Latest / Cage Match: A Roundabout Way of Meeting Nicolas Cage / Pig vs 8MM

Transcript

Pig vs 8MM · Cage Match: A Roundabout Way of Meeting Nicolas Cage

• 0:00
  What you are listening to is real. The participants are not actors. They are real people with a case pending in Podcast Court.
• 0:10
  Hello, I'm Producer Peter and welcome to Cage Match, colon, a roundabout way of meeting Nicolas Cage, colon, Podcast Court.
• 0:16
  Today's case is between a man who only wears grody union suits and one who legitimately named a child Cinderella.
• 0:24
  Oh God.
• 0:25
  Oh my God.
• 0:44
  How you been, Evan? Long time no see.
• 0:47
  I've been better, you know, working and living and working in L.A. and the entertainment industry is not exactly
• 0:56
  in a good spot right now for anybody.
• 0:59
  But I mean, you can take a page out of Joaquin Phoenix's book and go work in the old pornography show.
• 1:05
  You know what? I just might do that.
• 1:07
  I might just go and hang out in the old, the classically, the classic Hollywood porn strip.
• 1:14
  I hear the name Max, California is available.
• 1:18
  Yeah, I mean, he's dead. So you can definitely use that.
• 1:21
  You heard it here first.
• 1:23
  Spoilers. Yeah. Yeah. I like your microphone.
• 1:27
  I'm sure Meredith updated you that we're trying to get a podcast off the ground, too.
• 1:32
  And this was a loner mic from a good friend of mine who knows a lot of audio stuff.
• 1:37
  So I said, give me a compressor mic. And he said, I got one.
• 1:41
  Have you licked it? Yep. Stuck it in my butt.
• 1:45
  You got to claim it that way. Nice. You double dip it.
• 1:49
  There's many ways to claim them.
• 1:51
  That's why he's a which you max.
• 1:53
  So which one did you do first?
• 1:55
  Well, you got to you got to lick and then stick. Right.
• 1:59
  Yeah. And then might. Yeah. Smart. You never go ask the mouth.
• 2:03
  Sorry, I like to stay wet. Oh, yeah. Freeman listens to this.
• 2:07
  Yep. And he hates anal.
• 2:09
  How do you think is a Jello shot adventure?
• 2:11
  Tell me more about whatever the fuck you're talking about.
• 2:14
  Oh, it's when I was in Portland and I found that I saw that sticker that said eat ass now.
• 2:20
  Yeah, it was it was it wasn't an official sticker.
• 2:23
  It was graffiti. But, you know, keep it classy Portland.
• 2:27
  And I shared that to the cage chat. And I'm like, this one's for Freeman.
• 2:30
  And then you mentioned that, you know, he was like seven Jello shots in.
• 2:33
  So, you know, anything could happen.
• 2:35
  You shouldn't do Jello shots through the but but it would go in easier.
• 2:39
  Now, is it like a body shot at that point?
• 2:42
  We are talking about sucking a Jello shot out of somebody's butt.
• 2:45
  No, no, I was thinking more about insertable. Yeah.
• 2:48
  Yeah. You put it in and then you get it out.
• 2:51
  Yeah. Human centipede. Right. It's a enema.
• 2:55
  Yeah. If you put it in one of those ear cleaning bulbs. Yeah.
• 2:57
  And then you squeeze it with your butt.
• 2:59
  You could just like spray somebody right in the face with it.
• 3:02
  It's like vodka. Yeah. Mazel tov.
• 3:06
  Yeah. Hello, Evan. Thanks for joining our podcast.
• 3:09
  Hey, Evan. Welcome to welcome to Cage Match,
• 3:11
  calling around about way of meeting Nicolas Cage.
• 3:14
  I'm Sean here with my co-host Nick and our producer Peter. Hello.
• 3:19
  And this week we have another special guest, my former brother-in-law, Evan.
• 3:23
  Hi, Evan. Hello, I'm Evan.
• 3:25
  Former brother-in-law and current stranger to us.
• 3:30
  Two of us. We wiped our memory as soon as the family relation ended.
• 3:35
  That's smart. That's what you have to do.
• 3:37
  Ideally, that's how all breakups work.
• 3:39
  It involves lots of Jello shots from the butt.
• 3:44
  That's the way that you lose your memory.
• 3:46
  Evan, tell us a little bit about you.
• 3:49
  Relationships to movies, industry, anything.
• 3:52
  I thought you were just like relationships, how tall you are.
• 3:56
  What's your swang and and danging?
• 3:58
  That's a that's a it's a tall family. I'll tell you that.
• 4:01
  Artist and a filmmaker.
• 4:03
  I art director for stop motion animation out here in Los Angeles, California.
• 4:08
  I've been living out here about a decade.
• 4:10
  I write, I draw, I make movies. I try to.
• 4:13
  I try to stay employed in this crazy, crazy industry of mine.
• 4:17
  I guess that's about it. Not much to me.
• 4:20
  If you were to write one piece of Nicolas Cage fan fiction,
• 4:27
  what would be just like your elevator pitch on it?
• 4:30
  Whatever it is, it has to involve him screaming a lot.
• 4:34
  So I like that maybe he's an old man and he's going deaf and
• 4:42
  just honorary grandpa Nicolas Cage, honorary grandpa Nicolas Cage.
• 4:46
  And it turns out he has to save the world.
• 4:50
  He has one piece of information that nobody else does.
• 4:53
  He's a former CIA agent and but he's old.
• 4:56
  And through the course of the action, he loses his hearing aid.
• 4:59
  So he has to yell at everybody and everybody can hear him just fine.
• 5:03
  But he can't hear anybody else.
• 5:05
  All right. I was going to say this sounds like dying of the light.
• 5:08
  Yeah, but I like the idea that he loses his hearing aid and he's just yelling everything.
• 5:13
  Everyone else is just like, we can sir.
• 5:16
  So Dying of the Light is a movie where he's like a CIA analyst trying to track down a terrorist from when he was like in the field.
• 5:23
  But he's losing his mind and he's got dementia.
• 5:26
  He's got dementia. And one of the side effects that they state early on is wild mood swings.
• 5:31
  So we're like, yes, we're going to get some great unhinged cage.
• 5:34
  And he he yells about not being able to smoke inside one time.
• 5:37
  And the rest of it is just like sad. Yeah.
• 5:39
  Sweepy. So like mild mood swing.
• 5:42
  This is like leaving Las Vegas. Except not as fun.
• 5:45
  Devin, what's your relationship to Cage at this point?
• 5:48
  I mean, I've been a big fan my whole life.
• 5:50
  You know, Nick Cage, ride or die.
• 5:53
  I mean, I'm not as well versed as you fellas. I don't think.
• 5:56
  Let's see. What was the first movie I ever watched? Nicholas Cage.
• 5:59
  What was the first movie I remember as the kid as a kid?
• 6:03
  I watched The Rock a lot. We had the VHS and watched it over and over.
• 6:07
  It's probably one of the best action films ever made.
• 6:10
  And that's where that's where we get the line.
• 6:13
  Oh, my God. What is it? Let's just let's quit the chit chat.
• 6:16
  The whole I love that one.
• 6:19
  I don't know. Like so since then, I've just been like Nick Cage.
• 6:22
  Keep Cajun it up. Always loved him as an actor.
• 6:25
  You know, sort of followed his trajectory to crazy millionaire,
• 6:30
  having to repossess his islands to pay his mortgages or whatever happened to him.
• 6:35
  You sell off a castle, you know, standard midlife shit. Yeah.
• 6:39
  But I'm all for this upward swing of cage that's been happening over the last.
• 6:44
  Mm. What's it been? Five years now, maybe since I don't know.
• 6:48
  When did Mandy come out? 2018. So seven years. Yeah.
• 6:52
  Seven years. Yeah.
• 6:53
  He's been kind of on a solid upward trajectory since then, I think.
• 6:58
  Big fan. You know, nobody yells quite like cage.
• 7:01
  There is a very specific type of holler he does.
• 7:04
  Is it a hoot or a holler? It's a holler.
• 7:07
  It's a holler for sure.
• 7:09
  I mean, sometimes, but I think he's mostly a hollerer.
• 7:12
  Caster, Caster Troy hooted. Oh, he hoots.
• 7:15
  There's a time and a place for a hoot.
• 7:17
  It's when you're eating a peach. Yeah. For hours.
• 7:20
  Yeah. A lot of hooting.
• 7:21
  We can't get away from mass play this episode.
• 7:23
  I don't think we can ever get away from mass play.
• 7:25
  We are millennials. Yeah. It keeps giving the gift that keeps giving.
• 7:29
  Can't afford groceries. Got all these student loans.
• 7:32
  Got to eat something.
• 7:34
  In this podcast, we take 64 Nicolas Cage films,
• 7:38
  and then we bracket that down to 32.
• 7:41
  And then further seven.
• 7:44
  16 16 16 16 16 16.
• 7:50
  So we've watched these films now at least twice.
• 7:54
  This will be our third viewing, but we've watched most of these more than that.
• 7:57
  And we right now are going to discuss the feel good film of what year?
• 8:03
  I've already forgotten.
• 8:05
  We're professional podcasters.
• 8:08
  Peter will edit this out.
• 8:10
  Maybe eight millimeter Joel Schumacher in 1998.
• 8:14
  Ninety nine nine.
• 8:16
  There's eight millimeter to know it's don't even look into it.
• 8:20
  I've heard it's so much worse.
• 8:22
  I don't even think it's a real thing.
• 8:24
  Like, I mean, I know it exists, but starring Rickles age. Yeah.
• 8:29
  So yeah, the feel good romp of 1999 eight millimeter.
• 8:34
  Oh, Peter. I felt great. I don't sound dumb.
• 8:37
  I got you. Don't worry. Don't worry.
• 8:39
  You've been muted the whole time.
• 8:42
  I did have to check the board.
• 8:45
  Evan, you want to give us a quick rundown about what this movie is about?
• 8:50
  So Nick Cage, a.k.a. Tom Wells, is a private investigator working for the elite of Washington, D.C.
• 8:57
  But he's still trying to get his big break, which I guess is a thing that you are looking for when you're a private investigator in Washington, D.C.
• 9:05
  He gets a big call from a lady, an old lady at a mansion who realizes she has a eight millimeter,
• 9:12
  which appears to be a snuff film of a young woman getting beaten and murdered.
• 9:18
  She just wants to know that her this was a in her husband's safe,
• 9:21
  and she just wants to make sure that this is not real, that her husband was a good, moral, upstanding rich person,
• 9:27
  which, as we all know, is what all rich people are in their heart of heart.
• 9:31
  They're the best.
• 9:32
  So Tom Wells goes on a mission to track down whether or not the eight millimeter film reel is real or not.
• 9:40
  It is the only one in existence.
• 9:41
  And as the movie progressed, he continues to get more and more obsessed with the idea of finding out about it.
• 9:48
  We discover the name of the possible victim and he meets her mother,
• 9:53
  at which point he starts to get emotionally invested in the case a lot more,
• 9:59
  which would be hard to tell if he was emotionally invested in anything,
• 10:02
  because every line in this movie seems to be kind of delivered in a very strict monotone that everybody sort of adheres to throughout the movie.
• 10:11
  Oh, that's professionalism.
• 10:13
  Oh, she's sweet.
• 10:16
  She misses you.
• 10:18
  This is Joel Schumacher, the man who directed Batman and Robin.
• 10:21
  So you've got to give him some credit.
• 10:22
  You know, he can really go ostentatious when he needs to.
• 10:25
  We'll come back to Batman and Robin in a minute.
• 10:28
  Please continue.
• 10:29
  What happens after he trail runs him to Hollywood, California, as everyone knows, the den of sin and disgusting pornography.
• 10:39
  They're in California at a local pornography video store. He meets Max California, a.k.a. Joaquin Phoenix in a very early role pre gladiator.
• 10:48
  I think Max becomes his sidekick, which I just love that he has a he has to have a pornography sidekick.
• 10:56
  Sherpa, really? Yeah, a porn sherpa. Yeah.
• 11:00
  And Tom continues to go deeper and deeper into the seedy underworld of trying to find out the legitimacy of snuff films, tracking them down.
• 11:09
  Eventually, he discovers Eddie Poole played by James Gandolfini, my favorite character in the whole movie.
• 11:17
  Yeah, good pick. So good.
• 11:19
  Also, then he begins to tap his phone and finds out that the trail is leading to New York, where Peter Storm air.
• 11:27
  You know, velvet, you know, that there's a big showdown in a warehouse.
• 11:34
  There's some piece of evidence that reveals that indeed this girl was murdered.
• 11:38
  And Nicolas Cage goes on a rampage to basically murder everybody involved.
• 11:44
  Oh, they kill Max California. Yeah, they killed him with a crossbow.
• 11:47
  I was very delirious by this time in the movie, but I knew that he was very mad at these men for doing very bad things.
• 11:54
  And he started to kill them all. And that was my favorite thing.
• 11:58
  No, they killed Max California. Oh, that's a neck.
• 12:01
  And then the crossbow got the lawyer cross.
• 12:04
  But the lawyer shot Dino, who should have died more cinematically.
• 12:08
  That's right. And Nicholas Cage ran away.
• 12:11
  And the machine got stabbed in the stomach. Gandolfini.
• 12:14
  It was fucking mayhem. Listen, Chris.
• 12:17
  Chris Bauer doesn't have a stomach. He has a tummy.
• 12:20
  And then we get locked into like an airplane, like just do to in flight.
• 12:25
  OK. How did Gandolfini go?
• 12:27
  He tracks him to his home and then he takes him to the place that they murdered the girl.
• 12:32
  And then he that's when he actually is the first time he actually has to decide whether or not he's going to kill this guy.
• 12:38
  Anybody that he's feeling so much pent up anger and rage at the injustice of it all.
• 12:44
  And guess what? Eventually, he does. He smashes his skull in with the butt of his gun.
• 12:48
  And then he pours pornography all over poor James Gandolfini before lighting him on fire.
• 12:53
  Yeah, which is sick. It is pretty sick. I mean, what a waste of pornography.
• 12:58
  I'm sure it was the really good stuff, too. Hey, man.
• 13:01
  He was clearly packing it because he was going to be gone for a while.
• 13:04
  You got to bring your good stuff at that point.
• 13:06
  You don't expect the house help to leave your porn alone.
• 13:11
  All right. So the big climax. Very relatable.
• 13:14
  Of this entire movie, The Machine's House. Sorry.
• 13:18
  The Machine's. Now, that was an interesting turn.
• 13:22
  I thought when they were just like, well, guess what?
• 13:25
  The big bad guy in this just is just psycho. Just there's no reason.
• 13:28
  He just likes killing people. And yeah, that's our thesis.
• 13:32
  Like some people are just disgusting and evil.
• 13:34
  And there's always going to be people trying to murder young women and make snuff films out of them, I guess.
• 13:39
  Yeah, because there's three rules in this world.
• 13:42
  There's always a victim. Don't be in. What about the third one?
• 13:46
  I forgot what the third was. Har har har.
• 13:50
  We quoted the movie and he did. Good job. Yeah.
• 13:53
  We're professionals. Yeah.
• 13:55
  I have some weird thought like questions about the final scene, and it's mostly logistics.
• 14:02
  I just don't understand how the machine was so aware of Wells's presence in the house.
• 14:10
  He came in through the basement and then like the music like stops.
• 14:14
  So like, oh, OK, something's going on.
• 14:17
  And then he proceeds cautiously and the music starts back up and it's still a effects twin.
• 14:22
  And I don't know who can listen to two effects twin songs in a row, but obviously a psychopath.
• 14:29
  That's not true. I love Daddy. I love it.
• 14:32
  It's with no liquor. I could name a few.
• 14:36
  Yeah, he only likes effects twin and Danzig, though.
• 14:39
  I know that for a fact. The Danzig posters were very quoted like Danzig fans are psychopaths.
• 14:46
  Oh, thanks. Movie. Now I know.
• 14:49
  They did not dig deep at all.
• 14:51
  They could have given us like some skinny puppy posters or a classic hang in there cat.
• 14:56
  Yeah, one of those. It's a sad one. Yeah. Yeah.
• 15:00
  Like they killed the cat. Right. Hang in there. Hang in there.
• 15:03
  Well, yeah. Oh, no. The old free cat balloon.
• 15:09
  Evan, had you seen this movie before or was this your first real go through on it?
• 15:14
  This is the I'd heard about this movie before.
• 15:16
  And I the only thing I knew about it was that it was considered one of Nicholas Cage's darker movies
• 15:23
  and that I was pretty sure it involved snuff films.
• 15:26
  So I feel like I got a decent teaser of it.
• 15:30
  I know this is the first time I've actually watched it all the way through.
• 15:33
  It was really it really brought me back to like I just love a 90s thriller.
• 15:37
  This one's definitely a little bit darker than what a lot of them are.
• 15:40
  But there's just something so nostalgic about those movies like Primal Fear.
• 15:45
  And, you know, they usually involve like a lawyer or something or somebody caught up in a government scheme.
• 15:53
  But they just have a patina of like maybe it's the film stock.
• 15:57
  You know, but like, well, there were no superhero movies, right?
• 16:00
  So we were just like, well, what John Grisham novel are we going to turn into a movie?
• 16:06
  So and that was that was the flavor of an adult movie back then.
• 16:09
  And yeah, I remember thinking, hmm, I feel this this movie made me I am an adult,
• 16:15
  but it made me feel like an adult again, like when I was a kid thinking one day I would be an adult.
• 16:19
  So you watch this movie and you're like, fuck, I just grew up again.
• 16:23
  Exactly. Life got worse.
• 16:26
  The truth. Yeah.
• 16:28
  The weight of this world now rests upon my shoulders.
• 16:31
  Anyone else remember being a kid, being like one day I'll be an adult.
• 16:34
  And then you realize that nobody's an adult. No one's in charge.
• 16:37
  It's all chaos. Anything. Parents are a fallacy.
• 16:40
  You just got to keep saying you're in charge and eventually you're in charge.
• 16:43
  It's working so far. A certain dominance by just claiming it.
• 16:48
  So what are your feelings on Joel Schumacher? And this can be open forum.
• 16:52
  I am not a huge fan, but I get why he's important.
• 16:57
  I was thinking about his his legacy as I was watching this movie
• 17:02
  and just realizing what a weird continuum of films this dude has made.
• 17:07
  So he he didn't direct this, but he wrote the script for The Wiz.
• 17:12
  Have you heard of The Wit? Do you know the way is? Of course. Yeah.
• 17:15
  Yeah. Incredible movie. But he wrote this.
• 17:18
  The Power Glove. No, not the Power Glove. Oh, wait, no.
• 17:22
  It's the Michael Jackson. Oh, no. The Wizard of Oz.
• 17:25
  Oh, God. What am I thinking of?
• 17:28
  The Wizard. Not the Wiz. What am I thinking of with?
• 17:31
  I don't know.
• 17:33
  All that came into my brain was Frankie Muniz. And it's like, nope, not him.
• 17:37
  The product, Frankie Muniz. Yeah.
• 17:39
  Just really any, of course, famously did Batman Forever and Batman and Robin.
• 17:43
  He seems like and the number 23 after this movie, which is like also weirdly dark.
• 17:48
  In a way, I wouldn't expect him to go down that road for I don't know.
• 17:53
  I wonder if later in his career, he's going to be reconsidered as like an auteur.
• 17:59
  We just didn't understand. But I think probably not.
• 18:03
  I think he's just like a journeyman. He's like he knows how to make a movie.
• 18:08
  He takes whatever job he can get, you know. But
• 18:11
  didn't he do Lost Boys as well? Yep.
• 18:13
  I mean, I feel like that's kind of the sweet spot for me is Lost Boys.
• 18:17
  And then anything after that, I'm like, I'm not the biggest fan of his Batman movies,
• 18:22
  but you just recently watched them.
• 18:25
  Yes. And they're still terrific. I don't know why.
• 18:28
  They're just like there's so much like modern attempts at Adam West,
• 18:34
  cardboard, bright lights, cities and just absurdity.
• 18:39
  It's nice to just watch a movie like that and be like, wow, somebody approved this.
• 18:45
  And then remember, like Batgirl just got canned by the same studios.
• 18:50
  I'm sure it was the same studios. WB, who knows? Yeah.
• 18:53
  Yeah. Yeah. Wonder Brothers.
• 18:55
  They're doing all kinds of awful stuff these days.
• 18:57
  Just really ruin the pooch every left and right right now.
• 19:01
  You're telling me that rich people do bad shit? For monetary reasons.
• 19:05
  Some of them make enough films. They pay for enough films.
• 19:08
  Nice. They let artists make those.
• 19:10
  Dino Velvet is an artist. Thank you.
• 19:13
  But no, talking about like his Batman movies, that was a weird transitional point in my youth
• 19:19
  because Batman Forever came out. I fucking love that movie as a kid.
• 19:22
  It just I had all the toys. I was really into that film.
• 19:25
  I got it on VHS, watched it constantly.
• 19:28
  The car. Chicks dig the car.
• 19:30
  Like it's such a fun, stupid film.
• 19:32
  And then a couple of years later, Batman and Robin came out.
• 19:35
  And I realized for the first time in my life, movies could be bad.
• 19:40
  I have never watched that entire film. Oh, man. It's terrific.
• 19:45
  Yeah. Although when I'm watching it, I do still have the same thought that I did when I was a kid.
• 19:52
  When Uma Thurman comes on screen, it's like, oh, yeah, puberty can wait.
• 19:57
  I don't need this. She's not.
• 20:00
  It's a terrible performance. They really push her sexiness in it.
• 20:05
  And it's just not their Uma Thurman trying to be really sexy.
• 20:09
  I don't know. Like Drew Barrymore's in like Batman Forever for a second.
• 20:12
  Yeah. She's sugar, sugar and spice.
• 20:16
  Oh, yeah. Two faces, hench, hench bitches.
• 20:19
  Apparently on the set of Batman and Robin every day, Joel Schumacher was yelling through his bullhorn.
• 20:24
  Remember, everybody, this is a comic book.
• 20:27
  No one cares.
• 20:30
  I kind of love that, which explains so much about the movie and how it turned out.
• 20:36
  Definitely like the hornyest latex suit that you can get.
• 20:42
  So many ass shots.
• 20:44
  And then there's that one scene they cut of Val Kilmer fucking the giant bat.
• 20:49
  Wait, is this real? What?
• 20:52
  There's a in Batman Forever, there's a dream sequence that gets cut or like a giant animatronic bat like in Val Kilmer embrace.
• 21:01
  You can find it online. You treat yourself tonight.
• 21:03
  That's how Peter Lowe became a vampire.
• 21:08
  They didn't have the technology when he was making Lost Boys.
• 21:11
  I think a fuckable bat. Yeah.
• 21:13
  I still remember and bring up every time I talk about Batman and Robin when I was in the theater and I Mr.
• 21:22
  Freeze comes out, they turned on the air conditioning and it was so fucking corny and stupid.
• 21:29
  But I was like, hell yeah. Small town, regional, like independent movie theater.
• 21:35
  Really pull out all the stops. I mean, it's immersion, baby.
• 21:38
  They got a single screen. They're going to devote all their attention to it.
• 21:42
  We were doing 4D cinema before it was popular.
• 21:45
  They had just a person come out and throw ice cubes at you.
• 21:48
  Super so in the front row. Yeah.
• 21:50
  As long as we're still on Joel Schumacher, I have a Joel Schumacher story.
• 21:54
  He came to my school once. My buddy was doing a digital video. It was like a film festival.
• 22:02
  He reached out to Joel Schumacher, not expecting him to come through.
• 22:07
  And he did. And so this is a very small film festival with all of our college friends.
• 22:13
  So my friend Sammy is like, oh, my God, you guys, he gets on the megaphone like Joel Schumacher is coming.
• 22:19
  Please don't make an ass of us. You know, he's like, whatever you do, don't ask him about Batman and Robin.
• 22:25
  So he does a screening of Tigerland, which is I think a Vietnam War movie with Colin Farrell in it.
• 22:34
  We watch it and then he's like comes out to do a Q&A. It's very cool.
• 22:38
  It was like, oh, cool, Joe Schumacher, you know, and then this one guy who in the front row who's like, you know,
• 22:44
  he's he's a film student, too, but he's like, you know, like bleach blonde hair surfer guy.
• 22:50
  First one to raise his hand like anybody got questions like, so what's the deal with Batman and Robin?
• 22:56
  And Sammy's like, Motherfuck. So but it was very he was very cool about it.
• 23:03
  He had a great thing to say about it. He was like, you know, sometimes you just get too many cooks in the kitchen,
• 23:09
  especially when a lot of money's involved.
• 23:11
  But I've take full responsibility because it's on my shoulders.
• 23:15
  But I'll just say that there were a lot of people trying to sell action figures behind the scenes on that movie.
• 23:20
  I was like, well, that's a very like metered response.
• 23:23
  He knows what he did and he knows why it happened to.
• 23:27
  Toy addict movies were like a really weird aspect of the late 90s. I mean, that had been going on for so long with like He-Man, G.I. Joe.
• 23:36
  Sure. Yeah. But they weren't they weren't getting feature films.
• 23:39
  Well, and there was a weird part in the 90s. Ninety Ninja Turtles, for sure.
• 23:44
  But there was a weird part in the 90s, like 80s and 90s, where just like if something looked cool,
• 23:48
  we could sell it to kids, even though it's not a kid's property. Robocop had a toy line.
• 23:53
  Aliens had a toy line. They made a Toxic Avenger or Toxic Crusader cartoon show.
• 24:00
  That was a cartoon show. I had a couple of the toys. My mom didn't know any better.
• 24:04
  There was it was on like cable. So it was like very censored.
• 24:09
  But like the Toxic Avenger was on.
• 24:11
  So my my mom was just like, oh, this is that thing Sean likes and put that on for me.
• 24:15
  Did you still like it afterwards? I had questions.
• 24:20
  Robocop, you see somebody like fucking melt or get their brain exploded.
• 24:24
  It's like, oh, boy. OK. Oh, God. Melty guy. The guy gets acid bathed.
• 24:30
  You're talking about Red Foreman from this. He's not the one who gets acid bathed.
• 24:34
  Oh, he doesn't know. But like one of his goons does.
• 24:36
  And that freak that still fucks with me.
• 24:38
  This might be my first time watching eight millimeter,
• 24:41
  but I definitely watched the Saturday morning cartoon adaptation of eight millimeter when I was a child.
• 24:49
  It's true. The toys were terrific.
• 24:52
  Yeah, right. Any pool.
• 24:55
  It's a cigarette that flings from his hand. You know, no, I wasn't smoking.
• 25:01
  Pull the string and gaslight your wife. Right.
• 25:05
  Action figure does it all.
• 25:08
  So what did you think of Cage's overall performance in this film?
• 25:11
  He's riding high at this point in his career. 99. He's in the sweet spot.
• 25:15
  You know, I was I wasn't sure if I was going to be needing to defend this movie or not.
• 25:19
  I was like, you guys put me in a hard spot going up against Pig.
• 25:22
  I'm like, pretty kind of OK movie masterpiece.
• 25:26
  OK, fine. I'll I'll defend eight millimeter. Cool.
• 25:29
  But I will say that I think that post 1995, like he's won his Oscar for leaving Las Vegas.
• 25:35
  Right. So in some movies, he feels a little checked out.
• 25:39
  I would say this one is one of them, at least for the first hour or so.
• 25:43
  I think he really was like doing it for the last 20 minutes.
• 25:47
  He's like got to that part in the script and was like, I want to screw it.
• 25:50
  I want to mess some people up and like grow pornography on people and beat a guy up in the rain.
• 25:56
  Like, that sounds like what I want to spend the next few months getting to, you know.
• 26:01
  So, I don't know, like, I feel like he could honestly, I feel like he could have gone a little bit deeper on the early end.
• 26:08
  Like he kind of just calls his wife a lot for the first half hour of the movie.
• 26:13
  But but when he does get to cage out at the end, I'm like, all right, this is the this is the guy we know.
• 26:19
  I think we need more of this throughout the movie.
• 26:22
  Yeah, I think his adventures with Max California are pretty good.
• 26:26
  Anything before that or it's there's just nothing to it.
• 26:29
  Then you're right, you get that real cage rage to kind of end the entire thing.
• 26:35
  Does any of the film merit any of that? No.
• 26:38
  I feel like we get a legit like holler from him when he's chained to the bed after, you know, when they're going to kill him.
• 26:43
  He's bleeding. He's.
• 26:46
  Is that a holler?
• 26:48
  That's as much energy as I have right now.
• 26:50
  You don't have a holler in you right now.
• 26:51
  No, I don't. But fucking Stormare.
• 26:53
  Oh, Stormare. Oh, he's so good.
• 26:55
  We also had the cameo from I don't know what his name is anymore.
• 27:01
  Walking Dead Guy.
• 27:03
  Oh, Norman Reedus.
• 27:05
  That's right. I forgot.
• 27:07
  I forgot about that. I just watched that.
• 27:09
  He's such like a little fucking bitch boy.
• 27:12
  He is a little bitch.
• 27:13
  But like, I mean, really, he's in jail or prison, like mopping.
• 27:17
  Yeah, like he doesn't give a fuck.
• 27:19
  And you come up to him asking about some ex girlfriend that he hasn't seen.
• 27:23
  And it's like, listen, man, I've got to clean up this fucking blood right now.
• 27:27
  Yeah, don't bother me.
• 27:30
  Yeah, that was a nice little cameo.
• 27:33
  It's always fun to come back to that and be like, oh, man, he looks exactly the same.
• 27:36
  And that's unfortunate.
• 27:38
  So I'm going somewhere with this. I'll tie this back in.
• 27:40
  But last week, I went to Central Cinema for a screening of The Big Lebowski.
• 27:46
  And I forgot that Peter Stormare was one of the Nihilus because I haven't seen them in like 10 years.
• 27:50
  I forgot that, too.
• 27:51
  And I was thinking about that.
• 27:52
  And I'm like, oh, eight millimeter going to watch Peter Stormare again.
• 27:54
  And I just said, I'm like, this guy has like he's been typecast because with that name and that face
• 27:59
  and that voice, you can't do anything but be a creep.
• 28:02
  Yeah. But he does it so well.
• 28:04
  Yeah. I can't imagine like romantic lead Peter Stormare.
• 28:07
  Yeah. Like it could happen to you, but it's Peter Stormare in the Rosie Perez role.
• 28:12
  Just Beauty and the Beast. But it's Peter Stormare.
• 28:15
  They need to remake the room. But with Peter Stormare. No.
• 28:18
  I feel like he could do that character justice.
• 28:21
  He's Tommy Wiseau.
• 28:25
  Oh, Peter Stormare. Yes. Oh, Evan, have you seen the core?
• 28:30
  Oh, wait, that's the Hillary Swank one where they have to go and save the world or whatever.
• 28:34
  Oh, my God. No, I restart the world's like the core.
• 28:38
  The core. That word. What's that word?
• 28:40
  I can't think of from the core.
• 28:42
  It starts with the core. Something like work.
• 28:46
  Evan, do yourself a favor. Go watch the core right now.
• 28:49
  It's fucking awesome. We'll wait. Yeah. Come back.
• 28:52
  We'll see you in a few. Yeah.
• 28:55
  I'll be right there in 10 minutes.
• 28:57
  No, you should watch it. It's fucking awesome.
• 28:59
  It's so dumb. It's so good. Killer cast.
• 29:02
  I love a good dumb movie.
• 29:04
  Do you have a favorite quote from the film Per Chance?
• 29:06
  I do. I think I hemmed in Haan.
• 29:09
  But I think I decided that I really I think that it sums up the movie perfectly.
• 29:15
  And it's and it's the first moment where I feel like Nick Cage gives a delivery where I'm like,
• 29:19
  Oh, he's feeling this. He's getting into it. You know, we're starting to see the ramp up.
• 29:24
  You killed her. You killed her on film.
• 29:27
  Now you're fucked. You're all fucked.
• 29:30
  He hangs up the phone at a pool.
• 29:32
  I'm a big fan. I'm a big fan, too, of Max California's line.
• 29:36
  Sir, could I interest you in a badger operated vagina?
• 29:40
  He's so nonchalant about it.
• 29:42
  His salesmanship was top notch.
• 29:44
  It was very, very casual.
• 29:46
  That's character work there. You know, he's like, I've been in this porn shop for a year and a half now.
• 29:53
  I'm used to battery operated vaginas.
• 29:56
  Cash credit battery operated vagina.
• 30:01
  What did you think about the score of this film?
• 30:06
  Oh, my God. I was hoping that someone would mention it because I was like, this is incredible.
• 30:10
  It's so all over the place and I love it so much.
• 30:13
  I want to know more about who made the decisions to put all those strange elements together.
• 30:20
  I think it was a very conscious and ill advised attempt at doing something that orally puts you on edge
• 30:29
  and gives you a sense of like uneasiness.
• 30:33
  But they started it too early because it was just like right out the bat.
• 30:37
  It's like, oh, I feel grossed out by this movie.
• 30:40
  And it's like the opening like title card.
• 30:44
  But at other times, I'm like, oh, OK, I understand.
• 30:47
  Like, I think I understand what's like intended by this.
• 30:51
  But it was just so weird.
• 30:53
  Yeah. The whole movie is like that.
• 30:55
  Right. Like the score is maybe one of the better, more concrete examples of it.
• 31:00
  But just it feels like there's no part of this movie that it want that it wants you to enjoy.
• 31:07
  You know, like it wants you to be skeezed out the whole time.
• 31:10
  You're just like, I'm just riding this wave of feeling completely uneasy for like two hours
• 31:17
  and you already are uneasy.
• 31:19
  And then you get further and further into the like the cesspool of like dirty snuff film creators
• 31:25
  and, you know, people who deal pornography in an alleyway, which is like such a great movie invention.
• 31:33
  There are great character moments in here like Peter Stormare is awesome.
• 31:37
  That tall Swedish guy is weird and crazy and great.
• 31:41
  I like the mom, too. I felt like she really brought some something to it.
• 31:45
  The old lady was cool. Like, so if you could give us like a quick pitch, why this one should win
• 31:52
  and take pig out of the equation, just like why do you think that this movie kind of fucking slaps?
• 31:58
  Eight millimeter is important because it goes a place that most revenge plot movies don't go.
• 32:06
  It goes deeper than I think it gets at the core of the sort of male repressed ego shadow self.
• 32:13
  Right. Like we kind of wonder we have all these Hollywood movies that are about killing people
• 32:20
  righteously, right. Like having a good excuse to murder people because it's sort of a fantasy movie.
• 32:26
  It's a thing that we work against that we shouldn't do for good society.
• 32:30
  But we know there's an urge in us to sort of like get at other people and kill people.
• 32:35
  You know, this movie is one of the first is one of the only movies, I think, in Hollywood cinema
• 32:40
  that actually explores the concept of what would it actually take for a somewhat normal person
• 32:48
  to get pushed far enough to actually murder a stranger, someone that they do know.
• 32:54
  Most of the time, those conceits are kind of like I felt like it was actually a very realistic ramp up
• 33:01
  of what it would take for somebody in a position to be like pushed so far to see the bad side
• 33:08
  and to be exposed to the evil side of humanity to actually go that far to murder someone with their own gun.
• 33:17
  Admittedly, he doesn't shoot them. He's still cognizant enough not to kill them.
• 33:21
  He doesn't shoot them. He's still cognizant enough not to do that.
• 33:25
  But yeah, this is Carl Jung's shadow work. This is his anima.
• 33:29
  You know, this is his sort of like this is a real dive into the unconscious shadow world of the repressed male ego.
• 33:37
  And I think it also even goes even farther with the main quote villain, the machine being literally having no reason,
• 33:46
  no reason for killing anybody. That is what many of us are afraid is at our core,
• 33:52
  that there's just a psychopathic killing machine underneath us that is waiting to come out, you know.
• 33:58
  And in the end, like Nicolas Cage, that's to the point where he can actually murder people that he's never met before.
• 34:04
  And he comes out the other side completely like changed, right? He feels awful about it.
• 34:11
  And but he but he has also found a way to integrate his his darker nature.
• 34:17
  And he I would argue I think the film is arguing that he comes out a fuller person from having gone through this.
• 34:24
  So I think that there's and I so I think this is important to Hollywood moviemaking because it really is no film that explores it to this amount of depth.
• 34:36
  It's kind of like psychosis of that murderous impulse that we all fear that we have.
• 34:43
  And I think it does a great job exploring it. And Joel Schumacher is an incredible filmmaker who never makes a mistake.
• 34:50
  Perfect. Well, it was nice to see you.
• 34:56
  I get that reference. As much as I mean, I've said this before, as much as this movie isn't necessarily a fun watch and it is kind of it is uncomfortable.
• 35:05
  I think it's still a good, well-made film and does have there's I mean, it's been lucky enough to go up against some real stinkers in this bracket.
• 35:14
  But I do think it belongs at this level still.
• 35:17
  I think you hit on something there, too, that I've thought about that this movie does a fair job of we kind of said soiling everything that you might like about it throughout the film.
• 35:30
  This especially going into the movie, where the different kinds ofxide comes up in this.
• 35:37
  星 is that I think at the same moment when LMed worked out Natal's for model art we started getting, even so far as like the hero because they let him get to a point where
• 35:43
  like he's having these like crimes of passion, but then they pull him back and what he does next is now premeditated where he goes back and hunts them
• 35:49
  heroism from his actions because he's not like bringing justice.
• 35:52
  He's just avenging.
• 35:55
  Yeah. And I think that's something
• 35:58
  I mean, it was a big, big choice they made.
• 36:01
  And no matter how effectively they pulled it off,
• 36:06
  they did it and you don't get that kind of choice very often.
• 36:09
  You want heroes to be heroic and your villains to have press on nails.
• 36:16
  And they did press them on hard.
• 36:18
  Oh, my God. Those things were like seashells.
• 36:21
  All right, Evan. Well, thank you for being here with us.
• 36:22
  You want to pitch anything or promote anything right now? Sure.
• 36:27
  You can find me on all the socials at Art of Evan K.
• 36:32
  A R T O F E V A N K.
• 36:35
  The letter K.
• 36:37
  That's Instagram and YouTube.
• 36:38
  I'm starting up my own my YouTube channel.
• 36:42
  I'm also doing a podcast with my sibling, Brother Sibling Movie,
• 36:46
  where we do where we listen.
• 36:49
  Sorry, we watch.
• 36:52
  What do you do to movies where we watch movies or a certain theme?
• 36:58
  And then we kind of continue on past those to ones that we have
• 37:04
  explored later in life that we discovered later in life.
• 37:07
  So this particular moment in time, we're doing 90s science fiction and fantasy
• 37:12
  films, and it's a hoot.
• 37:13
  Listen, let's talk about some of our favorite movies.
• 37:15
  And you can also on my website, Art of Evan K.
• 37:19
  Dot com. Are you going to watch Weird Science with your sister?
• 37:22
  Ooh, maybe Hard Pass.
• 37:25
  You know, we didn't watch that one as kids.
• 37:27
  So I don't so I don't I don't have like a memory of it from childhood.
• 37:33
  Unfortunately, I know it's a lot of people's favorite movie,
• 37:35
  but I do want to do like screwball fantasy comedies of the 80s.
• 37:41
  Like that would be a good niche subgenre to get into like parkies.
• 37:46
  Exactly. Yeah.
• 37:48
  Please. God damn it.
• 37:50
  I'm just thinking about brother and sister movies.
• 37:52
  I don't know. I get it.
• 37:54
  All right.
• 37:55
  Stripes had a shower scene.
• 37:58
  We all know how formative stripes was for you. Shut up.
• 38:01
  I became a man.
• 38:03
  I think we should do a series where we watch uncomfortable movies
• 38:06
  with our parents in the room, too, so we could do like Mulholland Drive
• 38:09
  and just like just watch a five, no ten minute lesbian sex scene
• 38:13
  going super hard with mom in the room.
• 38:16
  That would be a lot of fun. Oh, yeah.
• 38:20
  I talked about this with Meredith just an hour ago, but yet watching
• 38:25
  when we Meredith and I watched Blade Runner at your dad's place
• 38:28
  and Marta was there and the the very aggressive love scene
• 38:33
  was an uncomfortable moment for everybody in that room.
• 38:37
  Yeah, right.
• 38:40
  Where Harrison Ford was given the direction, just make it happen.
• 38:44
  That's how I feel every time.
• 38:46
  Well, thank you, Evan.
• 38:48
  You're very welcome.
• 38:49
  Thank you for letting me do it.
• 38:50
  And a pleasure and an honor and a gentleman.
• 38:55
  All right. Thank you so much.
• 38:56
  I'm noticing some of the time.
• 39:01
  Oh, Nick's full of four Coney dogs right now.
• 39:05
  Sucking on a chilly dog, a chilly dog.
• 39:10
  Man, I fucking love that song.
• 39:11
  I think about that a lot.
• 39:13
  It gets stuck in my head pretty consistently. Yep.
• 39:16
  Right up there with two little dudes trying to send me nudes.
• 39:20
  I don't know that one.
• 39:21
  Send that to me later.
• 39:22
  It's not like the lyrics aren't great or anything, but the
• 39:26
  the music is like catchy and it just keeps getting stuck in my head.
• 39:29
  What's the one you sent fairly recently?
• 39:32
  Godzilla's thick ass.
• 39:33
  Oh, yeah. I know you sent it to tank in there.
• 39:35
  Yeah, I don't think I saw this.
• 39:37
  It was just in the comic.
• 39:38
  Yeah. Oh, sure.
• 39:38
  And then there's he has another one about how if he went to Hogwarts,
• 39:41
  he just solves all his problems with violence.
• 39:43
  Yeah. Snap in wands.
• 39:45
  My favorite line is about a cadaver, a vada deez nuts.
• 39:49
  Oh, I like that.
• 39:51
  Hey, so what's your what's your podcast set up since you're one of us now?
• 39:55
  Yeah. One of us.
• 39:56
  Google Gobble.
• 39:57
  I have a microphone.
• 39:59
  I have a sound board and I have headphones.
• 40:02
  Pants optional.
• 40:03
  I am wearing pants.
• 40:05
  You've changed.
• 40:06
  Which I did almost take off.
• 40:08
  But then I was but then I was like, no time.
• 40:10
  And I will say, though, that an Evan can confirm this.
• 40:14
  So I just like bought like a sound card as I was like, this is going to work.
• 40:19
  I think I know nothing about audio equipment.
• 40:21
  I'm just going to buy it.
• 40:22
  Fuck it. Whatever.
• 40:24
  Mine actually came with pre-programmed sounds in it.
• 40:28
  Oh, oh, boy.
• 40:30
  You better believe I'm not.
• 40:32
  I'm not going to do it to you guys because it's so horrendous.
• 40:37
  These sounds are so bad.
• 40:39
  I just get you. Give us a taste. Give us one.
• 40:41
  I don't know if we can hear it. Let's try.
• 40:43
  Maybe not. But yeah, give us.
• 40:45
  Not me.
• 40:46
  I'm.
• 40:50
  That's kind of fucking tight.
• 40:51
  Sounds like living above a gay club.
• 40:53
  Look, there is there's also what I call the cursed buttons,
• 40:57
  which are male voice, female voice, baby voice and monster voice.
• 41:02
  And I call them cursed buttons, a because they make you sound like a demon
• 41:06
  in various forms, but also once you press them, they can't like be
• 41:10
  unpressed without resetting the whole system.
• 41:15
  And so I for like 20 minutes was just like stuff using a monster voice.
• 41:21
  Please tell me this is your first episode of your podcast.
• 41:23
  Press baby voice.
• 41:25
  As Evan and I were just like pissing ourselves laughing,
• 41:28
  like unable to contain it, because it was like panicking
• 41:32
  trying to turn it off.
• 41:33
  And it was just like, what the fuck is going on?
• 41:36
  I'm excited to have both of you plug the same thing at the end of each episode
• 41:39
  for each part of this episode.
• 41:41
  Yeah. Do you do you have a date for your first episode?
• 41:44
  Oh, we call them guests. What?
• 41:48
  What was the.
• 41:48
  Sorry, it was just the best joke this podcast has ever told.
• 41:51
  We don't have an official release date for which you can blame Evan.
• 41:55
  Editor Evan.
• 41:56
  Welcome back to Cage magical and around about meeting Nicko's cage.
• 41:59
  Our special guest and my favorite person slash ex-spouse, Meredith.
• 42:03
  Hi, it's me, Mayor.
• 42:05
  Hello, Mayor Morgan, if you're wondering.
• 42:08
  That's right. I took their last name.
• 42:10
  I think that's a good power grab.
• 42:11
  Did you wait until after the divorce papers were signed to take the name?
• 42:16
  Oh, no, it's the only reason I'm taking this annexation.
• 42:18
  It's the only reason they married me.
• 42:20
  It's the only reason I married them. Are you kidding me?
• 42:23
  I was like, you've got a great last name and a shitty personality.
• 42:27
  Let's do this thing.
• 42:29
  I could easily drag this out for the legal minimum amount of time. Perfect.
• 42:34
  Yeah. Is there a legal minimum amount of time?
• 42:38
  There is a maximum, though, for something in California
• 42:40
  that's called a summary dissolution, which is basically just like we decided.
• 42:44
  No, that's five years and we got just under the wire.
• 42:48
  Yeah, no, it was like we were married for like four years
• 42:52
  and like eight months or something.
• 42:54
  And I was like, but Boop, someone says this is cheaper.
• 42:59
  Clocks ticking.
• 43:00
  I'm glad I reminded you to file that paperwork six months after the fact.
• 43:05
  So on this podcast, we discussed my problems as well as Nicholas Cage films.
• 43:11
  Yep. So clearly we are here to talk about the movie Pig.
• 43:14
  Yeah. Which came out in 2021 and great movie fucking rules.
• 43:17
  Meredith, you as our special guest get to talk about pig
• 43:23
  and give us a quick synopsis.
• 43:25
  Oh, OK, cool.
• 43:26
  So basically I can I think I might be able to do this in like one sentence.
• 43:30
  Do it. A lunatic is living in the woods with his pigs and with his pig.
• 43:36
  The pig gets stolen and he goes crazy.
• 43:41
  And that's the whole movie.
• 43:43
  I think you watched a different movie.
• 43:45
  That's two sentences.
• 43:47
  OK, well, I can do it.
• 43:49
  I can do a more in depth if you if you'd like.
• 43:51
  Yeah, go for it.
• 43:52
  Start with a thirst trap living in the woods.
• 43:55
  Yeah. Union suit.
• 43:57
  OK, fucking hot.
• 43:59
  Big old beard, scraggly hair, a fucking thick ass cheeks.
• 44:03
  Yeah, he looks like fucking
• 44:06
  Santa Moon vest from 30 Rock, kind of.
• 44:10
  Just like the homeless guy who's always sort of around.
• 44:12
  Oh, yeah. Oh, yeah.
• 44:15
  He does. He's yeah, it's a real externalization of what I feel
• 44:18
  like Nicolas Cage's life must have been like around, I don't know, the year 2011.
• 44:23
  So there's this guy, he lives in the woods.
• 44:26
  His seemingly his only companion is a very cute pig,
• 44:31
  which is called a cune cune pig.
• 44:33
  It's a particular breed of pig.
• 44:35
  And they are truffle hunters in the Oregon woods.
• 44:39
  One night, apparently, tweakers
• 44:43
  come in and steal the pig.
• 44:45
  They beat the shit out of Nick Cage.
• 44:47
  Oh, yeah, he gets frying pan.
• 44:48
  Yeah. Oh, the foley work on that frying pan. So good.
• 44:51
  It's a full clang.
• 44:53
  Doinked. Yeah.
• 44:54
  Great foley work.
• 44:56
  Whoever did a great job.
• 44:57
  And then essentially this guy
• 45:01
  who is a certifiable
• 45:05
  crazy person basically uses his one contact with the outside world.
• 45:11
  This super hottie pottie young guy in a yellow sports car
• 45:15
  for some fucking reason, because apparently truffles make you rich in Portland.
• 45:19
  Who knew?
• 45:20
  Nick Cage forces him to be like, we're going to go get my pig.
• 45:23
  Take me to the city.
• 45:25
  Not a bad impersonation, actually.
• 45:27
  Should have used the monster voice.
• 45:28
  Yeah. Put monster voice on for the rest.
• 45:30
  Oh, you're starting to use the monster voice.
• 45:32
  But then I have to reset the system.
• 45:34
  Yeah. And then basically they go through these things.
• 45:37
  You kind of discover through the course of all of these many different
• 45:42
  leads and things that Nick Cage's character used to be a famous chef
• 45:47
  in Portland and basically goes down this whole hunt of just like
• 45:52
  back alley restaurant worker fight club and old
• 45:58
  sous chefs who now own restaurants who he wants to take down a peg or five.
• 46:03
  A bakery owner that has a very serious obsession with him in a weird way.
• 46:10
  All of these things essentially getting to the fact that so hottie
• 46:14
  pottie's dad is the one that is responsible for the pig getting kidnapped.
• 46:21
  The deep to undermine his.
• 46:22
  Yes, the pigging.
• 46:24
  But in the course of the beginning, it's a deep beginning.
• 46:28
  That's that's true. Thank you, Peter.
• 46:30
  The tweakers killed this seemingly very large
• 46:35
  and very hearty animal question mark.
• 46:38
  And then the film kind of just ends.
• 46:42
  It like starts out
• 46:44
  seeming like it's going to be like a revenge.
• 46:49
  Who done it kind of true crime thing?
• 46:51
  And then the last third just like goes on to this insane.
• 46:56
  I don't even know, like meditation on fathers and sons
• 47:00
  and family and it I fucking love this movie and I'm going to talk more about it.
• 47:04
  But that's the basic synopsis of this film.
• 47:06
  It's a crazy person who gets his pig stolen.
• 47:09
  He goes and gets the pigs.
• 47:10
  Oh, wait, the pig is dead.
• 47:12
  Womp womp. Yeah.
• 47:14
  Kind of accurate.
• 47:16
  Plus handpan. I love handpan.
• 47:19
  So I want to start out with my hot take of this film.
• 47:22
  OK, take us on this journey.
• 47:24
  I had to take a pig is that it is one of the funniest films that's ever been made.
• 47:29
  It is a straight up comedy.
• 47:32
  I could not stop laughing both times I've seen this film.
• 47:36
  The first two acts of this film, which have like super bougie
• 47:41
  like part one wild mushroom tart, like that's the title card or whatever
• 47:47
  is so self-serious and so wants to be like,
• 47:53
  this is a deep rooted character piece.
• 47:55
  And I'm like, this is a descendant to madness of absurd proportions
• 47:59
  that makes no fucking sense.
• 48:02
  And it's absolutely comedy.
• 48:06
  It is comedy gold.
• 48:07
  I mean, I think this movie's hilarious.
• 48:09
  Every time Rob goes anywhere and just like interacts with anybody, it's great.
• 48:13
  I mean, those interactions are fantastic. I agree.
• 48:16
  How good is your life where you don't find this movie hilarious?
• 48:18
  I think why it's so funny is that inherently chefs,
• 48:23
  especially chefs at a certain level, are certifiable
• 48:27
  suck in lunatics that we have given knives, fire and power to.
• 48:32
  And it just takes itself so seriously that if you're not in the fine
• 48:37
  dining world, makes no fucking sense.
• 48:42
  Like, why would it matter?
• 48:43
  This guy had a great restaurant.
• 48:45
  Awesome, dude. Like, good for you, I guess.
• 48:47
  You're real intense about it.
• 48:50
  And like, why does it matter if you get these?
• 48:53
  Every scene is so like filled with like pregnant pauses and like a moody music.
• 48:59
  And I'm just like, this is so stupid and I love it.
• 49:02
  It's fucking fantastic. It's so great. It's so great.
• 49:06
  It's just like a tonal mindfuck. The whole film.
• 49:09
  No, I mean, it's certainly a take. I haven't heard before.
• 49:11
  That's fine.
• 49:12
  I mean, everybody can appreciate the movie for whatever they want to appreciate it for.
• 49:16
  Be a handpan, be it a denigrating working class people or.
• 49:25
  That is a big part of it.
• 49:26
  That's a call back to something I don't remember.
• 49:29
  You because your favorite scene is when he badmouts the former prep chef. Oh,
• 49:35
  yeah, I do fucking love that scene.
• 49:36
  What's what's his name? Fenway Fenway.
• 49:38
  I just I love how he just tears that guy apart.
• 49:41
  But I mean, the core of it isn't just to fucking break him down.
• 49:44
  It is to like remind him of who he fucking is.
• 49:47
  Yeah, because he's being fake. Right.
• 49:50
  Current restaurant. Yeah.
• 49:51
  That's why in my mind, it was like a comedy is because to me, I was like,
• 49:55
  this is exposing how fucking ridiculous
• 50:00
  this whole world is like the whole world of fine dining.
• 50:04
  We have to eat every day. Humans have to eat.
• 50:07
  It's an unfortunate reality.
• 50:09
  This is such a like skewed version of it.
• 50:12
  And who is it for? And it becomes this absurdist romp
• 50:16
  through super high end fine dining in Portland, Oregon, of all places.
• 50:22
  I don't think it's a place with a super seedy underbelly
• 50:26
  of restaurant workers that have a fight club.
• 50:29
  That is the only part that's really weird for me.
• 50:31
  But to speak to the, you know, the title cards and the three food items
• 50:36
  that are created, they are not hoity toity.
• 50:38
  It is a rustic tart made in the woods with his pig.
• 50:41
  It is fucked up French toast from a arguably brain dead mom or dead mom.
• 50:47
  And then a meal to remind someone of how it is to be a fucking human.
• 50:52
  The way to I will say this film is beautifully shot.
• 50:56
  It is gorgeous.
• 50:58
  Obviously, this is a film that has a great reverence for food
• 51:02
  and cooking and feeding people and all of that.
• 51:05
  And I do think it is like Nick Cage's character, Robin Eld.
• 51:09
  He lost his wife. That's kind of why he went bad.
• 51:12
  He is that he has taken it back to this is the most basic thing.
• 51:17
  This is why I like eating. This is why I like food.
• 51:20
  This is why I do all of these things.
• 51:22
  All of the pomp and circumstance is immaterial.
• 51:25
  So that part of it is a very like beautiful, heartfelt rule line.
• 51:29
  Have you ever seen the movie The Menu?
• 51:33
  Yes. Yes.
• 51:35
  So I was going to say like what you're describing
• 51:37
  sounds very much like you would be a fan of The Menu.
• 51:40
  I love The Menu.
• 51:41
  Yeah, it's a terrific film.
• 51:42
  And it nails like everything that you're you're describing here.
• 51:46
  So people who haven't seen it.
• 51:48
  Watch the movie. Yeah, it's great.
• 51:50
  It is wild.
• 51:51
  Nicholas Holt in it. Yes, true.
• 51:53
  And we like Nicholas Holt. We like all Nicklises.
• 51:56
  All Nicklises are good.
• 51:57
  There's a few.
• 51:58
  Nick's and Jicks not into it.
• 52:00
  Oh, not even true. You love your Jick.
• 52:03
  That's true. I love a good Jick.
• 52:05
  Still sounds like such a slur.
• 52:07
  Sounds so bad.
• 52:09
  We're going to find out it is one. No, it really does, guys.
• 52:12
  I'm not going to lie.
• 52:14
  I don't want to be associated with hate speech.
• 52:16
  OK, I can't have my.
• 52:18
  Yeah, don't fuck up your brand.
• 52:19
  I mean, if any of the.
• 52:20
  You're on this podcast.
• 52:22
  I mean, if any of the jokes we used to make in art school ever,
• 52:25
  like we're recorded, we'd be.
• 52:27
  Won't say them on air because I don't want any of us to get canceled
• 52:31
  by association.
• 52:33
  But boy, oh boy.
• 52:34
  Let me pause the recording.
• 52:35
  Yeah. Oh, it's paused now. Say it.
• 52:38
  Oh, is it? Oh, OK.
• 52:39
  Well, then in that case, here's what Sean used to say.
• 52:44
  Yeah, good. Yeah.
• 52:45
  I still love this movie after like the fourth time watching it.
• 52:49
  I just I put it on and just happy the whole time.
• 52:54
  Viewing it from Rob being an outsider and kind of our introduction
• 52:58
  to this crazy world of culinary capers is great because, you know,
• 53:03
  he also has his own insight and we come to find out very much in the know
• 53:07
  and then can completely disrupt it.
• 53:08
  So while we're introduced to it, he's turning it on its head
• 53:11
  and making it make more sense for himself and the viewer.
• 53:14
  OK, I'm sorry to break character in this situation, but
• 53:17
  so I'm recording everything in Adobe Audition and the file format
• 53:21
  is called dot SESX and I named this one pig dot SESX.
• 53:26
  Just a little too close.
• 53:28
  I mean, that's still the movie I watched.
• 53:30
  Pig sex. He doesn't fuck his pig, guys.
• 53:35
  Oh, I don't fuck my pig.
• 53:37
  Very importantly, he does not fuck his pig.
• 53:39
  OK, that is critical information.
• 53:42
  That is a very good distinction.
• 53:44
  The pig PS.
• 53:45
  It's like I watched through the credits because I was like,
• 53:49
  the pig is not in the main cast.
• 53:52
  Rude. So I watched through probably 15
• 53:57
  like title card of the credits.
• 54:02
  Her name is Brandy and she did have a pig understudy named Cora.
• 54:08
  Oh, good name for pig or daughter Brandy and Cora.
• 54:12
  We're both very good girls and we're really precious and really adorable.
• 54:17
  And I thought did a great job.
• 54:18
  And I would have loved to see a lot more of pig in film called Pig.
• 54:23
  I'm going to tell your daughter that she was named after the pig in this movie.
• 54:26
  Understudy.
• 54:27
  Understudy. Well, right.
• 54:29
  Not even the main aspire to be Brandy.
• 54:32
  I'm sure there were a couple of days where Brandy couldn't get on set.
• 54:36
  And so Cora came out and filled in, snuffed around for a little bit.
• 54:41
  Yeah, Brandy.
• 54:42
  She she really liked downers.
• 54:44
  I don't know.
• 54:45
  That's why the tweeters just fucked her up.
• 54:47
  Barbiturates for days.
• 54:48
  And she turns it on. She's great.
• 54:50
  But fuck, man.
• 54:52
  Do you have a particularly favorite scene?
• 54:54
  Oh, I feel like every single scene in this film is sort of its own
• 54:58
  self-contained vignette in a way of like getting a different
• 55:02
  facet of these characters.
• 55:04
  But I will say one of my favorite scenes is the scene that he goes.
• 55:08
  Robin goes to his old what used to be his restaurant, Hestia.
• 55:12
  And he's talking to who used to the woman that used to be like his.
• 55:17
  Baker or pastry chef or something.
• 55:19
  Pastry chef. Pastry chef.
• 55:20
  And she has since turned it into a bakery.
• 55:23
  And it's a very intense scene.
• 55:25
  It's a one shot.
• 55:26
  Like it's just them sitting at a table talking beautifully acted,
• 55:31
  beautifully shot, still to me, absurdly funny,
• 55:35
  because he is asking her for a salted baguette, which I was like,
• 55:40
  is that a sex move?
• 55:41
  First of all, very inappropriate.
• 55:43
  Nick Cage, naughty, naughty.
• 55:45
  But then I was like, what would even be a salted baguette?
• 55:47
  Baguettes already have salt in them.
• 55:49
  What does that even mean?
• 55:50
  Like that's such a crazy that's such a like an insane like specialty dish
• 55:55
  that like you just have an extra salty baguette
• 55:57
  and they have this really intense back and forth about like,
• 56:01
  oh, you know, Laurie would have wanted it.
• 56:02
  This is like, oh, your dead wife would have wanted this.
• 56:05
  And it's to me, I'm like, this is the peak of this film.
• 56:08
  This is the peak of what this film is about.
• 56:10
  It's fantastic.
• 56:12
  And then he like gets a cookie for his friend, his hottie pottie friend
• 56:16
  in the yellow sports car because they're actually becoming friends.
• 56:19
  They're buddies. Yeah.
• 56:21
  Yeah. I love that he gets the second cookie.
• 56:23
  I know it's so cute.
• 56:25
  It's so cute.
• 56:26
  And then you just like hands him this like cookie pastry thing.
• 56:30
  And the guy is like, I'm sorry, you haven't bathed in.
• 56:34
  God knows how long.
• 56:35
  Let's not even talk about the state of your clothes.
• 56:37
  You're so mean.
• 56:38
  You're covered in blood from getting the shit kicked out of you.
• 56:41
  Still, you're wearing fingerless gloves.
• 56:44
  We've been going all over Portland trying to find this fucking pig.
• 56:48
  I don't want to deal with this. And you give me a cookie.
• 56:51
  It's probably a really good cookie.
• 56:53
  Yeah, they're already besties by then.
• 56:55
  Yeah, but I mean, Alex Wolf doesn't know it at that point.
• 56:57
  Amir. Yeah.
• 56:59
  He doesn't realize that they're actually best friends.
• 57:01
  Every time I do see that scene, though, I'm just like, yeah, I don't like that.
• 57:05
  Cookies can be real dirty.
• 57:06
  It's going to have like bum glove smell.
• 57:08
  The scene where Amir and Robin are cooking together
• 57:13
  after like breaking and entering in Amir's dad's house.
• 57:16
  Totally fine, by the way. Not a problem at all.
• 57:19
  When they're cooking together, it shows like Nick Cage
• 57:22
  washing his hands and like doing all this food prep.
• 57:25
  And it's awesome.
• 57:26
  And like breaking the backbone of like a squab or something.
• 57:30
  And the whole time, I was just like, yes, your hands.
• 57:34
  That's all you're going to.
• 57:35
  All you're going to wash.
• 57:36
  I mean, it'd be rude to take a full bath.
• 57:39
  They probably had a nice tub, though, like a claw tub.
• 57:41
  I don't know. He's built up a really good protective barrier at this point.
• 57:45
  You want to keep that.
• 57:46
  Yeah. So you don't want to know what he's going to have to do
• 57:50
  to get the hands back to a proper state.
• 57:53
  I mean, he just goes into the river at the end of the movie, which respect.
• 57:57
  I was upset. Salted baguette sex move.
• 58:00
  Not a thing. Yeah.
• 58:02
  Yeah. You heard it here first, folks.
• 58:05
  Salted baguette and a Coney dog.
• 58:09
  Who was salted baguette with a Coney back?
• 58:12
  And I love to cook, too.
• 58:15
  Imagine that. Speaking of cooking, I had lunch with a with Horn Quack today
• 58:21
  or not today this week and was talking about his fitness goals.
• 58:26
  And I'm like, well, you should probably just, you know,
• 58:28
  stop eating out for every meal.
• 58:30
  His argument was for not cooking at home is he's like, you know, have you
• 58:34
  have you ever made a meal you would pay for?
• 58:36
  And I'm like, yes.
• 58:38
  Many times. Yeah.
• 58:40
  It's not it's not that hard to cook, Nick.
• 58:41
  Just do it. I know you don't listen to this podcast, but maybe one day you will.
• 58:44
  Just add more salt.
• 58:46
  That's the only thing that makes you like butter and more salt.
• 58:50
  Butter and more salt. That's it.
• 58:51
  What kind of eating?
• 58:52
  Are we doing? What are we talking about here?
• 58:54
  Say the salt baguette. Yeah.
• 58:56
  Right. We're back to the move.
• 58:58
  Oh, man. Salted baguette is where you just hear the vagina
• 59:02
  with butter and some mold and flaky salt right on top.
• 59:07
  Yeah. You go to town.
• 59:08
  It's the salty baguette.
• 59:10
  Extra crunchy for your pleasure.
• 59:15
  OK, so we got Meredith's favorite scene.
• 59:17
  What do you guys think is your favorite scene?
• 59:19
  I mean, for me, it has to be Hestia for kind of the same reason.
• 59:24
  Like, I just love him talking about food and sort of that those long shots
• 59:27
  and him just being like staring up at Fenway and breaking him down.
• 59:32
  I don't know. Oh, Fenway's place. Yeah. Yeah.
• 59:35
  Yeah. That's your rid of the.
• 59:37
  That's your rid of the.
• 59:38
  Not Hestia. You're at a sea. Yeah.
• 59:40
  All such douchey restaurant names.
• 59:42
  Which is very accurate. Yeah.
• 59:43
  No, I mean, Fenway is a personal favorite just because I love his whole speech
• 59:48
  about how we don't get a lot of chances to care about things and just his whole
• 59:52
  sum up of life and all the bullshit that people do to be seen
• 59:56
  and not be seen the entire time.
• 59:59
  I just love his just general demeanor.
• 1:00:01
  Like when he walks in to the diner to find a phone
• 1:00:04
  and the waitress is like, Yes.
• 1:00:07
  You going to buy something? No.
• 1:00:11
  That was I think early on in this movie, Rachel was watching it
• 1:00:14
  and she was like, You said this isn't going to make me have a hard time at all.
• 1:00:17
  And then it was like pig abduction.
• 1:00:19
  And she was like, What the fuck?
• 1:00:20
  And then the next scene is pretty much the like engine dies in the car.
• 1:00:24
  Then he gets to the restaurant.
• 1:00:25
  It's like, are you going to buy anything?
• 1:00:26
  No. She was just like, Yeah, awesome.
• 1:00:29
  And then the very next scene is you like that car.
• 1:00:32
  You like that shirt.
• 1:00:33
  I'd be hard pressed on a scene.
• 1:00:35
  I think I like this movie's kind of theme of identity the most.
• 1:00:42
  But a scene, I'll just say the scene where he gets the shit kicked out of him
• 1:00:46
  by the busboy busboy.
• 1:00:49
  So tiny, you know, very old to it showed how much he really would do
• 1:00:54
  to find out about his pig.
• 1:00:55
  Like he would take that massive beating just for a name.
• 1:00:59
  I never thought about specifically that scene so much
• 1:01:02
  until this time when you really see just the hatred and just just vitriol
• 1:01:06
  in the waiter's face and like,
• 1:01:09
  so we had to work for have worked for Rob at one point.
• 1:01:11
  Or just like knows that douchey chefs are.
• 1:01:14
  Yeah, he knows this.
• 1:01:16
  I mean, it was a very toxic kind of occupation.
• 1:01:19
  I mean, there's certainly something that's sour about everything,
• 1:01:22
  because like, why did Edgar let the timer run for 15 seconds
• 1:01:26
  longer than anybody else?
• 1:01:27
  You know, like people are pissed that he vanished.
• 1:01:30
  And people are pissed that he doesn't play the game anymore.
• 1:01:32
  There is a part of it that I think anybody that's ever done restaurant work
• 1:01:36
  or customer service work has a deep well of rage and alcoholism
• 1:01:41
  within them that can only be quenched by violence.
• 1:01:45
  As well as it's true when Rob just
• 1:01:49
  gadaddle and like left his restaurant, he left not just his restaurant,
• 1:01:54
  but like probably dozens of people's jobs in a total
• 1:01:59
  like, oh, cool.
• 1:02:00
  So like, I don't have a job anymore.
• 1:02:02
  Like I. Yeah, right.
• 1:02:03
  Now the pastry chef is in charge, I guess.
• 1:02:06
  Yes. Like why would the pastry chef be in charge?
• 1:02:08
  Like it just doesn't make any sense.
• 1:02:10
  And I think it's the other thing, too, where I feel like most people I know
• 1:02:14
  who have worked in kitchens, if you were like, hey, there's a fight club
• 1:02:18
  where you get to go beat the shit out of other like restaurant
• 1:02:21
  workers from like restaurants in your town, they would say yes.
• 1:02:26
  And what do I need to do to get in?
• 1:02:28
  So Chef Finway was played by David Nell, who I don't know from anything,
• 1:02:33
  but he's just his expressions in that whole scene, like when he realizes
• 1:02:38
  that it's who Rob is and just when he's just shaking
• 1:02:42
  with like uncomfortable rage as he's being torn down and just has that
• 1:02:46
  just kind of forced shitting grin, that's like almost a scowl.
• 1:02:50
  I don't even think it was rage. I think it was shame.
• 1:02:53
  I think that dude gets broken down really accurately.
• 1:02:56
  And then Rob says, what was your dish?
• 1:02:58
  And immediately he goes scotch egg. Yeah. You know? Yeah.
• 1:03:01
  Yeah. I think I'm with you there on the shame portion of this.
• 1:03:05
  I think it's most people's reaction.
• 1:03:08
  The way I read it was we've got this, you know, rock star who was
• 1:03:13
  no matter how abusive a chef could be in the kitchen
• 1:03:16
  when you're working for like the shop top chef.
• 1:03:19
  It's like that's what it's about.
• 1:03:22
  You're doing the highest of high dining.
• 1:03:25
  So there's just always going to be a level of admiration.
• 1:03:29
  I think a lot of people, characters that interact with him,
• 1:03:32
  that the way that I read it was there's the element of like
• 1:03:37
  looking at almost like a mythical creature that you thought was gone forever.
• 1:03:42
  That's just returned.
• 1:03:44
  And so there's the moment of like, wow, look at him.
• 1:03:47
  He's standing right here and then also realizing that the roles have kind of reversed.
• 1:03:51
  And a lot of people now are seeing that they have power over him
• 1:03:56
  because of his conditions, self-imposed or not.
• 1:04:00
  They just don't realize that he doesn't give a fuck.
• 1:04:02
  So they really hold no power over him still.
• 1:04:07
  OK, so Meredith, at this point, I think your opinions are pretty clear on it.
• 1:04:11
  It's like you like it. It's absurd.
• 1:04:13
  And I don't disagree with that part.
• 1:04:15
  I think looking back on it more and more, it's like this is a funny movie
• 1:04:18
  in a lot of ways. I love this film.
• 1:04:20
  I should have also prefaced that with like I love this film.
• 1:04:24
  I think it's fantastic.
• 1:04:25
  And that's just yes, I think it's an absurd comedy.
• 1:04:28
  No, that's perfect. Give give your case.
• 1:04:30
  Why should anyone watch this movie?
• 1:04:32
  Why should we care?
• 1:04:33
  Why do you think this is, you know, in the echelon of what we're talking about?
• 1:04:36
  It's in the sweet 1616.
• 1:04:39
  And, you know, it's a big contender.
• 1:04:43
  It's been strong for us from fucking day one or day,
• 1:04:47
  whatever it was when it first came across our plates.
• 1:04:48
  Yeah, I I think there's a lot of reasons.
• 1:04:51
  One, it is a film that I think Evan and I talk about a lot are films
• 1:04:57
  that are vibes like even if the even if the plot isn't necessarily
• 1:05:02
  super strong or whatever, there is something about the whole piece
• 1:05:06
  that is just a vibe and it is enjoyable to participate in.
• 1:05:11
  It's enjoyable to watch.
• 1:05:13
  I think that is one of my biggest reasons that I love this film is that, again,
• 1:05:17
  it is absurd.
• 1:05:18
  It is tonally kind of here and there and whatever.
• 1:05:23
  It is beautifully shot.
• 1:05:25
  It is beautifully acted.
• 1:05:28
  It is exactly what it is.
• 1:05:33
  Art that knows what it is and leans super hard into that
• 1:05:38
  is always compelling to watch.
• 1:05:39
  It always makes you want to come back and watch it again, see a new angle.
• 1:05:44
  You know, you want to experience that vibe again and again and again.
• 1:05:49
  And I think that is why it's such a compelling film.
• 1:05:52
  Can't think of a lot of other films like Pig.
• 1:05:57
  And I think also in the cage verse perfection,
• 1:06:01
  Cage says maybe 25 words, the entire film, but just his presence
• 1:06:06
  and his being and his ethos is perfect for this film.
• 1:06:10
  Like, I don't know that another actor could have done it,
• 1:06:13
  could have carried this film in the way that he carried the film.
• 1:06:16
  This is one of those films where really kind of put his name back out there
• 1:06:21
  as a serious actor coming off all the near straight to DVD films.
• 1:06:27
  Yeah, the schlock years, the left behinds of it all.
• 1:06:29
  But season of The Witch, too.
• 1:06:31
  Oh, season of The Witch.
• 1:06:32
  Up and down. Coming soon.
• 1:06:34
  Yeah, his just presence in this film and his acting very sedate.
• 1:06:39
  I think there's only one full on cage scream in the entire movie
• 1:06:41
  when he steals that guy's bike.
• 1:06:44
  Oh, true. And then the other one is like and his anguish scream.
• 1:06:48
  They they mute. Yeah. Yeah. Yeah.
• 1:06:50
  But no, I like that.
• 1:06:52
  That whole sense that this movie does have a vibe in it.
• 1:06:55
  I think of all these movies we've watched, this is the one that has
• 1:06:57
  really something to say.
• 1:06:59
  Like there is a point to all of it.
• 1:07:02
  It's not just it's fun and it's funny and it's very sad at times.
• 1:07:06
  But there is a message behind all of it.
• 1:07:09
  And I think it does hold together really well and really does.
• 1:07:13
  Keep to that core
• 1:07:15
  part of this film.
• 1:07:17
  And again, for a first time director on like Shoestring Budget,
• 1:07:21
  it was very little time to film.
• 1:07:22
  Was this the first time?
• 1:07:24
  Oh, yeah. First time feature director. Yep.
• 1:07:26
  Holy shit. Great job.
• 1:07:28
  What was his name, Stan?
• 1:07:29
  Then he went on to direct A Quiet Place Day One,
• 1:07:31
  which is a fucking huge money movie.
• 1:07:35
  Yeah. Sarnowski.
• 1:07:36
  But like Shoestring Budget had very little time to film.
• 1:07:39
  Like one of the reasons Nick Cage stays as banged up as he does
• 1:07:41
  is it was just quicker to keep all the blood and stuff on him
• 1:07:45
  rather than like reset for different shots.
• 1:07:48
  I mean, that to me makes it even more impressive.
• 1:07:51
  And it's a first time feature.
• 1:07:53
  Being able to work within all those constraints and be able to really
• 1:07:56
  pull off something like this, I think.
• 1:07:57
  I mean, and maybe this works as well as it does because it was so constrained
• 1:08:01
  just because there was no time for fucking around.
• 1:08:03
  There's no time for reediting and reshoots.
• 1:08:05
  They had to get what they got.
• 1:08:06
  And, you know, maybe there are some weird transitions,
• 1:08:09
  but it all works so well.
• 1:08:11
  Yeah, it's a terrific film.
• 1:08:12
  I have nothing to disagree with.
• 1:08:15
  It gets me every time. Yeah.
• 1:08:17
  Meredith, do you have a favorite quote
• 1:08:18
  from this film you would like to share with us?
• 1:08:20
  Fuck Seattle.
• 1:08:23
  It's a good one. Perfect.
• 1:08:25
  When is that? That seems right after Rob picks him up
• 1:08:28
  from his dad's place after he like gets kicked out. Right.
• 1:08:31
  Yeah. And that's one of my favorite scenes, actually.
• 1:08:33
  Thinking back on it, that that particular moment is just really sort of sweet
• 1:08:38
  because like there's the funny talk about, you know, Mount Hoods
• 1:08:40
  an active volcano, fuck Seattle.
• 1:08:43
  And then Amir's like, why did we do any of this?
• 1:08:45
  Like, if you can fucking just find the truffles with your tree knowledge,
• 1:08:49
  like, what the fuck?
• 1:08:51
  And Cajun's just like, I love her.
• 1:08:53
  And like, that's the core of this whole fucking movie.
• 1:08:57
  And why he even gives a shit is that he loves his pig.
• 1:09:01
  And he's just sad that she's gone because he's had loss in his life.
• 1:09:06
  And it's just like very bleak and identifiable.
• 1:09:10
  And just like, oh, fuck.
• 1:09:13
  Yep. And you can see it on Amir's face, too.
• 1:09:16
  It's like, I understand loss because he's lost his mom.
• 1:09:20
  I don't know. I fucking love this movie.
• 1:09:22
  That's all I got to say.
• 1:09:23
  And this movie is really about loss.
• 1:09:25
  And I mean, even thinking back, rewatching this time, like it's bookended
• 1:09:28
  by Rob in his cabin, starting to play the tape that his wife left him.
• 1:09:33
  And that movie is with him actually playing it like all of it.
• 1:09:38
  Yes, check out state. Yeah.
• 1:09:40
  So it'll make you sad.
• 1:09:42
  Playing Bruce Springsteen.
• 1:09:44
  What's the lyrics to that song are very problematic.
• 1:09:48
  Yeah, it was definitely an interesting choice to me being like,
• 1:09:52
  if I was talking to my partner and was like the lyrics of I'm on Fire,
• 1:09:58
  made me think of you.
• 1:10:00
  Yeah, I would. Great question.
• 1:10:03
  A lot of things, to be fair.
• 1:10:05
  And that's why he caught his sleeve on fire and.
• 1:10:09
  Oh, oh, oh, I'm on fire.
• 1:10:12
  I'm on fire. Yeah.
• 1:10:14
  Let me. He's a chef. It's possible.
• 1:10:17
  It's possible that it happened.
• 1:10:20
  Hey, little girl, is your daddy home?
• 1:10:23
  My shirt's on fire and I'm all alone.
• 1:10:25
  Oh, I'm on fire.
• 1:10:29
  Now we have to pay Springsteen. Thanks, Peter.
• 1:10:31
  Yeah. All right. I didn't sing it that well.
• 1:10:34
  It was you changing the lyrics.
• 1:10:36
  It was satire satire satire satire satire all the way.
• 1:10:39
  Parody. It's parody.
• 1:10:40
  Do you have anything that you want to kind of plug here, Meredith,
• 1:10:43
  before we sign off?
• 1:10:44
  You can check out my brother Evans in my upcoming podcast.
• 1:10:49
  It is called Brother Sibling Movie.
• 1:10:51
  We talk about movies of different themes.
• 1:10:55
  Every season, many of which we have fond memories of from our childhood.
• 1:10:59
  It's basically us just being absolute fucking ding dongs.
• 1:11:02
  I can't relate.
• 1:11:04
  I I know it's this is not the audience
• 1:11:09
  for ding dongs talking about movies.
• 1:11:10
  If you don't like that, why are you here?
• 1:11:13
  And you can find me on Instagram at Blonde Daddy Lives Here.
• 1:11:17
  I don't remember if there are periods or underscores or if it's all one word.
• 1:11:21
  I cannot be bothered to check it.
• 1:11:23
  Seriously, not a clue. There's one person on Instagram whose handle is at long.
• 1:11:27
  Daddy lives here. It's me.
• 1:11:28
  Hang out with me. Yes, that's.
• 1:11:31
  Oh, and go vote in November.
• 1:11:33
  That's the other thing I want to plug.
• 1:11:34
  Go vote in November, y'all.
• 1:11:36
  It's very important.
• 1:11:39
  I'm looking forward to being on a brother sibling
• 1:11:43
  movie podcast at some point to talk about Blade Runner
• 1:11:45
  and the time we watched that with your mother.
• 1:11:48
  It was awkward.
• 1:11:51
  Oh, Blade Runner Mother, Brother.
• 1:11:55
  Oh, I didn't.
• 1:11:57
  I didn't get to tell my my one joke I had prepared this this week.
• 1:12:01
  That's how fucking out of it I am.
• 1:12:03
  It's OK. Too late now.
• 1:12:04
  Got to save it for next time.
• 1:12:05
  Or not. What is your amazing and funny joke?
• 1:12:08
  Oh, I was going to say, since we have you and your brother on,
• 1:12:12
  it's going to be a good old fashioned sibling beat beat off.
• 1:12:18
  That's not even a joke.
• 1:12:19
  That's just fucking disturbing.
• 1:12:20
  Why would you say that?
• 1:12:22
  That's horrifying.
• 1:12:24
  That's not even no.
• 1:12:26
  Do not try and get Evan and I on a fucked up family
• 1:12:31
  Pornhub situation, OK?
• 1:12:33
  I will not stand for it.
• 1:12:35
  It's not going to happen.
• 1:12:36
  Don't talk to Nick.
• 1:12:39
  No, I can't figure out how to make it.
• 1:12:41
  Meredith, you're the reason I know the word twin zest.
• 1:12:44
  Thank you. You're welcome.
• 1:12:46
  All right. We're about done here, folks.
• 1:12:48
  Good night. Thanks, man.
• 1:12:54
  Well, those were opinions.
• 1:12:55
  Yes. From people who weren't us.
• 1:12:58
  Hope you like that, folks.
• 1:13:01
  I did. I did, too.
• 1:13:03
  Thanks, Evan and Meredith. You guys are great.
• 1:13:05
  Yeah, it was really nice discussing both of these movies with those two.
• 1:13:08
  I'm still like I'm marrying
• 1:13:12
  Meredith's concept of the movie with what with the movie that I've seen.
• 1:13:17
  And I'm really enjoying the take that they have on it,
• 1:13:22
  which is which is terrific.
• 1:13:23
  I mean, it's a comedy. Yeah.
• 1:13:25
  A real romp.
• 1:13:27
  But they're absolutely not wrong.
• 1:13:30
  The movie is rife with comedic scenes.
• 1:13:33
  I think it it does help underscore
• 1:13:37
  some of the more like human moments
• 1:13:42
  and some of the tenderest moments also have
• 1:13:45
  some of the best comedy or some of the most insightful moments
• 1:13:48
  have some of the best comedy.
• 1:13:49
  Yeah. Well, it's one of those things that I've always liked in like
• 1:13:52
  good storytelling where you use jokes, you use levity to kind of
• 1:13:57
  undercut a tone just enough.
• 1:13:59
  So when you do want to have a really serious moment, like at the end,
• 1:14:02
  when he's crying about his pig and the dad's crying about his wife and son,
• 1:14:07
  like you get those moments because you had, you know,
• 1:14:11
  other moments of levity you get to like you get to build to that.
• 1:14:14
  You know, kind of little grow and release and.
• 1:14:18
  And then, of course, 8 millimeter, which I still love so much
• 1:14:24
  for like 50 minutes.
• 1:14:26
  And then I'm like, oh, that's right.
• 1:14:28
  This is where the movie is.
• 1:14:29
  Another hour gets rough, not even like emotionally rough,
• 1:14:33
  but just like pacing rough.
• 1:14:36
  Because I mean, you know, me, I can I can watch a movie about porno all day.
• 1:14:40
  That's fine. I'll just watch porno all day.
• 1:14:43
  That doesn't make me a monster.
• 1:14:45
  That makes me unemployed.
• 1:14:49
  Yeah. So I guess I'd have to take some time off, but.
• 1:14:54
  But I do.
• 1:14:56
  I love this movie.
• 1:14:57
  I love the the dive that they take and they kind of like wade into it.
• 1:15:01
  But like pretty soon, it like starts escalating so fast in like the world
• 1:15:07
  that Max California keeps introducing Wells to.
• 1:15:12
  And it's just like, you know, it's like,
• 1:15:14
  it's like, you know, it's like, you know, it's like, you know,
• 1:15:18
  it's got such a good sort of just palette going for it.
• 1:15:23
  Color and audio and everything that just slightly misses.
• 1:15:29
  And once you get to, you know, as I've mentioned,
• 1:15:34
  the the point where it's like, oh, he's he's escaped like
• 1:15:37
  and he runs out like gunshots flying and everything.
• 1:15:42
  And we have to go all the way to, I don't know, some cabin in Connecticut
• 1:15:46
  to cool off, see Cinderella.
• 1:15:49
  Don't worry. She's sweet.
• 1:15:50
  She missed him.
• 1:15:52
  And then he runs off to L.A.
• 1:15:56
  No, New York, L.A. back to L.A.
• 1:15:58
  Yeah. He just flies back to the West Coast, hunts, like hunts down a dude,
• 1:16:04
  kills him.
• 1:16:05
  That was a pretty cool scene.
• 1:16:07
  And then we get slow again.
• 1:16:09
  Then he was back to New York to kill the other guy.
• 1:16:11
  Yeah. As we go back and there's just too many dips.
• 1:16:15
  And it slogs a bit for me if they had just tightened it up.
• 1:16:20
  Yeah. Just let him take care of all three of them in order.
• 1:16:25
  Like after the main fight, I would have been so cool with that.
• 1:16:30
  Like Eddie on the way to the airport.
• 1:16:32
  And you could still have a trunk full of porno.
• 1:16:35
  You wouldn't be burning him in the house.
• 1:16:37
  But like, I don't feel like that ever felt important.
• 1:16:41
  I mean, I think I said this before is and we talked about it with Evan,
• 1:16:44
  just the Batman and Robin of it all, the weird direction
• 1:16:49
  Schumacher's career kind of spun off into.
• 1:16:52
  But then you see something like this.
• 1:16:53
  You see, you know, kind of that gritty 90s crime drama.
• 1:16:57
  It's like, oh, you can make a movie.
• 1:16:59
  You can make a well shot movie.
• 1:17:01
  You can do something like with substance.
• 1:17:04
  Sure. He's not a joke director and he's not Michael Bay.
• 1:17:06
  He's not doing the same like schtick.
• 1:17:09
  Yeah, no. And I mean, I just it's one of those things where
• 1:17:12
  especially like the age I was when like Batman and Robin came out.
• 1:17:15
  It's just one of those things where it's like, that's what you say Schumacher.
• 1:17:18
  That's what people think now.
• 1:17:20
  And, you know, you tend to forget in the whole of time that his name,
• 1:17:24
  you know, means something because of movies like this. Sure.
• 1:17:26
  So it comes down to it. What moves forward? Primal.
• 1:17:30
  Primal. When when Evan said primal fear, I was just like,
• 1:17:36
  oh, I know he said primal fear.
• 1:17:38
  And then at one point, he was talking about something about getting to the core of it.
• 1:17:42
  And I was like, oh, the core.
• 1:17:44
  I would say in terms of our discussions, we did.
• 1:17:47
  It was a lot easier to get off track when it came to a millimeter
• 1:17:50
  and talk about like things like Batman and Robin.
• 1:17:53
  And it was a lot more fun to talk about things like Batman and Robin.
• 1:17:57
  I don't think a millimeter can like really stand up to big.
• 1:17:59
  It's a pig is such a beautiful movie that has so much to say and says it so well.
• 1:18:05
  Yeah, I mean, I don't even need to like justify your opinion.
• 1:18:08
  Yeah, I don't need to do any of that.
• 1:18:12
  I've seen both movies.
• 1:18:14
  I'm just going to call it like it is.
• 1:18:16
  And Pig is the better film.
• 1:18:18
  And it's no matter how you get to that, it's the correct answer.
• 1:18:22
  Yes. Except for romantic comedy.
• 1:18:25
  It's kind of a love story.
• 1:18:26
  He doesn't fuck the pig, though. No.
• 1:18:28
  Can I can I make my joke for every time we do pig?
• 1:18:31
  You did good, pig.
• 1:18:33
  No. All right.
• 1:18:35
  Cut it, then. Nope.
• 1:18:36
  I'm going to put it in one time.
• 1:18:38
  I mean, I only said it one time.
• 1:18:39
  I'm going to put it in one time.
• 1:18:41
  Put it in one time with the volume real.
• 1:18:46
  Yeah. So Pig wins.
• 1:18:47
  Moving forward. Congrats, Pig.
• 1:18:50
  You done good, Pig.
• 1:18:52
  What is the actual phrase?
• 1:18:54
  I think that's it.
• 1:18:56
  No, that'll do.
• 1:18:57
  That'll do. God damn it.
• 1:18:58
  Yeah, you fucked it up.
• 1:19:00
  Fuck you. Bye bye.
• 1:19:02
  Do you think? Bye bye.
• 1:19:03
  I believe it is. What a pig.
• 1:19:05
  No, that's Charlotte's Web.
• 1:19:07
  No, it's some pig.
• 1:19:09
  Damn it. You guys are terrible at this.
• 1:19:11
  You can support us on Patreon.
• 1:19:13
  You can find us at Cage Match.
• 1:19:14
  Yeah. Segways aren't that easy.
• 1:19:15
  I know that. Well, I kind of got there.
• 1:19:18
  Also, I just want to go home.
• 1:19:20
  So special thanks to our Sparkle buddies Josh, Sean, Josie, Rico, Matt, Adam and Bill.
• 1:19:25
  And to our Cage dancers, Ira, John, Freeman, Lance, Nathan and Cameron.
• 1:19:30
  If you want to talk to us on social media, we are at Cage underscore match underscore pod.
• 1:19:35
  If you want to beat up a former bar cook.
• 1:19:38
  Oh, yeah. Yeah.
• 1:19:40
  You can. You worked in restaurants.
• 1:19:42
  I've worked in a bar and various like some fancy good places.
• 1:19:47
  I worked. My first job was at a pita pit.
• 1:19:49
  Oh, yeah. OK. So you can come beat up any of us for money if you want.
• 1:19:53
  But money upfront.
• 1:19:55
  Yeah. Oh, yeah.
• 1:19:56
  You put you put the money on the fucking floor.
• 1:19:58
  Then you get to beat us up for a bit on a timer.
• 1:20:01
  Mm hmm. And then we go home. Yeah.
• 1:20:03
  No ass play, though.
• 1:20:06
  You're not my dad.
• 1:20:08
  You're not my dad.
• 1:20:11
  I'm not.
• 1:20:14
  Bye bye.
• 1:20:19
  I always had success using Vine.
• 1:20:22
  Yeah, he gives me just a thousand six seconds clips.
• 1:20:24
  Yeah. Fuck you, Nick.
• 1:20:26
  In no particular order.
• 1:20:27
  And he doesn't even put him in a zip file.
• 1:20:28
  It's like, how do you even have I just type what I say?
• 1:20:31
  And that's how I title it. I don't know how Vine works.
• 1:20:33
  I know it's six seconds long and it used to make me laugh.
• 1:20:35
  They were fun. Yeah.
• 1:20:36
  I watched some recently and I was like, holy shit, these people suck at filming shit.
• 1:20:41
  It didn't. You didn't have to do a lot of work when you were doing six seconds.
• 1:20:44
  No, I guess now I just expect HBO quality from every bit of media.
• 1:20:48
  You can see. Yeah. Only on the Internet.
• 1:20:53
  Oh, Nick, I heard the story.
• 1:20:54
  Did I tell you my my Portland trip?
• 1:20:59
  Of my wish of pig volcanoes story?
• 1:21:02
  No. So I go to lunch with my coworker.
• 1:21:06
  And we're as she showed me around Portland
• 1:21:10
  as I'm looking for places to live and we're going to get lunch.
• 1:21:15
  And she asked, like, what do you want?
• 1:21:16
  I'm like, I could go for some Mexican.
• 1:21:17
  It's like, oh, I want to go to this place.
• 1:21:20
  Porcano. Like what?
• 1:21:22
  It's like Porcano.
• 1:21:24
  And I'm thinking and she's like, Google it.
• 1:21:26
  And I'm like, pork.
• 1:21:28
  And I'm trying to like figure out pork volcano is like a single word as a portmanteau.
• 1:21:33
  I would go there. I would, too. I was so excited.
• 1:21:37
  And, you know, my ancestors will be mad at me for this, but we get there.
• 1:21:41
  And the sign is, you know,
• 1:21:45
  as in Spanish for why not?
• 1:21:46
  And I was just like.
• 1:21:49
  And her defense, she'd only ever heard about the place.
• 1:21:51
  So and yeah, OK.
• 1:21:53
  But I was just like, oh, now I want a pork volcano.
• 1:21:57
  I do, too.