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Trick or Treat: Audition (1999) · Fumbling Through Film

• 0:00
  Gathered together from the cosmic reaches of the universe, here in this great screening room with comfortable recliners, are the most powerful forces of good ever assembled. Keith!
• 0:11
  Yes, I know, I was very upset when I was like, oh, she's gonna kill the dog. That's the thing that got me the most, probably.
• 0:16
  Terry!
• 0:17
  Yeah, I haven't watched— I haven't watched all 50 episodes of Monsters at that point, so I probably do have a more refined palate.
• 0:22
  Derek!
• 0:23
  I'm just making guttural noises and me remembering.
• 0:26
  And the Power Twins, Zapp and Jordan, with their magical lemur snort dedicated to fumbling their way through movies one forgotten gem at a time.
• 0:35
  This week we watch the 1999 J-horror classic, Audition.
• 0:39
  This is Fumbling Through Film.
• 0:42
  Oh. Hello and welcome to another one of a kind, genre-defining, brand new episode of Fumbling Through Film. The only show that I guarantee dares to bring together 3 dudes to talk about movies. These aren't just any movies.
• 1:05
  Could be.
• 1:07
  These are the ones we've missed, overlooked, or feel are simply worth revisiting. There ain't any— that's any movie. It's any movie.
• 1:13
  No, not really. If
• 1:13
  you think it is, it is. My name is Derek and I am a fumbler. Joining me here in the Fumbledome, the reclaimed, uh, what is the telescope building? Planetarium.
• 1:26
  Planetarium.
• 1:27
  Not
• 1:27
  an observatory, but a planetarium.
• 1:29
  It's bad. It's gonna be a good night. I can't even remember the word planetarium. Our reclaimed planetarium we got at police auction, we turned into a screening room. Uh, joining me is the one and only Prime Minister of Fumbling and Film, Keith.
• 1:42
  Hey, what's up, KG? Fumbler extraordinaire. Happy to be here.
• 1:47
  Happy to be here. The other person that I guarantee is happy to be here as well is the Dr. Dre of Kansas, Terry.
• 1:57
  Hey everybody, I'm having a jolly good time. Happy as can be,
• 2:01
  doing
• 2:02
  a little dance over here in the corner. My Happy dance. Just having a great time practicing my acupuncture.
• 2:12
  And your ballet.
• 2:16
  Yeah, same time.
• 2:18
  Oh, what is ballet and acupuncture at the same time called? Balacupuncture? Acule?
• 2:24
  I think balacupuncture sounds pretty cool.
• 2:26
  Yeah, acule sounds like some kind of drug we're gonna see on TV that has some weird side effects.
• 2:30
  Either acule or it sounds like some kind of like Synergy Tech Company.
• 2:35
  Yes.
• 2:36
  Here at Acculay, we are trying to turn AI into whatever, right?
• 2:40
  Here at Acculay, we're trying to, uh, perfect the use of acupuncture with ballet.
• 2:46
  Yeah, but Blackupuncture sounds like a blaxploitation.
• 2:52
  Yeah, that's a whole different movie for, uh, that's, uh, that's almost like a, uh, like a Blacula. sequel.
• 2:59
  Yeah,
• 3:00
  it's
• 3:02
  a
• 3:02
  black yellow puncture. Yeah, I mean, I'd watch that. That sounds great. Black yellow versus audition.
• 3:09
  Oh, Terry, you're all about the, the versus, uh, movies.
• 3:14
  He does. He brings this up a lot. He likes these crossovers.
• 3:17
  He like— he likes things fighting things.
• 3:19
  I do, I do.
• 3:20
  Well, we should tell people what else we like. We like watching movies.
• 3:25
  Yes.
• 3:27
  But not just any movie. No, it could be any movie, but really it's every month one of us picks a theme, a genre, some sort of guiding light.
• 3:37
  One of us makes a PowerPoint.
• 3:39
  One of them makes a PowerPoint and we go through a big list of possibilities and then we each have to choose a movie that fits within that genre theme or whatever. But here's the thing, this month's a little bit different because it's a Terry month. And Terry did something so wacko and bizarre. Terry, tell us what you did.
• 3:56
  Um, so I decided for Halloween, or Halloween special, whatever you want to call this little thing we're doing, is that, uh, it's kind of like trick-or-treat where instead of, you know, you don't know what you're gonna get when you do trick-or-treating. You open the door, you knock on it, and they give you whatever they got. So like, for this, I was like, in the spirit of that, I'm gonna give a bunch of genres and you get— you guys are gonna be able to pick your genre. But you're not going to know what's underneath the door of the genre. There's going to be 3 options, and then the random wheel we have is going to pick one of the 3. These all have been curated by me besides one category. So that's, you know, could be a good movie, could be a recommended movie I saw online, could be anything. You never know.
• 4:37
  Could be the rich part of town with the full-size candy bars.
• 4:41
  Yes.
• 4:42
  Or it could be those people who wrap 2 cents in tin foil and put in your thing.
• 4:47
  Or
• 4:47
  it could be an apple with a religious pamphlet.
• 4:50
  Yeah, yeah.
• 4:51
  Who knows what it is? Dentist's house.
• 4:53
  Oh gosh, it's got toothpaste. Yeah, I'd rather have the apple with glass in it.
• 4:58
  Yeah, yeah, it could be a box of gummy bears that had an expiration date 10 years prior.
• 5:03
  Yep, could be that. Could be lots of things. Well, Terry, tell us what the first week was.
• 5:09
  So the first week Uh, we picked— or I picked, it was my choice. So this is the one I had one of my friends, Dan, he— since it was only fair, I was like, I got to pick every other movie. I wanted to be a surprise for myself. I had him pick slasher movies for me because that's the category I wanted, and we ended up watching Alice Sweet Alice.
• 5:26
  And then this week there were so many categories, I flipped a coin, I went with Japanese horror movies, and we spun the wheel and we got the movie Audition,
• 5:39
  which I believe had come up before on here, right?
• 5:42
  Not on this show, but on the Monster Hunters Spooky Season Spectacular roughly 1 year ago. I was going to choose either Hereditary or Audition, and I chose Hereditary.
• 5:56
  Wow. And it all comes back around.
• 5:58
  And it comes back. The wheel rewarded me.
• 6:01
  Yep. Your patience has been rewarded.
• 6:04
  Definitely, definitely not rewarding me. That's for sure.
• 6:06
  12 months of patience got me to audition. Now, before we take a deep dive into—
• 6:13
  Can I just, can I just say, like, based on, like, my issues with the wheel—
• 6:18
  Yes.
• 6:19
  Uh-huh.
• 6:20
  Like, I'm like, I know what the other, like, category choices are, and I'm really having trouble with it, knowing that, knowing that whatever pops up, if there's something I actually really want to watch, it's— I'm gonna get nailed with, like, It— there's one that no matter what it is, Terry, you probably have it now set up to have all 3 Triple X movies under there, no matter what I pick.
• 6:43
  Oh, the mystery door. Yeah, I wonder what's gonna be behind that.
• 6:45
  There is a category that if Keith doesn't pick, I want to know what the choices were. Maybe we'll— maybe we'll do that off mic.
• 6:51
  There is— there is a category that I, I've had— I have a strong feeling that might be picked, but we'll see.
• 6:58
  I, I think I know what it is too, but if it doesn't get picked, I— that's the one I really want to know.
• 7:02
  I'm saying if I picked Japanese films, which, which is, uh, this week's— if I picked that, it would have been like the 3 Triple X movies would have been under there just for no reason.
• 7:14
  Oh, the Japanese dub. Yeah, the Japanese dub.
• 7:17
  Japanese dub. Triple X State of the Union.
• 7:20
  Nice. Yeah, better. Yeah. All
• 7:21
  right, now before we talk about Audition, before we deep dive Audition, did any of us have any previous history with the movie Audition?
• 7:30
  Well, about a year ago when we did spooky season on the monster hunters, I learned about this movie.
• 7:35
  Yeah. Okay.
• 7:36
  Yes, yes, yes. Um, I've seen this movie several times. I've seen this several
• 7:42
  times.
• 7:43
  Yep. So I, I wouldn't say I'm an expert, but I, I'm familiar, quite familiar with this movie.
• 7:49
  Okay. So remember, let's go in the Wayback Machine when we were watching Buckaroo Banzai and I said I worked with a guy who was like really into Buckaroo Banzai. And he used to make— he would used to dub VHS tapes with like Japanese movies and Buckaroo Banzai and anime and all these different things to give them to you and be like, I think you would like these. And he'd present them to us.
• 8:12
  Like a mixtape?
• 8:13
  What's that?
• 8:14
  Like a mixtape, but VHS?
• 8:15
  Kind of, but VHS with various movies and stuff like that. Like underground wrestling. He was really into lots of different things.
• 8:22
  That's kind of cool. Like, I like that.
• 8:24
  This is a movie he would have the biggest hard-on for. And it used to be like people would watch it and they were puking in the movie theaters, scream and run. I was like, no way people were puking in the movie theaters. And then I watched it. Now I had to, I had to have watched it probably almost 20 years ago.
• 8:43
  Yeah.
• 8:44
  I watched it and I was like, yeah, it was all right, I guess. I do not I don't remember it. I don't remember a single. I remember di di di di di di di. That's my only takeaway from the movie. I don't even remember the context of it before I watched it today. So back then, I kind of watched it in like a hate watch sort of way because you know how people got to get really excited about something. Yes. There's no way it's that good.
• 9:08
  They like people walked out of the theater. They couldn't even handle it. Then you go watch it. You're like, why?
• 9:12
  People are passing out and vomiting in the aisles. I was like, bullshit.
• 9:16
  They burned down the theater this played in. Yeah.
• 9:20
  So when I watched it, I went in with a frame of mind and I probably drank way too much too at the time. And I was just like, I'm not going to enjoy this at all. And I don't, I don't remember anything. And so when I watched it today, it was kind of like watching it fresh. So that was nice.
• 9:36
  That's good.
• 9:37
  So what we're going to have— we're going to do now is I'm going to take you dangerously close to the world of Audition.
• 9:42
  Oh God,
• 9:43
  the world of
• 9:45
  patent-pending Fumbler's Deep Dive.
• 9:50
  The world, mind you, isn't so bad. Just one specific area of that world,
• 9:54
  like one woman's apartment and then that guy's house. That's it.
• 9:58
  I'm not going to either of those places.
• 10:00
  No, heavens no.
• 10:01
  I'll just stay out. I'll stay in the taxi, the taxi cab that shows up in the film every once in a while.
• 10:05
  I'm definitely not going to her flat or a panto or whatever it is.
• 10:09
  No.
• 10:10
  No way.
• 10:10
  Why would I?
• 10:12
  Yeah. That bag in there? No, I'd open up the.
• 10:14
  I kind of want to know what's in there. You know what?
• 10:16
  No way. You see that bag wriggling around? You go on. Know what's inside? No thanks.
• 10:20
  It could be anything in there.
• 10:22
  Yeah, it could be. Yeah, who knows what could be?
• 10:25
  Stray puppy.
• 10:26
  Yeah, it could be puppies.
• 10:28
  Oh, it could be.
• 10:29
  It'd be. Well, kind of.
• 10:31
  All right.
• 10:31
  We'll get there. We'll get there.
• 10:33
  The movie audition. This son of a bitch had a world premiere on October second of 1999. I believe at the Toronto Film Festival, it said. And then it had a US premiere on August 8th, 2001, almost 2 years later.
• 10:45
  Wow. Okay. Okay.
• 10:46
  It's rated R and is an hour and 55 minutes. Gets a 7.1 on IMDb and an 81% Certified Fresh on Rotten Tomatoes.
• 10:54
  That's pretty good.
• 10:55
  Yeah, I agree. A widower has his film producer friend organize a fake audition to a means of helping him find a new girlfriend. But the woman he selects is not who she appears to be. This movie was directed by Takashi Miike. He's a highly prolific and controversial Japanese filmmaker, producer, screenwriter. He's known for his shocking and often bizarre cinematic styles. Yes, he is a master of Japanese horror, I believe, and like gangster movies.
• 11:26
  Yes, he's done a— he's directed a ton of stuff. It's crazy how much he's done.
• 11:30
  He's got 122 directing credits going back to 1991. I picked out just a handful, such things as 13 Assassins, Dead or Alive trilogy. I don't believe it. I don't think it's the— it's not the Dead or Alive video game.
• 11:44
  I think it's based off the game.
• 11:45
  Is it based off the game?
• 11:47
  It might be. I could be wrong. I think he's done a lot of—
• 11:49
  Based off the movie.
• 11:50
  He's done a lot of video game adaptations.
• 11:52
  He does. But the only thing I can think of as Dead or Alive is like the beach volleyball.
• 11:57
  Which would be weird to make 3 movies about that, but
• 11:59
  yes,
• 12:00
  I don't know, there might be a great story. I've never actually played those games, but—
• 12:03
  So they did something called Visitor Q. This one caught my eye, The Happiness of the Katakuris. It's a musical horror comedy. I was like, oh, that sounds interesting. But in 2001, he directed a movie called Ichi the Killer.
• 12:17
  Oh, I've seen—
• 12:19
  I've heard of that. I've not seen it, but it's supposed to be really good.
• 12:23
  As sadomasochistic Yakuza enforcer Kakihara searches for his missing boss, he comes across Ichi, a repressed and psychotic killer who may be able to inflict levels of pain that Kakihara has only dreamed of achieving. So this is 2001. This came out— this is after he did Audition. So I'm going to assume that there's a level of sadism in there that just ramps up the Audition.
• 12:52
  Yeah. It's, um, it's— I liked it. It's like a, you know, this is one of those movies, like you're saying, Derek, where they hype— people hyped it up for me like, wow, this is disturbing, this is disgusting, this is just the most depraved thing you could ever watch. And I watched it and it's honestly not. Like, it is gory and nasty, but it's like, it's trying— it has more of almost a comedic tone to it the whole time that makes it not so disturbing, you know? It's supposed to be over the top. And maybe not depending on your sense of humor if it's funny or not. Sometimes I didn't think it was funny, but it was like, you know, it's just a very like— what would you call like a— not enhanced, but like a very like, uh, stylized, like
• 13:32
  stylized, like
• 13:33
  hyper, hyper violent. Yes, yes, that's what I would say. It's so strange. It is a strange movie.
• 13:38
  So this— the same person that gushed, uh, unendingly about Audition was really into Ichi the Killer.
• 13:45
  Oh God. Now someone who was gushing about Ichi the Killer might be like a, like, like a hmm, you know what I mean? If this was perhaps the first thing I knew about this person and their like taste and they told me about Ichi the Killer first thing, I'd go like, hmm, that's weird. Okay.
• 13:58
  It's something you would probably lead a conversation with too.
• 14:00
  Oh yeah. Yeah. That's something you want to get to know somebody first before you just—
• 14:04
  Hi, I'm Bob. Hi, I'm Bob. Nice to meet you. Have you seen Ichi the Killer?
• 14:07
  Yeah. Wearing my Ichi the Killer t-shirt.
• 14:10
  He probably has one too.
• 14:12
  No, I have seen one movie by Takashi Miike. I don't know if you— it's, uh, so, you know, there's like that series, you might not know, it's called Masters of Horror, where like it was like, I think, straight to television, like horror. Like this guy, Mick Garris, he got all these horror directors and he was like, you can do whatever you want. You can just, you know, you've got an hour, just make a movie, you know, and do it. And, uh, he managed to get Takashi Miike, and that was the only one that got banned. from like being aired. Like, because he was telling everybody, just don't censor yourself, do whatever the heck you want. So that's what he did. I watched it. My friend loves this movie, and that is a movie that is not funny. It is just disturbing and it's nasty. And that was like one of the grossest movies I've seen. So— Wow. Just in terms of like, I, I watched it, I was like, I don't even get the point of this. It's just violence and disgusting. Like, I'm like, wow, like, what am I watching? So yeah. imprint. Watch it if you're interested, I guess.
• 15:05
  So this movie has 2 writers, and I believe one of them wrote the Masters of Horror that he did.
• 15:11
  Oh, really? Okay. Yeah. Okay.
• 15:13
  So the 2 writers, Ryu Murakami and Daisuke Tengen. So Ryu Murakami has 14 writing credits going back to 1979, such things as Tokyo Decadence, Piercing, and 69, which is not what you think it's about. It's about some kids in the year Tokyo 1969.
• 15:33
  Oh, really?
• 15:34
  That's exactly what I thought. But
• 15:36
  lame.
• 15:37
  So the other writer, Daisuke Tengen, he's the one that also wrote— what's it called? Imprint?
• 15:42
  Mhm, I think so.
• 15:43
  Yeah, so that's the one written by Daisuke Tengen and directed by Takashi Miike.
• 15:47
  So it's disturbing, uh, for sure.
• 15:50
  Well, see, now I want to see it.
• 15:54
  Maybe it's not so bad now that my taste has matured a bit. Maybe I would appreciate it more, but I didn't watch it that long ago. This is probably like at least 6 years, at least 5, 6 years ago.
• 16:04
  Oh, before you met, before you knew us. So yes, you're definitely more mature now.
• 16:08
  Oh, I am more mature now.
• 16:09
  That's more refined film palate.
• 16:11
  Yeah, yeah, I haven't watched— I haven't watched all 50 episodes of Monsters at that point, so I probably do have a more refined palate.
• 16:17
  50? There's 70-something. Oh, Daisuke Tengen has 19 writing credits going back to 1991. He wrote such things as 13 Assassins, which was also directed by— good movie. The Most Beautiful Night in the World, which was also directed by VK. Something called Blood, The Most Terrible Time in My Life. But in 1997, he wrote The Eel. A businessman kills his adulterous wife and is sent to prison. After the release, he opens a barbershop and meets new people, talking almost to no one except for an eel he befriended while in prison.
• 16:54
  What?
• 16:56
  Yes.
• 16:57
  He befriends an eel in prison?
• 16:59
  In prison, an eel.
• 17:00
  How did he befriend it?
• 17:02
  And this isn't like maybe a translation issue where like eel means something else?
• 17:06
  Nope, it is an eel. The poster has the shape of an eel on it. So my guess is the— is the eel— is it a literal eel or is it some sort of hallucination? I don't know. You
• 17:17
  know, some prisons let you adopt like a cat or something. Like maybe in this prison they're saying you can adopt an eel.
• 17:23
  Not very familiar with prisons, uh, Terry, but you know,
• 17:27
  they're nice. Yeah, some prisons are really nice. They like cats or eels or, you know, turtles, whatever.
• 17:32
  Yeah, and eels are like one of the most pleasant to look at animals.
• 17:37
  Oh, but it's so comforting.
• 17:39
  Yeah, cuddly.
• 17:40
  Is this like, uh, like an Incredible Mr. Limpet situation? It's like the eel like animated?
• 17:45
  Uh, I don't know. I haven't seen the movie. I couldn't tell you.
• 17:49
  I hope it— I hope we do see it. I like the sound of this.
• 17:51
  So this movie stars— I'm going to talk about the 2 main stars of the movie. Uh, Ryo Ishibashi is Shigehiro Aoyama. He has 94 acting credits going back to 1982 in things like Blue Tiger, Two Punks, Moon Child, The Most Beautiful Night in the World.
• 18:11
  Oh,
• 18:12
  Ace Attorney, I believe that's like Uh, Objection.
• 18:16
  No, the video game. Yeah.
• 18:18
  But in 2004, he played Detective Nakagawa in the American version of The Grudge.
• 18:26
  Oh cool.
• 18:27
  An American nurse living and working in Tokyo is exposed to a mysterious supernatural curse, one that locks a person in a powerful rage before claiming their life and spreading to another victim. Stars Sarah Michelle Gellar, Clea Duvall, Bill Pullman, and Jason Behr.
• 18:44
  I think Sean Gunn's in that too. Oh no, Ted Raimi. I'm thinking of Ted Raimi.
• 18:48
  Ted Raimi. Yep.
• 18:49
  Never mind.
• 18:51
  Yes, he is, because it's, uh, it's produced by Sam Raimi.
• 18:55
  Yeah, I was thinking of brothers. Sean Gunn, James Gunn, Ted Raimi, Sam Raimi.
• 19:02
  This movie also stars— I, I don't want to mispronounce her her name. I don't know. Shina as Asami Yamazaki. She has 22 acting credits going back to 1998 in such things as Helldriver, Use the Eyeballs,
• 19:21
  uh-oh,
• 19:22
  Meatball Machine Kodoku.
• 19:24
  Oh, that's a weird movie. That's a weird movie.
• 19:26
  Harmful Insect. But in 2002, she was in Sky High, rated R. A
• 19:33
  detective— Not the Disney Channel original.
• 19:37
  That's why I said rated R. Not the Disney one with Ted Allen or Tim Allen about superheroes, right? Is Tim Allen in that?
• 19:44
  No, it's Kurt Russell.
• 19:45
  Kurt Russell, that's what it is. But like a high school for superheroes? No. Sky High, rated R. A detective hunts a killer who is removing girls' hearts. When his own fiancée falls victim to the killer, the detective discovers the otherworldly intentions of the killer and is helped from beyond the grave by his fiancée.
• 20:05
  That sounds awesome.
• 20:06
  It does sound awesome. That's why I chose this one. I'm like, oh man, that sounds crazy.
• 20:11
  Yeah, I want to see this very much.
• 20:13
  You guys want some audition fun facts?
• 20:16
  Yes. Oh, there's gotta be fun facts.
• 20:18
  And, and I put this one down because it made me laugh when I read it. When the film was screened at the Rotterdam Film Festival in 2000, it had a record number of walkouts. One woman who had actually sat through the entire film immediately walked out of the ensuing Q&A session past the stage and hissed, "You are sick," at director Takashi Mika.
• 20:40
  Wow!
• 20:41
  Much to his amusement and delight.
• 20:43
  I bet he liked that. Yeah.
• 20:45
  At the Swiss premiere, someone passed out and needed emergency room attention.
• 20:50
  Come on!
• 20:51
  Yes, come on. Exactly. Come on. But when I read that, it made me laugh because it reminded me of. The person I used to work with who told me that people were vomiting in the aisles.
• 21:01
  Well, I was watching the—it's funny—I bought the the Blu-ray before this we did this episode because obviously I've seen it several times. Like you know why don't I just own this if I watched it this many times? And there's like a documentary, like a little short thing with the director, like you for the special features, and he's talking about how like people always think I'm some sort of freak or monster because of the movies I make. And he's like, you know, I really don't feel like I'm like that, but I kind of play it up whenever I go to these festivals just because like everybody expects that about me. Because like he's like talking like, people think I'm such a horror— like a horror guy, a master of suspense and monsters and murders. But he's like, I've only made like 5 or 6 horror movies and I've made like 80 films. Yeah, but everybody— the ones everybody talks about are always those horror movies. So yeah, it's just funny to like His perspective on it.
• 21:52
  Asami in the film almost always wears white-colored clothing. In Japan, the color white is associated with death. It was also meant to make her look ghostly.
• 22:02
  Makes sense.
• 22:03
  This one I thought was interesting. Audition was shot in approximately 3 weeks, which is about 1 more week than usual for Takashi Miike's films at the time.
• 22:11
  Wow, he's fast. Okay,
• 22:14
  21 days.
• 22:16
  Well, no wonder he has so many movies.
• 22:17
  Yeah, just cranks them out. This movie was described by Quentin Tarantino as a true masterpiece if ever there was one in a video discussing his favorite film released between 1992 and 2009. That's a very
• 22:30
  long time.
• 22:31
  Specific
• 22:32
  1992 to 2009.
• 22:35
  That's the 17-year window.
• 22:37
  Why did they pick those 2 years?
• 22:40
  I don't know.
• 22:40
  So what if he— what if his came out in, in 2009? Because '93 would have been like Pulp Fiction.
• 22:46
  Yeah,
• 22:46
  this time. So maybe just—
• 22:48
  yeah, I wonder if he was like interviewed like, what's your favorite movie that you've seen since whatever, like Reservoir Dogs to now? And the interview 2009, that's my guess. Otherwise that's a very weirdly specific—
• 23:00
  let me just pick 2 random numbers and ask somebody, what do you think of the favorite movie of this? Yeah, I don't know, that's weird. Yeah,
• 23:08
  no, I, I chose this next fun fact because of our relationship with person. Heavy metal musician and horror movie director actor Rob Zombie admitted he found this movie to be the most creepy and unsettling of any horror movie he's ever watched.
• 23:22
  Wow, interesting. Okay, good for him. I mean, it is creepy and unsettling, I'll give him that.
• 23:28
  It is that. It's very intense too.
• 23:31
  Yeah, you know what, Rob Zombie's got great taste,
• 23:35
  just not very good at making movies
• 23:37
  or It doesn't pay off. Yeah, apparently it doesn't really pay off in his work.
• 23:41
  It's hard to translate, like, having good taste and translating into art. There are 2 different things.
• 23:46
  I love how you describe him as a friend of ours.
• 23:48
  Well, we have a relationship with
• 23:51
  him. Hey Rob, if you're listening, I hope you're doing well. He has a new single out right now. Does he really? Yeah, it's called like— it's called Satan and Punks or something like that. Go listen, it just came out. Spotify was recommending it to me, so I'm proud of him for having a new song out. Did I like it? Not really. But
• 24:07
  Takashi Miike felt that the book—I guess there's a book audition—was a love letter to a woman. So the script he made was a reply from the same woman. So I—I don't know.
• 24:20
  What does that mean?
• 24:21
  Wouldn't it be wild if the book this movie was based off of was not this horror movie at all?
• 24:30
  Just—he like was. Yeah, he took his own twist on it. Yeah. Yeah. You know what? I think it'd be better if we had a serial killer in.
• 24:37
  This film was slated at one point to get an English-language American remake in the early 2000s when Asian horror remakes were, uh, all the rage. However, negotiations fell through and it never got made. And I think we're lucky for that. Lucky it didn't get made.
• 24:52
  Yeah, there's only been like one or two really good ones. So yeah.
• 24:57
  What were they?
• 24:58
  Uh, The Ring, I think, is better than the original.
• 25:02
  Oh, I've never seen Ringu, but I've seen The Ring and I wasn't too keen on it.
• 25:06
  Oh, really? No, no, that was something. The Grudge is pretty good, but it's not like— I would say I like the original better than the American remake.
• 25:14
  I think this year is like the 25th anniversary of Battle Royale too, I think, which is another big Japanese movie that that same person used to talk about nonstop.
• 25:24
  Yeah,
• 25:25
  yeah,
• 25:26
  that's one that I heard a lot about. I, I've still never seen it.
• 25:28
  I've never seen it
• 25:29
  either. Yeah. I know Quentin Tarantino's talked about that one.
• 25:32
  I think that one, that one got a lot of hype when, uh, with The Hunger Games came out.
• 25:36
  Hunger Games. Like, yeah, I like it better when it was battle royale. Yeah, I get it.
• 25:42
  Yeah, yeah, hipsters thinking that.
• 25:43
  We get it, you don't read.
• 25:45
  Okay, like, we liked Hunger Games before it was cool.
• 25:48
  Yeah. And then finally, this movie was included among the 1,001 movies you must see before you die. As edited by Stephen Schneider. I don't know who that is, but it was a fun fact.
• 26:00
  As edited by him, not written?
• 26:02
  Yeah, I'm assuming he maintains the list. He may— maybe he wrote the list and maintains it.
• 26:08
  I think they— I think they update and put a new one, a new version of it out every year.
• 26:11
  Yeah.
• 26:12
  Wow, so some movies get knocked off the 1001 list. That's a
• 26:15
  big— that's a big chunk of movies. That would be a good podcast, going through the 1001 movies you must see before you die.
• 26:22
  It keeps changing. It'd be so hard.
• 26:24
  That's awfully close. That could still qualify as any movie.
• 26:27
  Yes,
• 26:30
  that would be actually kind of a fun podcast just to watch all those.
• 26:33
  I, I, I'm interested is how many that we've done so far in this year have— are also on that.
• 26:38
  Maybe at the end of the year we should go, we should figure out. I bet you 3 or 4.
• 26:42
  Lone Wolf McQuade, Leprechaun.
• 26:46
  Yeah.
• 26:49
  Back to the hood. Yes, Leprechaun back to the hood. That would be a fun list to help make.
• 26:56
  Like, I, I've tried putting together like
• 26:59
  a thousand and one list.
• 27:01
  Yes.
• 27:01
  Oh, you should release your own version, Keith.
• 27:04
  I, I did. Like, at one point in time, I went back and I was, and I was trying to do that. And after you get through like maybe your top 20 movies,
• 27:12
  then
• 27:13
  it's like 21 through 1,000, 21 through 999. Are pretty could be any number.
• 27:20
  Pretty flexible. You're just like, yeah, just throw it in. Yeah, sure. That was pretty good.
• 27:24
  Yeah.
• 27:24
  I remember liking that quite a
• 27:26
  bit. Yeah. Sure.
• 27:27
  Don't matter where it is. Major Pain. Sure.
• 27:29
  You're trying to throw. You're just trying to fill the list.
• 27:30
  Major Pain was not, and it was also just movies I had seen. So like there would be like a few things.
• 27:36
  You know what's amazing? You'd have to get to a point be like, I don't think I've seen more than 734 movies in my life.
• 27:43
  I just gotta fill.
• 27:43
  I gotta round out this list with another 257 movies. I'm just gonna pick off a list. I don't know.
• 27:50
  Every time you watch a new movie, you just throw it on there automatically.
• 27:52
  And that's 100%. It's a purely subjective list, and that's fine. Perfectly acceptable. Oh, you know what else is perfectly acceptable?
• 28:02
  What?
• 28:03
  Watching this movie.
• 28:05
  That's true. I think it is perfectly acceptable.
• 28:08
  Perfectly acceptable
• 28:10
  to some. I mean, you know, like if I like was watching with like my grandmother or something, she might not think it was acceptable. I don't know, but
• 28:16
  There's a point where this movie is like, oh man, it's just really tense. Yeah. And there's a point and then it just goes, nope.
• 28:25
  There is. It
• 28:26
  just takes a hard, hard lift.
• 28:29
  There is a point in this movie, maybe about right up to when they finished the audition scenes with all the ladies going through the auditions, that if you were to tell me this was a Judd Apatow rom-com, yeah, I would think you were correct.
• 28:45
  Yeah.
• 28:46
  And that's, that's what I love about this movie.
• 28:48
  Yeah.
• 28:48
  It's such a slow burn. Like, you're watching this movie and it's like this— you're right, it's the perfect setup for like a romantic comedy. But then as it goes, it's like something weird's going on here. And then it just goes to like 11 at the end and you're like, whoa, okay, easy.
• 29:03
  His son, his son being like, hey Dad, yeah, you can remarry, or you should remarry, you look a little worn out. He's like, that was out of the blue. Well, how else was I supposed to bring it up? Yeah. Yeah. You know, stuff like that that I was like, that's, that's just very funny. And, and seems like something I would see in, in some sort of, uh, especially like a, that sounds like a Judd Apatow type line. Yeah. In, in a movie and stuff like that. And then, and I don't know if it's the middle point of the movie, Derek, you would have, you would be the most knowledgeable. That phone call.
• 29:34
  It is, it is. Um, it's not exactly staring at
• 29:37
  the
• 29:37
  phone, the middle, and then, and then the, the rings in the bag.
• 29:41
  Yeah.
• 29:41
  Oh God.
• 29:42
  That's, That's where it all changes because,
• 29:44
  yeah, that's when you realize she's creepy. Oh yeah,
• 29:49
  well,
• 29:49
  she's—
• 29:49
  oh, she's creepy.
• 29:50
  She's creepy sitting there just staring at the phone before the bag— before the bag suddenly like bursts across the way.
• 29:57
  The whole scene of her in her apartment is creepy. That's like, you're like, wait a second, what's wrong with her?
• 30:02
  She is sitting there waiting for that phone call and then her— she gets that smile.
• 30:07
  Oh God, yeah.
• 30:09
  Because she knows, like, who else is gonna be calling her?
• 30:11
  Yeah, nobody else has this number. Yeah, anyone who had it's dead, probably. So
• 30:16
  yeah, or in a bag.
• 30:18
  Or in a bag.
• 30:18
  Yeah,
• 30:19
  without a tongue or feet.
• 30:20
  Yeah, you can't talk on the phone with no tongue. So you can't dial the phone with any fingers. Like, I, I like— okay, let me just say that scene. So when it's revealed that she's creepy, it's like, uh That's like one of my like favorite like jump scares of all time. Is
• 30:39
  that yes, the bag?
• 30:40
  Because it's like you don't you kind of you see that bag and you kind of forget about it. You know, you're like whatever. It's just a weird bag. This whole house is creepy, so whatever. But then the bag like starts flipping around and moving.
• 30:50
  You're like oh she just has all like she's just you know she doesn't have a lot of stuff there. She's probably just laundry.
• 30:54
  Yeah, she's got some clothes or something. Yeah, and then just starts flailing around. Oh my gosh! I love that. Like this the whole time I was watching, I was just staring at that bag like oh no, I know it's coming. Oh, I know it's coming.
• 31:04
  Yeah.
• 31:06
  Oh yeah, yeah, go ahead,
• 31:10
  go ahead.
• 31:11
  No, you're fine, go ahead.
• 31:12
  Uh,
• 31:13
  I'm just making guttural noises and me remembering,
• 31:16
  which is a reasonable reaction to this movie. I'd make a lot of them.
• 31:21
  So, so what if— so if this was like, oh, people, you know, left and people were throwing up in the theater, like, what are, what are the specific things that are— that would be making Because I only, I only had one thing that got me. I
• 31:36
  think the man eating puke probably would have made a lot of people, um,
• 31:40
  yeah,
• 31:41
  get out of the theater. I would guess that's probably honestly the part that grossed me out the most, was that the flopping
• 31:46
  tongue,
• 31:46
  the guy coming out.
• 31:47
  Yeah, yeah, it was that vomit that he was lapping up.
• 31:50
  Yeah, she puked into the bowl and then gave it to him.
• 31:52
  Oh, see, I didn't know that. I thought she just gave him like some nasty stuff.
• 31:56
  Nope, that was her.
• 31:57
  You hear her retching. Yeah, I thought it was him retching. I didn't realize it was her.
• 32:00
  Yeah, well, I was also thrown off because he was suddenly going through this like weird like hallucination type thing where he's going through and seeing everything that she's been doing as well. And like you're seeing this like flash of like all the stuff she's been doing the entire time, but he's like, you know, in the memory as well all of a sudden, you know. And, and it's piecing all together for him like what's been going on or what he's now assumed is going on. Um, when, when the kid kicks her down the stairs and her neck is snapped, but then like you— she still breathes a bit and you can see it through the airway. That— I— oh man, I just got chills thinking about it just now.
• 32:44
  That was gross.
• 32:45
  That, that's the part where I was like, oh.
• 32:47
  Oh, that was the part? Really?
• 32:50
  Yeah, that's the main thing that got me.
• 32:52
  The needles in the eyeball are what got me.
• 32:54
  The sound it makes when she starts stabbing his eyes was disgusting. You don't even see her do it. You just see like the aftermath. You don't see it.
• 33:03
  But it's just below the eyes. That's the sensitive area.
• 33:05
  Yeah.
• 33:06
  Either way,
• 33:07
  I also, well, I also kind of cringed when like she, she put all the stuff on it in the stomach and then she slid up on top of it as well.
• 33:15
  Yes.
• 33:16
  And I was like, oh, that's gotta hurt both of you.
• 33:18
  Jeez.
• 33:21
  Yeah.
• 33:21
  Also the, the pure joy on her face that she's cutting the foot off.
• 33:26
  Yes,
• 33:27
  she's having fun. She's having a lot of fun.
• 33:30
  So this movie is what, 145 or 150 or something like that?
• 33:33
  Yeah, it's like an hour.
• 33:34
  The first hour 30 is kind of like an intense thriller.
• 33:42
  Yeah,
• 33:43
  a little bit with that like weird relationship. You're like, what is going on?
• 33:47
  It's like a mystery. It's
• 33:48
  more of a detective
• 33:49
  movie almost, you
• 33:50
  know, because, because they go to that hotel or whatever and then she leaves in the middle of the night after like that weird hype, super intense body reveal thing where she's got the scars and stuff, and you're just like, oh, what is going on?
• 34:04
  There's a really, really good chef at the restaurant there, and we can go check out the guy.
• 34:08
  That guy is like so nervous.
• 34:09
  Oh, and they have a coffee shop, and if I remember right, they have really good—
• 34:13
  He's just trying to fill the time because he wants to spend time with her, but he doesn't know what to do. He has no idea how to act. And just like, yeah, yeah, she's like, let me get naked. And then we'll do our thing and I'll leave in the middle of the night.
• 34:25
  But first I want to show you like the scars from, you know, any scars that I have. I'll slowly reveal myself to you.
• 34:33
  Yep.
• 34:35
  And I'm going to tell you that you can only love me. And then it didn't dawn on me until they get back and I remember the dog and it's like, oh, he loves that dog too.
• 34:45
  Yeah,
• 34:46
  he loves his son and he loved his wife because they showed that picture. Like, oh, I now I I I get.
• 34:53
  Oh yeah, when he turns when he turns the picture away while he's going through the he's going through all like the the the audition resume type things.
• 35:03
  But then she flies many a red flag.
• 35:07
  Oh sure.
• 35:08
  And he does. He's just like, I'm I'm old. I'm smart. I get it.
• 35:12
  Yeah, he's I can handle it.
• 35:13
  I can handle it.
• 35:14
  But we also only see a portion of their conversations. Until he goes back through that whole like flashback thing.
• 35:20
  Yeah, but like, then I wonder, like, because are the flashbacks true or are they conjured, or is it just like a storytelling mechanism where the, the director fills in the blanks and just, just like us, he's along for the ride and learning, right?
• 35:39
  Well, see, that's what I was assuming was happening with like all the stuff she was doing to other people.
• 35:45
  Yeah, but I,
• 35:46
  but I, I think the parts where like they were sitting at a table talking seemed weird. Like, you're having these full all-out conversations. Like, I don't— like, did we just not see those parts? Like, they just—
• 35:58
  that's what I thought.
• 35:59
  Full conversation? Or is he now like, oh, I'm piecing together that this lady is completely loony and these are the reasons why?
• 36:06
  To me, he's like, uh, realizing all the red flags at that point where he's— yeah, you know, some of the dinner conversations, obviously, I feel like he did have Some of that stuff, he sure he could never have been there. So I think that part's like the director kind of just telling us some weird stuff about her. But I think like a lot of it's like him, like you're saying there, he's kind of infatuated with this woman because she's very so he
• 36:26
  just ignores the red
• 36:27
  flag. She's like really like it seems like she's really dependent on him and like leaning on him as like this, you know. Oh, I was so happy. I've been waiting to hear from you. You know, I would do anything to make you happy. That kind of thing. Like he's so I feel like he's so like. For that energy that he just ignores everything else, and like yeah,
• 36:45
  all you need to do is love me and only me. Yeah, okay, good.
• 36:49
  He didn't realize what she meant by that, but yeah, yeah. It uh, what I think's interesting about this movie is like you know this guy that is the main character is not so bad. You know, like he seems like an okay guy, but as you like think about what he's doing, it's not great, right?
• 37:07
  No, there yeah, the whole audition thing. It's creepy. Skeevious shit. Yeah.
• 37:12
  Yeah. Like he's, they present it kind of in a way where you don't necessarily think about it at first, but I feel like it kind of starts to sink in. Like he's, he's using his like power basically over these women. They're, they're coming to an audition for what they think is like a TV or movie or something, you know? And like, but really this is all just a grand scheme to get this guy a date. So they're like, just like talking to all these women. He's learning everything about them. And he's using that, like, advantage to help him find something. So it's just this weird thing. And he's like— to me, I feel like he doesn't even necessarily want to do this. It's just that, like, his son is pushing. He feels like society is telling him he has to remarry.
• 37:51
  He's getting worn down. He's getting worn out, man.
• 37:54
  He's—
• 37:54
  it wasn't even his idea.
• 37:56
  It's not. He didn't ever cross his mind till his son just said something out of the blue. Yeah, like, yeah, but the audition wasn't his
• 38:01
  idea either. He's just like, right, well, I wish there's a way where I could just see a, you know, every— all the good things about people and find out what they're good at. Like reading a resume before.
• 38:10
  Yeah, he wanted to go speed dating. Yeah, he wanted to do—
• 38:13
  Which you could probably—
• 38:14
  But with a resume, right? He wants to know what their skills are before going into it.
• 38:19
  And he wants them— see, then this gets kind of weird where he's like, yeah, I want them to be trained, you know, like professionally.
• 38:24
  But some sort of skill.
• 38:26
  Yeah, but he says that makes them more like, uh, Compatible, which I don't know what that means exactly, but it seems to me like he's wanting someone who's kind of like going along with what he wants.
• 38:36
  I thought well, I thought it was like oh, they're trained. It means they're dedicated to something. Yeah, and you know they put in that time and stuff like that because the guy says something about um he said I forget exactly what he's the other guy says something he goes well no they don't have to be like the greatest right like but they you know like they've studied this stuff so they are. you know, there's a dedication that they have there, I think, is what he was trying to get across and saying that he was looking for. Like, you know, so if they, if they know piano or dance or something, like, yeah,
• 39:07
  it'd
• 39:08
  be great because I know that they are dedicated to things. They'll be dedicated to this relationship.
• 39:11
  Yeah. And it's just a weird— like, because you— in a different movie, like we were saying, this could be a rom-com setup where it's like, also, are they, are they
• 39:21
  never actually Planning to make the movie at all? No, because I I thought they were because like he even says oh so like I would end up dating the lead. He goes oh no no she's not gonna get the lead. You know I you'll get one of the girls we don't pick.
• 39:36
  Oh yeah maybe they were like I felt it was more like you you can't get the lead right like if anyone is good enough to be the lead then they're eliminated because you wouldn't want to date them anyway they won't date you blah blah blah.
• 39:47
  Yeah okay I took it as Well, no, there's a chance we're gonna make the movie, and if we find the right person to make the movie, then you can pick from the other 29. That's fine.
• 39:55
  Yeah, and there's like a weird age gap. He's probably like in his 40s, 50s, you know, and she's 24, I think is what they said. And like, yeah, there's a lot of like power dynamics at play that like make this very strange. And then it all gets flipped on its head at the end, which I love, versus like, whoa, okay, she was the one that was like playing him this whole time.
• 40:15
  Yes. Yeah.
• 40:16
  Which it makes it— I think the themes of the film really build up to that, which I really like about it.
• 40:21
  Oh, God. I'm just imagining that smile when the phone rings. Just how everything's coming together. Yes. She's like, yes.
• 40:29
  I don't know. Also got the other weird stuff. So he had the lady who works for him or works in the same office as him. She goes to tell him that she's getting married. And then like later on she stops and see him and he's like just kind of brushes her off for her and she looks really upset. Like I was almost like, did she just say she's getting married just to get like a reaction on? Like yes, like one of these like, hey, there's somebody right in front of you here that like
• 40:54
  because he boned her.
• 40:55
  Yeah.
• 40:56
  Oh, he actually did.
• 40:57
  Okay.
• 40:58
  Yeah, he boned her the one time and she was in love with him and he just wanted to get his rocks off.
• 41:04
  Yeah. Yeah. And I, you know what, I so during the flashback scene because he does also flashback to like his, his son's new female friend.
• 41:15
  Yeah,
• 41:15
  as well. I was like,
• 41:16
  because he probably jerked off to her, that's why.
• 41:18
  Yeah. And so I was like, oh, wait a minute. And I was like, wait, did they— did the lady know about the audition the entire time? Like, what? Also, like, and all this stuff is a flashback thing. I was like, I don't know what he's actually seeing and what he's just running through his mind.
• 41:32
  It's just him like using these women in some way, shape, or form.
• 41:35
  Yeah. And he's probably Levels of shame and yeah, whatever associated with it all.
• 41:42
  Yeah, he's having quite the trip at that point.
• 41:45
  Yes, he goddamn.
• 41:48
  Yeah, it's crazy. Yeah, it's very disturbing. Like it, it just I just love that buildup. It's just like such a when everything comes to head at the end, you're just like whoa, we're going like this. It just goes insane. Like how like create like just. Like, this guy gets punished really hard for what he did.
• 42:06
  Yeah, and it goes, it goes from being not crazy at all or mildly weird.
• 42:12
  Yeah,
• 42:13
  to just batshit.
• 42:15
  Maybe like a 5 out of 10 to like a 9 or a 10 out of 10.
• 42:19
  Yeah, like, I mean, he, the— he picked— his buddy's even like, yeah, there's just something off about her.
• 42:25
  Mm-hmm.
• 42:27
  Yeah, he refuses to see that basically there's a serial killer here.
• 42:30
  Yeah, and I think he's a— he's, uh, he gets latched onto her because she has that thing about how she hurt herself before ballet and she could never do ballet again. So it's like something like embracing death. And I think he like really, um, and yeah, I think the reason he likes that so much is because of his wife. Like, you know, the whole death thing is like— so he's connecting with her on that level. And so like, I think he just kind of sees that and that's it. And then he just can't see anything else.
• 42:56
  I mean, his buddy said don't just look at pictures, read the full essays, and he did. And he read this one, he was like just mesmerized by this lady.
• 43:04
  Mhm.
• 43:05
  If I start going to places and like, oh, that place was closed a year ago, the owner got murdered, or this other thing's all boarded up, like I'd be like, um, I— yeah, I'm not looking for this girl anymore. We're good. I'm
• 43:17
  good. There— yeah, there's lots of things that would make you think, oh, maybe I need to stop pursuing this, but it didn't matter at that point. She was already coming after him.
• 43:26
  So, yeah. Oh, plus they, plus they throw you for the loop of he wakes up and they're like, it was, this is just a dream that he's having. And she's like, I accept the proposal type thing. And he's like, wait, did I actually ask you? Like, and she's like all cuddled up and he's just like, oh no, no, no, no, no. I've, I've just had a dream about what could possibly happen. I want nothing to do with this anymore. How do we get outta this?
• 43:49
  He's all, suddenly he sees all the red flags. Yeah.
• 43:51
  Yeah. And he's just laying there like, oh man, she's, she's all cuddled up to him. She's like, I don't— this is not what I want anymore. And then boom, flash right back to him falling right on his back because she gave him that, uh, the paralytic thing. Yeah,
• 44:05
  yep. I wondered, um, her— his son had left a voicemail saying that his girlfriend got really sick.
• 44:13
  I
• 44:13
  wonder if they had been drinking some of that booze.
• 44:16
  Oh yeah,
• 44:17
  no, it was just
• 44:18
  the idea, and she had to go to the hospital and whatever, so
• 44:20
  He said the dog was up to his hiding thing again.
• 44:23
  Mm-hmm.
• 44:24
  The dog was dead.
• 44:25
  Yes, I know. I was very upset when I was like, oh, she's gonna kill the dog. Yeah, that's the thing that got me the most probably in the movie.
• 44:31
  It was satisfying. Like, the, the main character is obviously kind of scummy, but like him getting tortured, there's such a prolonged scene of him just getting stabbed with these needles and stuff. And then when the son comes home, you're like, oh no, that son is so dead. But when he kicks her down the stairs, it's almost comical, like how like she goes flying, how
• 44:48
  much she flies
• 44:49
  down the stairs. Yes, but like in a good way. Like, it was like such a gratifying, like, oh, thank God it's over, you know? It's like, thank you, because it's just a relief that there's an end to this. Oh man, because it just keeps going for so long at the end there with the needles stabbing into him, her making that little noise, and her
• 45:08
  just super, super— like, it's the happiest she's looked.
• 45:12
  Yeah, she's throwing feet around. Yeah, it's just—
• 45:15
  yeah, again, her cutting the— her cutting the foot off and just This look of pure joy, like Christmas morning unwrapping a present type joy on her face while she's slicing his ankle off is just so crazy.
• 45:31
  Wire cuts through bones so easy. It's nice.
• 45:33
  Yeah. She's like, oh, this one.
• 45:35
  That does not make me feel better. I mean, I guess I would rather have that than a knot, but yeah.
• 45:39
  Oh yeah. If you're gonna cut off my foot, do it quick, please.
• 45:44
  Yeah. Might as well just use the really sharp wire. Sure. Go ahead. Yeah. I ain't got saying it. Just do it. Okay.
• 45:51
  Oh yeah, this movie is one of those where I finished watching it at five to nine, and I was like, I need an extra five minutes to
• 46:02
  process it,
• 46:03
  to decompress and process what I just watched.
• 46:06
  Yeah, and it is gnarly. I I do think that this movie has that problem when you're saying there, where everybody hikes it up so much. It's not that bad, but it is gnarly, right? Like I'm cringing.
• 46:17
  Very gnarly.
• 46:18
  I'm cringing when I'm watching it, but like. I feel like people have hyped it up a lot. Like, it's, it's a manageable level. It's gross, don't get me wrong, it's gross. But I feel like people— don't be as scared off of it as you think you might be, you know? Some people obviously maybe should not watch it, but like, it's not that bad.
• 46:34
  You know, you guys keep saying like the guy is, you know, kind of a scumbag type thing. Like, I actually didn't get that, but I don't know if that's because like my wife watches a lot of these dating shows, and so I've I'll sit there and they'll be on and I'll sit there and watch part of them while she's there and stuff. Like the one Love Is Blind where they talk through the wall and then determine they're going to get married and stuff like that. I think based on that, as he's doing the audition thing, I'm just sitting there going like, oh yeah, he's doing it. This is no different than The Bachelor or something.
• 47:08
  But it's a one-sided thing. Right? It's a power dynamic. Like, girls don't—
• 47:14
  but I also, but I also did think that like they were like legit making the movie and he was just gonna pick the girl who didn't get the lead.
• 47:20
  No, the whole point of the audition was to, to get the— because he picked him. He picked the 30 girls to come in.
• 47:27
  Yeah.
• 47:27
  Like, he's not that hard to direct.
• 47:29
  By the way, by at that point, he just needed one girl to come in anyway.
• 47:33
  Mm-hmm.
• 47:34
  Yeah, he's really interested in her.
• 47:35
  Yeah.
• 47:37
  Yeah, but I, I think I seriously thought that like, okay, so even if he's bringing 30, I thought they were still actually like He's picked out the 30 to bring in, but they were still like, yeah, we are actually gonna make a movie with one of these girls you bring in is gonna get the lead.
• 47:50
  They may have been. I, I think they like, so you say something towards the end where they, I say for sure it's canceled. Like they're not gonna do it, but like, yeah.
• 47:58
  And that's when they're up on the rooftop and he's trying to throw golf balls into a net, missing every one of them.
• 48:03
  Yeah.
• 48:03
  And, and I think the guy, the guy mentioned something about like an advertiser or something was gonna drop out, so they weren't going to make it. Mm-hmm. Or something, or potentially they weren't gonna make it. And at that point he didn't care cuz he already been on a date with the girl.
• 48:15
  It wasn't like a very serious— I thought this guy like just dug up a script that he had or something, you know? Like, it was— I feel like it was something they're just like, ah, let's just do it. It was like an excuse to do what they wanted to do. Yeah, it's just a little— yeah, like, these girls did not know what they're getting into with this. Yeah, it's just pretty scummy. And but I think the film does a good job of like not, you know, like you have to kind of like— it presents him in a way that doesn't feel like, you know what I mean? Like, it's
• 48:39
  I mean, he seemed like he genuinely—he was like, "I I do want to find somebody. I just don't know what I'm supposed to do."
• 48:45
  Yeah, it doesn't. The film doesn't necessarily like blatantly make him out to be a scumbag, but just like you—I don't know. There's like an
• 48:51
  interesting fact that the fact he went through with that and the power dynamic of it type thing. Yeah, I get I get that part. Yeah,
• 48:57
  I mean, he's not the worst person. He's not like a serial killer stabbing people with needles.
• 49:01
  No, no, he's not.
• 49:02
  No, he's still or
• 49:04
  or. Again, when she slides up on him and basically sitting on the needles herself too, I'm like, what the?
• 49:12
  Oh, when they're in his face and she goes tong and she hits him.
• 49:16
  Oh
• 49:17
  yeah,
• 49:19
  yeah,
• 49:19
  those things are in there deep. Yeah,
• 49:21
  yeah,
• 49:21
  like resonating on his skull.
• 49:23
  There, there are many points in this movie where I went like clenched my fist and watched and laughed at it. Like that uncomfortable, this this is this is too much laugh.
• 49:36
  Yes.
• 49:36
  That one. Few of those moments.
• 49:42
  So I watched this on Tubi.
• 49:44
  Uh huh.
• 49:45
  Oh really?
• 49:45
  Yeah, broken up by. Well, did they put a commercial break in the in the scene?
• 49:51
  Uh, I don't remember exactly every single one of the commercial breaks. Um, I. One stood out for me only cuz they put a Mattel Brick Shop, um, which is like Mattel's like Lego, uh, counter, like their version of Lego.
• 50:06
  Was there an audition set?
• 50:08
  Oh, I don't know.
• 50:08
  No, no, there's a car set cuz they have, they have the Hot Wheels license.
• 50:12
  Yeah.
• 50:13
  And I was building one of their cars while watching it.
• 50:16
  Oh,
• 50:17
  it is funny to think of a Lego commercial during audition. Like, it's like not the best.
• 50:21
  Yes. Yes.
• 50:23
  Yeah. All right. Here's a little thing. Here's something for, here's some for kids. All right. Yeah.
• 50:28
  But yeah, Tubi's great. We all love Tubi.
• 50:31
  Uh-huh. They got great originals too.
• 50:33
  That's true. We will have to get back to those sometime
• 50:36
  one day.
• 50:36
  Yeah, I actually— I did really enjoy this movie. And because it's, um, it's just— it's, it's so quirky as well. Like, just there's so many, like, just weird things that make it like it just stands out and, and it's different. And, and I like like, I would never watch this with my wife. She would hate this movie. And she'd be like, why did you make me watch this? And I'll just be like, I— this was like kind of like, like, uh, was it Eating Raoul and stuff like that? Like things like that that are just— there's such a weirdness to them that they're like— I find them to be very cool, but they're also— I'm like, yeah, no, no, we're not gonna watch that. No, don't worry about it. We'll watch something else.
• 51:16
  Definitely not for everybody. This movie's not for everybody. That's
• 51:19
  for sure. No. Definitely not. And definitely not for those people that walked out at the speed of cancer.
• 51:24
  Oh God.
• 51:24
  Yeah.
• 51:24
  Did we do it? Did we get through?
• 51:27
  I think so.
• 51:27
  So their dog's name was Gang, which made me kind of laugh because was it named after an English word they thought that sounded cool?
• 51:36
  Maybe. I don't know.
• 51:38
  You know how like, you know, like people get Japanese symbols tattooed on them because they think it means something or, you know, I just wondered about that. I wrote that down. Dog named Gang. Question.
• 51:48
  Just thought it was like, yeah, catchy or something. Like, yeah, I'm just calling that— I might name my next pet Gangu or whatever.
• 51:55
  Yeah,
• 51:55
  well, or Grogu. That's what—
• 51:57
  oh, Grogu would be better.
• 51:58
  Now if that dog's name was Grogu in this movie, it would have blown my mind because, oh yeah, he's 25 years old.
• 52:06
  It'd be the most amazing Easter egg that we've stumbled upon.
• 52:10
  Could you imagine if it wasn't a dog, it was just Baby Yoda in the movie, but it's everything else was the same?
• 52:16
  And then you see Baby Yoda's twisted corpse.
• 52:19
  Dead Baby Yoda.
• 52:21
  Oh my God.
• 52:23
  This is the way. Yeah.
• 52:25
  Why is that the direction of head's supposed to go on a dog?
• 52:27
  Or a Baby Yoda.
• 52:30
  A little Baby Yoda.
• 52:31
  I would love that cut. The Baby Yoda cut.
• 52:34
  There's Baby Yoda just scurrying around eating. They feed him in a bowl. Yeah.
• 52:41
  Come on, let's go for walkies. Come on, Grogu, let's go for walkies.
• 52:45
  Yeah.
• 52:46
  Oh man, we'll get that cut made. That— I— we need to make that. That's a great idea.
• 52:51
  Oh my gosh, we put Grogu into like everything we've watched.
• 52:54
  Well, anything that makes sense. This is where— yeah, exactly. It would definitely make sense here.
• 52:59
  We only would do it to movies where he fits in perfectly, and this is one of them.
• 53:03
  Yeah. You guys ever see that? I don't know if he's on Instagram as well. He's a Twitter account, the guy who puts Paddington into a scene.
• 53:09
  Yes, every day.
• 53:10
  Yeah, I like that, but we just do it with Grogu instead.
• 53:15
  Just like a shot of Grogu, but in the most
• 53:19
  inappropriate spots. Like the, the Paddington guy tries to put him in—
• 53:23
  he's looking up, he's looking over the shoulder of the girl while she's putting the, uh, the needles in.
• 53:28
  We just have to find very uncomfortable scenes and put Grogu into them.
• 53:33
  Something, something in Zardoz for sure.
• 53:35
  Instead of the girl, it is Grogu putting the needles in him. That would be awesome.
• 53:41
  It would be awesome. I love it. All right, did we do it? Did we get through Audition?
• 53:45
  I, I think, yeah,
• 53:48
  I, I think we did. Even a little extra.
• 53:50
  Even a little extra. What'd you guys think? Keith already kind of gave us this synopsis. He dug it.
• 53:56
  I dug it. I— super weird and trippy down the end, as well as just like Very cringy, but also that whole first half I found to be like super like quirky and like like I said almost like a rom-commy type thing and all of a sudden just ah
• 54:10
  yeah how did we get here yeah yep it I like I really like this movie one of my favorite uh like Japanese horror films for sure um I think uh the pacing's just about perfect the slow build from like this yeah almost like you said rom-com setup to becoming its extreme horror film at the end almost. It's amazing. The acting's all great. The girl is so creepy at the end. It's just staring at that phone. That scene—that's like makes my stomach drop, you know? Because it's like such an almost quote unquote normal movie until that point. You see yourself in there. Oh, it's just like it's such a great scene, and it's just it's just probably from what I've seen of Takashi Miike, he's probably his best movie. I haven't seen that. If you think about all eighty movies or whatever he's done, I haven't seen that many of his, but. It's my favorite that I've seen so far of his, and it's, it's really good. I would highly recommend it. One of the better movies we've watched for the show, I think.
• 55:03
  I, I agree. This movie was— this movie was very good. It's very well done. I love everything about the slow-paced buildup when they're in the hotel and she is just standing on the balcony staring silently at the sea. and he just watches her and she doesn't move at all. And then later on where she's just sitting on the edge of the bed while he's talking, she just doesn't move. She doesn't speak at all. He had to be like, God, this is fucking weird. He had to be like that, right?
• 55:38
  That's why he's nervously just talking, you know?
• 55:40
  He's like, I mean, like, I don't, I don't get what's going on. And then she gets up and takes off her clothes. He's like, okay.
• 55:46
  Like, yeah, he's like, we're talking about restaurants. I thought,
• 55:48
  yeah, I guess this works. Like, he, he is so infatuated with her that he's so willing to just say, all right, like, at the most peculiar shit that should make you go, this, this is not, this is not good,
• 56:05
  right?
• 56:05
  But by that time, it's too late.
• 56:07
  Plus, you throw into, like, his son is what, like 17, 16 or 17 probably at that time, and however long he was married to his wife before then. I mean, you got probably a good 20 years since he's been on a date as well. Yeah, you're throwing that in there as well, of him just like not sure what to do and all nervous, and then she's just throwing in this like weird, like, yeah, very, very odd, uh, let me show you my scars strip show.
• 56:32
  Yeah, but it was good. It was really good. I really enjoyed it. The only thing is I knew what was going to happen at the end. I wish I didn't know what was going to happen at the end. Like, I don't— I didn't remember all the particulars. I just remembered that it's going to get fucked up. I wish I wouldn't have known that because I think it would have been incredibly shocking to get that final 15 minutes for the first time.
• 56:54
  First time watch is like gold.
• 56:55
  I'm kind of jealous that Keith watched it for the first time because it was just— it's just like, oh, there's a lot. There's a lot that happens in that final 15 minutes. Oh man. Yeah, loved it. Okay, well, we know what we thought. This is gonna be interesting. What did the internet have to say? Well, on April 14th, 2006, Lolgloin had this to say: Thriller and horror don't do it justice. It starts out slow, but oh boy does it get going. This is probably one of the scariest movies I've ever seen due to the level of psychotic thinking behind the plot. Typical horror movies made in the US are nothing compared to this movie, colon, like comparing hopscotch to football as contact sports. If you have seen and liked the other films Takashi Miike has done, or you think you're ready for something more intense than you're used to, this is a must-see movie. The fact that it's in Japanese with English subtitles only enhances the experience. And your spine will tingle every time you hear the words kitty kitty kitty kitty kitty. The casting was excellent and so was the acting. I have not read the book this is based off of, but it felt like all the characters were being portrayed the way they were supposed to be. Again, while I recommend this movie heavily, I will probably never want to see it a second time. Interesting. Two found it helpful. Three not so much. Ten out of ten. Kitty kitty kitty kitty kitty.
• 58:44
  And I'm gonna say when I'm trying to call my
• 58:45
  cat or somebody somebody somebody has had to have sampled that like a song too probably.
• 58:49
  If not we should we should we should do that.
• 58:52
  Well then not to be outdone on December twenty eighth he probably got it for Christmas of two thousand four. The Griffin had this to say. First half boring, second half offensive.
• 59:05
  Oh.
• 59:06
  Audition is about a man who, under the pretext of auditioning young women for a role in a legit movie, is auditioning for a wife as well. The woman he chooses turns out to have a secret agenda. The first half of the movie is boring as all get-out.
• 59:22
  That's amazing.
• 59:23
  With long pauses between lines. Yes, it is. With introspection and a big fat cinematic nothing. Then in the second half, there is a scene of shocking violence that goes on forever and plays like you're watching a well-photographed snuff film. It is offensive to the max, and that is— it is as close as one can get to being pornographic violence.
• 59:47
  No, no, it's not.
• 59:49
  It doesn't just make a point and then move on, but revels in the offensiveness. I agree, it does, it does revel in the gore.
• 59:57
  It makes lots of points with the pins.
• 1:00:00
  Yes, but it, it sits in it and it's like, oh, look at me.
• 1:00:04
  Which just makes it great.
• 1:00:05
  I know, I think, I think it's the best part of it. It really shows the director as somewhat of a moron to linger on the scene for so long.
• 1:00:13
  No.
• 1:00:14
  Overall, a boring and offensive movie.
• 1:00:19
  Wow.
• 1:00:19
  32 found it helpful.
• 1:00:22
  Oh.
• 1:00:23
  30, not so much.
• 1:00:24
  What the hell?
• 1:00:25
  1 out
• 1:00:26
  of 10. That person just did not get what they were watching.
• 1:00:29
  This movie—
• 1:00:30
  No, they got it.
• 1:00:31
  Yeah,
• 1:00:31
  they just— it, it was, it was too much for them.
• 1:00:34
  It's one of those people who'd walk out, probably.
• 1:00:36
  Yes.
• 1:00:37
  Which is, you know, fair, fair enough, I guess.
• 1:00:39
  But yeah, to call the first half boring, I think, is unfair. I don't think it was boring at all. I thought it was interesting. I like it. It was a nice progression of these characters. And to see this guy's infatuation, and we are— we're not privy to how psychotic she is, but she is like waving red flags constantly.
• 1:01:01
  She's a little off, and then she gets more weirder and weirder she goes. Yeah. Yeah.
• 1:01:05
  But he's just like so willing to say, eh, whatever, I'm going to get a piece. And that's what he wanted. And he got it. Oh, he got it. All right.
• 1:01:14
  He got his comeuppance. Was it a little extreme? Maybe.
• 1:01:18
  Yeah, the punishment did not fit the crime, I don't think.
• 1:01:21
  No, but yeah, he was too, uh, he did not pay attention to what was happening. And
• 1:01:26
  then I think the crime— his actions are offensive. I, I don't—
• 1:01:31
  yes, I'm watching. Thank you.
• 1:01:32
  God, this—
• 1:01:33
  yes,
• 1:01:34
  this audition thing is like really, uh, the real villain.
• 1:01:39
  Yeah,
• 1:01:40
  but, but did to have what had happened to him happen to him.
• 1:01:46
  No, it should not happen to anybody, right? No.
• 1:01:48
  Yeah, right. There's the— yeah, but it's a horror
• 1:01:51
  movie. It's supposed to—
• 1:01:52
  exactly right. Like,
• 1:01:54
  yeah,
• 1:01:55
  it was, it was horrifying.
• 1:01:56
  That's what makes it great, is the, like, you're like, okay, he does not deserve this, whatever's happening. And like, the— I love the reveling in it. Like, it's just like, oh God, like,
• 1:02:07
  that's the point.
• 1:02:08
  Yeah,
• 1:02:08
  that's the whole point. But I, I will say that watching that first bit, like, like once you get to that like middle third, I was kind of like really just like stuck on the screen, just like, okay, what happens next? Like, come on, let's go, let's go. Not like, uh, not like it's slow, but it's just like, it's like, ugh, you know? I felt it. I felt— you can feel the tension building, but you just don't know how much it builds until you get to that.
• 1:02:31
  Yeah, those are roughs at the end. Yeah.
• 1:02:35
  Mm-hmm. You. All right. Well, we got through audition. We got through week two of trigger treat. That means we have week three, and Keith has to choose.
• 1:02:48
  He does.
• 1:02:49
  Choose wisely. I have a hunch, but I'm very curious.
• 1:02:53
  Theory what he's gonna pick, but we'll see if I'm right.
• 1:02:57
  Me too. All right, Keith. What? Okay, Terry, you gotta refresh the topics.
• 1:03:02
  Okay, so our genres are ghosts, possession, zombies, slashers we already did, Christmas, sci-fi, based off literature— based off literature, maybe it's maybe a typo on that— J-horror we just did, werewolves, vampire, Australia, public domain. Those are our genres. So Keith, you have one picked out?
• 1:03:27
  I kind of did, and I was like, ah man, because I'm not only the wheel, but I'm also like Terry filled these in. I'm gonna get into. Well, I mean, okay, so we just did Jayhor. So let's just let's keep going around the world. Let's do Australia.
• 1:03:42
  Yes, I knew he was gonna pick that. I knew he was gonna pick that.
• 1:03:47
  And those are my two options last week, Keith. I flipped the coin, and I got Jayhor. I'm glad I did because I knew. You would get Australia.
• 1:03:55
  All right, scroll down to Australia. There it is. Okay, Australia, this is our category.
• 1:04:01
  Kangaroos fighting.
• 1:04:02
  Yes. Okay, so first movie,
• 1:04:05
  Crocodile Dundee. What?
• 1:04:07
  Talk to Me. Second movie,
• 1:04:10
  this is on Max, I think. Talk to Me.
• 1:04:12
  It is. A Boar from 2017.
• 1:04:15
  A Boar?
• 1:04:16
  Just Boar.
• 1:04:17
  Oh, Boar.
• 1:04:18
  Boar from 2017. And finally, Wake in Fright. Those are our 3 films.
• 1:04:23
  Wake in Fright.
• 1:04:24
  Okay.
• 1:04:24
  So I, I've taken Talk to Me, Bore, and Wake in Fright. I doubled them up a couple times so it's not just big 3 big things on here.
• 1:04:32
  I, I know which one I'm rooting for.
• 1:04:34
  Me too.
• 1:04:35
  Well, don't say it out loud because you'll jinx it.
• 1:04:37
  No, it's impossible.
• 1:04:39
  And away we go.
• 1:04:51
  Oh, talk to me. It was right on the line.
• 1:04:56
  Wake in fright. Holy cow, that is—
• 1:05:00
  that is the closest.
• 1:05:01
  As close as you could possibly be. Can I zoom in?
• 1:05:04
  Legitimately, I could not tell which line it was on, talk to me or wake in fright.
• 1:05:08
  All right, all right, all right. The thing I like about, uh, the Wheel of Doom is the more I zoom in The same. It stays the same size.
• 1:05:16
  Wait, you know what? I think we talked about this once before.
• 1:05:20
  Wake and Fright. I does not sound familiar to me at all.
• 1:05:23
  Maybe we did. I don't know.
• 1:05:25
  I know we've talked about Talk to Me, I think, because Terry went and saw it. I think
• 1:05:29
  yes.
• 1:05:30
  After a bad gambling debt, a schoolteacher's marooned in a town full of crazy, drunk, violent men who threaten to make him just as crazy, drunk, and violent. I want to say we talked about this at one time.
• 1:05:42
  If it has the guy, if it has the. Whoever Crocodile Dundee's like buddy was.
• 1:05:49
  Yeah, yeah, I think yes. I think that might be how we got to it. It's possible. Yeah, John Mayon. M E I L. Yeah, he's in it.
• 1:05:59
  All right. Well, Wake and Fright it is. Boy, that is right on the line. I'm still looking at it. I don't know how.
• 1:06:05
  Yeah, I was rooting for Boar.
• 1:06:07
  You were?
• 1:06:08
  Yeah.
• 1:06:08
  All right, boys. We did. We got through week two of Trick or Treat. We got our marching orders for next week, which is Wake and Fright. Incredibly difficult to locate DVD. And so I guess that leaves us with nothing to do than what we do every week, right? What do we do? I don't— oh, I lost the words. What do I usually say? Oh, the only thing that's left is to end this the way we end everything.
• 1:06:34
  That's right.
• 1:06:54
  Thanks for listening to Fumbling Through Film. New episodes drop every Thursday. Got feedback or questions? Email us at fumblingthroughfilm@gmail.com. Follow us on Bluesky at Film Fumblers and on Instagram at film.fumblers. You can also follow Keith on Instagram @kg33lives and @dadscardsdaily. Terry's on Letterboxd @terry2099, and Derek's on social media @derek9n9. All original music is produced by the Dr. Dre of Kansas, Terry. Hit him up for the bangers. See you next week as we keep on fumbling.