up about what's going on
• 48:21
  out there? Correct.
• 48:22
  Yeah. Come.
• 48:23
  On give me a God damn break right Yeah stupid what is
• 48:27
  happening across the courtyard once you're.
• 48:29
  Hooked. It's interesting I'm still with
• 48:31
  the blonde. Though of course you're with the
• 48:33
  blonde. And I'm a brunette guy and I'm
• 48:34
  still with. The blonde.
• 48:35
  That's what I'm saying, you know, it's.
• 48:36
  Serious. If it was Matlock across the
• 48:38
  hall, maybe. But this is just Perry Mason.
• 48:41
  OK, I'm picking the blonde 6 out of seven days.
• 48:44
  I like that he's trying to convince her of what's going on
• 48:48
  and she just won't have any part of it.
• 48:50
  And that's one of the great trick in of the movie is just
• 48:56
  about everybody starts off with you're being ridiculous.
• 49:00
  Yes, get over yourself. Get a hobby, figure this out.
• 49:04
  You're keeping time. What do you're asking?
• 49:06
  For exaggerating, you're making shit up, and I would suggest
• 49:09
  that this is the real greatness of the movie is as an audience
• 49:12
  member. We talked about the invitation
• 49:13
  at the beginning to an audience member.
• 49:15
  I feel like this is what's happening to us as well.
• 49:19
  OK, you elaborate. On that, well, I don't know if
• 49:21
  you felt it, but we're Co conspirators on some level.
• 49:25
  We were curious when what is not happening on screen is in the
• 49:29
  courtyard. I'm curious about what is
• 49:31
  happening on the courtyard because we don't yet know what
• 49:34
  is happening, right? He's got a suspicions and
• 49:38
  there's obviously an intent on his part to go back, but the
• 49:41
  more he's describing, isn't it strange that he's leaving at
• 49:45
  3:00 in the morning? He's making you more.
• 49:46
  Curious. To me anyway, he's convincing me
• 49:49
  that this is of interest and because it's of interest when
• 49:51
  things are not happening, if we don't see what's happening, I
• 49:56
  want to get back there. Did you feel that at?
• 49:58
  All. Not particularly.
• 50:00
  Do you want to elaborate? I think I like blondes OK.
• 50:03
  I'm starting to turn. I think it's because I know
• 50:05
  we're going to get right back to them.
• 50:07
  I'm a patient man and I think this overall, in real life, I'm
• 50:11
  also not the guy to stick around.
• 50:14
  I'll give you a, not a great example, but an example.
• 50:17
  There's a fight that breaks out at the Rideau Centre.
• 50:19
  I'm the first guy that leaves. I don't want to check, please.
• 50:23
  People are filming it, people are watching it and some
• 50:26
  cheering them on. I don't want any part of any
• 50:30
  sort of drama that's too close. Gotcha.
• 50:32
  This. You have a barrier.
• 50:35
  So it's certainly a much different playing field.
• 50:37
  OK, well, that's why movies exist.
• 50:39
  They allow an ability to see something that you wouldn't
• 50:43
  otherwise be doing yourself. Right?
• 50:45
  Oh, Jimmy can do it. Because I wouldn't do.
• 50:48
  It but I'll play a video game where I have the ability to like
• 50:53
  No Man's Sky where I can shoot any animal you want I don't
• 50:57
  purposefully even though games are like this is my opportunity
• 51:01
  to do stuff I wouldn't do in real life I wouldn't hurt an
• 51:03
  animal in real life you know me, our farm boy, our animal lover
• 51:07
  and that continues over into movies and video games I still
• 51:13
  have that standard maybe your standards are a little bit lower
• 51:16
  and you're. Just experience with the movie
• 51:19
  ultimately and I mine is closer to something like Lisa and
• 51:23
  Estella, which is by the end of his speechifying, you're as he
• 51:26
  describes what's happening. It is curious, it is interesting
• 51:30
  to me, it is suspicious. Let's find out what's going on
• 51:33
  and Lisa is connected, is hooked, and then wants to
• 51:36
  participate. Wants in on it, the allure of
• 51:39
  that. Yeah.
• 51:39
  The flip switched with her a little abruptly for me.
• 51:43
  OK. It wasn't like earned as much as
• 51:46
  I thought it could have been like he's selling it and then
• 51:49
  all of a sudden the camera shot, which I like, zooms in and then
• 51:52
  she wants to know. I just thought that was a little
• 51:54
  bit easy. Sure.
• 51:56
  There's two pieces working at the same time on that.
• 51:58
  The first is, I think she's genuinely curious because what
• 52:00
  he's describing is, is interesting if you allow for the
• 52:03
  fact that these are bored people.
• 52:04
  And one of the things in the modern day is that we will never
• 52:06
  be bored again. Adults, children, will never,
• 52:09
  ever experience boredom, in part because we have ways to just
• 52:14
  infuse it with adrenaline, with the phone, with video games,
• 52:17
  with movies, with art, with any number of things we have access
• 52:21
  at all times so that boredom doesn't happen.
• 52:24
  These are bored people. Yeah, I suppose so.
• 52:26
  Your day is nothing. You do nothing or you do this.
• 52:30
  Yeah, I think I struggled to get into their mentality of they
• 52:33
  can't just throw on the game on. Sure, there's not even
• 52:36
  television. No Sudoku, That's what I would
• 52:39
  be doing, sure. I'm very good at it, by the way.
• 52:42
  I just felt that she goes from too frightful to water, which I
• 52:46
  think is a really good line. Which means don't water the
• 52:50
  plants. It's too frightful to.
• 52:53
  Oh, I'm into this. Yeah, that's all I just thought.
• 52:55
  It was, well, I think as part of it is that, but I think the
• 52:57
  other part of it is she's trying to engage on his terms.
• 53:01
  So she might be faking it a little bit in an effort to show
• 53:04
  Jeffrey's look at me, I can do this, give me another
• 53:06
  assignment. I'm in.
• 53:07
  Meet me halfway like I'm trying this is maybe he'll.
• 53:10
  Try a way that she can present as if they are collaborating.
• 53:14
  Effort. Right there, exactly.
• 53:17
  And Stella does the same, finds out his name, checks.
• 53:20
  The mailbox I knew she was going to flip.
• 53:23
  Stella wants to get the name under the truck that picks up
• 53:26
  the body. She missed it wasn't quick
• 53:27
  enough. Yeah.
• 53:28
  Did that bother you, though, that you knew the whole movie
• 53:31
  that you were stuck just being able to see a little bit through
• 53:35
  the alleyway and you know the camera is not going to take you
• 53:37
  out there. You just.
• 53:38
  Know that's what makes it fantastic is that we're as
• 53:41
  limited as he is. Yeah, that's true.
• 53:42
  He's desperate to see more and we don't get to see more through
• 53:45
  the construct of the movie, through the angles with the
• 53:47
  shots. It's intentional and that's a
• 53:49
  Hitchcock staple. The guy is just incredibly
• 53:52
  specific in his filmmaking. So specific, in fact, that he
• 53:56
  often doesn't even shoot masters.
• 53:58
  Here's the story I had heard. He just shoots what he knows he
• 54:01
  has. So rather than two years masters
• 54:03
  and your two shots, you're over the shoulders.
• 54:04
  Whatever. It's just stops.
• 54:07
  Wow, you're mid scene acting. OK, cut.
• 54:10
  What do you mean I'm working? Doesn't matter.
• 54:12
  We're not gonna use it. Did Jimmy have a problem with?
• 54:14
  That no, he loved it. Because they were.
• 54:16
  They were. OK, some people didn't, I
• 54:19
  suppose, but ultimately. Everyone likes his style, right?
• 54:21
  The Clint Eastwood, again, the guy that historically that's it.
• 54:24
  And Matt Damon was telling a story like it's that's true
• 54:27
  generally, but there was this 111 year old kid who wasn't
• 54:30
  really an actor and we had to get him to a place and we did it
• 54:35
  all day. Like if we need to, we do.
• 54:37
  But generally if you're a professional actor, he had the
• 54:40
  expectations. We got it, we got it.
• 54:43
  Hey, can I get another one? Would you want to waste
• 54:44
  everyone's time? Let's go keep rolling.
• 54:46
  See, Hitchcock was really notable for that.
• 54:47
  It's pretty impressive. You know who did have a problem
• 54:49
  with him, though? Doyle.
• 54:50
  Yes. Didn't like it at all.
• 54:52
  Doyle, it's gorgeous. Blue eyes he did.
• 54:55
  That's another reason why I thought this movie was
• 54:56
  originally in black and white and that they had to tinker.
• 55:00
  Tweak, if you will, but he was a good looking man who wears a
• 55:03
  suit on his day off. I'm thinking, yeah, it's 1954, I
• 55:07
  think. That's everybody, every man
• 55:09
  wore. Suits.
• 55:09
  I'm looking, I get dressed, but I guess if I have to leave the
• 55:12
  house, I'll put on pants. Look at this shirt.
• 55:15
  This shirt? Yeah.
• 55:16
  Vandelay Industries. Four days old.
• 55:19
  I've had it for 20 years and it's got holes in it.
• 55:22
  But I'm just. I'm going to see Phil.
• 55:23
  Yeah, yeah. Now, if I was going to see LB
• 55:25
  Jeffries, different story. Well, maybe Grace Kelly might
• 55:29
  put a tie on. But yeah, we got Doyle, who is a
• 55:32
  detective. They were in the war together.
• 55:34
  That's the impression I got. Couple.
• 55:36
  Years, but they said that you got that impression.
• 55:39
  You pieced it together little. Detective myself, I thought he
• 55:44
  had some pretty good acting chops, some light insults back
• 55:46
  and forth. You get the sense these guys
• 55:48
  know each. Other yeah and we just when you
• 55:50
  think maybe Jeffrey's has like the upper hand like oh what
• 55:55
  about this the trunk for example, the postcard everything
• 55:59
  makes sense. It's probably not murder, so
• 56:01
  keeps us. As an audience wondering, was
• 56:05
  there a murder committed? Another movie is Jimmy Stewart
• 56:07
  going crazy, becoming obsessed and creating a fabrication
• 56:12
  because he is so bored. Which is how you can dismiss all
• 56:14
  of this stuff is that he's done nothing but stare out a window,
• 56:18
  and in order for a creative mind to stay alive, he's just
• 56:22
  manufacturing. Stories hallucinating.
• 56:25
  And that's what Doyle says. Totally, yeah, which is why I
• 56:27
  think everybody approaches Stuart with you're being crazy
• 56:31
  because you're cooped up. You need something energetic or
• 56:34
  interesting to keep your brain going.
• 56:36
  You can't do any of the things you usually.
• 56:37
  Do he's in the jungle? Yeah, he's in Finland.
• 56:39
  Running for his life, yeah. And now he's doing nothing.
• 56:42
  Yeah, that's a big difference. I think that's why some people
• 56:44
  in certain professions don't retire.
• 56:48
  Smooth transition for me. But for a guy like this who's on
• 56:51
  the go, go, go, asking that person to stop, stop, stop.
• 56:54
  But we're seeing what he's seeing as like well.
• 56:58
  Maybe. Yeah, but only if you're
• 57:00
  allowing it to be a thing, like you're either with him or
• 57:03
  against him. We haven't yet seen anything
• 57:05
  concrete, decisive. Yeah.
• 57:07
  And I think that helps the movie build to its own level of
• 57:10
  tensions and insecurities. Now that whole suitcase stuff,
• 57:13
  I'm thinking that is very strange, but he did leave with a
• 57:17
  woman when he was not at off at 6:00 AM.
• 57:19
  I assumed it was his wife. But he might just be having an
• 57:22
  affair, right? So again, he's creating these
• 57:24
  narratives. Without tipping the hand to
• 57:27
  exactly. And ultimately proved to be
• 57:29
  true. But at the point of if I was to
• 57:31
  tell you, after seeing a guy leave the house at 2:00 in the
• 57:34
  morning with the briefcase and a woman, I would think, yeah,
• 57:37
  maybe he's an asshole. Like maybe he's a cheat.
• 57:39
  Could be a million things, but it's funny because you can
• 57:40
  connect the dot and you can continue to connect those dots
• 57:44
  to murder. But if your origins is like
• 57:46
  you're cheating on your wife, you connect the dot the same way
• 57:49
  and just go in a different direction.
• 57:50
  But he's on this trajectory, yeah, that's leading him to
• 57:54
  murder, while Doyle has an explanation for basically.
• 57:58
  Anything. This is a Pi.
• 57:59
  He's seeing all kinds of dirty deeds and tricks and mean stuff
• 58:02
  and. Murder in this situation is low.
• 58:04
  Percentage, exactly. And Stuart obviously believes in
• 58:06
  what he believes in. And we're kind of stuck in the
• 58:08
  middle as an audience. Do I have believe Doyle?
• 58:11
  Do I believe Jimmy? Forgot to?
• 58:13
  Stay tuned to find out. Jimmy is so.
• 58:17
  Jeffries is so. Hell bent.
• 58:19
  Entwined, he's so connected to what's happening, and Eliza kind
• 58:24
  of teases him a little bit later.
• 58:25
  Like, you're almost disappointed, right, That it
• 58:29
  turns out that she's alive and that is a character twist.
• 58:33
  Subtle, but a character movement that I thought really playing
• 58:37
  this side of crazy. Not crazy, but also you kind of
• 58:42
  a bad person. Like, where are you at on this?
• 58:44
  Like you want her to be dead because you want to be right?
• 58:47
  And you want the story to be exciting and interesting, fun.
• 58:51
  Or is it better that she's alive but you get a boring show across
• 58:54
  the courtyard? It's a tough call.
• 58:57
  He's definitely wrapped up so much to that point, which is
• 58:59
  concerning. Meanwhile, Doyle is kind of
• 59:02
  wrapped up in the fact that Lisa has her nightwear there.
• 59:07
  He's looking around and does your landlord know that you're
• 59:10
  not even allowed to have a woman over?
• 59:12
  Must have been a thing back then.
• 59:13
  But your landlord's supposed to know everything.
• 59:15
  Could be. And the other interesting thing
• 59:18
  I notice is the way they did this with their drink in this
• 59:23
  audio form. Yes.
• 59:25
  What do you call that? Shaking.
• 59:27
  Shaking during, sure yeah. They bourbon, yeah.
• 59:29
  Moving it around. I wish I still drank just so I
• 59:32
  could do. That crave it.
• 59:34
  Do you like to have a bourbon? No, no, and I'm definitely not a
• 59:38
  snifter, and neither is Doyle. No, no.
• 59:41
  You can't drink fast. I'm guessing that's what.
• 59:43
  You're supposed to do. And you keep it moving to get
• 59:45
  the tannins working, you know? Was fed up with Doyle.
• 59:49
  He leaves. Yeah, he's out.
• 59:50
  She tries to get Jimmy's attention again.
• 59:53
  Lowers the blinds. Uh-huh.
• 59:55
  Big no. No coming attract coming
• 59:58
  attractions. Great line.
• 59:59
  It's fantastic, but they're. Shaken by a scuttlebutt outside
• 1:00:05
  a. Stream.
• 1:00:06
  Yeah, yes, talk to me about this cause I worry that I might be
• 1:00:09
  selecting movies that are skewed in a particular direction.
• 1:00:13
  I didn't piece it together right away.
• 1:00:15
  I was kind of hung up on the helicopter thing.
• 1:00:18
  From the beginning of the movie or an hour and a half in but.
• 1:00:22
  For the fifth time in 7-8 weeks, we have a dead dog.
• 1:00:28
  Yeah. Seriously.
• 1:00:29
  Phil Unintentional, but but one of them was yours.
• 1:00:32
  It's true, I'm drawing. From you.
• 1:00:36
  But what's funny is your dislike for dogs.
• 1:00:39
  In a weird way it's like it's subconscious almost these.
• 1:00:42
  Picks. Anybody that knows me would
• 1:00:43
  know. Like yeah, seem conscious.
• 1:00:45
  But what's really funny about this scene is the woman, the
• 1:00:47
  owner. So good in this.
• 1:00:49
  What does she say? Something.
• 1:00:51
  The dog is dead, yeah, and she just yells out to kill him
• 1:00:56
  because he liked you. I just want to hear you say that
• 1:00:59
  he liked you. I thought she said lick you
• 1:01:02
  because that this would make. Some sense, yeah.
• 1:01:04
  But what? She, he was affectionate, This
• 1:01:07
  dog, he was around. Yeah, I don't know, this is a
• 1:01:09
  weird thing to say and delivered with such for whatever reason.
• 1:01:13
  That's the thing that just sticks out, Francis.
• 1:01:15
  Candidate. Because he likes you the moment
• 1:01:19
  it's really funny. But she says soon after, you
• 1:01:21
  know, no one talks to their neighbors.
• 1:01:23
  Even in 54. Yeah, like nobody has any
• 1:01:26
  relationship, right? If you knew that dog's name, you
• 1:01:29
  wouldn't be inclined likely to kill it or.
• 1:01:31
  Maybe. Not right.
• 1:01:32
  There's this, there's this community that's built, and once
• 1:01:35
  you have that, maybe things change in your perspective.
• 1:01:38
  In all of my years of apartment living, which is many 20 years,
• 1:01:41
  20 / 20 years, I could not tell you a single name of any single
• 1:01:47
  neighbor I ever had in an apartment.
• 1:01:49
  Have to be kidding. No, not one you've been.
• 1:01:51
  You've lived in Vancouver. Yeah, 3 apartments in Vancouver.
• 1:01:54
  And just the 1 here. Yeah, up until recently.
• 1:01:56
  So. So 5 apartments over a course of
• 1:01:59
  20 plus years. Yeah.
• 1:02:01
  And you never had a conversation with one?
• 1:02:04
  I've had conversations with people in the building on
• 1:02:07
  occasion. Elevator talk, hallway talk.
• 1:02:09
  But I couldn't tell you their name.
• 1:02:10
  They haven't been inside your apartment?
• 1:02:12
  No. Or to theirs for a coffee.
• 1:02:14
  You've never had to board with sugar?
• 1:02:15
  Never. You don't drink coffee.
• 1:02:17
  So there you go. Problem.
• 1:02:18
  Exactly. Never once.
• 1:02:20
  That's a little odd. If you're in the States, sure.
• 1:02:23
  Don't ring on anybody's doorbell.
• 1:02:25
  They'll shoot you. I get that.
• 1:02:27
  But here in Canada, buddy, relax.
• 1:02:29
  Get to know people. You know your neighbors.
• 1:02:31
  I too have probably been in apartments on and off for over
• 1:02:37
  20 years. For sure.
• 1:02:38
  Certainly, but four or five? The one I got kicked out of for
• 1:02:42
  watching Saving Private Ryan Too loud.
• 1:02:43
  Never met him, don't know who that was.
• 1:02:44
  Sure I knew where he lived. I had a neighbor, Bob, who was a
• 1:02:49
  firefighter. Just making that name up.
• 1:02:51
  No, he actually didn't look like a Bob either, but he was a
• 1:02:54
  former firefighter. I should clarify they were both
• 1:02:57
  living off of the system, which is fine, I don't judge.
• 1:02:59
  But I left my oven on one night back in my drinking days.
• 1:03:03
  OHP and I was burning some chicken fingers.
• 1:03:06
  I dropped a cigarette on the floor once.
• 1:03:08
  Like I was happy that I knew my firefighter paper you could use.
• 1:03:13
  And then I had a neighbor across the hall who I lent money to.
• 1:03:17
  She had been over to my house. It wasn't a good relationship
• 1:03:21
  because there was money involved and she didn't pay me back.
• 1:03:23
  Sometimes even Bob borrowed money off me once.
• 1:03:25
  I don't know where I had this money.
• 1:03:26
  I didn't have any money, so I had these relationships.
• 1:03:29
  They weren't friendships. They feel like they were more
• 1:03:32
  needy. Yeah, and there was bailed.
• 1:03:34
  Me out, yeah. Situation and that same building
• 1:03:36
  we had a serial killer killed three people.
• 1:03:39
  Wow, you just died in prison. Actually, I was in the elevator
• 1:03:41
  with them. Yeah, good conversationalist.
• 1:03:43
  No very quiet but he had taken over someone's apartment
• 1:03:47
  splitter throat killed her from the dumpster buried out back.
• 1:03:49
  Then they found his ex-wife from from years ago.
• 1:03:52
  Wow, Yeah. Is it very.
• 1:03:53
  Interesting. That wasn't.
• 1:03:55
  That wasn't. That wasn't Bob.
• 1:03:56
  No, that wasn't the apartment I was at.
• 1:04:00
  But I spent a lot of my time on the balcony looking out, waiting
• 1:04:03
  for my beer delivery. That's where I spent a lot of my
• 1:04:06
  telephoto lens. Seriously, it's pretty sad.
• 1:04:10
  Looking back. I had that Channel where you can
• 1:04:12
  watch the lobby. I did a lot of lobby watching
• 1:04:15
  just for the beer. Guy there it is.
• 1:04:17
  It's it's a silly situation, but that that kind of thing.
• 1:04:20
  I used to watch the lobby in my old apartment.
• 1:04:22
  The same 5 different cameras. Black and white.
• 1:04:24
  Of course, you're not making anything out, but it is a little
• 1:04:27
  like who's coming and going. Yeah, my grandmother, which she
• 1:04:29
  would stare out the windows and she would create the narratives
• 1:04:32
  is a good people of that as well should say where are they going.
• 1:04:35
  Just curious what's that on her hand Monday morning at 6:00 AM
• 1:04:37
  where are you going right like you just start sure I'm sure
• 1:04:40
  there's people like that that would watch the lobby channel
• 1:04:43
  with this sort of mentality creating a narrative yeah level
• 1:04:46
  and losing their mind yeah a little bit no Doyle to ground
• 1:04:49
  them that's. Right.
• 1:04:50
  Or maybe they were right all along.
• 1:04:52
  That's right. Who's to say?
• 1:05:02
  You mentioned earlier about suspense and how you didn't
• 1:05:05
  really feel it. Hitchcock described the way he
• 1:05:07
  likes to make a movie. Suspense isn't.
• 1:05:10
  There's a bomb under the table and it explodes.
• 1:05:13
  The suspense is at the beginning of the movie.
• 1:05:16
  I show you that there is a bomb underneath the table and the
• 1:05:20
  tension is built up because you know at some point it will go
• 1:05:23
  off. But you don't if you're not
• 1:05:25
  introducing the fact that Thorwald is a suspect early on
• 1:05:31
  and the race is to convince everybody that he is, rather
• 1:05:36
  than at the later part, Oh my God, there's a murderer.
• 1:05:40
  So I wondered if the fact that they revealed, if you will, that
• 1:05:43
  Thorwald is the bad guy so early on in the movie.
• 1:05:47
  Hurt. Or hindered.
• 1:05:49
  Maybe they wanted us to think he was and he wasn't.
• 1:05:53
  You think of bait and switch. Yes, bunch of BS bait switch.
• 1:05:57
  Yeah. So I didn't think they wanted
• 1:05:59
  you to be all in necessarily. Like, I was more curious to find
• 1:06:04
  out if it was him or not. OK, like what?
• 1:06:06
  What side are we going to land on here?
• 1:06:07
  OK, Yeah, interesting. Well, this is now pushing them
• 1:06:10
  over the top, right? Jeffrey and Lisa and Stella are
• 1:06:13
  like this can't go on. This is where Jeffrey writes the
• 1:06:16
  letter. What should you do last summer?
• 1:06:18
  Basically. And they've ultimately, she
• 1:06:22
  sends Lisa over to drop off that letter.
• 1:06:24
  Yeah, Miss Lonely Heart setting herself up for a bunch of pills,
• 1:06:28
  which still confirms. I got something to say about
• 1:06:31
  that. I'll say it now, please.
• 1:06:32
  It bothered me that they didn't care enough that this person was
• 1:06:37
  going to kill themselves. They were still too absorbed by
• 1:06:40
  what was going on with Mason that they would have let her
• 1:06:43
  die. Seemingly.
• 1:06:45
  Seemingly. Did she say that there was
• 1:06:46
  enough to kill her? I.
• 1:06:47
  Think, Oh my gosh, she was like 8 or 9.
• 1:06:49
  It's obvious what she's doing that there's no question.
• 1:06:52
  About it, Yeah, that's true. And they have set her up as a
• 1:06:54
  sort of pathetic. So I don't know if that was that
• 1:06:56
  on purpose to show how much they were disconnected from other
• 1:07:01
  stuff to overcome with this murder, or it was just.
• 1:07:05
  A throwaway moments. Throwaway moment, but that's
• 1:07:08
  not. Good.
• 1:07:09
  No, I mean she makes it and she finds love, so I mean.
• 1:07:12
  Yeah, you're right. But I think we can both agree we
• 1:07:16
  probably mid in situations where maybe we should have done
• 1:07:19
  something and we've just pretended to ignore.
• 1:07:22
  It sure you ran out of the room if you recall the last time you
• 1:07:25
  saw a fight. You may have.
• 1:07:27
  Well, I couldn't do anything about.
• 1:07:30
  That sure sure, your instinct is to get out.
• 1:07:32
  Of there, but if you see something on the ground that
• 1:07:34
  someone dropped yes are you pretending you didn't see it
• 1:07:37
  because you're not sure where it came from or are you picking up
• 1:07:39
  hey, did somebody drop? This it depends on the thing,
• 1:07:42
  but I've done both, have ignored the thing and there's a few
• 1:07:45
  times where I've done the. Thing I feel I mean the wrong
• 1:07:47
  way a couple of times. Most of the time it's sort of
• 1:07:49
  like someone, someone to figure that out.
• 1:07:51
  It's a passport. Oh, my problem.
• 1:07:53
  That's right. That's.
• 1:07:54
  Right, $50.00 bill. Yeah, I don't know.
• 1:07:58
  So I was a little concerned with these people as human beings,
• 1:08:02
  like, Oh my God, they're going to let this woman die.
• 1:08:04
  But luckily there's a piano. That's right now takes care of
• 1:08:07
  business. Things start to really unravel
• 1:08:09
  here at this point. Thorwald leaves.
• 1:08:11
  Lisa takes the opportunity. She's got 15 minutes, that's it.
• 1:08:15
  Give her take. This ring thing is a big deal.
• 1:08:19
  Yeah, talk to me about that. You're the only one in this room
• 1:08:21
  with one. So this has to be a 1954 thing,
• 1:08:24
  Stella says. You would have to cut off her
• 1:08:26
  finger for her not to be wearing her ring.
• 1:08:29
  I don't think women care that much anymore.
• 1:08:31
  They'll wear it if there's a date night or that you're going
• 1:08:33
  out to visit family and friends. Like they'll wear it out on
• 1:08:35
  bigger occasions. But out to the gym?
• 1:08:38
  Like they leave the house without their ring?
• 1:08:40
  No problem. And as a man, don't question it.
• 1:08:43
  I leave mine on just because. You're still impressed that you
• 1:08:46
  even have. Yeah, that's true.
• 1:08:47
  That's exactly. But I thought that was a very
• 1:08:50
  dated thing. Sure.
• 1:08:51
  I'm not taking that away from the movie.
• 1:08:53
  And and it is ultimately, like, the big turning point is
• 1:08:57
  everybody's like, oh, shit, this is real.
• 1:08:59
  Even Doyle, who's been skeptical the whole time, is like, wait a
• 1:09:03
  minute. Lisa is super sold on it.
• 1:09:05
  Yeah, Stella, well, you know how she feels about it.
• 1:09:07
  Yeah. If you can get Doyle, you're
• 1:09:08
  absolutely right. If you get him on your side,
• 1:09:10
  then we have to start taking this seriously.
• 1:09:12
  So I'm thinking to myself, maybe he did do it.
• 1:09:15
  Yeah. Cause I'm still on the fence.
• 1:09:16
  You know me. Yeah.
• 1:09:17
  I love the fence, sitting on it. Thicker the better.
• 1:09:20
  It helps. Yeah.
• 1:09:22
  Wooden. Fence because that comfort level
• 1:09:23
  where it needs to. Be rubber fence, Yeah, best but.
• 1:09:26
  Yeah, she's in the apartment now, and they call the cops.
• 1:09:30
  They show up very fast. I was impressed by this.
• 1:09:32
  Yeah, I'm gonna ignore that. And this is my favorite shot of
• 1:09:35
  the movie I've been. Waiting for you to say that.
• 1:09:37
  The cameras close on her fingers getting interrogated by the cops
• 1:09:40
  after being sort of assaulted by Thorwald, and she makes a motion
• 1:09:45
  with her finger to show that she has the ring.
• 1:09:48
  And then corner of that frame we have Thorwald notice it.
• 1:09:53
  Yeah. And then look straight into
• 1:09:54
  camera. And that means straight into us
• 1:09:57
  because we've been watching. We are Jimmy Stewart, we are the
• 1:10:00
  audience. We've been invited from the
• 1:10:01
  beginning. The blinds go up.
• 1:10:03
  We've been a tacit participant in this entire experience.
• 1:10:07
  The camera is our POV as much as it is his.
• 1:10:10
  So when he is just staring daggers into us, if you don't
• 1:10:14
  agree with the movie, that scene and the way it culminates to
• 1:10:19
  that point, it's perfection and the face is great.
• 1:10:22
  Camera work in general, every time there's like a close up
• 1:10:25
  like Doyle has one. Hmm, I loved it.
• 1:10:28
  Lisa has one loved it. Stella might have one as well,
• 1:10:31
  but it just a zoom in on the face.
• 1:10:32
  I thought those were all really well done.
• 1:10:35
  This is like taking the cake. And it's you, as always when
• 1:10:39
  upping me. Couple weeks ago, we have Mick
• 1:10:42
  Dundee and your favorite actress, Kolowski.
• 1:10:45
  Her sounds Polowski. Yeah, and terrible.
• 1:10:50
  She's caught looking at him and he's looking right at her.
• 1:10:52
  Right? Yeah, that's great scene, but
• 1:10:54
  here we go. Much better.
• 1:10:55
  You had to bring out Hitchcock to beat me this time at least.
• 1:10:57
  But it's a little unnerving. I'm like, oh, shit, this is a
• 1:11:00
  problem. We've seen him back up into this
• 1:11:02
  shadows, which you have to tell me that.
• 1:11:05
  But otherwise, come on. You're just out there camera
• 1:11:08
  lighting. And what you actually see in
• 1:11:10
  real life is different. You have to have light for us to
• 1:11:12
  see. An audience exactly but in
• 1:11:13
  reality it's probably darker in the room exactly that's why
• 1:11:17
  there's always that blue hue the day for night when the turn off
• 1:11:20
  the light and you're like it's still bright like who are you
• 1:11:23
  kidding? I love the hue.
• 1:11:24
  This is all culminating now Thorwald is onto Jeffrey
• 1:11:28
  Stella's gone to bail. Yes Lisa out so. 250.
• 1:11:32
  Bucks, That's right. Jeffries is in danger.
• 1:11:34
  Seemingly wondering just to acknowledge and confirm, Make
• 1:11:37
  sure he's there. I had that time once.
• 1:11:39
  It was. Oh, yeah.
• 1:11:40
  Oh, yeah. Someone I was very much trying
• 1:11:43
  to. Boyd calls the house.
• 1:11:44
  Is this Phil? Yeah.
• 1:11:46
  Click. Well, I can one up you on that
• 1:11:49
  one. Tell me.
• 1:11:50
  Speaking of the lobby channel, uh huh.
• 1:11:52
  I one night came home drunk. This guy I don't know is
• 1:11:57
  outside, needs to get in. I said, oh, you can come up and
• 1:12:00
  hang out with me. Just trying to be nice, trying
• 1:12:02
  to be other people, trying to give the benefit of the doubt.
• 1:12:05
  Hung out, he had some weed, whatever.
• 1:12:07
  And then you gotta go, right? And then he would come back in
• 1:12:13
  the lobby and I had it on that Channel.
• 1:12:15
  He pissed all over the lobby. Ohe my God.
• 1:12:19
  Thing like the console if you will.
• 1:12:22
  I'm like Oh my God he's trying to buzz in to my apartment.
• 1:12:26
  He knows my buzzer. He must have thought like when I
• 1:12:28
  punched it in at some point he got in.
• 1:12:31
  Oh no, if I had not locked my door, he would have walked in.
• 1:12:36
  He's pushing the door. He's literally trying to get
• 1:12:39
  into my. Apartment you're in the.
• 1:12:40
  House. I'm in the house.
• 1:12:41
  I'm in the bed with my three wood.
• 1:12:43
  Wow. Might be my driver.
• 1:12:45
  You ready? This could get ugly.
• 1:12:46
  Yeah. And eventually I knew the type
• 1:12:48
  of person he was. So eventually I knew he just
• 1:12:50
  give up and never come back. But that's what's scariest
• 1:12:52
  moments I've had living in an apartment.
• 1:12:54
  Building. Wow.
• 1:12:55
  Yeah, I had one where hands I was it was 3:00 in the morning.
• 1:12:58
  I was at my computer and there was a window above my bed and it
• 1:13:02
  was like ground level. Hmm.
• 1:13:04
  So I have my computer desk bed next to me and then the window.
• 1:13:07
  And as I'm typing away on my computer at 3:00 AM, oh, hands
• 1:13:12
  come through the block. My God.
• 1:13:14
  And that was fucking terrifying. Is this before?
• 1:13:17
  After you were robbed? That was after.
• 1:13:18
  Oh, that's even. Worse, a new apartment because I
• 1:13:20
  moved from the one I got robbed at 3 three times.
• 1:13:23
  But yeah, so it was terrifying to me.
• 1:13:26
  Sure. Yeah.
• 1:13:27
  And there's no screens in Vancouver because there's no
• 1:13:29
  bugs. Gotcha.
• 1:13:30
  It was a breezy summer evening and it scared the shit.
• 1:13:33
  Who was it? No idea, I basically just said
• 1:13:35
  like hello or something and pulled his hands back.
• 1:13:38
  So anyway, that was probably the scariest department moment of my
• 1:13:41
  life. You did it again to me.
• 1:13:43
  You did it again. That's more scary, I think, than
• 1:13:45
  mine because my door was locked. I was on the 12th floor.
• 1:13:49
  So if you can't get in that front door, that's it.
• 1:13:51
  We're scarier than this movie, I would say.
• 1:13:53
  Yeah, obviously this last moment of tension and fear is probably
• 1:13:58
  works the least for me. I was going to ask you about
• 1:14:01
  that because I thought again, maybe because I didn't really
• 1:14:04
  reach the level that you clearly had with the connection to the
• 1:14:07
  movie overall, love the dialogue.
• 1:14:09
  It's written well. I get the curiosity, but the
• 1:14:11
  tension all along, I know it's going to happen.
• 1:14:13
  It'll come to me. I'm not going to it.
• 1:14:15
  So I was wondering at this part because I didn't think it quite
• 1:14:19
  delivered. But yeah, I mean, it's, it is a
• 1:14:21
  lighter film obviously than some of the other stuff, but I like
• 1:14:24
  the setup. I like the lights underneath the
• 1:14:28
  door seeing the sort of the I did like that.
• 1:14:32
  Is an element of suspense. That was unnerving.
• 1:14:34
  Yeah. Yeah.
• 1:14:35
  And you can feel like the walls closing in.
• 1:14:37
  He's got the ticking time of like the cops better get here
• 1:14:39
  because I'm helpless. They're pretty quick.
• 1:14:41
  Though, totally, but he's helpless.
• 1:14:43
  This is like why murders and such in bathrooms are such a
• 1:14:47
  thing. Could you imagine the most
• 1:14:49
  vulnerable place in your life is?
• 1:14:51
  You're like pants at your ankles on the shitter and someone wants
• 1:14:54
  to do something. And you have nothing but a
• 1:14:55
  toilet. Brush, yeah.
• 1:14:56
  And maybe you're in the middle, like there's a lot of happening,
• 1:14:59
  lot of variables. And so this instance of he's in
• 1:15:02
  a wheelchair, in a wheelchair, no one's around, no one's
• 1:15:04
  coming. So those elements are felt were
• 1:15:06
  very well presented. They just have one line of
• 1:15:09
  defence. The bulbs, yes, which I actually
• 1:15:13
  like conceptually, I think that that's fun.
• 1:15:15
  Yeah, but how it is illustrated? Yeah, it's just too much.
• 1:15:20
  It's probably not much they can do with that.
• 1:15:22
  No, I mean ultimately technology wise, correct.
• 1:15:25
  For me, it's more about how Thorwald, it's always the same
• 1:15:29
  thing. It would be different if it was
• 1:15:31
  escalating or there would be more urgency, but he's wobbling
• 1:15:35
  one step forward and then stop. The same motion of eyes.
• 1:15:39
  Yeah, move, one step, stop, gets exactly the same beat 4 times.
• 1:15:45
  And that's probably 50s thing versus maybe 2000.
• 1:15:48
  Thinking they could have talked it out.
• 1:15:50
  Sure. Like what do you know and what
• 1:15:52
  do you think? I did ask him, do you really
• 1:15:54
  know what I did? Because I miss point.
• 1:15:55
  I still don't know he did it. He might have something but
• 1:15:59
  maybe not murder his wife so I thought maybe he would like try
• 1:16:02
  to hash it out. Yeah, yeah, Like man, but it
• 1:16:07
  leads to a scuffle. Yeah.
• 1:16:09
  And Jeffries falls out the window.
• 1:16:11
  Yes, just at the time that he's caught.
• 1:16:14
  Caught. Mostly, yeah.
• 1:16:15
  Didn't fully takes, but we basically.
• 1:16:17
  Resolved the film at this point this has been bailed out and so
• 1:16:20
  forth. Doyle helped him.
• 1:16:21
  Sure, and we get just a great moment of reset.
• 1:16:25
  The guy that is desperate to get out and do all the things just
• 1:16:30
  live this adventure almost. But he has another broken leg.
• 1:16:35
  Extended his time. Yeah, but the the temperatures
• 1:16:38
  broken because they basically have a repeat of the same shot
• 1:16:40
  of the beginning. So they have.
• 1:16:41
  The temperature is now 40° instead of 80°.
• 1:16:46
  It's a little cool. That's much cool.
• 1:16:47
  Fever is broken and so forth. Much cooler, Phil.
• 1:16:50
  And sure about those numbers. No, but it's not 80° at the very
• 1:16:53
  least. And he's reading a book, Ohio
• 1:16:56
  Adventures or whatever, and then she is revealed to be reading
• 1:16:59
  also an adventure book, Himalayas, I believe.
• 1:17:02
  Yeah, yeah. Survive in the.
• 1:17:03
  Himalayas. But he nods off again.
• 1:17:05
  She acknowledges in her beautiful dress.
• 1:17:07
  Yeah. Goes over and get Harper's
• 1:17:09
  Bazaar and starts leafing through another fashion
• 1:17:12
  magazine. Yeah, all is right with the
• 1:17:14
  world. I fucking love this movie.
• 1:17:16
  I had the impression you liked it, love it.
• 1:17:19
  I'm not sure at what level. I do want to comment quickly
• 1:17:22
  just before you get into your final thoughts, I want to ask
• 1:17:25
  you because at the end of the movie, 2 things I want to bring
• 1:17:27
  up. OK, if I may.
• 1:17:29
  Please, that's what you're paid. For did they Fast forward people
• 1:17:33
  as if the tape was being fast forwarded?
• 1:17:35
  Did you notice that? I didn't know, but it happens on
• 1:17:37
  some occasions. I figured it was just a case of
• 1:17:40
  the 50s. Sometimes to speed up the scene
• 1:17:43
  so it's too long to get from A to B and they need to trim,
• 1:17:46
  they'll speed the frame rate up. Everybody getting.
• 1:17:49
  Were to save them, yeah. But the main issue I had with it
• 1:17:51
  wasn't like thematically, it was conceptually.
• 1:17:55
  Is that right? Conceptually, I was close.
• 1:17:57
  Yeah. Was Lars.
• 1:17:59
  Hmm. He flipped on a dime.
• 1:18:01
  Oh yeah, they had everything. In 2 seconds, here's the map to
• 1:18:04
  where all the body parts are. You got me.
• 1:18:07
  So I thought that wrapped up way too quickly in that sense.
• 1:18:11
  But it doesn't really matter, I suppose.
• 1:18:13
  But you know me. I'm a stickler for particulars.
• 1:18:16
  Yeah, you know, sell it to me all the way right to the end.
• 1:18:19
  Let's not look at Law and Order episode.
• 1:18:21
  We're not going to the courthouse for the prosecution
• 1:18:23
  of Thorwald. What I do like, before we move
• 1:18:26
  on too much, is that they do a very good job of finishing
• 1:18:30
  everybody's story. Miss Torso's husband comes, so
• 1:18:33
  it turns out he was in the Army. Rick.
• 1:18:34
  Moranis definitely looks like. Charles Martin Smith, Miss
• 1:18:38
  Lonely Heart, hooked up with the annual Guy musician.
• 1:18:41
  Yeah, which I thought was kind of fun.
• 1:18:43
  I don't know if it'll. Last, but that doesn't matter,
• 1:18:46
  there's a new dog. None of this stuff really
• 1:18:48
  matters to the plot, but it all matters to the movie we've just
• 1:18:52
  watched. It annoys me when a dog dies and
• 1:18:54
  the family replaces it too soon. Hmm, you gotta mourn.
• 1:18:57
  Yeah, it bothers me when they get replaced too.
• 1:19:00
  Well, eventually it's fine, but I just find sometimes it's just
• 1:19:05
  too soon. That's all your time, guy.
• 1:19:07
  But it happens in real life. That's the problem I have in the
• 1:19:10
  movie. I don't care.
• 1:19:11
  OK, yeah, I'm at this point. Come on, large flip like that
• 1:19:15
  bullshit. But I mean, are you the one that
• 1:19:17
  judges too soon? It's not my place.
• 1:19:19
  I mean if if someone wants to, that void is emptied.
• 1:19:22
  Sure. I'm just judging.
• 1:19:23
  Yeah, that's all I'm doing. OK.
• 1:19:24
  Yeah, I'm not being a productive member of society or anything
• 1:19:27
  like that. It's a simple observation.
• 1:19:29
  Sure. I work with a guy and his dog
• 1:19:31
  died. It was like the most devastating
• 1:19:32
  thing. And then like 6 weeks later he
• 1:19:33
  had another one and it's like the most important thing again.
• 1:19:36
  So it's maybe less the dog and more of the the feeling that you
• 1:19:40
  get from the dog. And it's like, well, why do I
• 1:19:41
  need to mourn that for six years or five years or two months?
• 1:19:44
  It's healthy. Like get ex-girlfriend right?
• 1:19:46
  Like do you want a new one right away or do you wanna wait?
• 1:19:48
  Why wait? I'm just kidding.
• 1:19:50
  Go out there and married 2 weeks later after your divorce, right?
• 1:19:54
  But Phil, expand on your final thoughts for me.
• 1:19:56
  You liked the Sorry. You love the movie?
• 1:19:58
  Love it. I don't think it's perfect, but
• 1:20:00
  I'm so glad that we were able to do a Hitchcock because the guy
• 1:20:03
  is just so talented. Also, the fact that it's a Jimmy
• 1:20:06
  Stewart movie. We got a relationship with him,
• 1:20:09
  at least I do. I've seen a number of his films.
• 1:20:11
  It's just the right amount of fun and light.
• 1:20:15
  It's got a great jazz score, and it's also dark and I thought not
• 1:20:21
  prescient, but the commentary it has on our inability to be
• 1:20:27
  present or like to be thinking about our lives in certain ways
• 1:20:30
  and being more preoccupied with others.
• 1:20:32
  I mean, that's social media that is scrolling.
• 1:20:34
  Yeah. Identifying other people and
• 1:20:36
  living vicariously. So yeah, these elements, I think
• 1:20:39
  are all key to where we are now in ways that it's not predictive
• 1:20:45
  of, but it is acknowledging in a weird way that it is sort of
• 1:20:49
  symmetrical that way. She's so good and luminous.
• 1:20:53
  Who? Grace Kelly.
• 1:20:54
  They're talking about Stella. Stella too.
• 1:20:56
  I like all that relationship stuff was great.
• 1:20:58
  I just thought this is a fantastic way to spend some time
• 1:21:01
  without taking too much brain power.
• 1:21:03
  It's not like a mystery. And this guy is probably the bad
• 1:21:06
  guy. I thought really, really clever
• 1:21:07
  stuff. And I've had it in a number of
• 1:21:09
  different iterations over the years. 4K, of course, most
• 1:21:12
  recently. It's a gem I love.
• 1:21:14
  It I watched it in 4K buddy, you're welcome.
• 1:21:16
  I just have to give it the best chance possible of course,
• 1:21:18
  because I mean, it's your pick, how good could it?
• 1:21:20
  Be exactly so David wrap it up for us where we at?
• 1:21:24
  I'm not going to lie to you. I didn't hit your level.
• 1:21:26
  Of course. I rarely do.
• 1:21:27
  Yeah, I'm envious of that. It's my first Hitchcock movie.
• 1:21:30
  I'm sure he's a very talented person.
• 1:21:33
  He gets a lot of praise. Maybe I'm the guy that is like
• 1:21:37
  the person that does it to Spielberg.
• 1:21:39
  You know what I mean? Like Spielberg, He's like the
• 1:21:42
  GOAT. So I'm not going to like him.
• 1:21:43
  Sure. No, I don't dislike Hitchcock.
• 1:21:45
  Let's be clear about that. This is my first movie exactly.
• 1:21:48
  So I'm open to more Alfred Hitchcock.
• 1:21:50
  I would love to have something to compare movies within the
• 1:21:54
  name. Sure, Director.
• 1:21:56
  I know we've done, you know, five nights, nights, you know.
• 1:22:00
  Yeah. I appreciate his meticulous
• 1:22:03
  Ness. Yeah.
• 1:22:04
  I like his work ethic for film, so there's an appreciation
• 1:22:07
  there. I'm going to say something here,
• 1:22:09
  though, that might come as a big surprise.
• 1:22:11
  I didn't say it all. Movie Jimmy Stewart a little too
• 1:22:14
  whiny for me. Wow.
• 1:22:16
  I know. I've watched him before and It's
• 1:22:18
  A Wonderful Life but he starts to irritate me a little bit.
• 1:22:22
  But with the way he. Talks.
• 1:22:23
  Alright, let's his mannerism. Yeah, just the way he delivers.
• 1:22:27
  What he's saying, but actually how he's.
• 1:22:28
  Saying I love what he's saying because I think this is a great
• 1:22:31
  script, well written, no argument there, but just his
• 1:22:36
  affliction. Is that too much?
• 1:22:39
  I think that's too. Much I don't have a high
• 1:22:41
  threshold for him like Kevin Kline wouldn't really draw me
• 1:22:45
  into the movie. If Brent Spiner was in the
• 1:22:47
  movie. Now we're talking, so not enough
• 1:22:52
  for me to say OK, this movie sucks or anything like that, but
• 1:22:55
  that combined with what I thought was going to be tension,
• 1:22:58
  which wasn't. I was left with strong script,
• 1:23:01
  curious to what happened at the end and that's about it.
• 1:23:05
  So there wasn't a whole lot for me to really sink my teeth into.
• 1:23:08
  This is a clear you and I have different tastes this.
• 1:23:11
  Is clear that you and everybody else in the world has different
• 1:23:15
  takes because this is universally accepted to be one
• 1:23:20
  of the great movies. 100% IMDB's and such.
• 1:23:22
  Sure it's not a bad movie, but there's so many movies I think
• 1:23:25
  are better sure who get sevens and eights sixes like I think
• 1:23:30
  Armageddon is a better movie than.
• 1:23:31
  This. Yeah, yeah.
• 1:23:32
  Right. So I mean, that's a taste thing
• 1:23:35
  for sure, but at the same time, I can't appreciate good
• 1:23:37
  filmmaking. I've come a long way in the six
• 1:23:39
  years 6. But after the first time I
• 1:23:41
  watched it, I was like, Oh my God, when I saw the 100, I'm
• 1:23:44
  like, are you kidding me? And I searched and searched for
• 1:23:47
  someone. To be on your.
• 1:23:49
  Side to be on my side and I found it but I had to scroll
• 1:23:54
  through a lot of 10 out of 10s to get to that one out of 10.
• 1:23:57
  This is BS they would see him. The lights are on.
• 1:24:01
  Why is there no curtains everywhere?
• 1:24:03
  What's happening this? Is did you write this?
• 1:24:04
  Because I did everything you said for an hour.
• 1:24:06
  But the second watch, like, let's put that aside and do
• 1:24:10
  right by Phil. And I can appreciate everything
• 1:24:13
  else this movie he's trying to do.
• 1:24:14
  And I enjoyed the experience. I mean, it wasn't a bad two
• 1:24:16
  hours. It wasn't.
• 1:24:17
  The greatest movie ever seen. Yeah, but if you can deliver a
• 1:24:20
  good script and it's performed well, that's enough for me to
• 1:24:23
  say this is worth my time. And with all these older movies,
• 1:24:27
  the ones that we've watched anyways, I can count on that.
• 1:24:30
  Folks, we're happy you spent your time with us this week.
• 1:24:33
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• 1:24:36
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• 1:24:38
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• 1:24:43
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• 1:24:46
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• 1:24:48
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• 1:24:51
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• 1:24:54
  Let them listen on iTunes even. I was thinking Android, but your
• 1:24:58
  call. Take your pick.
• 1:24:58
  Where you guys goodnight folks tonight?