Latest / Houselights: A Film Director Podcast / Before Sunset (2004) - Richard Linklater | Houselights #222

Transcript

Before Sunset (2004) - Richard Linklater | Houselights #222 · Houselights: A Film Director Podcast

• 0:03
  Speaker 1: Welcome to the ned Palty.
• 0:21
  Speaker 2: Welcome back to house Lights, specifically the House of Link Later,
• 0:25
  Speaker 2: or at least we're building a small addition. Maybe this
• 0:28
  Speaker 2: is a summer house of Link later, or like a
• 0:30
  Speaker 2: guesthouse of Link later out in the backyard. That's what
• 0:33
  Speaker 2: he's in the Cato Calin suite of house lights, and
• 0:36
  Speaker 2: we are house Lights, and we are bringing you this
• 0:39
  Speaker 2: look at two thousand and four's before sunset, not before sunrise,
• 0:44
  Speaker 2: before sunset, a lot of time of day shift here
• 0:47
  Speaker 2: are going on. And I am joined by two wonderful conversationalists,
• 0:53
  Speaker 2: Tristan Riddell and Darren Moser, and me I'm the grumpy
• 0:56
  Speaker 2: man smoking a cigarette behind them in a Parisian cafe,
• 0:59
  Speaker 2: John Mills, and we are delighted to have you along
• 1:01
  Speaker 2: here for what could be considered the Empire strikes Back
• 1:05
  Speaker 2: of Romantic film trilogies. Or is it. I don't know.
• 1:09
  Speaker 2: We'll find out because it's Darren's first time seeing it.
• 1:12
  Speaker 3: Bold words, How you got shn bold words?
• 1:14
  Speaker 2: There you go? There you go. And Tristan and I
• 1:17
  Speaker 2: we have witnessed the journey with before sunset previously. And
• 1:23
  Speaker 2: I'm going to do two things right here before I
• 1:25
  Speaker 2: kick it to Darren, because Darren, since you're the newbie
• 1:29
  Speaker 2: with viewing these films, obviously it's going to get kicked
• 1:32
  Speaker 2: over to you. But the first thing I want to
• 1:34
  Speaker 2: say is that we will minimize as three married men
• 1:38
  Speaker 2: with children, exactly how terrible Ethan Hawk really is for
• 1:43
  Speaker 2: what he does in this film, for Jesse as a character,
• 1:46
  Speaker 2: because you know, look, it's a movie. We're not going
• 1:48
  Speaker 2: to get too deep in the real world stuff. So
• 1:50
  Speaker 2: we'll save that, we'll table it, we'll walk away. We'll
• 1:52
  Speaker 2: all say I don't think any of the three of
• 1:54
  Speaker 2: us would have done the same thing, and leave it
• 1:56
  Speaker 2: at that. So Darren, this is your first time here,
• 1:59
  Speaker 2: and you went into Before Sunrise Cold and you're coming
• 2:03
  Speaker 2: into Before Sunset. You know there's a third movie coming in,
• 2:07
  Speaker 2: so there's a little bit of a spoiler there. This
• 2:10
  Speaker 2: was a bit of a surprise, I guess, and Ethan
• 2:12
  Speaker 2: Hawk's own words, nobody asked them to make this movie.
• 2:14
  Speaker 2: They did it because they wanted to. First impression coming
• 2:19
  Speaker 2: in when the movie starts, not the whole film, but
• 2:22
  Speaker 2: the movie stars first couple of minutes was your sense
• 2:26
  Speaker 2: of good we're coming back, and this feels authentic again
• 2:30
  Speaker 2: or was it? Did it take more time to warm
• 2:33
  Speaker 2: up to you, to get you to come back into
• 2:35
  Speaker 2: the story.
• 2:36
  Speaker 3: Uh, No, it slid right back in, primarily because I mean,
• 2:40
  Speaker 3: this movie's only eighty minutes, so you say the first
• 2:42
  Speaker 3: few minutes, like that's a good chunk of the movie. Anyway,
• 2:44
  Speaker 3: it is a percentage yes, and yeah, pretty much right away.
• 2:49
  Speaker 3: You know, we're setting up the bookstore and the signing,
• 2:51
  Speaker 3: and you can tell he wrote about, you know, the
• 2:54
  Speaker 3: previous movie, which I just watched last week, so I'm
• 2:56
  Speaker 3: all caught up. And then and then he sees her,
• 2:59
  Speaker 3: and that's really the moment of like, oh, she's here,
• 3:02
  Speaker 3: she's in she's she's actually here in front of me.
• 3:05
  Speaker 3: And then we start like a single shot of them
• 3:09
  Speaker 3: walking throughout the rest of the movie. I know they're cuts,
• 3:12
  Speaker 3: but it feels very singular focused from then on. So yeah,
• 3:16
  Speaker 3: I didn't know was this going to be the six
• 3:19
  Speaker 3: months later when they got together? Uh, And it wasn't.
• 3:24
  Speaker 3: It's been real time ish, it's been at least a
• 3:27
  Speaker 3: decade or so. He's got nine years nine years. Yeah,
• 3:30
  Speaker 3: so he has a little kid, and we'll talk about marriage. Yeah,
• 3:34
  Speaker 3: a little later about that. But yeah, it it's interesting
• 3:39
  Speaker 3: where on its surface, I think this was a worthy
• 3:42
  Speaker 3: story to tell, but it also had aspects of checking
• 3:47
  Speaker 3: the boxes, like did we find out who actually went
• 3:50
  Speaker 3: six months later?
• 3:51
  Speaker 2: Yes?
• 3:51
  Speaker 3: We did, check, you know, did we find out, you know,
• 3:54
  Speaker 3: if they actually slept together?
• 3:56
  Speaker 2: Check?
• 3:56
  Speaker 3: You know, like kind of those those questions that bubble
• 4:00
  Speaker 3: up from the end of the first one. We answered
• 4:03
  Speaker 3: all those. So maybe that's what sequels are supposed to do.
• 4:06
  Speaker 3: But we still were left on a little bit of
• 4:08
  Speaker 3: a cliffhanger. So yeah, I didn't know really what to expect.
• 4:13
  Speaker 3: But this was a great helping of this particular story.
• 4:16
  Speaker 3: This is a very interesting concept of diving back in
• 4:19
  Speaker 3: every ten or so years.
• 4:21
  Speaker 2: So were you surprised by the disposition of the characters?
• 4:25
  Speaker 2: Was there was it surprising that Jesse was married? Was
• 4:28
  Speaker 2: it surprising that she didn't show but he did? Were
• 4:31
  Speaker 2: there were there any surprises along the way that you
• 4:35
  Speaker 2: didn't see? Telegraphs in any way, or rather a better
• 4:38
  Speaker 2: way to say it, that that truly took an unexpected
• 4:41
  Speaker 2: turn for you, I mean.
• 4:43
  Speaker 3: Not particularly, it's hard. I mean, do you mean telegraph
• 4:47
  Speaker 3: throughout this movie? Or tell you no, I don't movie
• 4:50
  Speaker 3: Telegraph was bad. That's why I was trying to like
• 4:51
  Speaker 3: walk that back. Was like, were there any story points?
• 4:54
  Speaker 2: Though? Sometimes you watch a movie and it's going along
• 4:56
  Speaker 2: and a character says something or does something and you go, oh,
• 4:58
  Speaker 2: I didn't. I didn't see that. And it seemed a surprise,
• 5:02
  Speaker 2: Like was it a surprise that Jesse actually went back
• 5:06
  Speaker 2: six months later and has sort of been nursing that
• 5:09
  Speaker 2: ache ever since. Was it a surprise that he was married?
• 5:12
  Speaker 2: Was it a surprise that Celine wasn't.
• 5:15
  Speaker 3: I don't think surprise is the right word, because again,
• 5:18
  Speaker 3: there's no there's very little frame of reference for this
• 5:21
  Speaker 3: story except for the one night they've had, so I
• 5:24
  Speaker 3: I kind of have no expectations. The thing that surprised
• 5:28
  Speaker 3: me the most was there.
• 5:30
  Speaker 4: What's the word?
• 5:32
  Speaker 3: They're kind of joking mannerisms of false truths and haha,
• 5:38
  Speaker 3: just kiddings, which very much we saw on the first one,
• 5:41
  Speaker 3: especially with with Ease and Hawk's character. Will He'll be like, oh, yeah,
• 5:44
  Speaker 3: I'm married, Oh just kidding. Oh, but we actually I
• 5:47
  Speaker 3: actually did show up. No, I didn't, And I started
• 5:49
  Speaker 3: it started almost great where I'm like, can we just
• 5:52
  Speaker 3: say what we mean instead of because I'm pretty sure
• 5:55
  Speaker 3: every time you talk you are speaking the truth. But
• 5:58
  Speaker 3: I'm starting to wonder because they're popping in more and
• 6:01
  Speaker 3: more as this story is unfolding. So yeah, it you know,
• 6:06
  Speaker 3: like even for her, she was like, oh, yeah, I
• 6:08
  Speaker 3: totally remember us having sex, even though for a chunk
• 6:11
  Speaker 3: of the movie She's like, no, we didn't, and I'm
• 6:13
  Speaker 3: like okay. So it felt like that was a through
• 6:17
  Speaker 3: thread from the first movie of this way they communicate
• 6:21
  Speaker 3: with kind of jokes and yeah, I'm I'm just kidding
• 6:25
  Speaker 3: in backtracks, which was an interesting thing to bring through, Like,
• 6:29
  Speaker 3: I wasn't expecting that, so that was kind of the
• 6:31
  Speaker 3: only surprise I got Atrician. That's an interesting thread to
• 6:34
  Speaker 3: pull on there is do you think that the casual
• 6:37
  Speaker 3: dishonesty that the characters have with each other at certain moments,
• 6:41
  Speaker 3: do you think that that adds any layer of realism
• 6:44
  Speaker 3: to two people who are trying to figure out each
• 6:48
  Speaker 3: other again after I mean, they were only together for
• 6:50
  Speaker 3: one night and they spend roughly an hour and a
• 6:52
  Speaker 3: half together here. Do you think that casual dishonesty is
• 6:56
  Speaker 3: more authentic because they're being more defensive, or do you
• 6:59
  Speaker 3: think that it's you know, is it just something we're
• 7:02
  Speaker 3: used to people stating their feelings more plainly in film.
• 7:07
  Speaker 4: It's like that makes me angry, right, No, I totally
• 7:11
  Speaker 4: get what Darren is saying. And Darren, I think if
• 7:15
  Speaker 4: I saw this for the first time after watching the
• 7:18
  Speaker 4: first one for the first time, I would probably feel
• 7:21
  Speaker 4: more like you do now, because I think you have
• 7:23
  Speaker 4: a solid point. But for me, I think like, if
• 7:26
  Speaker 4: you look at the first one, if you look at Sunrise,
• 7:28
  Speaker 4: they spent all night together walking around, having several different
• 7:32
  Speaker 4: kinds of conversations. They got to know each other over
• 7:34
  Speaker 4: the course of what you know, like twelve hours something
• 7:36
  Speaker 4: like that, and with this one, it's just ninety minutes,
• 7:39
  Speaker 4: and it's after nine years of an adult's lifetime is
• 7:43
  Speaker 4: a very long time. And so to me, I think
• 7:47
  Speaker 4: it's the like Sunrise was an experiment for both of them,
• 7:52
  Speaker 4: Like they both went into it with complete honesty, Like
• 7:55
  Speaker 4: you could tell that they were having that moment where like,
• 8:00
  Speaker 4: I have a real connection with this person, and so
• 8:02
  Speaker 4: why would I bs my way through a conversation just
• 8:05
  Speaker 4: trying to get him into bed or like putting on
• 8:08
  Speaker 4: like a persona just to like show how cool you are.
• 8:11
  Speaker 4: Like this one was just the first one was brute
• 8:14
  Speaker 4: and honesty, and this one there was there's much more trepidation.
• 8:18
  Speaker 4: There was much more like where are we? What is this?
• 8:21
  Speaker 4: Who are we to each other? Are we in love?
• 8:24
  Speaker 4: Were we ever in love? Like we got a lot
• 8:27
  Speaker 4: of baggage coming into this, and so I feel like
• 8:30
  Speaker 4: we get a peek into Jesse's defense mechanism where he
• 8:34
  Speaker 4: wants to be that brutally honest person that he was
• 8:38
  Speaker 4: in the nineties in Vienna, you know, so much so
• 8:41
  Speaker 4: that he wrote about it, and he's worried, Like he's like, oh, man,
• 8:45
  Speaker 4: I wrote a book about this, and now I'm with you,
• 8:48
  Speaker 4: and you know, I wrote a book about it, and
• 8:49
  Speaker 4: I wrote a book about it so that you read
• 8:51
  Speaker 4: it and maybe reach out to me, and so you know,
• 8:53
  Speaker 4: I'm taking this very seriously. But he has no idea
• 8:57
  Speaker 4: if she's taking it as seriously as he is. And
• 9:00
  Speaker 4: so I feel like that, like, oh, yeah, no, totally,
• 9:03
  Speaker 4: I'm married. Haha. I'm just kidding. It's fine, you know,
• 9:06
  Speaker 4: Like it's I think it's it's a much older Jesse,
• 9:09
  Speaker 4: but I don't think it's necessarily a more mature Jesse.
• 9:12
  Speaker 4: And I think he's trying to figure things out with
• 9:15
  Speaker 4: with Selene. That's how I took it.
• 9:18
  Speaker 2: Yeah, I mean that that's I think a question that
• 9:21
  Speaker 2: I think is there throughout the film, is this idea
• 9:26
  Speaker 2: that they I'll throw this out on the floor. I
• 9:30
  Speaker 2: take a lot of this, and just from my first viewing,
• 9:32
  Speaker 2: this viewing other viewings that in a sense, their experiment
• 9:37
  Speaker 2: in Before Sunrise kind of ruined them for the next
• 9:42
  Speaker 2: stage of their life because it left them with and
• 9:45
  Speaker 2: the fact that they never got together again in that
• 9:48
  Speaker 2: time period. They didn't meet that six months later. That's
• 9:51
  Speaker 2: what ruined them, because they never had a reason not to,
• 9:57
  Speaker 2: like unresolved love, idealize, fedish and romanticize what had happened
• 10:03
  Speaker 2: that night. They are left to stew on it. And
• 10:06
  Speaker 2: I think that's a very honest sort of thing to
• 10:10
  Speaker 2: look at, how human beings can take a moment in
• 10:13
  Speaker 2: time and idealize it and make it so much in
• 10:18
  Speaker 2: their mind like it's a very special night, it's a
• 10:20
  Speaker 2: great night. But they obviously both never really moved on
• 10:24
  Speaker 2: from it, and I think that is what makes a
• 10:27
  Speaker 2: lot of it very interesting because you see this, I
• 10:33
  Speaker 2: think with Jesse, what's interesting about his character in this film,
• 10:36
  Speaker 2: is you see that he became the cynic he never
• 10:40
  Speaker 2: wanted to be. Why did I get married? Well, she
• 10:42
  Speaker 2: got pregnant, so I'm supposed to get married and I didn't.
• 10:45
  Speaker 2: You know, This isn't what he wanted his life to be.
• 10:48
  Speaker 2: And so he's having his midlife crisis basically, and the
• 10:52
  Speaker 2: book is an attempt to exercise that demon while at
• 10:55
  Speaker 2: the same time tempting fate to take him back there
• 10:58
  Speaker 2: again sort of thing. And I mean, Darren, just to
• 11:02
  Speaker 2: go with that, do you think that there is something
• 11:05
  Speaker 2: true about the human condition, about the the predilection that
• 11:09
  Speaker 2: people have for romanticizing the past, like glossing over it
• 11:13
  Speaker 2: and looking at it. Do you think that that is
• 11:15
  Speaker 2: the core truth of this movie or do you think
• 11:17
  Speaker 2: that it's getting in another message?
• 11:19
  Speaker 3: No, I can see that. I think. Yeah, for these
• 11:22
  Speaker 3: two characters, them not meeting six months later totally mess
• 11:26
  Speaker 3: them up. But it's an interesting thing with this story
• 11:31
  Speaker 3: because yeah, like you said, they're slowly revealing to each
• 11:35
  Speaker 3: other over these eighty minutes. They're very guarded as they're
• 11:39
  Speaker 3: releasing little bits of information like Oh, I am married,
• 11:42
  Speaker 3: Oh I have a kid, Oh but we're not happy. Oh,
• 11:44
  Speaker 3: but I'm married too, but he's always away and they're
• 11:49
  Speaker 3: only really real with each other at the very end.
• 11:54
  Speaker 3: I would almost rather I know this changes the whole story,
• 11:58
  Speaker 3: but I which Almos rather have had it been they
• 12:02
  Speaker 3: have this super spark of a moment when they first
• 12:05
  Speaker 3: see each other, and we get more of that total honesty.
• 12:09
  Speaker 3: It's almost like they're so if. In the very beginning
• 12:12
  Speaker 3: they're both like, hey, what if we just changed our
• 12:16
  Speaker 3: lives to be together? And then the rest of the
• 12:18
  Speaker 3: movie is about why would or wouldn't that work? As
• 12:21
  Speaker 3: the other dominoes fall into place as they're picking up
• 12:24
  Speaker 3: the rest of their life of how you can't just
• 12:28
  Speaker 3: unspool a life that you've already lived. But instead we
• 12:32
  Speaker 3: get that moment and I'm not saying it's wrong. We
• 12:35
  Speaker 3: just get that moment at the end of this segment
• 12:38
  Speaker 3: as we're slowly building of like, well, what's going to
• 12:40
  Speaker 3: happen now? And obviously we'll find that out in a decade,
• 12:44
  Speaker 3: But I know that completely changes the premise of this movie,
• 12:47
  Speaker 3: but it's an interesting thought of I want to see
• 12:50
  Speaker 3: that conversation. I want to see them being like, well,
• 12:53
  Speaker 3: we could get a place together, but I want to
• 12:55
  Speaker 3: see my son. Oh, and there's so many good stories
• 12:58
  Speaker 3: that are told with I want to do this, but this,
• 13:02
  Speaker 3: and then we could do this, but that, Like that
• 13:04
  Speaker 3: ebb and flow of narrative structure. I want to see
• 13:08
  Speaker 3: these two characters kind of battle it out in their
• 13:12
  Speaker 3: minds of trying to make this relationship work.
• 13:15
  Speaker 2: But that's obviously not what we get.
• 13:17
  Speaker 3: We get that that is the conversation that could happen
• 13:20
  Speaker 3: after the credits roll, but instead it's you know, the
• 13:23
  Speaker 3: guarded tidbits of life. And then there's some parts of
• 13:27
  Speaker 3: it that starts to stew of feeling like a movie
• 13:32
  Speaker 3: as so far as like, yeah, we aren't liking Jesse.
• 13:36
  Speaker 3: Jesse's kind of you know, why is he kind of
• 13:39
  Speaker 3: going down this road and he's like a married person
• 13:42
  Speaker 3: with a kid, And then they throw in that line
• 13:44
  Speaker 3: of oh, but we're not happy and I don't really
• 13:47
  Speaker 3: love her like I should love her, and it totally
• 13:50
  Speaker 3: feels like, oh, we put this in here so that
• 13:53
  Speaker 3: you emotionally as a viewer have a little bit of
• 13:56
  Speaker 3: an out to kind of like Jesse again, Oh but
• 13:58
  Speaker 3: they're not happy. So everything he's contemplating and doing right
• 14:03
  Speaker 3: now is a different lens.
• 14:06
  Speaker 2: I know we're you know, no, I think no, no,
• 14:08
  Speaker 2: I think that's very fair. Tristy, you go ahead, Well,
• 14:12
  Speaker 2: I think that is absolutely fair. I think that it's
• 14:14
  Speaker 2: one hundred percent what they were doing. Yeah, but at
• 14:17
  Speaker 2: the same at the same token, you know, a person
• 14:22
  Speaker 2: who is happy in his marriage, someone who is very
• 14:26
  Speaker 2: much in love and loves his spouse and has a
• 14:29
  Speaker 2: happy life with a happy child and a happy home
• 14:33
  Speaker 2: and a happy fence, all those kind of things wouldn't
• 14:36
  Speaker 2: be having this kind of conversation with another woman anyway,
• 14:41
  Speaker 2: regardless of how great a past event was. Like say that,
• 14:46
  Speaker 2: say that I all of a sudden like, no, but
• 14:49
  Speaker 2: I don't. I don't have a Selene in my life, you.
• 14:51
  Speaker 4: Know, like so like I so like if I ran
• 14:54
  Speaker 4: into like I don't know someone who had an amazing
• 14:56
  Speaker 4: day with or an amazing date with someone that was
• 14:58
  Speaker 4: just like really passionate we were going to meet together
• 15:00
  Speaker 4: and everything like that, Like say, but I was happily married,
• 15:03
  Speaker 4: you know, I wouldn't be. There wouldn't be any tension there,
• 15:07
  Speaker 4: we wouldn't have a drama. It would be like, oh,
• 15:10
  Speaker 4: it's nice to meet you. I'm glad, we're reconnecting. You know,
• 15:13
  Speaker 4: it would be boring, It would be boring. But to
• 15:15
  Speaker 4: have the character of Jesse be in a crap marriage
• 15:18
  Speaker 4: and have him repeat the mistakes of his own parents
• 15:22
  Speaker 4: of getting pregnant, having to get married, feeling like you
• 15:25
  Speaker 4: have to get married, and then you know, like flirting
• 15:28
  Speaker 4: with divorce and everything like that, Like that allows this
• 15:32
  Speaker 4: movie to happen. That allows this conversation to happen.
• 15:34
  Speaker 2: It does they do to be fair, it's not just
• 15:37
  Speaker 2: a one line. He talks about the fact that they've
• 15:39
  Speaker 2: been to marriage counseling, he's tried to do all of
• 15:41
  Speaker 2: these things. But we are only getting Jesse's perspective in
• 15:46
  Speaker 2: that moment, which there's there's all of those sorts of
• 15:49
  Speaker 2: layers that go along with it. I think that it's
• 15:52
  Speaker 2: it's an interesting lens on a When I was saying
• 15:55
  Speaker 2: this earlier, it's an interesting lens on a midlife crisis
• 15:58
  Speaker 2: sort of guy who is realizing that life is about
• 16:02
  Speaker 2: obligation and commitments that you've made sometimes and everybody can
• 16:08
  Speaker 2: agree on that sort of thing, like they're you know,
• 16:11
  Speaker 2: I don't you know, do you want to work forty
• 16:14
  Speaker 2: two eighty hours a week? No, I do not however,
• 16:16
  Speaker 2: I must and those sorts of things. That's just part
• 16:19
  Speaker 2: of life. I mean, if anything, Jesse's in the catbird
• 16:22
  Speaker 2: seat because he's an author who's traveling the globe promoting
• 16:25
  Speaker 2: a book that's a best seller in the United States.
• 16:27
  Speaker 2: It's kind of like it'd be very easy for somebody
• 16:29
  Speaker 2: to look at that and be like, bro, what do
• 16:30
  Speaker 2: you what do you complain about your Your life's okay
• 16:33
  Speaker 2: compared to the average person in the world. You know,
• 16:35
  Speaker 2: it's not so bad, but people will see and I
• 16:37
  Speaker 2: think he acknowledges this at one point. But like my
• 16:41
  Speaker 2: big question then is Darren, at what point during all
• 16:47
  Speaker 2: of their conversation do you first pick up that Jesse
• 16:52
  Speaker 2: is realizing that he's still in love with Selene because
• 16:55
  Speaker 2: he is defensive at first. At what point do you
• 16:57
  Speaker 2: see Jesse crack And it's not necessarily that he says
• 17:01
  Speaker 2: anything to her, it's that he is there something that
• 17:06
  Speaker 2: in Hawk's mannerisms or in a look that he gives
• 17:09
  Speaker 2: that says to you, oh, he's figuring out he is
• 17:12
  Speaker 2: still in love with her.
• 17:14
  Speaker 3: Yeah, I would say when he takes her phone to
• 17:18
  Speaker 3: call at the driver, because by that point he is
• 17:22
  Speaker 3: then starting to elongate the time together. And this movie
• 17:26
  Speaker 3: does it really great where it's like and then I'm
• 17:28
  Speaker 3: gonna oh, and then we'll take a cab and then
• 17:30
  Speaker 3: I'll walk you to your door, and then we'll have
• 17:32
  Speaker 3: some tea. And it's like you could tell he's you know,
• 17:34
  Speaker 3: he has no intent. By the end, you're like, oh,
• 17:36
  Speaker 3: he has no intention of catching that plane, like he
• 17:38
  Speaker 3: wants to continue this time together. So I in my
• 17:42
  Speaker 3: head canon, he sent himself a text from her phone
• 17:46
  Speaker 3: as soon as he was given her phone because he
• 17:48
  Speaker 3: was never going to lose the ability to contact her again.
• 17:52
  Speaker 3: We don't show that, and we don't see that. It's
• 17:54
  Speaker 3: not elluded at all. But I'm like, I was in
• 17:57
  Speaker 3: this weird situation, like I would not risk that at all.
• 18:02
  Speaker 2: But so that's my moment.
• 18:03
  Speaker 3: I would say, but I do want to give credit
• 18:06
  Speaker 3: to the story. This is a good story being told.
• 18:10
  Speaker 3: If the story had been oh, yeah, neither of us
• 18:13
  Speaker 3: are married and we don't have kids, and we both
• 18:15
  Speaker 3: have jobs that let us travel and we actually live
• 18:17
  Speaker 3: in the same country, and oh I just happened to
• 18:19
  Speaker 3: not run into you.
• 18:20
  Speaker 2: That's boring.
• 18:21
  Speaker 3: That's then it's basically the December meetup just nine years later,
• 18:27
  Speaker 3: but instead having life, having lived and roots put down,
• 18:33
  Speaker 3: and you notice these kind of few moments that they
• 18:36
  Speaker 3: could have maybe by chance, have had seen each other.
• 18:39
  Speaker 3: But yeah, it's a very interesting tale. But yeah, so
• 18:43
  Speaker 3: I that's my hit canon. All to say is that
• 18:46
  Speaker 3: as he starts to elongate their time together and starts
• 18:51
  Speaker 3: to consider his next steps, especially.
• 18:53
  Speaker 2: With the phone, Tristan, where do you see it?
• 18:58
  Speaker 4: Well, actually, one thing I do want to talk about,
• 19:00
  Speaker 4: if I if I could shift gears just a little.
• 19:02
  Speaker 2: Bit, sure is Darren? Are we gonna let the shift?
• 19:05
  Speaker 2: Gears said?
• 19:05
  Speaker 3: Okay, totally shiftift heres mid sentence all the time. What
• 19:09
  Speaker 3: you're talk about? That?
• 19:10
  Speaker 2: All right? Well we'll both.
• 19:10
  Speaker 4: I think it is fine because we you know, we're
• 19:12
  Speaker 4: ragging on Jesse a lot, which is fine. He deserves
• 19:15
  Speaker 4: to be ragged on. There was one moment in particular
• 19:17
  Speaker 4: where they're running around and then he sits down on
• 19:21
  Speaker 4: a bench and then like grabs her and then makes
• 19:24
  Speaker 4: her sit on his lap, and I'm like, how old
• 19:27
  Speaker 4: are you? Like when I was when I was watching,
• 19:30
  Speaker 4: like watching that in two thousand and three, I was
• 19:32
  Speaker 4: in high school and I was like, I don't even
• 19:34
  Speaker 4: know if I could get away with that, like as
• 19:36
  Speaker 4: a high schooler as it was like seventeen or eighteen.
• 19:39
  Speaker 4: But it's just I think it just gave a peek
• 19:41
  Speaker 4: into them, like a portion of the immaturity of Jesse.
• 19:44
  Speaker 4: But at the same token, I think if you look
• 19:46
  Speaker 4: at Selene, you know, like there there are times when
• 19:51
  Speaker 4: she's not the same person either that she was in Vienna.
• 19:55
  Speaker 4: You know, like she she's lived life too, like she's
• 19:58
  Speaker 4: she's gone in you know, when she was talking about
• 20:00
  Speaker 4: trying to get pencils, or when she was talking about
• 20:02
  Speaker 4: the cop you know, saying that she needed to buy
• 20:04
  Speaker 4: a gun, which was a true story by the way,
• 20:06
  Speaker 4: that actually happened to Julie Delpy, the whole cop and
• 20:08
  Speaker 4: a gun thing. It just like you can tell that
• 20:10
  Speaker 4: she she gets angrier. She you know, I don't want
• 20:13
  Speaker 4: to say flies off the handle, but like she she
• 20:15
  Speaker 4: gets she gets bigger in her emotions than she did
• 20:17
  Speaker 4: in the nineties. Like in the nineties it was just
• 20:19
  Speaker 4: kind she was just kind of wry and you know,
• 20:21
  Speaker 4: sardonic and things like that. Here, like you can see
• 20:23
  Speaker 4: that she has legitimate frustrations anger that kind of have
• 20:27
  Speaker 4: amplified over the past nine years. And so they both
• 20:30
  Speaker 4: have lived, they both have changed, and so they're both
• 20:33
  Speaker 4: asking each other that question of do I want to
• 20:36
  Speaker 4: be with this person? You know, Selene is asking the question.
• 20:39
  Speaker 4: He's married, he has a kid, so he's off limits.
• 20:42
  Speaker 4: But then as he keeps talking, she's like, does he
• 20:45
  Speaker 4: not think he's off limits to me? You know? And
• 20:48
  Speaker 4: he's questioning his entire life, saying like she's off limits
• 20:51
  Speaker 4: because I'm married. But what if I leave her? You know,
• 20:53
  Speaker 4: what if I leave her, I'll take Henry with me.
• 20:55
  Speaker 4: You know, I'll figure it out. I'll get a good lawyer.
• 20:57
  Speaker 4: You can tell you can see the wheels spinning in
• 20:59
  Speaker 4: his head. But then, like there are certain times when
• 21:01
  Speaker 4: he's just kind of like, you know, like he kind
• 21:04
  Speaker 4: of makes fun of her in the taxi cab talking
• 21:05
  Speaker 4: about how she got crazy. There was some truth in
• 21:08
  Speaker 4: that joke. To him, I'm saying, and from his perspective,
• 21:11
  Speaker 4: I'm not saying that she is crazy. I'm saying that
• 21:13
  Speaker 4: like for a guy to make that joke, it's usually
• 21:15
  Speaker 4: because there's a kernel of truth to it. So John,
• 21:17
  Speaker 4: I wanted to know, Like Darren, you talked about how
• 21:19
  Speaker 4: you would have liked to have seen a movie where
• 21:21
  Speaker 4: they talked about how they would get together. I think
• 21:23
  Speaker 4: we watched that movie personally. I feel like we saw
• 21:26
  Speaker 4: that kind of develop over the course of the entire movie.
• 21:29
  Speaker 4: It just wasn't explicit in my opinion. And John, I
• 21:32
  Speaker 4: want to know from your perspective, do you feel like
• 21:35
  Speaker 4: you got a good look at the inner workings of
• 21:37
  Speaker 4: their minds or was it really just Jesse we got
• 21:40
  Speaker 4: to see frustrated, or like, what.
• 21:42
  Speaker 2: Do you know? No, I'll just jump right in there.
• 21:45
  Speaker 2: I think we did get a good glimpse at their minds.
• 21:48
  Speaker 2: I'll answer a couple of things here where For me,
• 21:51
  Speaker 2: I think Jesse realizes he's still in love with her
• 21:55
  Speaker 2: when they sit down in the cafe and the conversation
• 21:58
  Speaker 2: it's as if they never stopped. They just that's the
• 22:01
  Speaker 2: moment at which the conversation becomes comfortable again. And I
• 22:04
  Speaker 2: think is specifically in that scene. If you look at
• 22:07
  Speaker 2: the way that it is edited, it spends a lot
• 22:10
  Speaker 2: of time focused on Jesse's facial reactions to her talking,
• 22:13
  Speaker 2: and I think that's a conscious choice to show Jesse.
• 22:16
  Speaker 2: We get to see his face soften and his eyes
• 22:20
  Speaker 2: brighten a little bit as he realizes, oh, we do
• 22:25
  Speaker 2: still have a thing. It was an authentic thing that
• 22:28
  Speaker 2: happened back like it's almost like a validation of his
• 22:32
  Speaker 2: idealization of the night. But I think we did see
• 22:36
  Speaker 2: the inner workings of both of these people and Tristan.
• 22:38
  Speaker 2: I think it's something where there's a point in their
• 22:42
  Speaker 2: conversation where they talk about whether people change over time,
• 22:45
  Speaker 2: and Jesse says something along the lines of there are
• 22:48
  Speaker 2: certain guide points to a personality, and he talks about
• 22:53
  Speaker 2: people winning the lottery and suffering a terrible physical accident.
• 22:56
  Speaker 2: He says, and that after six months they essentially revert
• 22:59
  Speaker 2: back to the type of person they always were.
• 23:02
  Speaker 4: And I thought that was a real study, by the way, Yeah.
• 23:04
  Speaker 2: And he cites that, and I think that's there. You know,
• 23:08
  Speaker 2: that's their way of saying, these are the same basic
• 23:12
  Speaker 2: people and so we have seen them. They're allowing us
• 23:16
  Speaker 2: just to pick up and understand that. And I think
• 23:18
  Speaker 2: the complicated thing is I have a very I typically
• 23:23
  Speaker 2: have a real dislike of movies that indulge making it
• 23:27
  Speaker 2: okay to break a trust like a marriage. But I
• 23:31
  Speaker 2: think that what's really deft about the way this movie
• 23:34
  Speaker 2: is put together and the way that it's performed. Is
• 23:37
  Speaker 2: it's the same type of ror shark test At the end,
• 23:40
  Speaker 2: do you presume that they immediately have a passionate love
• 23:45
  Speaker 2: making session or is this just when the credits roll
• 23:49
  Speaker 2: the conversation continues and they don't necessarily do that. Maybe
• 23:53
  Speaker 2: they do, maybe they don't, but it continues along the
• 23:55
  Speaker 2: lines where they then have it, Like I think it's
• 23:59
  Speaker 2: what you're talking about, Darren. Where at the end do
• 24:02
  Speaker 2: you believe that the conversation continued and then they had
• 24:05
  Speaker 2: the deeper mechanics of it. Look, this is obviously working.
• 24:09
  Speaker 2: I need to leave, you know, Jesse saying I need
• 24:11
  Speaker 2: to leave my wife no matter what. It doesn't matter
• 24:13
  Speaker 2: whether we're together or not. You've made me realize the
• 24:16
  Speaker 2: type of love I need in my life. And she, conversely,
• 24:20
  Speaker 2: can say I suddenly realized that I need some sort
• 24:23
  Speaker 2: of way to express myself openly. Because what we learned
• 24:28
  Speaker 2: through the course of this is she doesn't feel the
• 24:30
  Speaker 2: ability to express herself as openly to another human being
• 24:35
  Speaker 2: the way that she does to Jesse. It's not that
• 24:36
  Speaker 2: she needs another person, she says herself, I'm an independent,
• 24:39
  Speaker 2: strong woman. I don't need somebody else. But we can
• 24:43
  Speaker 2: see her obviously feel better about having somebody she can
• 24:47
  Speaker 2: at least speak to openly and honestly. All of that
• 24:51
  Speaker 2: said Darren, as they go along, have we been glancing
• 24:54
  Speaker 2: over one of the more poignant questions, which is how
• 25:00
  Speaker 2: how did the driver get out of the driveway that
• 25:03
  Speaker 2: had the bar on it? Because this jerk of affair
• 25:06
  Speaker 2: of his went upstairs and left him stuck in a
• 25:09
  Speaker 2: dead end that he would have had to back out
• 25:11
  Speaker 2: of and didn't seem like it was an easy thing.
• 25:13
  Speaker 2: Is that the worst crime emotionally of the movie.
• 25:16
  Speaker 3: Emotionally, man, I don't really have any answer for that.
• 25:19
  Speaker 3: I was just reading about Ethan Hawk's divorce, so let's
• 25:22
  Speaker 3: bring that up for a moment.
• 25:23
  Speaker 2: Just Yeah, he got a divorce from um with herman, Yeah,
• 25:26
  Speaker 2: which he.
• 25:26
  Speaker 4: Wrote about in a fictional account called Light in the
• 25:29
  Speaker 4: Darkness or something like that. I cannot remember exactly, and it's.
• 25:33
  Speaker 3: It was right before this movie was made, I believe.
• 25:36
  Speaker 4: Yeah, he cheated on her before the movie was made,
• 25:39
  Speaker 4: and then she found out about it after the movie
• 25:42
  Speaker 4: was made and filed for divorce. He screwed up royally, Yes, yes,
• 25:47
  Speaker 4: he did, hardcore screwed up, And like the book that
• 25:51
  Speaker 4: he wrote about it. He does not pull any punches
• 25:54
  Speaker 4: on like on the like the fictional character that's going
• 25:57
  Speaker 4: through what he went through is very much portray as
• 26:00
  Speaker 4: one of the biggest idiots in the world, rightfully, So.
• 26:03
  Speaker 2: Yeah, you know, it's but the thing is this fine.
• 26:06
  Speaker 2: This found a lot of resonance with critics. This was
• 26:09
  Speaker 2: embraced very warmly. You know, Tristan, we're we're sitting here
• 26:13
  Speaker 2: and you know, sort of tongue in cheek at certain points,
• 26:16
  Speaker 2: we've we've been ragging on Jesse and stuff like that.
• 26:20
  Speaker 2: But there was a very warm reception that people had
• 26:23
  Speaker 2: to this film, and some people received it more warmly
• 26:26
  Speaker 2: even than the first. So obviously there's something about this
• 26:30
  Speaker 2: that works for everyone. Even though we're often told you
• 26:35
  Speaker 2: can't have a movie just with two people talking to
• 26:37
  Speaker 2: each other. They have to be doing things and stuff
• 26:39
  Speaker 2: has to happen, and it's it's really a vibe movie
• 26:43
  Speaker 2: in a lot of ways. So in terms of that resonance, though,
• 26:47
  Speaker 2: is there an aspect of this film that you think
• 26:51
  Speaker 2: is in any way experimental, that is, anything that is
• 26:55
  Speaker 2: unexpected in the way that it is shot or put together.
• 27:00
  Speaker 2: Because basically, obviously everybody loves the performances and everything. I'm
• 27:03
  Speaker 2: just trying to get at. Do you see anything that
• 27:05
  Speaker 2: would make somebody react to this and say, oh, this
• 27:08
  Speaker 2: is so fresh and different the way they're approaching, the
• 27:10
  Speaker 2: way it's put together.
• 27:12
  Speaker 4: No, I wouldn't really say that it's fresh or different
• 27:14
  Speaker 4: or anything like that. I'd say it's classic indie, you know,
• 27:18
  Speaker 4: it's something that we saw a lot of in the nineties,
• 27:20
  Speaker 4: Like it's a successor to something that existed in the nineties,
• 27:24
  Speaker 4: that thrived in the nineties, and this is that type
• 27:27
  Speaker 4: of indie film where that's all you need. It's conversation based.
• 27:31
  Speaker 4: I feel like there are more movies exist like this
• 27:34
  Speaker 4: than don't, and I think they just don't get publicized.
• 27:36
  Speaker 4: They don't they the award circuit. They don't have Ethan
• 27:39
  Speaker 4: Hawk and Julie Delpy and Link letter as a driving
• 27:42
  Speaker 4: force behind them, and I think that definitely helps in
• 27:45
  Speaker 4: this situation. So no, I wouldn't say this no opposite
• 27:48
  Speaker 4: of experimental. This is very mainstream in terms of how
• 27:52
  Speaker 4: it approaches a story, Like even though it's just two
• 27:54
  Speaker 4: people talking, it has a very clear defined beginning, middle,
• 27:57
  Speaker 4: and end and chopped up basically in the thirty minute
• 28:00
  Speaker 4: increments of first meeting, getting comfortable and just letting loose
• 28:04
  Speaker 4: and like pouring out emotionally.
• 28:05
  Speaker 3: And wait, so that means so, John, you would rather
• 28:09
  Speaker 3: they chop this into three episodes streamed and then you
• 28:13
  Speaker 3: watch them in like.
• 28:15
  Speaker 2: Back to back. But yeah, no, yeah, this should be
• 28:18
  Speaker 2: released on Disney Plus's three separate episodes half hour episodes
• 28:21
  Speaker 2: then that I could watch out of sequence if I.
• 28:24
  Speaker 3: Want to two Deep fade to black in the middle.
• 28:26
  Speaker 2: No, they absolutely would be wonderful, you know, But Tristan,
• 28:30
  Speaker 2: you know, I agree with you. There's nothing particularly groundbreaking
• 28:34
  Speaker 2: with the photography or anything like that. Do you think, though,
• 28:38
  Speaker 2: that it advances any of the visual language of the
• 28:41
  Speaker 2: first one? Do you see a more refined link later
• 28:44
  Speaker 2: in Daniels.
• 28:45
  Speaker 4: I think it absolutely It does something different where, you know,
• 28:49
  Speaker 4: like in the first one, it takes the course over
• 28:51
  Speaker 4: twelve hours and it's very voyeuristic and you feel like
• 28:57
  Speaker 4: a tourist and in a good way. And with this one,
• 29:01
  Speaker 4: it almost takes place in real time, pretty much in
• 29:04
  Speaker 4: real time, Like ninety minutes of the movie is ninety
• 29:07
  Speaker 4: minutes in real life, which is crazy. And it was
• 29:10
  Speaker 4: all shot in the afternoon because they had to shoot
• 29:13
  Speaker 4: it in the afternoon, like everything was in that magical
• 29:15
  Speaker 4: glow glowy yellow and orange and everything like that, and
• 29:18
  Speaker 4: that was a challenge, but they did it in fifteen days.
• 29:22
  Speaker 4: They shot all of this in fifteen days, only shooting
• 29:25
  Speaker 4: in the afternoons. That's awesome, And that means that they
• 29:28
  Speaker 4: had nothing but preparation and practice and rehearsal time and
• 29:32
  Speaker 4: just like they did with the first one.
• 29:34
  Speaker 2: And no surprise rainstorms.
• 29:36
  Speaker 4: And no surprise rainstorm and so like to me, I
• 29:38
  Speaker 4: feel like that in itself, that like they did, they
• 29:40
  Speaker 4: had less money to work with less time, but they
• 29:43
  Speaker 4: were able to get it done and they got If
• 29:45
  Speaker 4: you look on Rotten Tomatoes, I know Rotten Tomatoes isn't
• 29:47
  Speaker 4: a great indicator for movies that existed before Rotten Tomatoes,
• 29:51
  Speaker 4: but this one is up in the mid nineties for
• 29:54
  Speaker 4: critics as well as audience. It got a Criterion release,
• 29:57
  Speaker 4: and it's so I think that and itself advanced it.
• 30:01
  Speaker 4: But one thing I do want to talk about is,
• 30:02
  Speaker 4: you know, like we're all kind of talking about the
• 30:04
  Speaker 4: fact about how Jesse's married and it should be acting
• 30:06
  Speaker 4: like this, you know, as a married man, which is
• 30:08
  Speaker 4: one hundred percent truth. However, what's funny is, as audience members,
• 30:13
  Speaker 4: what we forgive is on screen is something that we
• 30:17
  Speaker 4: would never forgive in real life. How often do we
• 30:20
  Speaker 4: as audience members say out loud, why don't they just
• 30:23
  Speaker 4: kill him?
• 30:24
  Speaker 3: Oh?
• 30:24
  Speaker 2: Yes, very true. I think that is a right.
• 30:26
  Speaker 4: I don't be hanging here like. There's so many times
• 30:29
  Speaker 4: when like I will say, like, oh God, if they
• 30:32
  Speaker 4: just killed him, you know, like life would be easier,
• 30:34
  Speaker 4: And that's not something you would ever say in real life.
• 30:37
  Speaker 3: The character has more morals than you do. In that moment,
• 30:39
  Speaker 3: you're like, but it's a movie, so it doesn't matter.
• 30:42
  Speaker 2: It doesn't matter. But the thing is, I think that
• 30:45
  Speaker 2: what it is is it's a basic manipulation tactic of
• 30:49
  Speaker 2: you know, of a filmmaker, or of a playwright, or
• 30:52
  Speaker 2: of anybody else who puts a dramatic work together. Is
• 30:55
  Speaker 2: essentially it's like arguing before a jury. We're the jury
• 30:59
  Speaker 2: and so the case instead of getting the case in
• 31:02
  Speaker 2: court where the lawyer has to come up and try
• 31:04
  Speaker 2: to say yay, yeah, yeah, okay, I understand that they
• 31:07
  Speaker 2: broke the rules, but you have to consider all of
• 31:10
  Speaker 2: this stuff that happened beforehand. You could come on and
• 31:12
  Speaker 2: they try to build a sympathetic case. We get the
• 31:14
  Speaker 2: sympathetic case first, so that when we arrive at the
• 31:18
  Speaker 2: point of judgment, we're predisposed to say, well, yeah, but
• 31:22
  Speaker 2: I know Jesse's a good person, and I know that
• 31:23
  Speaker 2: he didn't really mean it. I think he's unhappy in
• 31:25
  Speaker 2: his marriage. I don't want the guy to be unhappy.
• 31:28
  Speaker 2: I mean, he even says he doesn't want to be
• 31:29
  Speaker 2: fifty two and wake up and realize one day that
• 31:31
  Speaker 2: he's trapped in his marriage and this terrible thing. If anything,
• 31:35
  Speaker 2: people would say, I would argue, well, yes, he should
• 31:39
  Speaker 2: get out of his marriage. He's going about it the
• 31:42
  Speaker 2: incorrect way because he should put the cart, you know,
• 31:45
  Speaker 2: he's putting the cart before the horse here. He should
• 31:47
  Speaker 2: instead first go to his wife at the time and say,
• 31:51
  Speaker 2: I am, this is unresolvable. We need to get a
• 31:54
  Speaker 2: lawyer involved, we need to blah blah blah blah blah,
• 31:57
  Speaker 2: and whatever, you know, whatever other sort of stuff happen
• 32:00
  Speaker 2: go on, and we would say that is the right
• 32:02
  Speaker 2: way to do it. So he does it the wrong way,
• 32:03
  Speaker 2: but we're able to say, well, Okay, he went about
• 32:06
  Speaker 2: it wrong, but he's for him he's living his truth
• 32:09
  Speaker 2: and doing the right thing for him, right that sort
• 32:12
  Speaker 2: of thing, oh you know, I hate, I know, and
• 32:16
  Speaker 2: that ladies and gentlemen, is why I specifically use the
• 32:19
  Speaker 2: phrase because this is our walk around Paris and I
• 32:22
  Speaker 2: love to do that.
• 32:23
  Speaker 3: Yes, well, and there's yeah, it's not the right way.
• 32:29
  Speaker 3: But and again it's all like I mentioned before, we
• 32:34
  Speaker 3: all knew that line when he's saying, oh, but I'm
• 32:37
  Speaker 3: not happy, Like we know why that's in there. We
• 32:39
  Speaker 3: know how that's meant to manipulate us as an audience,
• 32:42
  Speaker 3: Just like there's no scene of him having to take
• 32:46
  Speaker 3: a phone call and chat with his son who misses
• 32:49
  Speaker 3: him to put.
• 32:50
  Speaker 2: Like the story.
• 32:51
  Speaker 3: You could put that in there. It could be right
• 32:53
  Speaker 3: in there, but there wasn't you know, that wasn't there
• 32:56
  Speaker 3: That his.
• 32:56
  Speaker 2: Cell phones were a lot harder to come by, And okay, true, true,
• 33:01
  Speaker 2: this is previo.
• 33:02
  Speaker 4: But one thing that's interesting from an audience perspective, since
• 33:05
  Speaker 4: we're kind of on that right now, is when you
• 33:08
  Speaker 4: look at it from another person's perspective, say that you
• 33:11
  Speaker 4: are Julie Delpy's parents, I'm sorry, Selene's parents, or say
• 33:14
  Speaker 4: that you are Jesse's wife or friend, or something like that,
• 33:19
  Speaker 4: like Selene is telling them about Jesse and about that
• 33:22
  Speaker 4: night in Vienna, Jesse is telling his wife about Selene
• 33:27
  Speaker 4: and that night in Vienna and everything like that, and
• 33:29
  Speaker 4: so they have to convince other people about the magic
• 33:32
  Speaker 4: of that night, but they don't have to convince us,
• 33:35
  Speaker 4: because there was three people there in Vienna. There was Selene,
• 33:39
  Speaker 4: there was Jesse, and there was us, and so they
• 33:42
  Speaker 4: already know we are a.
• 33:43
  Speaker 3: Sympathetic audience every moment we were there.
• 33:47
  Speaker 4: And so the link letter knows he has us, he
• 33:49
  Speaker 4: knows that we're invested. Is like if you've saw before Sunrise,
• 33:53
  Speaker 4: you are invested in these people and you want them
• 33:56
  Speaker 4: to be together. So you're going to forgive a lot
• 33:58
  Speaker 4: of things. And that gets tested hard in the next one.
• 34:02
  Speaker 2: Yes it does, it does.
• 34:04
  Speaker 3: Don't be spoiling the next one for me, guys.
• 34:07
  Speaker 2: But see what with this being there are I think
• 34:09
  Speaker 2: one of the shots in here lasts eleven minutes, which
• 34:13
  Speaker 2: is that that's a long shot.
• 34:14
  Speaker 3: Over three days. I don't know how they did it.
• 34:16
  Speaker 2: But what I what I want to say is that
• 34:20
  Speaker 2: I think that something that gets overlooked with this film
• 34:23
  Speaker 2: is the sound, because that's not easy in a you know,
• 34:27
  Speaker 2: a Parisian street as you're strolling through to get clean
• 34:32
  Speaker 2: enough sound, and so obviously there's other you know, there's
• 34:35
  Speaker 2: there's recording you gotta do later, there's got to you
• 34:37
  Speaker 2: to pick up stuff, and all of those sorts of things.
• 34:39
  Speaker 2: I think that the that there is a real accomplishment here,
• 34:43
  Speaker 2: that there's nothing that sounds later. Studio added, there's nothing
• 34:47
  Speaker 2: that sounds poorly recorded or anything like that, Like I
• 34:50
  Speaker 2: expect that of a film like this, especially knowing the
• 34:54
  Speaker 2: production history and basically it's gorilla filmmaking for them to
• 34:58
  Speaker 2: get the clean sound. I mean, I don't work in
• 35:02
  Speaker 2: the industry obviously, but I have seen enough movies to
• 35:06
  Speaker 2: say that seems like something of an accomplishment. I mean,
• 35:09
  Speaker 2: am I off base there?
• 35:11
  Speaker 4: A good movie can do replacement without you knowing it.
• 35:16
  Speaker 4: And when you're doing a tracking shot like that, more
• 35:18
  Speaker 4: often than not it's it's fake sound. Hawk and Delpy
• 35:22
  Speaker 4: are wearing lapels and then you have, you know, nat
• 35:24
  Speaker 4: sound captured by a shotgun. Well I'm not I mean,
• 35:28
  Speaker 4: I know to minimize.
• 35:29
  Speaker 2: That, I know, I know the how, but I'm like
• 35:31
  Speaker 2: it for it not to sound like the authentic sound
• 35:35
  Speaker 2: at any point I found to be Yes, a true achievement.
• 35:39
  Speaker 4: Absolutely, and I'm not trying to minimize that whatsoever it is.
• 35:42
  Speaker 3: Is it impossible to minimizing him, Tristan.
• 35:44
  Speaker 2: This is his revenge for me saying live your truth.
• 35:47
  Speaker 3: I couldn't place the scene, but I do remember having
• 35:51
  Speaker 3: a moment in watching this where I noticed the sound
• 35:54
  Speaker 3: in a good way where I was like, maybe she
• 35:57
  Speaker 3: was making tea or something was happening on the screen,
• 36:00
  Speaker 3: and I was like, wow, that I'm hearing exactly what
• 36:02
  Speaker 3: I'm expecting to hear. It's very and it didn't pull
• 36:05
  Speaker 3: me out. But when you mentioned that, John, it made
• 36:07
  Speaker 3: me think that I did have that moment during this
• 36:10
  Speaker 3: movie of just good sound.
• 36:12
  Speaker 2: So I I mean, I have to also say that
• 36:17
  Speaker 2: Julie Delpy wrote two of the three songs we hear,
• 36:19
  Speaker 2: including the one that plays over the credits, and I
• 36:22
  Speaker 2: think that they you know, I think the music was wonderful,
• 36:25
  Speaker 2: But this is in some ways a lot like I
• 36:29
  Speaker 2: would say Dog Day Afternoon, where you know, Darren, did
• 36:32
  Speaker 2: you notice the lack of soundtrack throughout the course of
• 36:36
  Speaker 2: the film, Like there's no like heavy musical hits or anything.
• 36:40
  Speaker 2: Did it or did you have any moment where you're like,
• 36:42
  Speaker 2: oh wait, there's there's there's no like score here, like
• 36:45
  Speaker 2: what wow? Okay, No, it didn't really occur to me.
• 36:49
  Speaker 2: But it's such a out and about natural that.
• 36:53
  Speaker 3: I mean, yeah, if they had maybe a little more
• 36:55
  Speaker 3: diagetic music of like going by someone, well, actually I
• 36:58
  Speaker 3: do recall in the very beginning, they don't they walk
• 37:01
  Speaker 3: by someone who's like playing in accordion. It's like, really
• 37:04
  Speaker 3: really obvious. I remember, I remember that moment. But yeah, no,
• 37:08
  Speaker 3: they're right, there is no score in that regard. But
• 37:11
  Speaker 3: I didn't think it needed it. I didn't feel like.
• 37:13
  Speaker 2: I agree, I agree completely, but I just think it's
• 37:16
  Speaker 2: sens a refresha on the waltz.
• 37:18
  Speaker 3: I think that, yeah, building to that, and that actually
• 37:21
  Speaker 3: is the music part. I think that. Not to say
• 37:23
  Speaker 3: that if you had music the waltz wouldn't be as impactful,
• 37:26
  Speaker 3: but not having music did help underscore the waltz.
• 37:31
  Speaker 2: I am just from one other aspect. As warmly received
• 37:36
  Speaker 2: as this film was, it obviously wasn't like a huge
• 37:40
  Speaker 2: blockbuster sort of thing.
• 37:43
  Speaker 4: But I however, yes, however, okay, it had a budget
• 37:47
  Speaker 4: of two to two point seven million, and it earned
• 37:50
  Speaker 4: back sixteen million.
• 37:52
  Speaker 2: Yes, sixteen million, which so is successful.
• 37:56
  Speaker 4: Return of investment. It's very good.
• 37:58
  Speaker 2: But I'm saying that for or a film that didn't
• 38:01
  Speaker 2: have that sort of obviously one hundred million dollar box
• 38:05
  Speaker 2: office or anything like that. Do you think that part
• 38:08
  Speaker 2: of the charm of this movie is getting to be
• 38:11
  Speaker 2: a fan of it and spread the news as Sean
• 38:15
  Speaker 2: Eastridge from Missing Frames got to do with me where
• 38:18
  Speaker 2: he brought me along for this ride, And do you
• 38:20
  Speaker 2: think that part of the joy of this film is
• 38:23
  Speaker 2: getting to share it with people? Is this one of those, uh,
• 38:27
  Speaker 2: one of those movies that has found its life because
• 38:29
  Speaker 2: people love to talk about it.
• 38:32
  Speaker 4: I think it is mainly because of the first one, though,
• 38:34
  Speaker 4: Like I'm not going to go around and say like, hey,
• 38:37
  Speaker 4: have you seen Before Sunrise? And they go no, And
• 38:39
  Speaker 4: I'm like, well, let's watch before Sunset?
• 38:41
  Speaker 2: Good point. So I feel like I.
• 38:43
  Speaker 4: Want to say yes, but mainly because of Sunset, I
• 38:46
  Speaker 4: mean Sunrise.
• 38:47
  Speaker 2: Geez, this is hard? It does it is difficult?
• 38:49
  Speaker 4: Yeah, because like I was very much the person like
• 38:51
  Speaker 4: where I had my DVD copy of the first one
• 38:54
  Speaker 4: and I was walking around, I'm like, have you seen this?
• 38:56
  Speaker 2: No, let's watch it? Together.
• 38:57
  Speaker 4: Have you seen this? No, you're pretty Let's watch this.
• 39:01
  Speaker 4: And then I'm like, did you know that there is
• 39:03
  Speaker 4: a second one? Let's watch it. So it's very much
• 39:05
  Speaker 4: like did you like the first one, Let's watch the
• 39:07
  Speaker 4: second one? And so yeah. So I can't really say
• 39:09
  Speaker 4: this is because of it, but I do want to
• 39:12
  Speaker 4: ask you guys a question now that we're talking about
• 39:14
  Speaker 4: the first and second at the same time.
• 39:15
  Speaker 3: Yes, it should be so old Sunrise strike back. Okay,
• 39:18
  Speaker 3: I'm sorry, that's just what it should be.
• 39:20
  Speaker 4: This is what Roger Ebert wrote about the second one.
• 39:24
  Speaker 4: Before Sunrise was a remarkable celebration of the fascination of
• 39:28
  Speaker 4: good dialogue. But Before Sunset is better, perhaps because the
• 39:32
  Speaker 4: characters are older and wiser, perhaps because they have more
• 39:36
  Speaker 4: to lose or win, perhaps, and perhaps because Hawkendelpi wrote
• 39:40
  Speaker 4: the dialogue themselves. And Manola Dargas said Sunset is deeper,
• 39:44
  Speaker 4: truer work of art than the first and praised link
• 39:47
  Speaker 4: Letter for his filmmaking, saying it keeps faith with American
• 39:51
  Speaker 4: cinema at its finest. Darren, how do you feel about that?
• 39:55
  Speaker 4: How do you feel about Sunset compared to Sunrise in
• 39:58
  Speaker 4: that regard? Because this this is like, this is on
• 40:01
  Speaker 4: top one hundred lists. This is this this this movie
• 40:06
  Speaker 4: is beloved by critics and audiences alike. But I'm getting
• 40:10
  Speaker 4: the sense that you didn't like it as much as
• 40:12
  Speaker 4: the first one.
• 40:13
  Speaker 3: Yeah, I mean, not that we're getting the ratings. We're
• 40:15
  Speaker 3: kind of getting the ratings. I'm kind of inclined to
• 40:17
  Speaker 3: give this a four. Like it's still really good, but
• 40:21
  Speaker 3: I enjoyed Before Sunrise more. And it's I think it's
• 40:26
  Speaker 3: a some of its parts kind of vibe. It's not like, oh, well, yeah,
• 40:30
  Speaker 3: they had that scene and or I just didn't like
• 40:32
  Speaker 3: the story overall. It's just I like more about what
• 40:37
  Speaker 3: the first movie did in general in this one, you know,
• 40:43
  Speaker 3: it's a shorter amount of time they're spaying together. It's
• 40:46
  Speaker 3: like I kind of kind of called out. I didn't
• 40:48
  Speaker 3: really like the aspects of the less truthfulness of the characters,
• 40:52
  Speaker 3: and and that kind of slowed it down a bit.
• 40:55
  Speaker 3: You know, obviously the infidelity talk is but at its core,
• 41:00
  Speaker 3: it is a story about the one that got away
• 41:02
  Speaker 3: came back into your life. What would you do? Like,
• 41:05
  Speaker 3: that's an interesting story. Nothing in this movie. And I've
• 41:09
  Speaker 3: like you had said, Tristan, I had read little bits
• 41:11
  Speaker 3: or I think I had heard that this one had
• 41:13
  Speaker 3: been regarded equal, if not better than the first, but
• 41:16
  Speaker 3: it just didn't didn't really come across like that to me.
• 41:19
  Speaker 3: I don't think again, not a negative, negative, but I
• 41:23
  Speaker 3: think I'm giving this a four.
• 41:26
  Speaker 2: You know everything that you're saying, Darren, I truly do,
• 41:29
  Speaker 2: and I don't discount it. I won't be like Tristan
• 41:31
  Speaker 2: with me and just dismiss it out of hand and
• 41:34
  Speaker 2: just move on. I however, agree with Ebert that part
• 41:39
  Speaker 2: of what makes this work is while the framing is
• 41:43
  Speaker 2: roughly the same and these are the same characters, these
• 41:47
  Speaker 2: the stakes are are more interesting. I guess because when
• 41:52
  Speaker 2: they're kids and they're going around and they're having this
• 41:55
  Speaker 2: crazy night, that's the impetuousness of youth. That is something
• 42:00
  Speaker 2: that fades very quickly when you have your different responsibilities
• 42:04
  Speaker 2: come into your life and everything like that. I think
• 42:06
  Speaker 2: that I think that Sunset is a film that resonates
• 42:11
  Speaker 2: more when you are you know, when you can relate
• 42:15
  Speaker 2: somewhat to Jesse and Selene talking about their frustrations with
• 42:19
  Speaker 2: the this is the pain feels like too big a
• 42:21
  Speaker 2: word about. Let's go ahead and use it. This feels
• 42:23
  Speaker 2: like the pain of people who never want to let
• 42:26
  Speaker 2: go of that innocence and idealism of youth and were
• 42:30
  Speaker 2: forced to. And they're sitting here talking to the one
• 42:35
  Speaker 2: other person that truly understood what that meant to them.
• 42:39
  Speaker 2: But it's it's Jesse and Selene even more than finding
• 42:44
  Speaker 2: out that they are in love with each other from
• 42:47
  Speaker 2: back then. I think that Jesse and Selene, what they
• 42:49
  Speaker 2: discover in this film is that they're in love with
• 42:52
  Speaker 2: who they were and they don't like who they've become necessarily,
• 42:55
  Speaker 2: and this, this relationship here that happens in this film
• 43:00
  Speaker 2: are two people giving themselves permission to say, maybe I
• 43:04
  Speaker 2: can be that person again. Does it work? I'm not
• 43:08
  Speaker 2: coming down on that. I'm not saying anything there. I'm
• 43:11
  Speaker 2: saying like, and I'm not saying it's a good idea. Yeah,
• 43:13
  Speaker 2: the usual disclaimers and everything like that. I'm saying That's
• 43:17
  Speaker 2: what I think makes this film work so well, is
• 43:20
  Speaker 2: this is two people who are trying to find themselves again.
• 43:25
  Speaker 2: The debate more is about whether trying to find it
• 43:29
  Speaker 2: through somebody else. I mean, ironically Selene saying I don't
• 43:32
  Speaker 2: need anybody else, but she's finding herself by reaching out
• 43:35
  Speaker 2: to someone else, and Jesse's sort of doing the same
• 43:37
  Speaker 2: thing here, and I think that's probably what makes it
• 43:41
  Speaker 2: such a rich experience, at least from my perspective. I mean, Tristan,
• 43:44
  Speaker 2: where do you fall with it? You're the one that
• 43:46
  Speaker 2: asked the question. For Pete's sake, you sit here silent,
• 43:48
  Speaker 2: just listen to us talk. Feel well cheated right now.
• 43:51
  Speaker 4: I have actually been silent for most of this episode
• 43:54
  Speaker 4: because I've been really enjoying what you guys have been saying.
• 43:56
  Speaker 4: And Darren, I want to I want to read you
• 43:58
  Speaker 4: another another thing from a This one was from The
• 44:01
  Speaker 4: New York Times by Aoscott, and he says that it
• 44:03
  Speaker 4: was sometimes maddening but also enthralling, precisely because of its
• 44:07
  Speaker 4: casual disregard for the usual imperatives of screenwriting. He says,
• 44:11
  Speaker 4: can't they just say what they mean?
• 44:13
  Speaker 2: Can you?
• 44:15
  Speaker 4: Language? After all, is not just about points and meanings.
• 44:18
  Speaker 4: It is a medium of communication, yes, but also of avoidance, misdirection,
• 44:22
  Speaker 4: self protection, and plain confusion, all of which are among
• 44:26
  Speaker 4: the themes of this movie, which captures a deep truth
• 44:29
  Speaker 4: seldom acknowledged on screen or in books. So Ao Scott
• 44:33
  Speaker 4: is telling you why you are wrong, yes, and how
• 44:36
  Speaker 4: you're feeling and is invalidating you And I just wanted
• 44:38
  Speaker 4: to make that clear.
• 44:40
  Speaker 3: No, like yeah, no, no, I get that, and I like, yeah,
• 44:44
  Speaker 3: a lot of the key points he said, because you're right,
• 44:47
  Speaker 3: they are. I mean, it really starts when she shows up.
• 44:51
  Speaker 3: It's like, why did she go there? Why did she
• 44:53
  Speaker 3: And it was because he didn't well he couldn't search
• 44:57
  Speaker 3: her out and that regard. But and then I totally
• 45:01
  Speaker 3: get the aspect of the defenses slowly being lowered and
• 45:05
  Speaker 3: the questions and as they're talking about, you know, where
• 45:09
  Speaker 3: they are in their lives and they talk about you know,
• 45:12
  Speaker 3: I mean in the beginning when he says everything in
• 45:15
  Speaker 3: the world's actually getting better and she's like, you're absolutely wrong,
• 45:18
  Speaker 3: and let me tell you why. Like, and I think
• 45:20
  Speaker 3: all those scenes are very important because yeah, you want
• 45:24
  Speaker 3: to hear about how these characters have grown and their
• 45:27
  Speaker 3: opinions and what are what's the same, and what's different.
• 45:30
  Speaker 3: I guess at its core, I cannot give them a
• 45:33
  Speaker 3: pass for how things turned out because they are the
• 45:38
  Speaker 3: ones who made such poor choices on the lack of
• 45:42
  Speaker 3: communication in the first movie, Like they could have avoided this.
• 45:47
  Speaker 3: I get the romance of one night, oh and we'll
• 45:49
  Speaker 3: never see each other again, but they could have done
• 45:52
  Speaker 3: more to actually be able to contact each other. So
• 45:57
  Speaker 3: four stars standing firm.
• 45:59
  Speaker 2: No, and that's fair.
• 46:00
  Speaker 3: Let me quote you another review.
• 46:03
  Speaker 2: From the trick here is that something that I think
• 46:06
  Speaker 2: is unavoidable for me. I'm not saying for everybody, but
• 46:09
  Speaker 2: something that I think is unavoidable for me is I
• 46:12
  Speaker 2: look at Before Sunset and it's a snapshot in time
• 46:16
  Speaker 2: of the sort of almost like a last moment, a
• 46:20
  Speaker 2: last hurrah before online connection, stalking of people you knew
• 46:26
  Speaker 2: in college and high school and at previous jobs and
• 46:29
  Speaker 2: all that stuff became a way of life. And this
• 46:32
  Speaker 2: is not me saying social media bad. I'm saying that
• 46:36
  Speaker 2: what it did in a sense is you look at
• 46:39
  Speaker 2: this movie coming out in two thousand and four. This
• 46:42
  Speaker 2: is an odd thing. Now I look at this and
• 46:45
  Speaker 2: I say, well, Jesse would have just looked her up
• 46:47
  Speaker 2: on LinkedIn, Facebook, Instagram, TikTok, Twitter, all of these different things.
• 46:52
  Speaker 2: He'd a founder, Maybe we make contact, maybe he wouldn't,
• 46:55
  Speaker 2: and he would go search her out and all of
• 46:58
  Speaker 2: those sorts of things, Like there's a really odd moment
• 47:01
  Speaker 2: in time here because it literally is right before that breaks,
• 47:05
  Speaker 2: and I just think it's fascinating because of that, Yes.
• 47:09
  Speaker 4: Looking for hot French chick.
• 47:13
  Speaker 2: No, tristed, don't hit enter, don't hit enter.
• 47:16
  Speaker 3: God No, the grandma dead, Grandma. No. It makes me
• 47:20
  Speaker 3: think of You're right, it's a moment in time that
• 47:23
  Speaker 3: there's also a nostalgia four as well, Like I've heard
• 47:26
  Speaker 3: the joke of what cell phones would completely like get
• 47:29
  Speaker 3: rid of any plot drama in any Seinfeld episode, because
• 47:33
  Speaker 3: half of an episode is like, Oh, we were going
• 47:35
  Speaker 3: to meet up over here, but then we didn't, and
• 47:37
  Speaker 3: then I missed you, and then I came over here,
• 47:38
  Speaker 3: and it's like, yeah, if we all had cell phones
• 47:40
  Speaker 3: like this would literally not be a plot.
• 47:42
  Speaker 4: And conversely, the show twenty four wouldn't have been able
• 47:45
  Speaker 4: to exist without cell phones.
• 47:47
  Speaker 2: Yes, exactly.
• 47:47
  Speaker 4: You know, it's just kind of interesting how storytelling can change.
• 47:50
  Speaker 4: I'm going to give my rating four and a half
• 47:52
  Speaker 4: because I love this movie. I think it's fantastic, I
• 47:55
  Speaker 4: think it's great, and I'm giving it a four and
• 47:57
  Speaker 4: a half because it just it would feel wrong to
• 48:01
  Speaker 4: give it five stars because to me personally, because the
• 48:06
  Speaker 4: first one put me in awe. I'm an evangelist for
• 48:10
  Speaker 4: that movie. I can feel it in my bones and
• 48:12
  Speaker 4: I love it, and I just didn't feel the same
• 48:15
  Speaker 4: way but before Sunset. And I'm not saying I felt less,
• 48:19
  Speaker 4: it just felt very different. And yeah, I guess I
• 48:22
  Speaker 4: am kind of saying less Tisan because.
• 48:24
  Speaker 3: A different movie made him feel differently.
• 48:27
  Speaker 4: Yes, that's essentially that's my review, and I'm sticking with it. No,
• 48:30
  Speaker 4: so I'm giving I'm giving it four and a half
• 48:32
  Speaker 4: just because I'm just giving that little half starred difference
• 48:35
  Speaker 4: because I just feel like it could have been a
• 48:39
  Speaker 4: little bit longer. We could have had. I don't see, man,
• 48:42
  Speaker 4: I just feel like I'm I'm picking things up. You
• 48:44
  Speaker 4: are I'm giving I'm giving it four and a half
• 48:46
  Speaker 4: because I want to give it four and a half.
• 48:48
  Speaker 2: I can't.
• 48:48
  Speaker 4: I can't really justify it other than it did not
• 48:51
  Speaker 4: hit me as hard as the first one. That's the
• 48:53
  Speaker 4: only reason I'm giving, and that's that's fine. I will
• 48:57
  Speaker 4: ascend above the two of you and give it a five.
• 49:00
  Speaker 4: And the reason I will give it a five is
• 49:02
  Speaker 4: because I think that while we definitely indulged, you know,
• 49:07
  Speaker 4: very carefully saying we would never do a thing like
• 49:10
  Speaker 4: it's a movie and I don't want Jesse behaving the
• 49:13
  Speaker 4: way I would. This is a that's not as interesting
• 49:17
  Speaker 4: because I know how the way I behave this movie
• 49:20
  Speaker 4: never happens, and that's that's not very interesting.
• 49:23
  Speaker 2: But in terms of character study, this movie recognizes you're
• 49:28
  Speaker 2: here because of the first one. You are, Like you said, Tristan,
• 49:33
  Speaker 2: you're already invested. And at the end of this movie
• 49:36
  Speaker 2: and this is gonna be weird, and I feel weird
• 49:38
  Speaker 2: even saying it. I ache for these characters because, like
• 49:42
  Speaker 2: I was saying, I don't think they're even looking for
• 49:45
  Speaker 2: each other in this they're looking for themselves. And then
• 49:48
  Speaker 2: at the end what I ache for is, no are
• 49:52
  Speaker 2: they Like at the end of Before Sunrise, I'm saying, gosh,
• 49:56
  Speaker 2: I hope they get back together, and in this one,
• 49:59
  Speaker 2: I'm terrible if they do, and I'm terrified if they don't.
• 50:03
  Speaker 2: But it doesn't leave me hanging in an awful way.
• 50:06
  Speaker 2: It leaves me hanging in that discussion way which a
• 50:10
  Speaker 2: movie like this, if I don't walk out of it
• 50:12
  Speaker 2: able to have a discussion like this with my two friends,
• 50:16
  Speaker 2: like the movie's a waste. This movie is not a
• 50:18
  Speaker 2: waste because I've seen it multiple times and I have
• 50:21
  Speaker 2: a conversation like this every time, just like I do
• 50:24
  Speaker 2: with the first one. So five stars from me on this.
• 50:28
  Speaker 3: One last question to both of you because it just
• 50:32
  Speaker 3: struck me and they obviously reference and talk quite a
• 50:36
  Speaker 3: bit about that night. But could this movie be watched
• 50:40
  Speaker 3: on its own? Like if someone I think I didn't
• 50:42
  Speaker 3: know that the first one existed, they went to Blockbuster,
• 50:45
  Speaker 3: and Blockbuster didn't have their A game on and it
• 50:48
  Speaker 3: didn't have all three right next to each other for
• 50:51
  Speaker 3: some reason. Do you think you could just watch this
• 50:53
  Speaker 3: as its own movie? Does it have enough glue and foundation?
• 50:58
  Speaker 2: I think so. I would never have given it five
• 51:00
  Speaker 2: if I didn't think that because it catches you catches
• 51:03
  Speaker 2: you are a stickler for that, big stickler for that.
• 51:07
  Speaker 4: I don't think that you aren't always fair with that
• 51:10
  Speaker 4: in my opinion.
• 51:11
  Speaker 2: Oh yes, I'm certain I'm a perfect arbiter. I'm the judge.
• 51:14
  Speaker 4: The sequel is a reward for long time fans, just
• 51:17
  Speaker 4: throwing that.
• 51:18
  Speaker 3: I think something's broken, John, because I'm looking at the stats.
• 51:21
  Speaker 3: In the last four movies you've all given five. So
• 51:24
  Speaker 3: is the five keys stuck on your computer?
• 51:27
  Speaker 2: I'll tell you what's going to be stuck is something
• 51:29
  Speaker 2: I don't want to and so but I can. I
• 51:32
  Speaker 2: can say that I fully embrace this stretch of fives
• 51:38
  Speaker 2: because I think that the last four are exactly I mean,
• 51:43
  Speaker 2: what I think could be a very fascinating discussion point
• 51:47
  Speaker 2: is how different these four movies are. Well, I mean
• 51:50
  Speaker 2: not the last two obviously, but like you know, it's
• 51:53
  Speaker 2: a learning journey for all of us.
• 51:55
  Speaker 3: Once upon a time in Hollywood before sunrise and before sunset.
• 51:59
  Speaker 2: Yeah, yeah, So tune in next week, folks and see
• 52:02
  Speaker 2: whether the five streak remains. And Darren, what is it
• 52:06
  Speaker 2: that we're going to be covering next week.
• 52:09
  Speaker 3: Well, they go away from the tests alliteration, But next
• 52:12
  Speaker 3: week we're going to be talking about twenty thirteen's Before Midnight,
• 52:17
  Speaker 3: the at the time conclusion of the Richard Linkletter before Trilogy.
• 52:21
  Speaker 3: Here on, House Lights, Join
• 52:23
  Speaker 1: The Revolution, Join the ned Party.