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Buster Scruggs and J. Todd Anderson · Movie Meltdown

• 0:06
  Speaker 1: I am Mick Garrison. You're listening to Movie Meltdown.
• 0:19
  Speaker 2: The following feature has been rated R by the Motion
• 0:21
  Speaker 2: Picture Association of America. It is intended for mature audiences
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  Speaker 2: and parental discretion is advised. It's showtime, folks.
• 0:39
  Speaker 3: Enjoy the show.
• 0:43
  Speaker 4: Our nuclear reactor pumping out one million.
• 0:47
  Speaker 5: Kilowatts of power. What's up and welcome to Movie Meltdown.
• 1:14
  Speaker 5: I'm Brian.
• 1:14
  Speaker 1: I'm Nora.
• 1:15
  Speaker 6: I'm Ben.
• 1:15
  Speaker 7: I'm Philip.
• 1:16
  Speaker 2: And we are coming to you live via digital recording
• 1:19
  Speaker 2: from the Oddity Studios where.
• 1:20
  Speaker 1: We're gonna go down the movie road but first up
• 1:42
  Speaker 1: we have an awesome guest so uh it's been a
• 1:46
  Speaker 1: while since we've done the um the art of being
• 1:49
  Speaker 1: a movie geek and when i found out i was
• 1:52
  Speaker 1: you know gonna be in the same vicinity as this
• 1:54
  Speaker 1: guy i was like this is somebody who definitely falls
• 1:57
  Speaker 1: into that they've taken their their art skills and immerse
• 2:01
  Speaker 1: themselves very heavily in the film world So this week
• 2:05
  Speaker 1: we're going to talk with J. Todd Anderson, and if
• 2:09
  Speaker 1: you're not familiar with him, we'll tell you where you
• 2:11
  Speaker 1: can pick up his book at the end of this.
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  Speaker 1: But he has been, I mean, not only has he
• 2:17
  Speaker 1: been doing storyboards for years now, more importantly, I guess,
• 2:22
  Speaker 1: for most people, the fact that he very early on
• 2:24
  Speaker 1: hooked up with the Coen Brothers and has done every
• 2:28
  Speaker 1: Coen Brothers movie since Raising Arizona. So basically you'll hear
• 2:33
  Speaker 1: he saw Blood Simple, went, that's great, I want to
• 2:35
  Speaker 1: be involved in that, and then the rest of his
• 2:38
  Speaker 1: life has been involved with the Coen brothers. So I
• 2:41
  Speaker 1: thought that in and of itself is pretty amazing, and yeah,
• 2:44
  Speaker 1: so he's got a new Lebowski-themed book out right now,
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  Speaker 1: but just the fact that he's worked on every Coen
• 2:52
  Speaker 1: brothers movie, and specifically also just finished their tie-in for
• 2:58
  Speaker 1: Buster Scruggs, In addition to the art department that he's
• 3:02
  Speaker 1: been in and a lot of different movies, even outside
• 3:05
  Speaker 1: of the Coen brothers, he's also worked as second unit
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  Speaker 1: director and production manager. And so with all of this,
• 3:11
  Speaker 1: I was like, how do you, you know, how does
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  Speaker 1: somebody get involved in these things? How do you go
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  Speaker 1: from having a normal art geek kind of life to
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  Speaker 1: being this, you know, immersed in the film industry? So
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  Speaker 1: that's what we'll find out right now.
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  Speaker 8: It's time for another installment of the art of being
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  Speaker 8: a movie geek.
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  Speaker 1: I usually try to start it, especially with artists, I'm
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  Speaker 1: always kind of interested in what gets you headed down
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  Speaker 1: the road towards art so how early on do you
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  Speaker 1: remember I can always.
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  Speaker 6: Draw yeah my earliest memories are television and drawing yeah
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  Speaker 6: what were you watching that early on I watched Superman
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  Speaker 6: with George Reeves nice I watched a lot of cartoons
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  Speaker 6: and I watched Cleveland Browns football that's where I learned
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  Speaker 6: how to draw action yeah and that's and I would
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  Speaker 6: just draw what I saw on television you know any
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  Speaker 6: movies I saw I drew, things like that. But mostly
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  Speaker 6: it was like Superman was the first guy I remember drawing.
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  Speaker 1: Was it already, again, because those are specific, like the
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  Speaker 1: action stuff, and Superman, was it heading more towards comic
• 4:41
  Speaker 1: book style, or were you going more photorealistic?
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  Speaker 6: I was always trying to imitate what I saw on television.
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  Speaker 6: That's it. That's what I continued. If I saw it
• 4:51
  Speaker 6: and I was influenced by television, I would try to
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  Speaker 6: draw it. Batman, I used to draw... From my neighbor
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  Speaker 6: across the street, I have wedding cakes. And she made cakes.
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  Speaker 6: And I drew Batmans on there. My mom would get
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  Speaker 6: me out of bed and take me across the street,
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  Speaker 6: and then I'd have to draw for her. That's what
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  Speaker 6: I did.
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  Speaker 1: Do you remember an early artist that you started getting
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  Speaker 1: drawn into and realizing that was a thing that people did?
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  Speaker 6: Well, I don't know. It wasn't until later years where
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  Speaker 6: I actually started recognizing certain artists. I remember Bob Kane, Batman.
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  Speaker 1: Yeah.
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  Speaker 6: I remember his signature a lot. And all the Marvel guys,
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  Speaker 6: you know, the early Spider-Mans. When I was a kid
• 5:39
  Speaker 6: growing up in the late 60s, early 70s, you were
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  Speaker 6: either a Marvel guy or a DC guy.
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  Speaker 1: It was a split. It was a split.
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  Speaker 6: So that came up very hotly contested in trading on
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  Speaker 6: the playground.
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  Speaker 1: Oh, yeah.
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  Speaker 9: Kids.
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  Speaker 6: That's what we did, you know.
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  Speaker 1: Kids get hardcore about that stuff. Yeah. So then as
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  Speaker 1: you move into it, I mean, at what point did
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  Speaker 1: art start to be like a movie towards, I think
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  Speaker 1: I can turn this into a career, or was that
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  Speaker 1: ever a focus?
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  Speaker 6: You know, that started with the Batman cakes, but I
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  Speaker 6: didn't get any money. I didn't see any money in
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  Speaker 6: those cakes.
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  Speaker 1: It's a scam.
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  Speaker 6: But, and however, when I got to college, I could draw,
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  Speaker 6: and then I took some film classes, and I started storyboarding.
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  Speaker 6: I started reading up on Hitchcock and those guys.
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  Speaker 5: Oh, yeah.
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  Speaker 6: And then I started storyboarding my own movies because I
• 6:25
  Speaker 6: took film classes.
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  Speaker 1: Hmm.
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  Speaker 6: And then I made a movie that was on Super 8.
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  Speaker 6: And I storyboarded it. I tried making these little movies
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  Speaker 6: without storyboarding and with. And I went back and forth
• 6:39
  Speaker 6: a couple times because they were on Super 8. And
• 6:42
  Speaker 6: so most of the kids were shooting on 16, but
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  Speaker 6: I didn't have the money. So I did two or
• 6:46
  Speaker 6: three to every one of theirs because I had Super 8.
• 6:48
  Speaker 6: It had a good camera. And it was all MOS.
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  Speaker 6: But I did one that was a hit. I did
• 6:57
  Speaker 6: a hit Super 8 movie.
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  Speaker 1: Like where were people seeing it? Just like showing people
• 7:01
  Speaker 1: you knew? Film Fest.
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  Speaker 6: And I would get $ 350 every time I showed it.
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  Speaker 1: That's good now.
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  Speaker 6: And all of a sudden I thought, hey, I can
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  Speaker 6: make a living doing this. And I just, what made
• 7:11
  Speaker 6: it work was the storyboarding process. Because I had bought
• 7:14
  Speaker 6: this book called the Raiders of the Film, Raiders of
• 7:17
  Speaker 6: the Ark Illustrated Screenplay.
• 7:22
  Speaker 1: I have that. It's still one of my favorite.
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  Speaker 6: It has all my heroes, storyboard guys in there, Sherman
• 7:26
  Speaker 6: Levy and all those boys that were before me.
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  Speaker 1: I love that.
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  Speaker 6: And Joe Johnston. Oh, yeah. And then that's where I
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  Speaker 6: started learning. And then I read up on Hitchcock and
• 7:37
  Speaker 6: understood that he storyboarded everything. And I have one example
• 7:41
  Speaker 6: of his work, and I really studied it. And then
• 7:45
  Speaker 6: I tried to imitate those guys. I was in my mid-20s,
• 7:48
  Speaker 6: early 20s, and I did this little movie. It was
• 7:51
  Speaker 6: a 15-minute movie. I had a really good cutting block.
• 7:54
  Speaker 6: It was made out of metal. And it just came
• 7:59
  Speaker 6: together very nicely. And when I showed it to the
• 8:02
  Speaker 6: Coen brothers, not too much longer after I made it,
• 8:06
  Speaker 6: they thought it was good. And I kind of got
• 8:08
  Speaker 6: hired on that and a few other things with those boys.
• 8:11
  Speaker 1: That's what I was going to say. How did you
• 8:12
  Speaker 1: first run into them?
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  Speaker 6: Well, I saw Blood Simple. I really appreciated Blood Simple.
• 8:19
  Speaker 6: I thought it was a great movie. And I thought
• 8:21
  Speaker 6: those guys were talking to me. You know, so when
• 8:23
  Speaker 6: I was out in Texas, I heard they were in Arizona.
• 8:26
  Speaker 6: So I went down there and knocked on their door
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  Speaker 6: and got an audition. And they hired me.
• 8:31
  Speaker 1: Is this at their office or actually like found their house?
• 8:34
  Speaker 6: No, they're making Raising Arizona.
• 8:36
  Speaker 1: Yeah, I knew that's where you started.
• 8:38
  Speaker 6: That's where I got to know Joel immediately. And I
• 8:40
  Speaker 6: drew a scene for him. And it wasn't too long
• 8:43
  Speaker 6: after that. In fact, if you read my book, the
• 8:46
  Speaker 6: official storyboards, it'll tell you Ethan writes how they met
• 8:49
  Speaker 6: me in the afterword. But that's more or less. That's
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  Speaker 6: the very short version. And I've been fortunate enough to
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  Speaker 6: be with them ever since.
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  Speaker 5: Yeah.
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  Speaker 1: I mean, Raising Arizona is a masterpiece. I feel like
• 9:00
  Speaker 1: it's sort of one of their underappreciated. I mean, the
• 9:03
  Speaker 1: fans love it, but I'm like, people are going to
• 9:05
  Speaker 1: talk about No Country for the rest of our lives.
• 9:08
  Speaker 6: When that movie came out, people either hated it or
• 9:11
  Speaker 6: they loved it. And I didn't know how to respond
• 9:13
  Speaker 6: to that. People would say, I hate that movie. That's
• 9:15
  Speaker 6: the stupidest movie ever. Or they would say, I love
• 9:17
  Speaker 6: that movie. It's great.
• 9:19
  Speaker 1: Regardless.
• 9:21
  Speaker 6: There was no turning back after that movie.
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  Speaker 2: Yeah.
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  Speaker 6: Because I had worked on a hit movie and I
• 9:25
  Speaker 6: had to keep the habit coming.
• 9:27
  Speaker 2: Yeah.
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  Speaker 1: So at that point, do you start... Because you end
• 9:30
  Speaker 1: up working on a lot of other movies over the years.
• 9:33
  Speaker 1: With any of those, like, once you start working on
• 9:35
  Speaker 1: a lot of other movies, how do you get yourself
• 9:37
  Speaker 1: out there at that point?
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  Speaker 6: Well, I kept chasing them. Well, when they did Miller's Crossing,
• 9:40
  Speaker 6: I said, hey, guys, you got to hire me again.
• 9:42
  Speaker 6: You got to hire me again. And, you know, by
• 9:47
  Speaker 6: the third movie... I didn't have to beg them so
• 9:51
  Speaker 6: much to do it, but they were pretty nice and
• 9:54
  Speaker 6: they keep hiring me, you know.
• 9:56
  Speaker 5: Yeah.
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  Speaker 6: And I was blessed to be able to work with
• 9:59
  Speaker 6: these guys doing all these interesting and different movies. Yeah.
• 10:02
  Speaker 6: That I have an attention span of about five seconds.
• 10:06
  Speaker 6: And I have a hard time working on other movies,
• 10:08
  Speaker 6: you know.
• 10:09
  Speaker 5: Yeah.
• 10:09
  Speaker 6: But these guys have always made great work and I've
• 10:11
  Speaker 6: always really been lucky to work with them, you know.
• 10:14
  Speaker 1: It is one of those, I mean, when you find
• 10:16
  Speaker 1: somebody that you kind of get, you know, and it clicks,
• 10:19
  Speaker 1: like it's great to, I guess it's easier for them too.
• 10:22
  Speaker 1: It becomes kind of a shorthand for you.
• 10:23
  Speaker 6: Well, you know, we hit it off. We don't have
• 10:26
  Speaker 6: to talk too much when we're working. We kind of
• 10:28
  Speaker 6: figure it out quickly. And as long as they're happy,
• 10:34
  Speaker 6: that's fine by me.
• 10:35
  Speaker 2: Yeah.
• 10:35
  Speaker 1: Well, and how you, as you get into this, how
• 10:38
  Speaker 1: do you start visualizing? Like how much of it is,
• 10:41
  Speaker 1: you know, Joel, anything come to you with, very specific instructions. Oh,
• 10:44
  Speaker 1: they're very specific. Yeah, I would assume they would be, but.
• 10:47
  Speaker 6: They're very specific, and all I have to do is
• 10:49
  Speaker 6: draw and get it right.
• 10:50
  Speaker 1: But they've got it all mapped out as far as
• 10:52
  Speaker 1: the camera movement.
• 10:52
  Speaker 6: They have a shot list, and they're discussing the camera movement.
• 10:56
  Speaker 6: Most of the time, they've got it figured out, but
• 10:58
  Speaker 6: then I'll draw it, and they'll just kind of see
• 11:00
  Speaker 6: what the ballpark is, and I'll just keep drawing it
• 11:02
  Speaker 6: in these really quick lightning sketches, and I'll throw them
• 11:05
  Speaker 6: on the floor. Everything on the floor, nobody goes back through.
• 11:08
  Speaker 6: And I just keep doing that until I get it right,
• 11:11
  Speaker 6: and then I take it back, and I sketch it
• 11:12
  Speaker 6: a little bit more Bring it back to them so
• 11:14
  Speaker 6: they can see it. The idea on this is to
• 11:18
  Speaker 6: make the movie as you draw it.
• 11:21
  Speaker 1: Yeah.
• 11:22
  Speaker 6: To draw the movie as you go. And most people
• 11:26
  Speaker 6: don't realize it. I really don't get hired to draw.
• 11:28
  Speaker 6: I get hired to solve visual problems. I'm just lucky
• 11:32
  Speaker 6: enough to know how to draw. Visual storytelling.
• 11:34
  Speaker 1: I'm not a great drawer.
• 11:35
  Speaker 6: People will tell you that. Other storyboarders are really spectacular.
• 11:39
  Speaker 6: But my stuff is just there to get the job done.
• 11:42
  Speaker 6: So that everybody can understand it. I'm not a concept guy.
• 11:45
  Speaker 1: No, really not. So you start mapping out, you know,
• 11:48
  Speaker 1: the way that things need to move to follow the story.
• 11:51
  Speaker 6: It's very important that everybody on the show understands what's
• 11:53
  Speaker 6: going on.
• 11:54
  Speaker 5: Yeah.
• 11:55
  Speaker 6: That's what makes their movies so different is that everybody
• 11:58
  Speaker 6: knows what movie it is. They don't go out and
• 12:00
  Speaker 6: shoot it and everybody says, oh, yeah, I kind of
• 12:02
  Speaker 6: figured it was that way. No, everybody sees the storyboard
• 12:04
  Speaker 6: and they know what's going on.
• 12:05
  Speaker 1: Yeah. I mean, are there a few off ones? I
• 12:08
  Speaker 1: know you've done other stuff that wasn't Coen Brothers. Was
• 12:11
  Speaker 1: there anything that stands out as like something you really
• 12:13
  Speaker 1: enjoyed doing that was something outside of the Coen Brothers?
• 12:16
  Speaker 6: Oh, I think Confessions of a Dangerous Mind that Clooney
• 12:19
  Speaker 6: did was a fun movie. And I enjoyed that immensely.
• 12:21
  Speaker 6: How much does he want to interact with that? He
• 12:24
  Speaker 6: tries to do it. I mean, he's worked with the
• 12:25
  Speaker 6: guys before. He's a pretty good director and He gets
• 12:28
  Speaker 6: in there, but George's problem is his time. He's a
• 12:31
  Speaker 6: movie star. Joel and Ethan are on you like a
• 12:33
  Speaker 6: cheap suit. Where George, he will be gone because he's
• 12:37
  Speaker 6: a movie star. He's got nine other things he's doing.
• 12:40
  Speaker 6: But Joel and Ethan are totally dedicated to being there
• 12:43
  Speaker 6: all the time.
• 12:44
  Speaker 1: Yeah, because I know she did that one. You also
• 12:46
  Speaker 1: did Leatherheads with him. And then the one that was
• 12:50
  Speaker 1: really kind of off, the Ghost Project. I mean, just
• 12:53
  Speaker 1: all the people involved in that is kind of amazing.
• 12:56
  Speaker 6: Which ghost?
• 12:57
  Speaker 1: Well, I mean the video, the music video goes.
• 12:59
  Speaker 6: Oh, you mean Michael Jackson?
• 13:00
  Speaker 1: Michael Jackson.
• 13:01
  Speaker 6: I was talking about that today. Yeah, it never really happened.
• 13:03
  Speaker 6: It just got shelved and then they brought it back.
• 13:06
  Speaker 1: They brought you in to do visualization kind of stuff.
• 13:10
  Speaker 6: Well, I worked with him for a little while. He
• 13:11
  Speaker 6: was a great guy. Yeah. I don't think any of
• 13:14
  Speaker 6: that stuff's true about him. I really don't. But that's
• 13:17
  Speaker 6: just my opinion. He's a very nice man. He was
• 13:19
  Speaker 6: really brilliant. It was a very short. game that I
• 13:23
  Speaker 6: did with him and it was a very expensive movie
• 13:25
  Speaker 6: it was a million dollars a minute and you're literally
• 13:28
  Speaker 6: the first guy that's brought it up in years I
• 13:30
  Speaker 6: still got all the.
• 13:31
  Speaker 1: Drawings and the Stan Winston being involved Michael Jackson and Stephen.
• 13:37
  Speaker 6: King wrote it and I forget who that famous horror
• 13:43
  Speaker 6: movie director was he was really hot at the time.
• 13:45
  Speaker 1: Mick Garris he was the director.
• 13:49
  Speaker 6: And I worked very closely with him And it was
• 13:52
  Speaker 6: off to the races until it was off the rails,
• 13:54
  Speaker 6: you know.
• 13:55
  Speaker 1: That stuff gets, you know, funded and scrapped. But I
• 13:58
  Speaker 1: still have the drawings, you know. Yeah. That's amazing. Well,
• 14:02
  Speaker 1: then I guess back to the Coen brothers. I mean,
• 14:05
  Speaker 1: you've done some other stuff as you've gone on. Was
• 14:08
  Speaker 1: it Intolerable Cruelty that you did second units?
• 14:10
  Speaker 6: I did a little bit of second unit on that, yeah.
• 14:12
  Speaker 1: Is that something you took? Like, is it something you
• 14:14
  Speaker 1: were interested in beforehand?
• 14:16
  Speaker 6: Yeah, I've done a number of jobs as a second
• 14:18
  Speaker 6: unit director.
• 14:19
  Speaker 1: Yeah.
• 14:21
  Speaker 6: But, you know, figuring out what the next shot is
• 14:25
  Speaker 6: is the most exciting element of working with those guys.
• 14:27
  Speaker 2: Yeah.
• 14:28
  Speaker 1: It's seeing it.
• 14:29
  Speaker 6: It's like the old darkroom thing where you put the
• 14:31
  Speaker 6: paper in there and all of a sudden you see
• 14:32
  Speaker 6: the image. It's very cool to watch these guys talk
• 14:36
  Speaker 6: and then I turn it into an image that they're
• 14:38
  Speaker 6: happy with.
• 14:39
  Speaker 1: Yeah.
• 14:40
  Speaker 6: You know what I mean? I struggle once in a while,
• 14:42
  Speaker 6: but I usually get it. But I take perverse pride
• 14:45
  Speaker 6: in knowing that I get it pretty quickly.
• 14:47
  Speaker 10: Yeah.
• 14:47
  Speaker 6: You know, I've been very lucky to do that.
• 14:49
  Speaker 1: And again, once they know who they're, now that they
• 14:51
  Speaker 1: know who they're working with and they keep bringing you back,
• 14:53
  Speaker 1: I would think it flows together. I just like being
• 14:55
  Speaker 1: a member of the team, man.
• 14:56
  Speaker 5: Yeah.
• 14:56
  Speaker 6: Because that's what we all, we're just a team that
• 14:58
  Speaker 6: worked for those guys.
• 14:59
  Speaker 1: And as you move on, like just doing this new
• 15:01
  Speaker 1: project with Netflix, like did that change any or were
• 15:04
  Speaker 1: they still just shooting like they always did?
• 15:06
  Speaker 6: No, we just, it was a very difficult project because
• 15:08
  Speaker 6: we had to do six in the time span of
• 15:11
  Speaker 6: making one movie and they were all different.
• 15:13
  Speaker 1: Yeah.
• 15:13
  Speaker 6: So they all involved different things like wagons and.
• 15:18
  Speaker 6: Indians with arrows and horses. Most of the time, you
• 15:23
  Speaker 6: work really hard because the job's hard. I had to
• 15:27
  Speaker 6: work hard on this job because we had so much
• 15:29
  Speaker 6: to do and so little time. If I was 30,
• 15:32
  Speaker 6: I probably couldn't have done it, honestly, because it was
• 15:37
  Speaker 6: so demanding doing those six movies in the amount of
• 15:40
  Speaker 6: time we had. I remember I didn't rest much.
• 15:43
  Speaker 1: Yeah, I would think that. Well, then, as you mentioned,
• 15:47
  Speaker 1: you put together the book. Was this something you always
• 15:50
  Speaker 1: wanted to do, was put together like visual versions of these?
• 15:53
  Speaker 6: Well, you know, we do a very similar version of
• 15:57
  Speaker 6: this book every time we make a movie. Yeah. Only
• 15:59
  Speaker 6: it's at Kinko's. You know, it's real badly printed. Well,
• 16:02
  Speaker 6: not Kinko's. It's whatever they call it now.
• 16:04
  Speaker 1: FedEx.
• 16:04
  Speaker 6: Minuteman Press or something. We've used them all. And then
• 16:08
  Speaker 6: they put it together there, and it's always lengthwise, just
• 16:10
  Speaker 6: like my big Lebowski book that I'm selling. That way...
• 16:15
  Speaker 6: When you see this book, this is the way we
• 16:17
  Speaker 6: do these movies.
• 16:18
  Speaker 1: Yeah.
• 16:19
  Speaker 6: It's left to right, four panels on a page, and
• 16:23
  Speaker 6: that's exactly how we do it. It's got the setups
• 16:26
  Speaker 6: and the shot listing. You know, that book, I was
• 16:29
  Speaker 6: very happy the way it turned out, the way it
• 16:31
  Speaker 6: was art directed by Maria Ramirez and Lil Kelly did
• 16:36
  Speaker 6: the front page on it, you know, and I was
• 16:39
  Speaker 6: happy with that. But what's really great, and most people
• 16:42
  Speaker 6: don't realize this, this is an educational version of how
• 16:46
  Speaker 6: we do these movies yeah it really is it's the
• 16:48
  Speaker 6: way we do it i.
• 16:49
  Speaker 1: Mean you've got it i do like the looking at
• 16:51
  Speaker 1: it out there earlier it's like it is laid out
• 16:53
  Speaker 1: like i'm assuming it is on a wall in someone's
• 16:56
  Speaker 1: office well we don't.
• 16:57
  Speaker 6: Use a wall we do a book it's in the
• 16:59
  Speaker 6: book okay we do a book the book gets goes
• 17:01
  Speaker 6: out to all the keys and all the keys say
• 17:03
  Speaker 6: yeah that's what we're gonna do and then everybody on
• 17:05
  Speaker 6: the picture knows what's going on yeah and uh I
• 17:08
  Speaker 6: just did a very, very sexy, fancy version of that
• 17:12
  Speaker 6: with this book. Nice pages and stuff like that.
• 17:15
  Speaker 1: And the characterization on everybody looks good. Do you actually
• 17:18
  Speaker 1: kind of study the actors as you get into it?
• 17:20
  Speaker 6: Sometimes, if I know them, like I knew John Goodman,
• 17:23
  Speaker 6: and I knew Steve, and I knew Peter Stamari. I
• 17:29
  Speaker 6: knew most of those guys. And I knew Julianne a
• 17:33
  Speaker 6: little bit because I was a second unit director on
• 17:34
  Speaker 6: one of her movies years earlier.
• 17:36
  Speaker 1: So....
• 17:38
  Speaker 6: It's a little bit easier to draw these people when
• 17:39
  Speaker 6: you know them. I was just getting to know Jeff,
• 17:41
  Speaker 6: so sometimes he looks like Jeff, sometimes he doesn't. But
• 17:44
  Speaker 6: I do try to put them in there because I
• 17:47
  Speaker 6: want this basically to be a... We shoot the movie
• 17:50
  Speaker 6: before we shoot it. And that's exactly what happens with
• 17:54
  Speaker 6: the Coen Brothers storyboards. We shoot the movie before we
• 17:56
  Speaker 6: shoot it.
• 17:57
  Speaker 1: Definitely. It's all laid out, obviously. And then do you have...
• 18:01
  Speaker 1: new stuff that you're working with. I'm assuming with them upcoming,
• 18:04
  Speaker 1: or is there more stuff?
• 18:05
  Speaker 6: Well, I haven't heard what the next one is. But,
• 18:09
  Speaker 6: you know, they take gaps between movies.
• 18:11
  Speaker 1: Yeah.
• 18:12
  Speaker 6: I wish I knew, but right now, The Ballad of
• 18:15
  Speaker 6: Buster Scruggs is just coming out.
• 18:17
  Speaker 1: Yeah.
• 18:17
  Speaker 6: So, we'll see.
• 18:19
  Speaker 1: Who knows? Well, then what's the best way for people
• 18:21
  Speaker 1: to find out about the book and how to order
• 18:24
  Speaker 1: it directly?
• 18:24
  Speaker 6: Go to storyboardsbyjtoddanderson.com. All right. You don't have to put
• 18:29
  Speaker 6: the period before. right after Jay, just storyboards by Jay
• 18:33
  Speaker 6: Todd Anderson.com. And you go right to my website and
• 18:37
  Speaker 6: there's three different versions of it. There's a $ 30 version.
• 18:39
  Speaker 6: There's a $ 50. We'll all sign it. And then there's
• 18:42
  Speaker 6: a 75 where I'll actually draw a picture in the,
• 18:44
  Speaker 6: in the front of it for you.
• 18:46
  Speaker 1: Well, yep. Uh, we'll even put the link in the,
• 18:48
  Speaker 1: for this episode. So go look for it there and
• 18:50
  Speaker 1: go out and get his book.
• 18:52
  Speaker 5: All right.
• 18:52
  Speaker 1: Thanks for being here with us, man. Thank you very much.
• 18:54
  Speaker 11: All right.
• 18:55
  Speaker 1: Good talking with you.
• 19:02
  Speaker 12: So again, a big thank you to J.
• 19:20
  Speaker 1: Todd Anderson. Obviously, if you are a Coen Brothers fan
• 19:24
  Speaker 1: or a Lebowski person, that this is going to appeal
• 19:27
  Speaker 1: to you, but I mean, even if you're just interested
• 19:30
  Speaker 1: in filmmaking, like the way, I mean, the way he
• 19:34
  Speaker 1: describes it, this is the educational version of how we
• 19:37
  Speaker 1: do these movies. So it really is just mapped out
• 19:40
  Speaker 1: of like, if you're going to be more efficient in
• 19:43
  Speaker 1: your filmmaking, this is kind of a good you know
• 19:45
  Speaker 1: person to look at and kind of use this as
• 19:47
  Speaker 1: a guide so one more reason to go check it
• 19:51
  Speaker 1: out so again his website that kind of takes you
• 19:54
  Speaker 1: right to the new book is storyboardsbyjtoddanderson.com and go pick
• 19:59
  Speaker 1: up his book several price points and extra fancier versions
• 20:03
  Speaker 1: so thank you to him for being on and I
• 20:07
  Speaker 1: think We'll use that as a good time to take
• 20:09
  Speaker 1: a break and come back and get right into this
• 20:11
  Speaker 1: week's movie.
• 20:12
  Speaker 8: Sirly Joe.
• 20:13
  Speaker 13: Sirly Joe.
• 20:14
  Speaker 8: Sirly Joe. Oh, wherever he's gambling now, I don't know.
• 20:18
  Speaker 14: We don't know.
• 20:20
  Speaker 6: He was slick, but I was slicker.
• 20:21
  Speaker 8: He drew quick, but I was quicker. And the table
• 20:24
  Speaker 8: stopped his ticker.
• 20:25
  Speaker 6: Sirly Joe.
• 20:26
  Speaker 13: Yee-haw!
• 20:27
  Speaker 10: Sirly Joe.
• 20:28
  Speaker 1: Sirly Joe. Sirly Joe.
• 20:30
  Speaker 13: Sirly Joe.
• 20:31
  Speaker 10: Won't be missed by anyone.
• 20:33
  Speaker 2: Way down in old virginia 300 years ago captain john
• 20:38
  Speaker 2: smith and pocahontas shot their meat and aged it slow
• 20:42
  Speaker 2: they smoked it and they spiced it to full flavor
• 20:45
  Speaker 2: at its best genuine smithfield barbecue surpasses all.
• 20:49
  Speaker 15: The rest yes folks it's 300 years of tradition and
• 20:52
  Speaker 15: taste you savor when you ask for a smithfield barbecue
• 20:55
  Speaker 15: james river brand at our refreshment center In each flavorful
• 20:59
  Speaker 15: morsel of meat, you can smell the hickory oak and
• 21:01
  Speaker 15: applewood and taste the rare herbs and spices required for
• 21:05
  Speaker 15: its cure. Here is truly a fresh new taste from
• 21:07
  Speaker 15: an ancient recipe.
• 21:08
  Speaker 2: No vote for deep down flavor of the Smithfield country kind.
• 21:12
  Speaker 2: Just step right up here, neighbor, find your taste and
• 21:16
  Speaker 2: lose your mind. Yeah!
• 21:20
  Speaker 9: Woke up this morning feeling low where my loved.
• 21:25
  Speaker 13: One used to live.
• 21:27
  Speaker 16: Hey, Jacqueline.
• 21:27
  Speaker 2: Hi.
• 21:27
  Speaker 6: Guess what?
• 21:29
  Speaker 5: What?
• 21:32
  Speaker 6: We're broke. Yeah, we definitely.
• 21:33
  Speaker 13: I'm turning my.
• 21:38
  Speaker 1: Pockets out.
• 21:41
  Speaker 15: Right now.
• 21:57
  Speaker 6: Nothing. That's what I'm saying.
• 21:58
  Speaker 1: I do that every week. And yet, I'm trying to
• 22:01
  Speaker 1: produce this show for you guys listening right now.
• 22:04
  Speaker 6: Yeah. Freeloaders. I'm just saying, you.
• 22:06
  Speaker 1: Know, if you want to keep this thing rolling, it'd
• 22:10
  Speaker 1: be kind of awesome if you'd go to our Patreon
• 22:12
  Speaker 1: page and, like, kick in, like, seriously, like, two bucks.
• 22:16
  Speaker 17: I mean, you're gonna do, like, Netflix for, like, $ 9.
• 22:18
  Speaker 6: 99 and you get.
• 22:20
  Speaker 1: And you're probably not going to watch it all month
• 22:22
  Speaker 1: like I do.
• 22:23
  Speaker 6: Yeah, you need our commentary to figure out what to
• 22:26
  Speaker 6: watch on Netflix.
• 22:27
  Speaker 1: I think so. It's like a companion piece to all
• 22:30
  Speaker 1: your Amazons and Netflixes and all of these things. So
• 22:35
  Speaker 1: just think how much you don't make use of your
• 22:37
  Speaker 1: other streaming services. But every week we're loading up a
• 22:40
  Speaker 1: whole new episode of us going in-depth, more than you
• 22:44
  Speaker 1: may want, about whatever movie we've decided or bringing in
• 22:47
  Speaker 1: some awesome guests. So I'm just saying.
• 22:50
  Speaker 3: Two bucks.
• 22:51
  Speaker 1: It's not so bad.
• 22:51
  Speaker 6: Two dollars. You won't even notice it.
• 22:54
  Speaker 17: And you'll look at your bank statement and be like,
• 22:55
  Speaker 17: two dollars.
• 22:56
  Speaker 6: Oh yeah.
• 22:56
  Speaker 16: Oh yeah.
• 22:57
  Speaker 17: I'm supporting an artist that I like.
• 23:00
  Speaker 6: That's all I ask for.
• 23:02
  Speaker 1: Trying to keep this thing rolling.
• 23:04
  Speaker 6: And all we need is your assistance.
• 23:06
  Speaker 1: So go to patreon.com slash movie meltdown. Or if you
• 23:10
  Speaker 1: can't remember all that, go to movie meltdown.com. The link
• 23:12
  Speaker 1: is right there at the top of the homepage.
• 23:14
  Speaker 6: That's all you need to do.
• 23:16
  Speaker 1: I contribute more than two dollars a month. Because you're
• 23:18
  Speaker 1: awesome like that. Why don't you be awesome like Jacqueline?
• 23:21
  Speaker 1: I'm just saying.
• 23:22
  Speaker 6: I mean, really, though.
• 23:23
  Speaker 1: I mean, you can't be that awesome, obviously. But you
• 23:27
  Speaker 1: can get closer. You can climb the ladder a little bit.
• 23:30
  Speaker 1: Just saying. Patreon, go support us.
• 23:34
  Speaker 6: All I do, all day long, fall down on my
• 23:40
  Speaker 6: knees and pray she come back home for me.
• 23:51
  Speaker 9: The old west where the women were shy.
• 23:54
  Speaker 15: Do you mind taking hold of these, please?
• 23:57
  Speaker 4: The Indians were restless.
• 24:00
  Speaker 9: And the villains were the heroes of the day. Kirk Douglas,
• 24:05
  Speaker 9: Anne Margaret, Arnold Schwarzenegger. Foster Brooks, Mel Tillis, Ruth Buzzy,
• 24:11
  Speaker 9: and Paul Leight in the villain-rated PG.
• 24:15
  Speaker 15: The Villain opens Friday, July 20th at select theaters and drive-ins,
• 24:18
  Speaker 15: Metropolitan Exhibitors.
• 24:19
  Speaker 8: In the mood for hot coffee?
• 24:20
  Speaker 15: When you are, nothing else will satisfy.
• 24:23
  Speaker 1: We should have our coffee. I know you like coffee.
• 24:30
  Speaker 4: Oh my god, is this a segue to something?
• 24:32
  Speaker 8: What?
• 24:33
  Speaker 1: You don't want to run out to Heine Brothers right now?
• 24:36
  Speaker 4: Actually, you know, now that you mention it, I'm drinking
• 24:38
  Speaker 4: some fine coffee here, but I feel like enjoying a
• 24:41
  Speaker 4: nice hot cup from my local Heine brothers might actually
• 24:44
  Speaker 4: be an even better idea.
• 24:45
  Speaker 1: Well, really, you don't even have to leave the house.
• 24:48
  Speaker 1: You could just have it ordered right to your doorstep.
• 24:51
  Speaker 10: Really?
• 24:51
  Speaker 1: Yeah. I can do that now? It's not just something
• 24:54
  Speaker 1: you can do. You can also get a deal from
• 24:56
  Speaker 1: your friends at Movie Meltdown. No way.
• 24:59
  Speaker 8: Movie Meltdown?
• 25:00
  Speaker 4: That's the show we're on, right?
• 25:01
  Speaker 1: Yeah, this one right now.
• 25:03
  Speaker 4: Oh, that's awesome. Hey, insert a sound of me kicking
• 25:05
  Speaker 4: over this table with this substandard coffee. there right there
• 25:09
  Speaker 4: yeah yeah you heard and then and then uh and
• 25:11
  Speaker 4: then uh let's run out jump in the car and
• 25:13
  Speaker 4: then screech sound effect as we head on down to
• 25:15
  Speaker 4: our local heinie brothers there man subtle subtle segue i
• 25:25
  Speaker 4: want to.
• 25:25
  Speaker 1: Tell you about the heinie brothers coffee subscription wherever you
• 25:29
  Speaker 1: are home work or out on the road you deserve
• 25:32
  Speaker 1: great coffee and the Heine Brothers subscription plan gives you.
• 25:36
  Speaker 11: Top-quality, organic, fair-trade coffee delivered right to your home or
• 25:40
  Speaker 11: office automatically. You select the frequency, the quantity, and the
• 25:44
  Speaker 11: variety of coffee, and Heine Brothers will take care of
• 25:46
  Speaker 11: the rest, shipping included. So just order online at heinebrotherscoffee.com
• 25:51
  Speaker 11: slash subscription and use the offer code MELTDOWN for $ 5
• 25:54
  Speaker 11: off any gift subscription.
• 25:56
  Speaker 1: And if you're not familiar with Honey Brothers Coffee or
• 25:58
  Speaker 1: the spelling or any of that that might make it
• 26:00
  Speaker 1: a little harder, just go to MovieMeltdown.com and look on
• 26:03
  Speaker 1: the right-hand side of the page and you'll find a
• 26:05
  Speaker 1: link to take you right to HoneyBrothersCoffee.com. That's right, the
• 26:08
  Speaker 1: Meltdown Caffeinated Movie Geeks.
• 26:10
  Speaker 11: Are hooking you up, so get your subscription started today.
• 26:24
  Speaker 1: This is Calvin Reader, and you are listening to Movie Meltdown.
• 26:28
  Speaker 18: Yes, I'll always be a rambler But it's so hard
• 26:34
  Speaker 18: to find my way Lord, I need someone.
• 26:39
  Speaker 1: To help me I just can't go on this way
• 26:41
  Speaker 1: It's time for Sofa Theater.
• 26:53
  Speaker 19: People are so easily distracted. So I'm the distractor.
• 26:59
  Speaker 18: With a little story.
• 27:02
  Speaker 6: People can't get enough of them.
• 27:04
  Speaker 19: Because, well, they connect the stories to themselves, I suppose.
• 27:08
  Speaker 19: And we all love hearing about ourselves. So long as
• 27:13
  Speaker 19: the people in the stories are us.
• 27:18
  Speaker 1: But not us.
• 27:20
  Speaker 20: This'll tell the tales.
• 27:31
  Speaker 16: I'm Buster.
• 27:32
  Speaker 9: Buster Scruggs.
• 27:34
  Speaker 8: You're shooting.
• 27:36
  Speaker 1: Ironwork.
• 27:39
  Speaker 10: Appears to do yes.
• 27:45
  Speaker 21: Do you have anything to say before a sentence is
• 27:48
  Speaker 21: carried out?
• 27:49
  Speaker 3: A sentence?
• 27:50
  Speaker 1: What's my sentence?
• 28:04
  Speaker 6: Things have a way of escalating out here in the West.
• 28:08
  Speaker 1: My name is Ozymandias, King of Kings. That man is
• 28:12
  Speaker 1: a wonder. I'll just have to see you over there.
• 28:17
  Speaker 10: Ah, crazy business.
• 28:19
  Speaker 7: First time?
• 28:37
  Speaker 13: All right, we are back.
• 28:49
  Speaker 1: And this week's Sofa Theater feature, well, it gives me
• 28:52
  Speaker 1: an excuse to load up the Netflix. Because now I'll
• 28:56
  Speaker 1: tell you, it's Netflix produced. But mostly because I thought
• 29:00
  Speaker 1: it was funny because it has two different scenario breakdowns,
• 29:05
  Speaker 1: depending on what part. If you just go up to
• 29:07
  Speaker 1: the entry, it says, saloon shootouts, vigilante justice, covered wagons
• 29:13
  Speaker 1: on the trail, saddle up for six Wild West tales,
• 29:17
  Speaker 1: Coen Brothers style. That's the version when you just sort
• 29:20
  Speaker 1: of hover in that general vicinity. Now, if you actually
• 29:23
  Speaker 1: click on it, it has an entirely different thing, which
• 29:26
  Speaker 1: I thought was sort of strange. Now, when you click
• 29:29
  Speaker 1: on the page itself, it says, ranging from absurd to profound,
• 29:33
  Speaker 1: these Western vignettes from Coen Brothers follow the adventures of
• 29:37
  Speaker 1: outlaws and settlers on the American frontier. i mean they
• 29:41
  Speaker 1: both kind of apply but i'm like it's weird that
• 29:44
  Speaker 1: they came up with two totally different spins on this
• 29:47
  Speaker 1: idea so um i guess both of those are our
• 29:51
  Speaker 1: plot breakdown so the the uh sofa theater feature is
• 29:54
  Speaker 1: the ballad of buster scruggs the year is 2018 The
• 29:58
  Speaker 1: Coen brothers are in fact directing and producing this thing.
• 30:02
  Speaker 1: And you heard the plot. So with that, we'll just
• 30:05
  Speaker 1: say spoiler alert because we're about to ruin this thing.
• 30:07
  Speaker 1: So hopefully you've already watched it because you're a Coen
• 30:11
  Speaker 1: brothers person anyway, right? So all that having been said,
• 30:17
  Speaker 1: where would we like to begin as we open up
• 30:19
  Speaker 1: this little book and look? Look at our color plates.
• 30:25
  Speaker 1: I feel like that's what we're doing. This is all
• 30:27
  Speaker 1: just our color plates. Just the, you know, constant running
• 30:32
  Speaker 1: color plates for two and a half.
• 30:34
  Speaker 10: I thought that was a good way to frame the movie.
• 30:36
  Speaker 1: It definitely like.
• 30:37
  Speaker 10: It's nothing new, you know, but I thought it was
• 30:40
  Speaker 10: a nice touch.
• 30:41
  Speaker 1: It also, like, we get into trouble a lot of
• 30:44
  Speaker 1: times with them being in any sort of anthology movie.
• 30:50
  Speaker 1: It's like, do you... try to intertwine everything. Like it's
• 30:54
  Speaker 1: rare that that works. There's only one I can think of.
• 30:57
  Speaker 1: So it's like all the rest of them. It's like,
• 30:59
  Speaker 1: then it's like, do you just have a big chapter stop?
• 31:01
  Speaker 1: Do you like, what do you do? So they found again,
• 31:04
  Speaker 1: a classic way to do it, but it kind of
• 31:06
  Speaker 1: fits this sort of a story. So I also can
• 31:11
  Speaker 1: bring up if we want to go through like story
• 31:14
  Speaker 1: by story, since it's so segmented in and of itself,
• 31:18
  Speaker 1: we can at least do the rundown here. I don't know. Overview?
• 31:24
  Speaker 1: I know you had gone a while ago and watched it, Ben,
• 31:28
  Speaker 1: you'd said, and sort of revisited it. So was it
• 31:32
  Speaker 1: different going back in the second round?
• 31:35
  Speaker 14: Yeah, I think so. The first time I saw it,
• 31:40
  Speaker 14: I felt like it took me back. Or it didn't
• 31:45
  Speaker 14: take me back, but it kind of.
• 31:49
  Speaker 14: Made me kind of a little bit exhausted uh by
• 31:54
  Speaker 14: the time it got to the big uh set piece
• 31:59
  Speaker 14: uh segment in the middle with the the basically the
• 32:02
  Speaker 14: organ trail one yeah um which um i guess it
• 32:07
  Speaker 14: just it wasn't that it was bad compared to the
• 32:10
  Speaker 14: rest um of the stories but it was kind of Um,
• 32:15
  Speaker 14: it was, it was very like much like a play
• 32:19
  Speaker 14: almost like the way it kind of the, just the
• 32:22
  Speaker 14: dialogue exchanges just were very, uh, long and kind of,
• 32:27
  Speaker 14: there was.
• 32:27
  Speaker 8: Just like all these soliloquies that people were speaking.
• 32:30
  Speaker 5: Yeah.
• 32:31
  Speaker 14: And up until then, like all the stories have basically
• 32:33
  Speaker 14: almost just, I mean, not wordless, but have basically just
• 32:36
  Speaker 14: been either like just slapstick or just, you know, like
• 32:42
  Speaker 14: the one with the, the thespian with no limbs, just that,
• 32:46
  Speaker 14: that whole segment would like literally like was almost like
• 32:50
  Speaker 14: a silent film. So you, you were just kind of
• 32:53
  Speaker 14: expecting like all these different like genres of like film styles.
• 32:57
  Speaker 14: And this one wasn't, it was more like a play.
• 33:00
  Speaker 14: Like it wasn't so much like any kind of genre.
• 33:02
  Speaker 14: So it kind of took me back a bit and
• 33:06
  Speaker 14: made me feel like, Oh, well this is clearly the
• 33:08
  Speaker 14: week like link.
• 33:10
  Speaker 8: And the whole thing.
• 33:10
  Speaker 14: Just because it's long and it has multiple sections. And
• 33:14
  Speaker 14: I know a lot of people have mentioned that it
• 33:16
  Speaker 14: should have been its own movie, which I now disagree with.
• 33:19
  Speaker 1: The Oregon Trail one is the one you're saying?
• 33:20
  Speaker 8: Yeah, the Oregon Trail one.
• 33:22
  Speaker 1: It's funny because for a while I was thinking that
• 33:25
  Speaker 1: was my favorite one. I think it's become kind of
• 33:27
  Speaker 1: my second. But it definitely is different than... They all
• 33:33
  Speaker 1: kind of are, really. But I feel like we already like...
• 33:38
  Speaker 1: We are set up and we come in with our
• 33:40
  Speaker 1: namesake and it sort of sets a tone and then
• 33:44
  Speaker 1: we never really return to that tone. Never go back
• 33:47
  Speaker 1: to that.
• 33:47
  Speaker 8: It's more of a descent in tone.
• 33:49
  Speaker 14: The tone gradually just descends into this dreadful and it
• 33:52
  Speaker 14: does not come back up to the fun point at
• 33:55
  Speaker 14: the beginning.
• 33:56
  Speaker 8: It's after the literally... the.
• 33:58
  Speaker 14: Titular, like the Buster Scrubs one, like, and it's like,
• 34:01
  Speaker 14: that's as fun as this movie is going to get folks.
• 34:04
  Speaker 1: And it, it focused on that. I feel like in
• 34:07
  Speaker 1: the trailer for our fun Netflix trailer, when it first
• 34:10
  Speaker 1: popped up, I was like, Oh, and this is Coen brothers. Okay.
• 34:12
  Speaker 1: So now I, I at least want to put this
• 34:14
  Speaker 1: on the radar, get work it in. And I assumed
• 34:18
  Speaker 1: most of it was at least going to, I didn't
• 34:20
  Speaker 1: heard it was different stories, but I still felt like
• 34:22
  Speaker 1: it was going to have that same tone and, And
• 34:24
  Speaker 1: I was expecting more of, again, the villain. The old,
• 34:30
  Speaker 1: I think, late 70s. It's basically a live-action cartoon set
• 34:36
  Speaker 1: in the Old West. And that's pretty much what we're
• 34:39
  Speaker 1: getting with that first Buster Scruggs one. It is totally
• 34:43
  Speaker 1: silly and it knows what it is. He's talking to
• 34:46
  Speaker 1: the camera the whole time. Everything about it is sort
• 34:50
  Speaker 1: of different than your standard. And even almost commenting on
• 34:53
  Speaker 1: how silly the singing cowboy is in and of itself,
• 34:57
  Speaker 1: but it was a thing that went on for years
• 34:59
  Speaker 1: and years. So like, it is a thing that within
• 35:02
  Speaker 1: the context of those movies had to be taken seriously,
• 35:05
  Speaker 1: but just enough distance and a little turn to it,
• 35:08
  Speaker 1: it seems silly, but they're playing with both ends of that,
• 35:11
  Speaker 1: I feel like. See, that's what I thought.
• 35:13
  Speaker 10: Well, first of all, I thought the whole movie was
• 35:15
  Speaker 10: going to revolve around that character.
• 35:17
  Speaker 1: Yeah, I kind of did too.
• 35:19
  Speaker 10: Even the end of his segment, I thought, well, maybe
• 35:23
  Speaker 10: it's going to jump around and they don't. What I
• 35:28
  Speaker 10: did like about that segment, though, was he had that
• 35:30
  Speaker 10: Gene Autry type, what's ridiculous now, but was considered to
• 35:35
  Speaker 10: be a true cowboy for so many years. And you
• 35:38
  Speaker 10: see him interact with all these other Cowboys who are
• 35:41
  Speaker 10: wearing the rough and the rugged clothing.
• 35:42
  Speaker 14: That to me was the funniest joke is that like
• 35:44
  Speaker 14: he did not fit in as a real cowboy. Like
• 35:47
  Speaker 14: he was just this tacky, like just goofball to everyone.
• 35:51
  Speaker 1: He looks like Marty McFly coming.
• 35:53
  Speaker 10: In this way.
• 35:54
  Speaker 1: Exactly. But at the same time, like I do like
• 35:57
  Speaker 1: that they were like the gruff bunch of guys and
• 36:00
  Speaker 1: he still never broke care. He's still like making fun
• 36:03
  Speaker 1: of them in his own ridiculous language. And in his own, like,
• 36:07
  Speaker 1: super happy tone, but he's still kind of bad-mouthed him. And, like,
• 36:12
  Speaker 1: about ready to deliver when they want to, you know,
• 36:15
  Speaker 1: pull out your gun. Like, they're already dead. So it's like,
• 36:18
  Speaker 1: he does hold up to being, like, a badass at
• 36:21
  Speaker 1: that point. So it's like, I almost like that dynamic
• 36:24
  Speaker 1: of being able to still be, like, super happy... You know,
• 36:28
  Speaker 1: kind of making a joke of the old timey singing
• 36:30
  Speaker 1: cowboy movies, but still delivering more of like a hardcore. Oh,
• 36:34
  Speaker 1: and by the way, he is a killer. Like he
• 36:36
  Speaker 1: has no problem like putting people down when it's time
• 36:39
  Speaker 1: to be a badass cowboy. So again, we very quickly
• 36:44
  Speaker 1: leave that. Like, I don't know. I liked what we
• 36:47
  Speaker 1: set up and then it immediately went away.
• 36:50
  Speaker 7: I thought on the first time I watched it, I
• 36:53
  Speaker 7: was like, that was really funny.
• 36:55
  Speaker 1: Yeah.
• 36:56
  Speaker 7: Just like classic Coen Brothers kind of parody and that
• 37:01
  Speaker 7: moment where he flips that dude's gun over.
• 37:06
  Speaker 1: Again, a cartoon. So much of that is a cartoon.
• 37:09
  Speaker 7: But then the second time I watched it, every time
• 37:12
  Speaker 7: it would zoom in on his face, did you all
• 37:14
  Speaker 7: notice his eyes.
• 37:14
  Speaker 17: Are like black?
• 37:16
  Speaker 7: Like his pupils are huge you can see a little
• 37:19
  Speaker 7: bit of white but his eyes are basically black and
• 37:22
  Speaker 7: so then after watching it the second time I was
• 37:24
  Speaker 7: like he seems like a much more sinister character on
• 37:28
  Speaker 7: that rewatch than he did at first so like maybe
• 37:31
  Speaker 7: kind of tying in with like all of like kind
• 37:33
  Speaker 7: of like a death grim reaper sort of figure with
• 37:36
  Speaker 7: like these supernatural abilities of shooting people and stuff and
• 37:40
  Speaker 7: riding through the desert without water for days and being
• 37:44
  Speaker 7: clean and fine and So, I don't know. That was
• 37:47
  Speaker 7: something that I thought about after re-watching it. Just looking
• 37:50
  Speaker 7: at his eyes and being like, maybe there's a little underlying.
• 37:53
  Speaker 10: That's a good point.
• 37:54
  Speaker 1: Again, would be kind of more... And I am kind
• 37:57
  Speaker 1: of going to return to what you said a couple
• 37:58
  Speaker 1: of times of like, that is almost its own movie. Like,
• 38:02
  Speaker 1: there's so many of these that... Which I think it
• 38:04
  Speaker 1: was an idea that got morphed a few times before
• 38:08
  Speaker 1: it landed in this form. So, I think maybe that's it. Like,
• 38:12
  Speaker 1: maybe they did have bigger stories and then decided to
• 38:14
  Speaker 1: just sort of pare them down to, okay, this segment,
• 38:17
  Speaker 1: this segment, let's just make this movie out of it.
• 38:20
  Speaker 1: But I feel like several of them have sort of
• 38:22
  Speaker 1: bigger ideas running here that you could do more with,
• 38:26
  Speaker 1: that this one definitely, like, there's so much more fun
• 38:29
  Speaker 1: we could have had in that world, and again, we
• 38:31
  Speaker 1: never returned to.
• 38:32
  Speaker 9: Yeah.
• 38:34
  Speaker 10: I think that one, too, was probably, at least with
• 38:38
  Speaker 10: my experience, that was probably the most If I had
• 38:41
  Speaker 10: to pick a segment that was the most Coen Brothers-esque,
• 38:46
  Speaker 10: I would go with that one.
• 38:47
  Speaker 1: Well, of that side of the Coen Brothers. Because again,
• 38:50
  Speaker 1: there's just two settings on Coen Brothers. And it's weird
• 38:54
  Speaker 1: that usually that stuff doesn't work that well. Like it's
• 38:57
  Speaker 1: rare that Lebowski's like the one-off of their comedies that
• 39:02
  Speaker 1: are sort of straightforward comedies that people take to. There's
• 39:06
  Speaker 1: all those other ones that they kept trying to do
• 39:07
  Speaker 1: over the years that like, The Coen Brothers fans loved them, but, like,
• 39:11
  Speaker 1: they never really did well. Yeah, they kind of bombed. Like,
• 39:13
  Speaker 1: the Grimm stuff is what, yeah, but, you know, you're
• 39:16
  Speaker 1: lady killers. And you're, like, all those other weird ones that, like,
• 39:20
  Speaker 1: every other one, they kept trying to work in a comedy.
• 39:22
  Speaker 1: And every time, people would just kind of shrug and
• 39:25
  Speaker 1: be like, what? Nobody seemed like they'd take to those,
• 39:29
  Speaker 1: the regular people anyway. Coen Brothers people just love whatever.
• 39:33
  Speaker 1: But yeah, I don't know. That's the part that seems
• 39:37
  Speaker 1: like is definitely also maybe the most showy of like crazy,
• 39:42
  Speaker 1: like him doing the crazy trick shots, but also even
• 39:44
  Speaker 1: the camera shots. trick shotting within the guitar that, that's
• 39:49
  Speaker 1: the most, you know, artsy shot you can get for
• 39:51
  Speaker 1: a Western, I suppose. But I don't know.
• 39:54
  Speaker 5: Yeah.
• 39:54
  Speaker 1: There's a lot of that going on that I'm like,
• 39:57
  Speaker 1: it fits so much in the crazy over the top
• 40:00
  Speaker 1: comedy side of the Coen brothers, which is a huge
• 40:03
  Speaker 1: part of their, you know, rundown over the years, but
• 40:06
  Speaker 1: it's not the one that people usually attach themselves to.
• 40:09
  Speaker 1: So it's funny that they sort of led with it
• 40:11
  Speaker 1: and that they, almost market it like it's going to
• 40:14
  Speaker 1: be that kind of comedy when it gets so much
• 40:17
  Speaker 1: darker as time goes on.
• 40:19
  Speaker 10: I can't imagine how else you would market that movie
• 40:21
  Speaker 10: though and expect people to actually fly to it.
• 40:25
  Speaker 1: But at the same time like why bother if it's
• 40:28
  Speaker 1: not going to be that like again from the marketing
• 40:31
  Speaker 1: team angle but like as the coen brothers like why
• 40:34
  Speaker 1: just do that one is that and not Again, it
• 40:38
  Speaker 1: just seems so unbalanced for the rest of the movie.
• 40:40
  Speaker 1: And I don't even mean that in a bad way. Again,
• 40:42
  Speaker 1: the ones I like better are further in, but I
• 40:45
  Speaker 1: don't know. It's just a strange thing to cram all
• 40:48
  Speaker 1: into one movie for these bigger concepts in totally different styles.
• 40:53
  Speaker 1: But you can kind of do that with anthologies. It's
• 40:56
  Speaker 1: just a strange way to start this movie, I suppose.
• 41:01
  Speaker 1: But likable? Like I really like it.
• 41:05
  Speaker 14: I feel like the one, probably my favorite if I
• 41:08
  Speaker 14: had to pick one, would be the Prospector one with
• 41:11
  Speaker 14: Tom Waits.
• 41:12
  Speaker 1: That landed as my favorite.
• 41:17
  Speaker 14: Basically, it's good because it was beautifully shot.
• 41:21
  Speaker 1: The whole thing is gorgeous.
• 41:23
  Speaker 8: Amazing. And just Tom Waits as a character.
• 41:26
  Speaker 14: You just get to see Tom Waits as an old,
• 41:28
  Speaker 14: what we've all, based on the logical conclusion to Tom
• 41:32
  Speaker 14: Waits' career.
• 41:32
  Speaker 1: What we assume every day of Tom Waits' life is,
• 41:35
  Speaker 1: just rumbling around.
• 41:37
  Speaker 10: But I feel like he was a lot more low-key
• 41:40
  Speaker 10: in this performance than he usually is in movies. And
• 41:43
  Speaker 10: I mean that in a good way, because he's I
• 41:45
  Speaker 10: love seeing Tom Waits in movies, but he's usually this over-the-top,
• 41:49
  Speaker 10: eccentric character.
• 41:50
  Speaker 1: Or just super weird because they know it's Tom Waits
• 41:53
  Speaker 1: and they can lean on that and he'll deliver. But here,
• 41:55
  Speaker 1: he's just a weird old-timer.
• 41:57
  Speaker 8: Yeah, he's tired through most of it.
• 42:01
  Speaker 1: He's great.
• 42:02
  Speaker 14: Just his mannerisms and everything. It's like he's clearly... He's
• 42:06
  Speaker 14: Tom Waits. He's being Tom Waits. But he's also perfectly...
• 42:09
  Speaker 14: this prospector guy in the 19th century.
• 42:13
  Speaker 10: And the part that got me the most was when
• 42:15
  Speaker 10: he went to steal the eggs out of the nest
• 42:19
  Speaker 10: and I was like oh no you're going to take
• 42:20
  Speaker 10: all of her eggs and the owl catches them and
• 42:22
  Speaker 10: he's like I'll put them back and he's like oh
• 42:24
  Speaker 10: maybe just one yeah he's like just one how high
• 42:26
  Speaker 10: can a bird count and I was like that is
• 42:29
  Speaker 10: I was like that's just so touching which I didn't
• 42:31
  Speaker 10: expect at that point from everything else that had occurred
• 42:37
  Speaker 10: in the previous stories and I also I just I
• 42:41
  Speaker 10: feel like the the Coens are constantly referencing like old cartoons.
• 42:46
  Speaker 14: Like with stuff like that like gags like you know
• 42:49
  Speaker 14: stealing like climbing up a really like ridiculously high tree
• 42:53
  Speaker 14: to steal some eggs and then like the bird attacking
• 42:55
  Speaker 14: the like that's something straight out of yeah like Looney
• 42:58
  Speaker 14: Tunes or something but even funnier is this one just
• 43:00
  Speaker 14: looks at it yeah this one makes this funny it's
• 43:02
  Speaker 14: just like staring him down and becomes this whole other
• 43:05
  Speaker 14: weird like thing about his character Yeah.
• 43:08
  Speaker 7: It felt kind of like a PBS nature documentary. It
• 43:13
  Speaker 7: was just like very calm. He's like 90% heavy breathing
• 43:16
  Speaker 7: and groaning.
• 43:19
  Speaker 1: And thankfully singing.
• 43:22
  Speaker 7: But like the, I mean, yeah, the scenery was just gorgeous.
• 43:25
  Speaker 7: And I think that was another fun thing about this
• 43:27
  Speaker 7: movie being like a love letter to the Old West
• 43:29
  Speaker 7: is that there were so many different, like you normally,
• 43:32
  Speaker 7: it's just like an old town where there's a lot
• 43:34
  Speaker 7: of sand and tumbleweeds. And this was like, there's a town,
• 43:37
  Speaker 7: there's this, beautiful green valley in these huge mountains and
• 43:41
  Speaker 7: then later there's more desert yeah that sort of thing
• 43:45
  Speaker 7: but it kind of took in all the different settings
• 43:47
  Speaker 7: instead of just all kind of being that old west type.
• 43:51
  Speaker 1: And i think they again they're looking at the stuff
• 43:54
  Speaker 1: after the fact they this is the first thing they've
• 43:57
  Speaker 1: ever shot movie wise digitally and i think they like
• 44:01
  Speaker 1: they kind of wanted to use this as an example
• 44:03
  Speaker 1: to sort of play with the options of what you
• 44:05
  Speaker 1: can do With digital. So it probably opened up a
• 44:08
  Speaker 1: little more of like, where can we set? Because I
• 44:11
  Speaker 1: did watch at the end to see it's New Mexico, Colorado,
• 44:14
  Speaker 1: and Nebraska is where all of that was filmed. And
• 44:18
  Speaker 1: I think it's Telluride is where the... the prospector one
• 44:23
  Speaker 1: that one i think all of that gorgeous scenery yeah i.
• 44:27
  Speaker 17: Was like that job doesn't look half bad really well.
• 44:30
  Speaker 1: That's again if we're if we just want to go
• 44:32
  Speaker 1: ahead and stay with that one for now that's why
• 44:34
  Speaker 1: i think that one is my favorite and it will
• 44:36
  Speaker 1: kind of get to one of my bigger points with
• 44:39
  Speaker 1: all of them it's one of my favorites because it's
• 44:42
  Speaker 1: tom waits because it's gorgeous but also because i feel
• 44:44
  Speaker 1: like it also has something to say along the way
• 44:48
  Speaker 1: because my favorite part of it is midway in and
• 44:51
  Speaker 1: you see him just digging 20 30 holes and you're
• 44:55
  Speaker 1: like as as if his entire like existence is looking
• 45:00
  Speaker 1: for you know something is trying to find this you
• 45:02
  Speaker 1: know this perfect thing which look where he is you
• 45:07
  Speaker 1: know something like you're searching for paradise and look where
• 45:10
  Speaker 1: you are so i mean like to me that has
• 45:13
  Speaker 1: something really cool to say even though he's really in
• 45:16
  Speaker 1: in the end kind of looking for gold but it's
• 45:18
  Speaker 1: also like it's almost the search like even when he
• 45:22
  Speaker 1: finds it there's that second where i'm like before the
• 45:25
  Speaker 1: guy shoots him like is it like oh well now
• 45:27
  Speaker 1: i found this and What the hell do I do
• 45:30
  Speaker 1: with myself? Like I've spent my entire life is the pursuit. Yeah.
• 45:34
  Speaker 1: It's like, so I was, even if the guy wouldn't
• 45:36
  Speaker 1: have shown up, if he just would have filled the
• 45:38
  Speaker 1: hole in and started digging somewhere else, like that would
• 45:40
  Speaker 1: have also been like equally as impressive. So I do
• 45:44
  Speaker 1: really like what that one has to say about like,
• 45:46
  Speaker 1: you know, just what you're doing with your life and
• 45:49
  Speaker 1: where you put yourself and how you surround yourself with,
• 45:53
  Speaker 1: you know, all of this, you know, driving you. versus
• 45:56
  Speaker 1: what you're you know the the journey versus the the
• 45:59
  Speaker 1: end result kind of a thing i think that had
• 46:02
  Speaker 1: really cool stuff to say about that which is what
• 46:05
  Speaker 1: leads me to the bigger point there are other ones
• 46:09
  Speaker 1: where i'm like what is the point right this one
• 46:11
  Speaker 1: there's several along the way that i'm like i don't
• 46:14
  Speaker 1: even know what we're trying to do with that one
• 46:17
  Speaker 1: where this one i felt like had a very definite
• 46:20
  Speaker 1: purpose in what it was doing and i think it
• 46:22
  Speaker 1: balanced out so well with performance and the scenery and
• 46:25
  Speaker 1: the camera work and all of it so that one
• 46:27
  Speaker 1: did end up being my favorite one but do we
• 46:31
  Speaker 1: i mean to go back to like the second one
• 46:34
  Speaker 1: do we have a reason for that one that one is.
• 46:39
  Speaker 10: I liked it i like i like i like the
• 46:43
  Speaker 10: way it ended i thought that was kind of a
• 46:45
  Speaker 10: funny kind of I was expecting him to, at the
• 46:49
  Speaker 10: last minute, right away, you know, right off into the sunset.
• 46:52
  Speaker 10: But no, he's just dead.
• 46:53
  Speaker 1: See, that's the thing. I also, this is one of
• 46:55
  Speaker 1: the ones I felt like that, basically what was going
• 46:59
  Speaker 1: on there could be such a great, like, tone to
• 47:03
  Speaker 1: set an entire movie. Right. Because by the, I mean,
• 47:06
  Speaker 1: the best moment in the entire thing for me is like,
• 47:09
  Speaker 1: guy crying he looks over goes first time yeah i'm
• 47:12
  Speaker 1: like if that became the theme of the movie if
• 47:14
  Speaker 1: this guy kept getting sentenced to death them trying to
• 47:17
  Speaker 1: hang him he somehow each time like ends up getting
• 47:20
  Speaker 1: out of it so we're like four or five times
• 47:22
  Speaker 1: in and he's still like escaping and going off to
• 47:24
  Speaker 1: get into some other crazy adventure like that's that's a
• 47:28
  Speaker 1: movie right there to me but we instead just kind
• 47:31
  Speaker 1: of like yeah it's over like i feel like it
• 47:34
  Speaker 1: was more of a not wasted, because again, I still
• 47:37
  Speaker 1: think it's fun, I still think what's going on is okay,
• 47:40
  Speaker 1: but it's like, it seems like there's a bigger idea
• 47:43
  Speaker 1: there that you could do more with that we don't.
• 47:46
  Speaker 1: So that's the first one I kind of went, wait,
• 47:48
  Speaker 1: so why would we, again, like I feel like the
• 47:52
  Speaker 1: other one sometimes have stuff going on and almost have
• 47:56
  Speaker 1: something to say, where that one's just like, eh, we
• 47:58
  Speaker 1: all want to see that guy die, right?
• 48:02
  Speaker 10: Well, I wondered how many of these were ideas they
• 48:04
  Speaker 10: came up with, just oh throwing ideas around yeah just
• 48:08
  Speaker 10: either ran out of steam or just couldn't be bothered anymore.
• 48:12
  Speaker 1: Well and you've got to cram them into it's already
• 48:14
  Speaker 1: over two hours so it's like how many can you
• 48:17
  Speaker 1: get in and still keep telling multiple stories so yeah
• 48:21
  Speaker 1: i don't know that just as we're going through we
• 48:25
  Speaker 1: hit a couple of ones that i had questions with
• 48:27
  Speaker 1: right there even by that second one i'm just like
• 48:30
  Speaker 1: again like the the the pan guy attacking him's pretty
• 48:35
  Speaker 1: funny Like, there's great potential in anything he's in.
• 48:41
  Speaker 14: I felt like that one was kind of, like, that
• 48:43
  Speaker 14: was the Coen's way of saying, like, even just the
• 48:45
  Speaker 14: sense of justice in the West was, like, crazy and wild. Like,
• 48:49
  Speaker 14: you don't, like, if you rob a bank, like, the way, like,
• 48:53
  Speaker 14: you're gonna get, you're, like, you're gonna get hanged, but
• 48:57
  Speaker 14: it might be, like, an insane, like, road to get there,
• 49:00
  Speaker 14: and that's just, like, part of, like, how life was. Like,
• 49:03
  Speaker 14: it was just random and chaotic and.
• 49:05
  Speaker 8: Just based on chance. But, yeah. I agree. I think
• 49:10
  Speaker 8: it definitely is the weakest one out of the whole thing.
• 49:16
  Speaker 1: Maybe the next one.
• 49:17
  Speaker 8: Because it's just... Yeah, well, it's... Well... that one was definitely.
• 49:22
  Speaker 14: The next one was definitely the most depressing one.
• 49:24
  Speaker 1: It certainly is.
• 49:25
  Speaker 10: The Liam Neeson one?
• 49:26
  Speaker 8: Yeah, yeah, yeah.
• 49:28
  Speaker 14: But I thought it just, it was basically, yeah, it just,
• 49:31
  Speaker 14: the whole thing was just there to be like, a
• 49:33
  Speaker 14: punch like to get to that punchline which is your
• 49:36
  Speaker 14: first time.
• 49:36
  Speaker 8: Like oh ha like and now we can finally like
• 49:39
  Speaker 8: end this guy's story.
• 49:40
  Speaker 1: Which again i think is funny but it could be
• 49:43
  Speaker 1: funnier if you did more with it like it was
• 49:45
  Speaker 1: such a quick punchline that i'm like if you drug
• 49:48
  Speaker 1: that out for like an hour and a half and
• 49:50
  Speaker 1: then delivered that punchline before the end like that's really
• 49:54
  Speaker 1: funny to me i don't know i think it just
• 49:55
  Speaker 1: had so much more potential but again even just the
• 49:59
  Speaker 1: little stuff along the way that He don't fight fair.
• 50:02
  Speaker 1: I'm like, all right, that's pretty funny. Again, it's sort
• 50:05
  Speaker 1: of a modernized sensibility to this old West character. I
• 50:10
  Speaker 1: don't know. There's good moments in it, but it was
• 50:12
  Speaker 1: the first of them that I was like, what were
• 50:15
  Speaker 1: we going for here?
• 50:16
  Speaker 7: I'm glad I'm not the only one that thought it
• 50:18
  Speaker 7: was kind of... But for me, it was mostly just
• 50:21
  Speaker 7: because I can't get past a general dislike of James Franco.
• 50:24
  Speaker 10: I feel like.
• 50:25
  Speaker 1: That's also why it was good casting that he ended
• 50:28
  Speaker 1: up in this one. Because if he's like the big
• 50:30
  Speaker 1: hero in another one, everybody's going to be like, oh, no.
• 50:34
  Speaker 1: Don't we all don't like him anymore? He's kind of creepy.
• 50:36
  Speaker 1: He gives me a skeezy vibe. yeah so this one
• 50:39
  Speaker 1: I mean I still love him I love James again
• 50:43
  Speaker 1: he can still be good you know casting wise in
• 50:46
  Speaker 1: something but it is now you're gonna have that weird
• 50:48
  Speaker 1: hump to get over each time of like are you
• 50:52
  Speaker 1: gonna like the character because yeah he's he's skeezy so
• 50:56
  Speaker 1: But I.
• 50:56
  Speaker 7: Do think Steven Root is like an unsung amazing actor
• 51:00
  Speaker 7: who's been in like everything and everything that he's in.
• 51:03
  Speaker 7: He does such a good job. And I'm like, give
• 51:05
  Speaker 7: him an Oscar. Put him in those lead roles.
• 51:08
  Speaker 17: He's so good.
• 51:09
  Speaker 1: Again, the bank scene is so, to me, it was
• 51:12
  Speaker 1: so reminiscent of like, okay, this is some of the
• 51:15
  Speaker 1: best stuff in Raising Arizona. Like them just arguing like, well,
• 51:19
  Speaker 1: which do you want us to do, freeze or get
• 51:21
  Speaker 1: down on the floor? Because if I get on the floor,
• 51:23
  Speaker 1: I'm going to be in motion. And I'm like, that's
• 51:25
  Speaker 1: the kind of genius, you know, Coen Brothers stuff going
• 51:27
  Speaker 1: on in a bank. And I'm like, this is fun,
• 51:29
  Speaker 1: but I'm like, it's not quite that level.
• 51:31
  Speaker 10: I even like the setup to that because, you know,
• 51:34
  Speaker 10: the guy asked him, have you ever been robbed before?
• 51:35
  Speaker 10: And he's like, oh, twice. Well, twice attempted. And he
• 51:38
  Speaker 10: sets the whole thing up so you know what's going
• 51:40
  Speaker 10: to happen. You know James Franco's going to try to
• 51:42
  Speaker 10: rob the bank, and you know that this guy's not
• 51:43
  Speaker 10: having any of it.
• 51:44
  Speaker 1: This guy's not going to go peacefully.
• 51:48
  Speaker 14: And honestly, I felt like just... If they were going
• 51:52
  Speaker 14: to do it, this would have been the perfect segment
• 51:54
  Speaker 14: to do it in. But I felt like it was
• 51:56
  Speaker 14: maybe just a huge missed opportunity that they didn't do their.
• 52:02
  Speaker 14: They're like, uh, what was that, that thing where they
• 52:04
  Speaker 14: would put like the camera on the board and just
• 52:06
  Speaker 14: like run it like down, like the thing, the effect
• 52:08
  Speaker 14: that they did in raising Arizona, I don't know where it's.
• 52:11
  Speaker 1: Just super fast.
• 52:12
  Speaker 14: It's just like the evil dead camera effect that they
• 52:15
  Speaker 14: kind of used to do. I was like, Oh man,
• 52:16
  Speaker 14: if they had done that again, like put like only
• 52:19
  Speaker 14: if it were like on a horse or something, like,
• 52:21
  Speaker 14: I don't know, just that manic kind of like loony
• 52:24
  Speaker 14: side of the Coen brothers, like would have really fit
• 52:26
  Speaker 14: that story.
• 52:27
  Speaker 8: Well, like just that, That one visual kind of trick.
• 52:29
  Speaker 1: Again, that one's just edging further and further because that's
• 52:32
  Speaker 1: the one that's like, it's still kind of funny. It's
• 52:35
  Speaker 1: still kind of got that light sense that was going
• 52:37
  Speaker 1: on in the first one. Not quite as much, but
• 52:40
  Speaker 1: it's still sort of like, and then by this next chapter,
• 52:42
  Speaker 1: it's like, okay, where did all that go? Like, what
• 52:45
  Speaker 1: the hell? So, yeah. Have we finished two? Are we
• 52:50
  Speaker 1: on for meal ticket? Because meal ticket is the most
• 52:53
  Speaker 1: depressing thing ever. Grim.
• 52:55
  Speaker 7: So is Liam Neeson his dad? Do we ever get
• 52:58
  Speaker 7: an explanation of their relationship?
• 53:00
  Speaker 1: I think he probably just hooked up with him like
• 53:02
  Speaker 1: the chicken. He just saw an opportunity.
• 53:04
  Speaker 17: And I'm like, why doesn't he work? He's got limbs.
• 53:09
  Speaker 1: He's working. He goes around with the hat. Actually, he
• 53:13
  Speaker 1: does all the work.
• 53:14
  Speaker 10: He sets up everything. He puts up handbills.
• 53:18
  Speaker 1: I figured that's still kind of the way people are.
• 53:21
  Speaker 1: People are very like.
• 53:24
  Speaker 1: Divisive like almost when it comes to like art like
• 53:28
  Speaker 1: oh I could never do that so they really are
• 53:30
  Speaker 1: like well I don't know this is my job especially
• 53:32
  Speaker 1: back then I'm a working man this is my job
• 53:34
  Speaker 1: I could set up this thing I put this here
• 53:36
  Speaker 1: I go out and collect the money and this is
• 53:39
  Speaker 1: the artist and he does that I think people are
• 53:41
  Speaker 1: still kind of like they wouldn't throw themselves into anything
• 53:44
  Speaker 1: artistic because they don't feel like oh that's just not
• 53:47
  Speaker 1: my thing I don't do that so I don't know
• 53:49
  Speaker 1: because yeah to me that guy's a little overblown I'm
• 53:52
  Speaker 1: taking out the, the, you know, disabilities part. I'm just
• 53:55
  Speaker 1: saying like how many, even the first time through.
• 53:59
  Speaker 8: It does. It does go on maybe one, two.
• 54:01
  Speaker 10: Yeah.
• 54:03
  Speaker 1: Even the people are just like getting ready to go.
• 54:04
  Speaker 1: And he starts again. He's like, damn it.
• 54:06
  Speaker 8: Yeah.
• 54:08
  Speaker 1: Like, I'm, I'm like, I'm right there with you. Like I,
• 54:10
  Speaker 1: and then granted he's supposed to be a little over
• 54:12
  Speaker 1: the top and, and overly dramatic. And I don't know,
• 54:16
  Speaker 1: but it, it, it wears thin pretty quickly.
• 54:19
  Speaker 15: Yeah.
• 54:20
  Speaker 17: Well, all I could think of was, do you all
• 54:22
  Speaker 17: watch The Office?
• 54:23
  Speaker 8: Yeah.
• 54:24
  Speaker 7: Where Michael is talking about his movie tagline. He had
• 54:28
  Speaker 7: no arms or legs. He couldn't hear, see, or speak.
• 54:32
  Speaker 7: This is how he led a nation. That's all I
• 54:35
  Speaker 7: could think.
• 54:38
  Speaker 8: Of.
• 54:39
  Speaker 17: Poor buddy.
• 54:41
  Speaker 1: That's how I knew this was bad because I wasn't
• 54:43
  Speaker 1: on board with this guy. Because I'm like... And nobody's
• 54:46
  Speaker 1: a bigger fan of, like, Johnny X. Right. So, like,
• 54:48
  Speaker 1: this guy, I mean, he's even more disabled. Like, this
• 54:52
  Speaker 1: guy should be the coolest guy ever. And, like, no, no. Like,
• 54:56
  Speaker 1: if anybody wants to see more of the sideshow angle,
• 54:59
  Speaker 1: which probably would have been going on back in those days, like,
• 55:02
  Speaker 1: I'm on board with that. But this guy's just depressing
• 55:05
  Speaker 1: and kind of long-winded and boring. And so, yeah, by
• 55:09
  Speaker 1: the end, I wanted to throw.
• 55:10
  Speaker 11: Him in the river.
• 55:11
  Speaker 7: Yeah.
• 55:14
  Speaker 17: I was trying to think if the poems were symbolic
• 55:18
  Speaker 17: in any way.
• 55:18
  Speaker 1: I was trying to decide if it was... I think
• 55:20
  Speaker 1: the joke was that they weren't.
• 55:22
  Speaker 14: He was just literally saying a bunch of stuff. Like
• 55:25
  Speaker 14: the Gettysburg Address. Just like Bible passage.
• 55:28
  Speaker 7: Because Ozymandias, that's like a big symbolic one that maybe.
• 55:33
  Speaker 14: He was just trying to... It's just like, oh, it's
• 55:35
  Speaker 14: the Old West. People don't know what any of this
• 55:37
  Speaker 14: stuff means. But if you like... say it in a
• 55:40
  Speaker 14: big voice like they'll just they'll look they'll stare at
• 55:43
  Speaker 14: you like and just kind of.
• 55:44
  Speaker 10: Pump and show even at the end where he pulls
• 55:48
  Speaker 10: off next to the river i'm like okay like he's
• 55:51
  Speaker 10: either going to take a leak or throw him in
• 55:54
  Speaker 10: the river i know what i'm voting and then he
• 55:57
  Speaker 10: picks up the rock and i'm like well maybe he's
• 55:59
  Speaker 10: gonna bash his head in then he throws the rock
• 56:01
  Speaker 10: and i was like no he's gonna throw him in
• 56:03
  Speaker 10: Maybe he won't. Then you see the carriage. The carriage
• 56:05
  Speaker 10: was empty. And I'm like, you know what? I don't
• 56:07
  Speaker 10: even care.
• 56:09
  Speaker 1: That's kind of where I was.
• 56:10
  Speaker 10: I was just like.
• 56:11
  Speaker 1: Like, I.
• 56:11
  Speaker 10: Should be kind of like.
• 56:13
  Speaker 1: It's just so depressing. Which, again, to me, like, that's
• 56:16
  Speaker 1: the dark other end of the Coen brothers. And that's
• 56:19
  Speaker 1: the one people usually respond to. But I'm just like,
• 56:23
  Speaker 1: there's no upside to this. It's just dark and depressing
• 56:27
  Speaker 1: for the sake of being dark and depressing, I guess. Like,
• 56:30
  Speaker 1: I like that chicken, but... other than that i mean
• 56:33
  Speaker 1: i'd show up for that chicken show that guy's cool
• 56:35
  Speaker 1: but and.
• 56:36
  Speaker 10: He wouldn't even get let him get.
• 56:38
  Speaker 1: Laid yeah i was just like what doesn't he she
• 56:41
  Speaker 1: was even like offering she was up for it like
• 56:44
  Speaker 1: what the hell.
• 56:44
  Speaker 17: Like he didn't even ask i mean it's just.
• 56:48
  Speaker 1: Depressing on every i don't.
• 56:50
  Speaker 10: Know for certain but i'm guessing it's hard to find
• 56:53
  Speaker 10: a hooker that that's what i'm saying would bang a
• 56:55
  Speaker 10: guy with no arms and no.
• 56:56
  Speaker 1: Legs and she's like hey she's up for it so
• 56:59
  Speaker 1: i'm like And, I mean, that might be the most
• 57:01
  Speaker 1: interesting thing in that story is how the... I mean, obviously,
• 57:06
  Speaker 1: never mind. It just seems like a lot of extra
• 57:08
  Speaker 1: work is going to be involved in this scenario. That
• 57:12
  Speaker 1: could be the most interesting scene in this story. Then
• 57:15
  Speaker 1: it gets a new rating.
• 57:18
  Speaker 7: Well, yeah, I just feel like there wasn't enough character
• 57:20
  Speaker 7: development between either of them that you even cared about.
• 57:23
  Speaker 6: Yeah.
• 57:24
  Speaker 10: Ultimately, I was just like, what was the point?
• 57:26
  Speaker 7: All of the speaking was just the guy reciting his things.
• 57:29
  Speaker 6: That he memorized.
• 57:30
  Speaker 7: And that was pretty much all the dialogue, really. I
• 57:33
  Speaker 7: don't think he said anything outside of that.
• 57:35
  Speaker 6: No.
• 57:36
  Speaker 17: And Liam Neeson might have said like four words. But
• 57:39
  Speaker 17: it was like, what?
• 57:42
  Speaker 1: So yeah, again, those two, one after the other of
• 57:45
  Speaker 1: me going, wait, what was the point of this? So yeah,
• 57:48
  Speaker 1: those were the ones I started questioning the whole of
• 57:52
  Speaker 1: this project. But again, then we get to my favorite one.
• 57:56
  Speaker 1: So we've already covered most of all Gold Canyon. So
• 57:59
  Speaker 1: that one's still, I don't know. Is there anything that
• 58:02
  Speaker 1: we didn't already hit? Because I think that one's just.
• 58:05
  Speaker 10: Well, I just want to point out I like the
• 58:07
  Speaker 10: line where after he realizes that the bullet's gone through,
• 58:09
  Speaker 10: he's like, oh, nothing important, just guts.
• 58:11
  Speaker 1: Just guts. That was great. Just guts. Nothing important. And again,
• 58:17
  Speaker 1: who else is going to deliver that line? And you're
• 58:19
  Speaker 1: going to totally buy it. I'm like, yeah, I feel
• 58:22
  Speaker 1: like Tom Waits can take a bullet and probably show
• 58:25
  Speaker 1: up to his next gig. He's just like, eh. As
• 58:29
  Speaker 1: on Tuesday, I'm fine.
• 58:30
  Speaker 10: It made me think that, oh, this character's been shot before.
• 58:32
  Speaker 1: Did he?
• 58:34
  Speaker 10: And there's just one more time.
• 58:36
  Speaker 6: Probably.
• 58:37
  Speaker 1: You know, the prospecting days.
• 58:39
  Speaker 17: I mean, he got up there pretty quick.
• 58:42
  Speaker 10: Although my question was, was he partners with that guy?
• 58:45
  Speaker 14: Originally i don't think so i think the guy was
• 58:47
  Speaker 14: following him yeah wait he was watching him wait until
• 58:50
  Speaker 14: he got the gold.
• 58:51
  Speaker 1: And staking it out and seeing what he found wasn't
• 58:53
  Speaker 1: sure about that yeah they didn't really elaborate but again
• 58:56
  Speaker 1: he seems like somebody who is wandering around by himself
• 58:59
  Speaker 1: all the time so i wouldn't think so just him
• 59:02
  Speaker 1: and lucky i do like that his name was lucky yeah.
• 59:07
  Speaker 17: I want a donkey as.
• 59:09
  Speaker 1: Long as his name is Lucky. But yeah, even like
• 59:13
  Speaker 1: just the shot of the deer. Like just everything was, again,
• 59:18
  Speaker 1: that's them kind of being showy of like, oh no,
• 59:20
  Speaker 1: this scene's gorgeous. We all know like you are amazing filmmakers.
• 59:24
  Speaker 1: You always bring in the best cinematographers. So like everything
• 59:27
  Speaker 1: about it looks terrific. So. no surprise on any of that.
• 59:33
  Speaker 14: I will, I will say that like the whole, almost
• 59:36
  Speaker 14: all of the stories to me felt like they were
• 59:39
  Speaker 14: part of like a, like almost like a fairytale tradition.
• 59:43
  Speaker 14: Like maybe not the first two, but like all the
• 59:45
  Speaker 14: ones after that to some degree or the other, especially
• 59:49
  Speaker 14: while I'm thinking again about, uh, the prospector one, just
• 59:55
  Speaker 14: kind of how like, it's supposed to like represent that
• 59:58
  Speaker 14: he's like on some sort of like good path or
• 1:00:02
  Speaker 14: like it's some kind.
• 1:00:03
  Speaker 8: Of weird, uh, I don't know.
• 1:00:06
  Speaker 14: Like he doesn't, he, he's like this kind of, uh, just,
• 1:00:12
  Speaker 14: just in a simple sense, like a good figure. And
• 1:00:15
  Speaker 14: he's like singing like these like church songs and everything.
• 1:00:19
  Speaker 14: And it's just kind of, even though he gets shot
• 1:00:23
  Speaker 14: and has every reason to just die.
• 1:00:25
  Speaker 8: He's this old dude.
• 1:00:26
  Speaker 14: He's bleeding out and everything. He's just totally fine. By
• 1:00:30
  Speaker 14: the end, he's like, oh, just a scratch.
• 1:00:34
  Speaker 2: I don't know.
• 1:00:35
  Speaker 14: It just feels like there's almost a weird medieval sense.
• 1:00:40
  Speaker 8: Of just moral going on.
• 1:00:43
  Speaker 1: I don't know.
• 1:00:44
  Speaker 8: With the limbless guy, too.
• 1:00:46
  Speaker 14: Something about Liam Neeson is this kind of like, this
• 1:00:50
  Speaker 14: like guy this like evil guy on a horse and
• 1:00:52
  Speaker 14: carriage who's gonna like murder him i don't know it's
• 1:00:56
  Speaker 14: a very it's just a really dark like just like.
• 1:01:01
  Speaker 8: Just very nihilistic.
• 1:01:03
  Speaker 14: Way i was like oh what other kind of storytelling
• 1:01:05
  Speaker 14: is kind of like this horrible like oh just the
• 1:01:09
  Speaker 14: grimm's fairy tales where people get you know everyone dies
• 1:01:12
  Speaker 14: and There's one in ten where someone lives and there's
• 1:01:16
  Speaker 14: a happy ending, but most of them come to.
• 1:01:18
  Speaker 8: A terrible end. That makes sense.
• 1:01:20
  Speaker 10: You made me... Something I thought about earlier, the whole
• 1:01:23
  Speaker 10: time I'm watching this movie, I'm thinking, is there something
• 1:01:26
  Speaker 10: that ties all these stories together?
• 1:01:29
  Speaker 5: Right.
• 1:01:29
  Speaker 10: And then finally, the only thing I come up with
• 1:01:31
  Speaker 10: at the end of it was death.
• 1:01:33
  Speaker 1: Yeah.
• 1:01:33
  Speaker 10: Death is the only thing that these stories have in common.
• 1:01:37
  Speaker 10: Or at least that I can see.
• 1:01:39
  Speaker 2: Yeah.
• 1:01:42
  Speaker 1: Well, I mean, that's certainly not the first time they've
• 1:01:44
  Speaker 1: been accused of a nihilistic approach to things. That is
• 1:01:47
  Speaker 1: kind of one of the many. Again, for being also
• 1:01:51
  Speaker 1: known for sort of slapstick comedy, dark, depressing nihilism is
• 1:01:56
  Speaker 1: also kind of one of their things that they return
• 1:01:58
  Speaker 1: to pretty regularly. But again, I feel like with most
• 1:02:02
  Speaker 1: of them, they have a reason. That's one of my
• 1:02:08
  Speaker 1: favorite ones inside Llewyn Davis. is so dark, and, like,
• 1:02:13
  Speaker 1: is so, like, it gets to a point of full-on depressing,
• 1:02:17
  Speaker 1: because you're dealing with someone who's already dealing with massive depression,
• 1:02:21
  Speaker 1: but I feel like it, it totally came around for me,
• 1:02:25
  Speaker 1: and it totally has a purpose, and it has a
• 1:02:27
  Speaker 1: reason that they're telling this story. So, again, they can
• 1:02:30
  Speaker 1: do dark to that level, and still, like, counterbalance it with, like,
• 1:02:36
  Speaker 1: a story arc that, like, kind of balances that out,
• 1:02:38
  Speaker 1: or represents reasons, and Yeah, I don't know. I don't
• 1:02:42
  Speaker 1: get that of the dark ends of this. I don't
• 1:02:45
  Speaker 1: know that it totally goes that road, but they can
• 1:02:47
  Speaker 1: definitely do that with something like Llewyn Davis.
• 1:02:50
  Speaker 14: Yeah, I always thought of like that movie Llewyn Davis,
• 1:02:53
  Speaker 14: just like, oh, the whole movie is just about a
• 1:02:56
  Speaker 14: guy who's talented, like clearly is a great musician and like,
• 1:03:01
  Speaker 14: you know, well, not a great musician, but he's good
• 1:03:03
  Speaker 14: enough to like, you know, get by and, you know,
• 1:03:07
  Speaker 14: makes somewhat of a living, but it's like also ultimately
• 1:03:10
  Speaker 14: like this tragedy.
• 1:03:11
  Speaker 8: Cause he's not, not quite, he's just not Dylan.
• 1:03:13
  Speaker 14: Like Dylan just happens like while his life is turning
• 1:03:16
  Speaker 14: to shit. And so he's just kind of this, he's
• 1:03:18
  Speaker 14: just like spinning his wheels on the outside, like forever.
• 1:03:21
  Speaker 14: And like, Dylan's gonna, you know, basically live out his
• 1:03:26
  Speaker 14: dream and he's going to just be left, you know,
• 1:03:29
  Speaker 14: like in the gutter.
• 1:03:30
  Speaker 8: Like super.
• 1:03:30
  Speaker 5: Yeah.
• 1:03:31
  Speaker 1: That one just gets so deep into the process. Cause
• 1:03:34
  Speaker 1: it is one of those, like you're watching it that
• 1:03:36
  Speaker 1: first time through and you're just like, he's horrible. Like
• 1:03:40
  Speaker 1: he's just such an unlikable character. But the more than
• 1:03:45
  Speaker 1: like after, again, that was one of those that gained
• 1:03:48
  Speaker 1: so much, the more and more you thought about it
• 1:03:50
  Speaker 1: after the fact. And I heard, I heard it described
• 1:03:52
  Speaker 1: as you're just watching someone deal with depression and deal
• 1:03:57
  Speaker 1: with like, coping with someone that they love not being
• 1:04:02
  Speaker 1: there and everything he's doing is lashing out because of
• 1:04:06
  Speaker 1: that so every he's not like if you went back
• 1:04:09
  Speaker 1: in time a year and a half he's not that
• 1:04:10
  Speaker 1: guy he's not an asshole all of the time it's
• 1:04:14
  Speaker 1: all because of the thing with the partner and everything
• 1:04:18
  Speaker 1: that he's lost since then and like so you're watching
• 1:04:20
  Speaker 1: this very specific point in his life that is like
• 1:04:23
  Speaker 1: the worst part of him as a person and And
• 1:04:26
  Speaker 1: everything that kind of comes off of that. So that's
• 1:04:29
  Speaker 1: one of those that like the more and more you
• 1:04:31
  Speaker 1: kind of dig into that story, the richer it is.
• 1:04:34
  Speaker 1: And again, I don't know that we get that with
• 1:04:36
  Speaker 1: throwing the guy in the river. I don't think we
• 1:04:39
  Speaker 1: ever get quite that far into it.
• 1:04:42
  Speaker 8: I beg your pardon, miss.
• 1:04:43
  Speaker 20: Now you keep low here. Take this.
• 1:04:46
  Speaker 1: No.
• 1:04:46
  Speaker 6: Take it.
• 1:04:47
  Speaker 18: Take it now.
• 1:04:48
  Speaker 8: Got two bullets in it.
• 1:04:49
  Speaker 20: Ain't for shooting Indians. If I see we're licked, I'm
• 1:04:53
  Speaker 20: gonna shoot you, and then I'm gonna shoot myself, so
• 1:04:54
  Speaker 20: that's okay. But if you see that I'm done for, well,
• 1:04:57
  Speaker 20: you're gonna have to do it for yourself. Now, you
• 1:05:00
  Speaker 20: put it right there so as you can't miss.
• 1:05:04
  Speaker 6: No, no, no, no, no!
• 1:05:06
  Speaker 8: This is business, middle-arm about.
• 1:05:07
  Speaker 20: They catch you, it won't be so good. After they
• 1:05:10
  Speaker 20: take off every stitch of your clothes and have their
• 1:05:12
  Speaker 20: way with you, they'll stretch you out with a rawhide,
• 1:05:15
  Speaker 20: and then they'll drive a stake through the middle of
• 1:05:17
  Speaker 20: your body into the ground, and then they'll do some
• 1:05:19
  Speaker 20: other things. And we can't have that.
• 1:05:22
  Speaker 21: We ain't licked yet.
• 1:05:24
  Speaker 6: But if we are, you.
• 1:05:27
  Speaker 8: Know what to do.
• 1:05:31
  Speaker 1: So, I don't know. The gal who got rattled. That
• 1:05:34
  Speaker 1: was kind of my next favorite. And again, until we
• 1:05:39
  Speaker 1: get to the very end, I felt like we were
• 1:05:41
  Speaker 1: maybe going somewhere. And then I was just like, well,
• 1:05:45
  Speaker 1: now what?
• 1:05:46
  Speaker 10: I kept going back and forth on it, to be honest.
• 1:05:48
  Speaker 1: Yeah, it definitely is Even before the end result, maybe
• 1:05:53
  Speaker 1: a little longer than it needed to be.
• 1:05:54
  Speaker 14: It's in a weird length where it should either be
• 1:05:58
  Speaker 14: shorter or longer. But how it is, it just feels
• 1:06:00
  Speaker 14: a little out of place. I knew the second time
• 1:06:05
  Speaker 14: I saw it, oh yeah, this is the longest one.
• 1:06:08
  Speaker 14: But I'd kind of forgotten just how... There was a
• 1:06:10
  Speaker 14: few beats I'd forgotten about where it kept on going.
• 1:06:13
  Speaker 8: I was like, oh, yeah. Oh, yeah, it's not done yet.
• 1:06:18
  Speaker 14: I do, kind of thinking back about it, I feel
• 1:06:20
  Speaker 14: like I should take back what I mentioned about them
• 1:06:24
  Speaker 14: pulling from fairy tales as an influence.
• 1:06:26
  Speaker 8: I feel like it's.
• 1:06:29
  Speaker 14: Probably there in some capacity, but they take a bunch
• 1:06:35
  Speaker 14: of things from literature and just kind of apply it
• 1:06:38
  Speaker 14: to what they're trying to say but ultimately like by
• 1:06:42
  Speaker 14: the time we get to the girl who got rattled
• 1:06:44
  Speaker 14: it's like literally the characters are like commentating on like
• 1:06:48
  Speaker 14: what the themes are and what's like what living in
• 1:06:51
  Speaker 14: the old west is about whereas before like it was
• 1:06:53
  Speaker 14: like the opposite where it's just or it was just
• 1:06:56
  Speaker 14: this totally different like loony tunes entertainment and by the
• 1:07:00
  Speaker 14: time you get to the very last chapter like it's
• 1:07:02
  Speaker 14: just people just talking about just existential like yeah crisis
• 1:07:08
  Speaker 14: and like just it just gets real it just totally
• 1:07:10
  Speaker 14: like inverses itself like on its approach to the old
• 1:07:13
  Speaker 14: west by the time it gets to the end.
• 1:07:15
  Speaker 1: That was my real takeaway and not that i don't
• 1:07:17
  Speaker 1: land this way every western i watch but i'm like
• 1:07:21
  Speaker 1: man the old west sucks yeah i really like don't
• 1:07:25
  Speaker 1: get me wrong you can tell some great stories there
• 1:07:27
  Speaker 1: but i do not want to live there like everything
• 1:07:29
  Speaker 1: about it just seems horrible And it's just dirty and gross.
• 1:07:33
  Speaker 1: And people just died. The fact that nobody died from
• 1:07:37
  Speaker 1: dysentery on this story is the most amazing part. Or, well,
• 1:07:42
  Speaker 1: maybe what killed her brother? We don't really know. Maybe
• 1:07:44
  Speaker 1: he died from dysentery.
• 1:07:46
  Speaker 17: Who was that actor that was playing? Or what's he
• 1:07:48
  Speaker 17: been in?
• 1:07:49
  Speaker 8: I've seen him before.
• 1:07:50
  Speaker 17: He's very familiar.
• 1:07:51
  Speaker 1: I can try to find him.
• 1:07:52
  Speaker 17: And I couldn't remember.
• 1:07:53
  Speaker 1: Let's see.
• 1:07:56
  Speaker 14: I think I recognize him. He was in Inherent Vice.
• 1:07:59
  Speaker 14: I remember him being in that for like a brief second.
• 1:08:02
  Speaker 14: He has a very recognizable face.
• 1:08:04
  Speaker 1: Jefferson Mays?
• 1:08:07
  Speaker 14: Yeah, I think he was like the doctor in that
• 1:08:09
  Speaker 14: weird cover-up hospital that he went to.
• 1:08:11
  Speaker 1: Yeah, he is in Inherent Vice. He's in Kinsey. He's in.
• 1:08:18
  Speaker 14: Which oddly, that movie kind of felt like a little
• 1:08:22
  Speaker 14: bit of a co-op.
• 1:08:23
  Speaker 8: It had like lebowski.
• 1:08:25
  Speaker 1: Vibes yeah inherent vice but again it's just like a
• 1:08:31
  Speaker 1: noir story that has no real point which is exactly
• 1:08:34
  Speaker 1: what new lebowski is if you stop and think about
• 1:08:37
  Speaker 1: it it's funny enough that you don't notice almost that
• 1:08:40
  Speaker 1: first time through but yeah that's one of those you
• 1:08:43
  Speaker 1: look more and more at lebowski like well none of
• 1:08:46
  Speaker 1: this matter like none of this actually amounted to anything
• 1:08:50
  Speaker 1: and Inherent Vice is like a way more ridiculous version
• 1:08:54
  Speaker 1: of that. But yeah, this, yeah, he's in a bunch
• 1:08:58
  Speaker 1: of TV too. He's in like the americans he's in
• 1:09:02
  Speaker 1: an episode of the good wife so yeah he's he's
• 1:09:04
  Speaker 1: definitely been been doing a lot of stuff but i
• 1:09:08
  Speaker 1: mean the best part of that whole piece is obviously
• 1:09:12
  Speaker 1: franklin pierce it's my favorite part of life Mostly because
• 1:09:17
  Speaker 1: I was horrified when we were about to take him out.
• 1:09:20
  Speaker 1: The fact that he then survived and then kept... You'd
• 1:09:23
  Speaker 1: still hear him barking in the middle of scenes. I'm like,
• 1:09:26
  Speaker 1: all right, I like this Franklin. He's annoying, but he's
• 1:09:30
  Speaker 1: a survivor.
• 1:09:30
  Speaker 3: I like this.
• 1:09:32
  Speaker 1: Franklin Pierce is still kind of the bright side.
• 1:09:35
  Speaker 10: I don't feel like there was much of a payout
• 1:09:37
  Speaker 10: with that. No, that's the thing.
• 1:09:38
  Speaker 1: I kept waiting for all of these things to sort
• 1:09:40
  Speaker 1: of pay off and none of them... even up till then, again,
• 1:09:44
  Speaker 1: it was a little too long, but I'm like, I
• 1:09:46
  Speaker 1: still kind of like, I did like, and that's where
• 1:09:48
  Speaker 1: we were saying maybe the, it's own movie. I do
• 1:09:51
  Speaker 1: like the idea of like, just having like a, a
• 1:09:55
  Speaker 1: falling in love on the wagon train kind of story.
• 1:09:59
  Speaker 1: Like that is the setting that you could tell a
• 1:10:01
  Speaker 1: really interesting kind of a love story in a weird,
• 1:10:04
  Speaker 1: different setting and everything else about it. I mean, there's just,
• 1:10:07
  Speaker 1: there's not much to this one. There's just sort of, there's,
• 1:10:11
  Speaker 1: which again, I guess is how a lot of relationships
• 1:10:12
  Speaker 1: went at that point. We're here. We're, you're a girl
• 1:10:17
  Speaker 1: type person. Let's, I don't know, settle down and build
• 1:10:20
  Speaker 1: a house and farm something. Like he didn't even know
• 1:10:24
  Speaker 1: how to do it really. He's just like, I suppose
• 1:10:26
  Speaker 1: I'll farm. You know, everything about it was just like,
• 1:10:28
  Speaker 1: this is what I'm supposed to do. And she's like,
• 1:10:31
  Speaker 1: I'm supposed to marry. And so like everything, like again,
• 1:10:34
  Speaker 1: that it was all just sort of, but I feel
• 1:10:36
  Speaker 1: like that's how it was in the real world. So
• 1:10:38
  Speaker 1: that part I didn't really have a problem with. That
• 1:10:40
  Speaker 1: was life at that point. But yeah, again, there's no
• 1:10:44
  Speaker 1: payout for any of it. Even like what little we
• 1:10:47
  Speaker 1: had going for us, we get the rug pulled out
• 1:10:49
  Speaker 1: from under us.
• 1:10:49
  Speaker 2: Yeah.
• 1:10:51
  Speaker 7: I'm just like, The girl had to take a full
• 1:10:54
  Speaker 7: day to think over this marriage proposal from the most
• 1:10:57
  Speaker 7: beautiful cowboy. Who's like, hey, you're destitute.
• 1:11:03
  Speaker 17: Your brother's dead. You don't know what you're going to do.
• 1:11:05
  Speaker 1: Want to marry me?
• 1:11:05
  Speaker 7: And she's like, let me think about it. And then
• 1:11:07
  Speaker 7: five seconds, that older guy is gone. And she's like,
• 1:11:10
  Speaker 7: he's dead. And shoots himself in the head in the
• 1:11:14
  Speaker 7: span of, girl, what?
• 1:11:16
  Speaker 1: Snap decision making.
• 1:11:18
  Speaker 17: Just wait a minute.
• 1:11:19
  Speaker 1: That is something I noticed that was kind of different
• 1:11:22
  Speaker 1: from what you've gotten from Westerns in the last 30
• 1:11:25
  Speaker 1: years or so. Like back in the olden day Westerns,
• 1:11:29
  Speaker 1: like it was... good guys, bad guys, cowboys and Indians,
• 1:11:33
  Speaker 1: the way kids used to play cowboys and Indians. They
• 1:11:35
  Speaker 1: really just immerse themselves back in that world where the
• 1:11:38
  Speaker 1: Indians are savages and we never get a story like
• 1:11:40
  Speaker 1: from that perspective. Like usually now, like when you get
• 1:11:44
  Speaker 1: an Indian character, it's somebody that actually is probably smarter
• 1:11:47
  Speaker 1: than the cowboys and like has a pretty good story
• 1:11:51
  Speaker 1: arc to it. But like, these are just savage. But
• 1:11:53
  Speaker 1: on the other hand, that is an awesome scene. Like
• 1:11:56
  Speaker 1: him being attacked, like, cause I so assumed that guy
• 1:11:59
  Speaker 1: was dead. Yeah. So the fact that he like takes
• 1:12:01
  Speaker 1: out all these guys and it's a pretty cool action scene,
• 1:12:05
  Speaker 1: which again, we don't get tons of real action in
• 1:12:07
  Speaker 1: this movie. So that's kind of our one, like, this
• 1:12:09
  Speaker 1: is kind of cool. And they come back for that
• 1:12:11
  Speaker 1: second pass. And I'm like, this is pretty impressive as,
• 1:12:14
  Speaker 1: as a Western action scene goes. But yeah, they are just,
• 1:12:18
  Speaker 1: the Indians are just bad guys through both of the
• 1:12:21
  Speaker 1: times we see them in this, in this story. They
• 1:12:23
  Speaker 1: are just vicious killers. Cause the other number two there,
• 1:12:28
  Speaker 1: those are some pretty impressive arrows.
• 1:12:30
  Speaker 21: Yeah.
• 1:12:30
  Speaker 1: Some of those scenes that I didn't necessarily expect that coming.
• 1:12:34
  Speaker 10: Well, that was great where the guy gets shot through
• 1:12:36
  Speaker 10: the arrow.
• 1:12:36
  Speaker 2: Yeah.
• 1:12:37
  Speaker 10: Breaks it off.
• 1:12:38
  Speaker 1: So yeah, I was kind of, again, I don't, I'm
• 1:12:44
  Speaker 1: not even like judging that. I think it's maybe what
• 1:12:46
  Speaker 1: they were going for since they're setting this in the
• 1:12:49
  Speaker 1: time when singing cowboys was not ridiculous. It's also a
• 1:12:52
  Speaker 1: time when the Indians were the bad guys. And so, Yeah,
• 1:12:56
  Speaker 1: I just thought that was noteworthy that they really said
• 1:13:00
  Speaker 1: it in that time period. But yeah, I do like
• 1:13:05
  Speaker 1: prairie dogs. And the fact that nobody knew what they were,
• 1:13:10
  Speaker 1: because that's probably true too. Including Franklin Pierce.
• 1:13:14
  Speaker 8: It reminded me a lot of True Grit, only much bleaker.
• 1:13:17
  Speaker 13: Yeah.
• 1:13:20
  Speaker 1: Again, that is like, they can do the West, and
• 1:13:23
  Speaker 1: they can do, again, I feel like that has such
• 1:13:26
  Speaker 1: an arc. Granted, not their story, but everyone has such
• 1:13:29
  Speaker 1: an arc. Everyone has a purpose, you know, whatever is
• 1:13:32
  Speaker 1: driving them, and how the story ends for all those characters,
• 1:13:35
  Speaker 1: where this, I don't get that with any of them.
• 1:13:38
  Speaker 14: Like, I think it has to do because the second
• 1:13:41
  Speaker 14: time I was listening to more of the conversations, the
• 1:13:44
  Speaker 14: first time I kind of tuned out after the third
• 1:13:47
  Speaker 14: campfire chat scene. But he does give, yeah, like the
• 1:13:52
  Speaker 14: stud cowboy guy, he does give this kind of interesting
• 1:13:57
  Speaker 14: monologue about just how nobody can be certain about anything.
• 1:14:01
  Speaker 5: Yeah.
• 1:14:01
  Speaker 14: That was, I guess, if I had any takeaways, like, oh,
• 1:14:04
  Speaker 14: this whole thing is just about nothing is certain. Like,
• 1:14:06
  Speaker 14: they go to shoot the dog, but the dog gets away.
• 1:14:08
  Speaker 14: The dog ends up alive. The girl doesn't, you know.
• 1:14:12
  Speaker 14: The brother dies when, you know, nothing goes according to plan.
• 1:14:16
  Speaker 1: See, that's the thing. That's kind of it. I don't
• 1:14:18
  Speaker 1: want to sell any of this short, though. I don't
• 1:14:20
  Speaker 1: feel like, if it were anyone else, I would think
• 1:14:23
  Speaker 1: maybe they just slapped it together. But knowing that this
• 1:14:26
  Speaker 1: is a Coen Brothers project, I do feel like they
• 1:14:29
  Speaker 1: had reason for all of these things. It doesn't necessarily
• 1:14:32
  Speaker 1: register on the other end sometimes, but I don't ever
• 1:14:36
  Speaker 1: sell them short in the story or end of it.
• 1:14:39
  Speaker 1: I'm sure most of this they have probably structured in
• 1:14:42
  Speaker 1: a way that makes more sense to them.
• 1:14:44
  Speaker 16: Right.
• 1:14:45
  Speaker 1: And is the reason they set it up that way.
• 1:14:47
  Speaker 1: But yeah, for me on the other end, I don't,
• 1:14:50
  Speaker 1: I don't know. I don't take, it doesn't feel like
• 1:14:54
  Speaker 1: the arc is there on most of these characters, which
• 1:14:56
  Speaker 1: you can do just because it's a short film, you know,
• 1:14:59
  Speaker 1: a bunch of them strung together, but still like each
• 1:15:02
  Speaker 1: one could very easily have its own, you know, structure
• 1:15:06
  Speaker 1: and story arc and character arc. And like, we just
• 1:15:09
  Speaker 1: don't get that with a lot of them. So I
• 1:15:11
  Speaker 1: don't know. I think that's more of my issue by
• 1:15:13
  Speaker 1: the end of it.
• 1:15:13
  Speaker 13: Yeah.
• 1:15:15
  Speaker 1: So, yeah, I don't know. What is our takeaway on
• 1:15:19
  Speaker 1: that one? I mean.
• 1:15:20
  Speaker 8: I don't know.
• 1:15:21
  Speaker 1: I don't know. Again, okay, let's say had it not
• 1:15:25
  Speaker 1: ended the way it did. Had it just been like,
• 1:15:27
  Speaker 1: all right, then we're going to get married. And then
• 1:15:29
  Speaker 1: they just rode off with the wagon train and we
• 1:15:31
  Speaker 1: assume they had a life together. Would that make it better?
• 1:15:35
  Speaker 10: I don't think I would have remembered it.
• 1:15:36
  Speaker 1: Yeah, I don't... At least you remember what the fuck
• 1:15:40
  Speaker 1: just happened. But at the same time, you're like, well...
• 1:15:43
  Speaker 1: But why? But if that hadn't happened, why? I don't know.
• 1:15:48
  Speaker 6: Again, I guess.
• 1:15:49
  Speaker 10: And I definitely remember the old cowboy's reaction and thinking, well,
• 1:15:52
  Speaker 10: I guess that's just life in the old west. Because
• 1:15:55
  Speaker 10: he was like, ah, she should not have done that.
• 1:15:58
  Speaker 10: And then he just walks off.
• 1:16:01
  Speaker 1: With Franklin Pierce. It's a happy ending for Franklin Pierce,
• 1:16:04
  Speaker 1: who survived death several times over.
• 1:16:09
  Speaker 10: This is all the franklin pierce story and they're they're
• 1:16:12
  Speaker 10: hired guy that is now definitely not getting.
• 1:16:15
  Speaker 1: His 400 he was being a jerk i didn't like
• 1:16:18
  Speaker 1: that he was granted i wouldn't like not getting paid
• 1:16:20
  Speaker 1: either but right you do know your person who hired
• 1:16:24
  Speaker 1: you's dead like you have to kind of start being
• 1:16:27
  Speaker 1: concerned that sure.
• 1:16:29
  Speaker 17: Yeah was he just like driving the wagon I guess.
• 1:16:32
  Speaker 17: Because I'm like, couldn't.
• 1:16:33
  Speaker 1: You do that? Again, I was like, they're all just
• 1:16:35
  Speaker 1: kind of following each other. You're not going to get lost.
• 1:16:37
  Speaker 1: Can't you just sit there and send him on his
• 1:16:39
  Speaker 1: merry way?
• 1:16:40
  Speaker 17: I feel like that would have been an easy solution
• 1:16:42
  Speaker 17: to the problem.
• 1:16:43
  Speaker 1: I think, but they needed conflict of some sort to
• 1:16:46
  Speaker 1: piece this story together. I mean, I guess the most
• 1:16:50
  Speaker 1: takeaway you can come up with was Bjergsmann, that his
• 1:16:54
  Speaker 1: discussion of how everything is sort of meaningless... is then
• 1:16:58
  Speaker 1: made true. So again, I, they're, they're crafty enough. I
• 1:17:01
  Speaker 1: can see that actually being their, their reason for this.
• 1:17:06
  Speaker 8: It's almost like every segment, right.
• 1:17:08
  Speaker 14: Is like a different kind of specific, like, like, like
• 1:17:12
  Speaker 14: an idiom of some kind, like, like this, like the, the,
• 1:17:17
  Speaker 14: I already forgot the name of it.
• 1:17:18
  Speaker 8: The wagon, the Oregon, I keep calling the Oregon trail one.
• 1:17:21
  Speaker 1: The gal who got rattled.
• 1:17:22
  Speaker 2: Yeah.
• 1:17:22
  Speaker 1: The gal who got.
• 1:17:23
  Speaker 14: Rattled is like the best laid plans one.
• 1:17:26
  Speaker 8: Yeah.
• 1:17:26
  Speaker 14: And, You could say the James Franco one is like
• 1:17:29
  Speaker 14: out of the frying pan one.
• 1:17:31
  Speaker 1: The worst laid plans. But she already had the best
• 1:17:36
  Speaker 1: laid plans, which was not a good plan at all.
• 1:17:40
  Speaker 1: And it already fell apart. And then she's got this
• 1:17:44
  Speaker 1: much better offer, obviously.
• 1:17:45
  Speaker 10: And it wasn't even a solid plan.
• 1:17:47
  Speaker 6: Yeah.
• 1:17:47
  Speaker 1: Yeah. It was a maybe this will happen.
• 1:17:52
  Speaker 14: My takeaway from just all the stories is just that, okay,
• 1:17:56
  Speaker 14: everyone in this movie needs to have a doctor close
• 1:17:58
  Speaker 14: by or in the vicinity.
• 1:18:01
  Speaker 8: At all times.
• 1:18:03
  Speaker 14: Because just death in every form is just out to
• 1:18:08
  Speaker 14: get everybody.
• 1:18:09
  Speaker 1: Again, the Old West kind of sucked.
• 1:18:13
  Speaker 17: I don't know if a doctor could have helped that one.
• 1:18:15
  Speaker 1: Guy without getting thrown in the river.
• 1:18:17
  Speaker 8: Okay, so doctor couldn't have helped the lady shot herself
• 1:18:19
  Speaker 8: in the head.
• 1:18:19
  Speaker 1: Yeah, bullet in the head, probably not so much. Now,
• 1:18:23
  Speaker 1: if she would have just hit guts, she'd be okay.
• 1:18:26
  Speaker 1: She should have just shot herself in the gut area.
• 1:18:30
  Speaker 8: No big deal.
• 1:18:34
  Speaker 7: That would have been a good tie-in.
• 1:18:36
  Speaker 1: Franklin Peters, drag me back up to the wagon drain.
• 1:18:39
  Speaker 1: Let's go. I got to honk to Mary. Find my husband. So, again,
• 1:18:46
  Speaker 1: we rounded out with the second most depressing. and maybe
• 1:18:51
  Speaker 1: more pointless. Like, I don't know. That was, like, by
• 1:18:55
  Speaker 1: the end, that was just, again, I'm just like, why
• 1:18:58
  Speaker 1: are we here? Like, to me, it just seems like, again,
• 1:19:03
  Speaker 1: had this not already existed, maybe this would be an
• 1:19:05
  Speaker 1: interesting take. But, like, if you've seen Hateful Eight, you've
• 1:19:09
  Speaker 1: had more than your extended conversation in a wagon before. Like,
• 1:19:13
  Speaker 1: and that one gets way more interesting and way creepier
• 1:19:17
  Speaker 1: and darker. And like so many different avenues that we
• 1:19:20
  Speaker 1: go down in that really long scene inside of a
• 1:19:23
  Speaker 1: wagon with different people having conversations. So like, now that
• 1:19:27
  Speaker 1: I've already seen that, I'm like, well, what are we
• 1:19:29
  Speaker 1: doing here? Like, first of all, Tyne Daly, what the hell?
• 1:19:34
  Speaker 1: Like that, It was just funny to me when she
• 1:19:36
  Speaker 1: popped up. I was like, wait, is she top Billy?
• 1:19:40
  Speaker 1: But I think they're going alphabetically. Yeah, I don't know.
• 1:19:44
  Speaker 1: That whole ride, I'm just kind of, it just, I
• 1:19:48
  Speaker 1: don't know.
• 1:19:49
  Speaker 14: I do like in that last part how you literally
• 1:19:53
  Speaker 14: see very gradually day become night. They just slightly turn
• 1:19:57
  Speaker 14: the lighting down throughout the whole thing until you just
• 1:19:59
  Speaker 14: don't even realize it's suddenly dark.
• 1:20:02
  Speaker 8: I don't know how they.
• 1:20:02
  Speaker 14: I mean, probably the digital cameras is probably how they're
• 1:20:05
  Speaker 14: able to keep.
• 1:20:06
  Speaker 1: Again, just looking through because they named off where most
• 1:20:08
  Speaker 1: of them were shot. That one's entirely on a soundstage.
• 1:20:11
  Speaker 5: Oh, okay.
• 1:20:11
  Speaker 8: So that's just a really.
• 1:20:13
  Speaker 1: Good lighting person. Yeah.
• 1:20:15
  Speaker 10: But that was nice because it changed the hues inside.
• 1:20:21
  Speaker 1: Again, visually, they're all amazing.
• 1:20:23
  Speaker 8: It's echoing the tone of the movie.
• 1:20:25
  Speaker 14: It started out light, now it's slowly getting dark, and
• 1:20:27
  Speaker 14: now we're at a part where.
• 1:20:28
  Speaker 1: We're just talking about how the specter.
• 1:20:30
  Speaker 8: Of death is hanging over all of us.
• 1:20:32
  Speaker 3: The end.
• 1:20:33
  Speaker 17: Yeah.
• 1:20:34
  Speaker 1: Because any of those characters, all of them there... You're
• 1:20:43
  Speaker 1: all just really annoying and I don't want to be
• 1:20:44
  Speaker 1: in here with any of you.
• 1:20:45
  Speaker 8: Who was.
• 1:20:48
  Speaker 17: The fur trapper guy though?
• 1:20:49
  Speaker 1: I've seen, he's been in a lot of stuff.
• 1:20:53
  Speaker 8: I recognized him immediately, weirdly enough.
• 1:20:56
  Speaker 10: I couldn't believe him as a character because this guy
• 1:21:00
  Speaker 10: is very eloquent. And very well spoken, but everything else
• 1:21:05
  Speaker 10: about him says otherwise.
• 1:21:07
  Speaker 7: Yeah, it's like, you know this is just a Coen
• 1:21:08
  Speaker 7: Brothers monologue that they wrote and we're like.
• 1:21:10
  Speaker 17: This is funny.
• 1:21:11
  Speaker 1: Again, he seems like a character out of one of
• 1:21:14
  Speaker 1: the first two. Yeah. He seemed really out of place
• 1:21:17
  Speaker 1: in this one, whereas had he come up in one
• 1:21:19
  Speaker 1: of those first two, he would have been fine.
• 1:21:21
  Speaker 14: They've always specialized in kind of like eloquent.
• 1:21:25
  Speaker 8: Like.
• 1:21:26
  Speaker 14: Sam Elliott in The Big Lebowski or Nicolas Cage's narration
• 1:21:31
  Speaker 14: in Raising Arizona. Just this kind of Elizabethan kind of
• 1:21:35
  Speaker 14: backwoods guy.
• 1:21:37
  Speaker 10: It just seemed fake.
• 1:21:38
  Speaker 14: You know yeah yeah it did feel a little bit
• 1:21:41
  Speaker 14: like you mentioned hateful eight i was definitely getting some
• 1:21:43
  Speaker 14: like hateful eight just like overly chatty kind of vibes
• 1:21:47
  Speaker 14: but it.
• 1:21:48
  Speaker 1: Didn't have the teeth that hateful like hateful eight is
• 1:21:51
  Speaker 1: the most well if anything spirited movie ever yeah so
• 1:21:53
  Speaker 1: like this just seemed like such a light version of
• 1:21:55
  Speaker 1: that that i'm like well then why are we here like.
• 1:21:58
  Speaker 14: Well, the thing is, I thought actually the carriage scenes
• 1:22:00
  Speaker 14: in Hateful Eight were the worst bits in the movie.
• 1:22:03
  Speaker 14: That was the part that could have been really chunked.
• 1:22:05
  Speaker 1: I mean, again, if anything's overly long, it's maybe the
• 1:22:08
  Speaker 1: Hateful Eight. But there's a lot of good mixed in there, too.
• 1:22:13
  Speaker 1: Where this, again, just this segment by itself as its
• 1:22:16
  Speaker 1: own little mini movie is just like, again, I don't
• 1:22:19
  Speaker 1: know what we're doing. Again, I think there's a bigger
• 1:22:24
  Speaker 1: story arc in the death end of it. So this
• 1:22:27
  Speaker 1: is the end The most death related of all of them,
• 1:22:30
  Speaker 1: I guess, is dragging this dead guy around and them
• 1:22:33
  Speaker 1: dropping him is pretty funny. And him saying he's going
• 1:22:36
  Speaker 1: to sleep with you.
• 1:22:37
  Speaker 5: Yeah.
• 1:22:38
  Speaker 1: Like that little exchange would be funny in a better
• 1:22:43
  Speaker 1: scene of dialogue. I don't know. I didn't mind that
• 1:22:46
  Speaker 1: wrap up part of it, but everything in there, I'm
• 1:22:50
  Speaker 1: just like, I'm not sure why we're listening to all
• 1:22:53
  Speaker 1: these things. Mm-hmm.
• 1:22:55
  Speaker 15: Yeah.
• 1:22:55
  Speaker 7: Is it just like death is a great equalizer yeah
• 1:23:00
  Speaker 7: these people are different but they're all like I don't
• 1:23:02
  Speaker 7: know I feel like from the beginning I was kind
• 1:23:04
  Speaker 7: of like so this is a metaphor for the afterlife
• 1:23:07
  Speaker 7: and they're all dead yeah like even before there was
• 1:23:10
  Speaker 7: the whole reveal of the really bad like CGI reveal
• 1:23:14
  Speaker 7: where they look up and there's the dude with like
• 1:23:16
  Speaker 7: the big cloak and like a dumb hat or something
• 1:23:18
  Speaker 7: like and it's like.
• 1:23:19
  Speaker 1: Okay no no he wouldn't stop he never does yeah
• 1:23:23
  Speaker 1: yeah that's.
• 1:23:23
  Speaker 10: Why I was expecting some sort of big monster reveal.
• 1:23:27
  Speaker 1: Yeah well and even werewolves anything yeah of course but
• 1:23:33
  Speaker 1: even that like again all of these have like so
• 1:23:37
  Speaker 1: much potential mixed in where i'm like but that because
• 1:23:40
  Speaker 1: those two characters didn't seem like you know the the
• 1:23:44
  Speaker 1: bounty hunters you would expect so like if they were
• 1:23:47
  Speaker 1: like a big part of a movie like that could
• 1:23:49
  Speaker 1: be interesting because they're so not Neither of them are
• 1:23:53
  Speaker 1: what you would expect from a bounty hunter. So, like,
• 1:23:55
  Speaker 1: that could be a cool side story in a bigger movie.
• 1:23:59
  Speaker 1: But just sitting there singing a song and, like, interacting
• 1:24:03
  Speaker 1: with these other people who are being kind of annoying
• 1:24:05
  Speaker 1: and bothering each other, like, I don't know. Again, I
• 1:24:09
  Speaker 1: just don't know what we're doing with all of that.
• 1:24:13
  Speaker 1: Except bringing the movie to a halt. And credits. So,
• 1:24:20
  Speaker 1: I don't know. What's our takeaway from the whole of it?
• 1:24:25
  Speaker 10: I'd give it a C.
• 1:24:26
  Speaker 1: That's where I land on, again, it's Netflix, so you
• 1:24:29
  Speaker 1: got to give it a little rating. And I'm like,
• 1:24:30
  Speaker 1: I don't know, like the shrug middle of like, liked it? Like,
• 1:24:36
  Speaker 1: question mark?
• 1:24:37
  Speaker 10: Thought it had potential. Now, I should have mentioned this earlier. Normally,
• 1:24:41
  Speaker 10: I don't care for Westerns, but this really didn't even
• 1:24:44
  Speaker 10: follow a lot of the same tone as most Westerns.
• 1:24:47
  Speaker 1: Well, that's what I was going to say. I guess
• 1:24:50
  Speaker 1: throw out as a bigger question. I know one version
• 1:24:53
  Speaker 1: of my answer, but like, why? Because it is such
• 1:24:57
  Speaker 1: a huge sub genre and has been going on since
• 1:25:01
  Speaker 1: the beginning of cinema. So it's like, why do we
• 1:25:04
  Speaker 1: keep coming back to Western?
• 1:25:05
  Speaker 5: Right.
• 1:25:06
  Speaker 1: And why are these like really important filmmakers now continually coming?
• 1:25:10
  Speaker 1: Cause again, like we already referenced Tarantino, but his last
• 1:25:13
  Speaker 1: two movies have been Westerns. Like, These guys, like, we just,
• 1:25:18
  Speaker 1: we've had a couple in between, but True Grit wasn't
• 1:25:20
  Speaker 1: that long ago, and now we're back in the Old West. So, like,
• 1:25:24
  Speaker 1: what is it that we're trying to say that can
• 1:25:27
  Speaker 1: only be done in a Western? I mean, it's, my
• 1:25:31
  Speaker 1: only takeaway has always been because it's, everything is so,
• 1:25:36
  Speaker 1: or can be so simple and boiled down to good
• 1:25:41
  Speaker 1: and evil, you know, nothing but, you know, where it Again,
• 1:25:44
  Speaker 1: the postmodern westerns like to muddy those waters, and it's
• 1:25:48
  Speaker 1: a lot more questionable stuff along the way. But certainly
• 1:25:51
  Speaker 1: in the old days, it was a very easy genre
• 1:25:53
  Speaker 1: to just be, you know, black hat, white hat, here's
• 1:25:56
  Speaker 1: the story, good guys, bad guys. But again, now that
• 1:26:00
  Speaker 1: things aren't like that, now that everything is sort of
• 1:26:03
  Speaker 1: muddy water, why do we keep coming back to the western,
• 1:26:07
  Speaker 1: and is there new stuff to tell each time we
• 1:26:10
  Speaker 1: come to it? Or is it just... I don't know.
• 1:26:13
  Speaker 1: Some of them still do well is the strange thing.
• 1:26:16
  Speaker 1: Like you'd think that whole sub genre just wouldn't work anymore,
• 1:26:19
  Speaker 1: but some of them still make a good amount of
• 1:26:22
  Speaker 1: money when they come out. So I don't, I don't know.
• 1:26:25
  Speaker 1: True grit was one of those. I think it, it
• 1:26:27
  Speaker 1: made a fortune and got like Oscar nomination. So it's like,
• 1:26:31
  Speaker 1: it shows you can do that and still be successful.
• 1:26:34
  Speaker 1: So I don't know. I do kind of wonder how
• 1:26:38
  Speaker 1: as many big budget Westerns still keep getting, getting made.
• 1:26:41
  Speaker 1: Cause it seems like a hard, genre to sell these days.
• 1:26:46
  Speaker 10: And I thought this was interesting that it was a
• 1:26:50
  Speaker 10: Netflix exclusive. Yeah. Because I know Netflix and the other
• 1:26:55
  Speaker 10: streaming services are getting more and more stuff like that.
• 1:26:57
  Speaker 10: But really big names involved here.
• 1:27:00
  Speaker 1: Yeah. Definitely.
• 1:27:02
  Speaker 10: And so I'm curious to see what's going to happen
• 1:27:05
  Speaker 10: in the coming year.
• 1:27:06
  Speaker 1: Especially just bringing in the Coen brothers. Right. Which they, again,
• 1:27:10
  Speaker 1: I even saw that they commented that that's that is
• 1:27:13
  Speaker 1: why they went with something like Netflix, specifically Netflix this time,
• 1:27:18
  Speaker 1: but because the studio system has changed so much. And
• 1:27:21
  Speaker 1: even they're like, you know, all that's getting made is tentpoles.
• 1:27:24
  Speaker 1: It's all preexisting action franchises, superhero movies. Like they know
• 1:27:29
  Speaker 1: they're in the minority when it comes to, you know,
• 1:27:32
  Speaker 1: the kind of stuff getting greenlit. So, They, you know,
• 1:27:35
  Speaker 1: even as huge a name as they are and the
• 1:27:38
  Speaker 1: following that they have, even they know like we're going
• 1:27:41
  Speaker 1: to have to start finding alternative ways to do what
• 1:27:43
  Speaker 1: we want to do. This was, and I think what
• 1:27:46
  Speaker 1: I'd heard at some point is kind of been thrown
• 1:27:50
  Speaker 1: out and definitely something I wanted to see what you
• 1:27:52
  Speaker 1: thought because it's Netflix and so much of what Netflix
• 1:27:56
  Speaker 1: does now is serialized. Do you think this would have
• 1:27:59
  Speaker 1: worked as like a serial version if it was a
• 1:28:02
  Speaker 1: 12 episode series? watch it in one sitting if you want,
• 1:28:06
  Speaker 1: or come back and visit each one individually. Because I know, Ben,
• 1:28:10
  Speaker 1: you were saying earlier, what if you spread this out
• 1:28:12
  Speaker 1: and watch each one individually a different day of the
• 1:28:15
  Speaker 1: week kind of thing.
• 1:28:16
  Speaker 14: I actually think that would probably not be a good
• 1:28:19
  Speaker 14: idea because it would probably ultimately be even more disappointing.
• 1:28:24
  Speaker 8: Well, no, not bleak.
• 1:28:25
  Speaker 14: It wouldn't be as satisfying an experience because you wouldn't
• 1:28:29
  Speaker 14: get the sense of the.
• 1:28:32
  Speaker 8: Kind of like how I mentioned the tonal shift.
• 1:28:36
  Speaker 1: Yeah.
• 1:28:36
  Speaker 14: You wouldn't get maybe that sense as much because you'd
• 1:28:39
  Speaker 14: kind of you'd only be focusing on like one story
• 1:28:42
  Speaker 14: at a time so it would seem more like i
• 1:28:44
  Speaker 14: don't know like haphazard or yeah i think that's why
• 1:28:46
  Speaker 14: they didn't do it there was supposed to be a
• 1:28:48
  Speaker 14: series i think that's why i think they wanted they
• 1:28:51
  Speaker 14: wanted the in order to tie the themes together they
• 1:28:54
  Speaker 14: just condensed it and put it into one I.
• 1:28:57
  Speaker 1: Can see them doing, again, just because they're creative enough,
• 1:29:01
  Speaker 1: I feel like it could be more of like a,
• 1:29:04
  Speaker 1: you know, the Coen Brothers Tales of the Old West
• 1:29:07
  Speaker 1: kind of thing. And like you could just return to,
• 1:29:09
  Speaker 1: but then maybe they'd have license to do like each
• 1:29:12
  Speaker 1: one being a 45 minute story or something. And you
• 1:29:15
  Speaker 1: could kind of beef up the characters, give us more
• 1:29:18
  Speaker 1: of a story arc and a reason for being there.
• 1:29:21
  Speaker 1: It might work better as like doing a longer version
• 1:29:24
  Speaker 1: of some of these stories along the way. But yeah,
• 1:29:27
  Speaker 1: I don't know. I could see that working maybe just
• 1:29:30
  Speaker 1: because it's the Coen brothers. Like it might be something
• 1:29:33
  Speaker 1: that in lesser hands would go horribly wrong. But yeah,
• 1:29:37
  Speaker 1: I don't know. It's one of those, I keep throwing
• 1:29:40
  Speaker 1: that out as we get further and further down this
• 1:29:43
  Speaker 1: path of new productions. It's like you do kind of
• 1:29:47
  Speaker 1: have to find where does your project land? Is it
• 1:29:49
  Speaker 1: an hour and a half movie? Is it a 12
• 1:29:51
  Speaker 1: hour miniseries kind of a thing? Like what direction do
• 1:29:55
  Speaker 1: you take it now?
• 1:29:56
  Speaker 5: Which.
• 1:29:57
  Speaker 1: Didn't used to be a thing, but it's something.
• 1:29:59
  Speaker 10: Well, it's interesting how over the past 10 years how
• 1:30:03
  Speaker 10: we entertain ourselves, how much that's changed.
• 1:30:05
  Speaker 1: Yeah. Everybody wants longer. They want more content. They get
• 1:30:09
  Speaker 1: pissed when the season's over. They want a whole nother
• 1:30:11
  Speaker 1: 24 hours of whatever thrown at them. So as much as, again,
• 1:30:16
  Speaker 1: people keep calling us out for being a generation of
• 1:30:19
  Speaker 1: YouTube viewers that can't sit for more than two minutes
• 1:30:21
  Speaker 1: on something. But yet we want 24 hours of content
• 1:30:25
  Speaker 1: to jam into our brains as we sit on the couch.
• 1:30:27
  Speaker 1: So even we don't make sense. I don't know. We
• 1:30:32
  Speaker 1: don't follow our own rules at this point. So bleak
• 1:30:36
  Speaker 1: as humanity is also dying. Thank you. The Coen brothers
• 1:30:43
  Speaker 1: have foretold.
• 1:30:44
  Speaker 10: I'm usually not as. bummed out at the end of
• 1:30:47
  Speaker 10: these as I am right.
• 1:30:49
  Speaker 1: Now that and again that's kind of where I landed
• 1:30:52
  Speaker 1: on this I was like I started off enjoying it
• 1:30:54
  Speaker 1: and like I think there's good stuff throughout like again
• 1:30:57
  Speaker 1: it's gorgeous all the way through everything is is structured
• 1:31:03
  Speaker 1: again like that that becomes more the issue but performances
• 1:31:06
  Speaker 1: are great you know the visuals are amazing like everything
• 1:31:09
  Speaker 1: else is normal you know up to Coen Brothers standards.
• 1:31:13
  Speaker 10: Well I really thought with story three we were okay
• 1:31:15
  Speaker 10: we Story one was funny, lighthearted, silly. Story number two,
• 1:31:19
  Speaker 10: a little darker, still kind of funny. I thought story three,
• 1:31:22
  Speaker 10: we were going to pump it right back up. Oh, boy,
• 1:31:25
  Speaker 10: was I wrong.
• 1:31:27
  Speaker 1: No, we got thrown into a river.
• 1:31:29
  Speaker 17: That's a weird one.
• 1:31:32
  Speaker 2: Yeah.
• 1:31:32
  Speaker 1: Yeah. Why was that in there?
• 1:31:34
  Speaker 10: And the thing about that one, too, though, is you
• 1:31:36
  Speaker 10: could have said that any time period.
• 1:31:38
  Speaker 16: Yeah.
• 1:31:38
  Speaker 10: Except for, well, even maybe today's.
• 1:31:41
  Speaker 1: Yeah, I mean, he'd just be driving around in a
• 1:31:43
  Speaker 1: van instead. There's so little to that one that makes
• 1:31:51
  Speaker 1: it a Western.
• 1:31:53
  Speaker 10: You could have put it in Europe. You could have
• 1:31:55
  Speaker 10: put it anywhere.
• 1:31:56
  Speaker 7: Well, then he had like a British accent anyway when
• 1:32:00
  Speaker 7: he was talking.
• 1:32:01
  Speaker 1: That just made him fancier.
• 1:32:02
  Speaker 17: Or was it just a theater accent?
• 1:32:05
  Speaker 6: I don't know.
• 1:32:06
  Speaker 7: Like the makeup and the clothes. Well, Tim Blake Nelson
• 1:32:13
  Speaker 7: was great in the first one. I like him a lot.
• 1:32:18
  Speaker 7: The songs were good, actually. Whoever wrote these songs was
• 1:32:21
  Speaker 7: really clever.
• 1:32:22
  Speaker 1: Again, I feel like that had the momentum to carry
• 1:32:26
  Speaker 1: its own full-length movie, really. If we wanted to take
• 1:32:30
  Speaker 1: it to that full-on cartoon-style version.
• 1:32:35
  Speaker 10: I was just so excited for what I thought I
• 1:32:37
  Speaker 10: was going to see when I was watching that first
• 1:32:41
  Speaker 10: segment and then he gets shot and i'm like well
• 1:32:44
  Speaker 10: maybe and then you know i still thought maybe they'll
• 1:32:48
  Speaker 10: loop it back around somehow or at.
• 1:32:50
  Speaker 1: Least assume the tone would stay similar maybe not quite
• 1:32:54
  Speaker 1: that level with that character gone maybe it would be
• 1:32:56
  Speaker 1: a little more like the second one but i mean
• 1:32:58
  Speaker 1: his name's in the movie you know yeah i think
• 1:33:02
  Speaker 1: they just i mean what are you gonna call it
• 1:33:04
  Speaker 1: otherwise yeah i can't call it the girl who got
• 1:33:07
  Speaker 1: rattled it's.
• 1:33:08
  Speaker 17: The wild west and everyone dies.
• 1:33:12
  Speaker 1: The West sucks, don't it?
• 1:33:13
  Speaker 17: Yeah.
• 1:33:13
  Speaker 6: All right.
• 1:33:17
  Speaker 1: Anything else that we haven't addressed in this?
• 1:33:20
  Speaker 10: Well, maybe that's why they made a Western.
• 1:33:23
  Speaker 1: Yeah.
• 1:33:23
  Speaker 10: Because they wanted to tell everybody, quit fantasizing about the West.
• 1:33:25
  Speaker 1: It's horrible. Yeah, there's definitely not.
• 1:33:27
  Speaker 10: This is the best you could have hoped for.
• 1:33:29
  Speaker 1: Not the best is being Tom Waits in that valley.
• 1:33:33
  Speaker 1: And that life is perfect. Like, you know, you can
• 1:33:36
  Speaker 1: spend your days digging a hole if you want and
• 1:33:39
  Speaker 1: Or you can just kind of hang out there and
• 1:33:41
  Speaker 1: play with the deer. I don't know. I think that
• 1:33:46
  Speaker 1: one just had so much hope to it versus the
• 1:33:51
  Speaker 1: bleakness of where we end up. But yeah, that definitely
• 1:33:55
  Speaker 1: is my favorite. So I'm going to stick with me
• 1:33:58
  Speaker 1: and Tom hanging out in the valley, digging holes. It'll
• 1:34:02
  Speaker 1: be great.
• 1:34:02
  Speaker 10: I'd love to dig holes in the valley with Tom.
• 1:34:05
  Speaker 8: You found anything yet?
• 1:34:06
  Speaker 16: Nope.
• 1:34:07
  Speaker 1: All right, back to digging. see you later pocket that
• 1:34:13
  Speaker 1: was my favorite him talking to the old but you're
• 1:34:15
  Speaker 1: older yep that's definitely the highlight yeah anything else to
• 1:34:22
  Speaker 1: pass along.
• 1:34:24
  Speaker 14: Uh the coen brothers rule yeah still on a grade
• 1:34:28
  Speaker 14: point average hey you know they're still yeah i don't
• 1:34:31
  Speaker 14: want to make it sound like.
• 1:34:32
  Speaker 10: I don't love the coen brothers.
• 1:34:33
  Speaker 14: No no i think we're all in agreement this was
• 1:34:35
  Speaker 14: kind of like a And I.
• 1:34:37
  Speaker 10: Don't even want to go so far as to say
• 1:34:39
  Speaker 10: it was a bad movie.
• 1:34:41
  Speaker 1: Again, that's why I sort of shrugged and landed in
• 1:34:45
  Speaker 1: the middle, even as I'm looking at the rating at
• 1:34:47
  Speaker 1: the end. I'm like, I liked it. I think there's
• 1:34:50
  Speaker 1: so many great things about it that I can't say
• 1:34:53
  Speaker 1: I didn't like it, but do I want to continually
• 1:34:56
  Speaker 1: return to it like I could a lot of their
• 1:34:58
  Speaker 1: other movies? Probably not, but maybe specific segments, you know. So, yeah,
• 1:35:04
  Speaker 1: there you go. But yeah, again, that's sort of the
• 1:35:09
  Speaker 1: level of the Coen brothers as they've gone along anyway. Like,
• 1:35:12
  Speaker 1: there's so many of those that people don't know what
• 1:35:14
  Speaker 1: to do with. And this, I feel like, is probably
• 1:35:16
  Speaker 1: landing there with anybody who's just scrolling through Netflix and
• 1:35:20
  Speaker 1: clicks on it and isn't like a big Coen brothers person.
• 1:35:23
  Speaker 1: I feel like that's at best where they're going to
• 1:35:26
  Speaker 1: land is a shrug of like, what did I end
• 1:35:28
  Speaker 1: up watching? Versus, I feel like this could really rub
• 1:35:31
  Speaker 1: a lot of people the wrong way if they're not
• 1:35:33
  Speaker 1: Coen brothers fans.
• 1:35:33
  Speaker 5: Yeah.
• 1:35:34
  Speaker 1: Which, again, a lot of their comedies and lighter stuff
• 1:35:38
  Speaker 1: doesn't really sit well with regular moviegoers. So, again, I
• 1:35:43
  Speaker 1: don't know that this is all that different. I think
• 1:35:44
  Speaker 1: it's just them consistently being themselves. And they're weird. And
• 1:35:49
  Speaker 1: they have a different take on stuff. And I think
• 1:35:51
  Speaker 1: this follows through with their usual plan. They saw through
• 1:35:55
  Speaker 1: what they wanted to do. And the fans love it.
• 1:35:59
  Speaker 1: And everybody else is like, yep, you guys are weird.
• 1:36:02
  Speaker 6: Yeah.
• 1:36:03
  Speaker 10: First few minutes of it, I was like, I'm going
• 1:36:05
  Speaker 10: to show this to my grandfather because... It's the kind
• 1:36:08
  Speaker 10: of westerns they like. Yeah, he grew up watching the
• 1:36:10
  Speaker 10: Singing Cowboy movies. He loves Old Brother Where Art Thou.
• 1:36:14
  Speaker 10: So I figured this would be right up his alley.
• 1:36:17
  Speaker 10: The second segment, I was like, he might not like
• 1:36:19
  Speaker 10: this so much.
• 1:36:19
  Speaker 1: He might still like that one part.
• 1:36:22
  Speaker 10: Then we got to the third one. I was like, yeah,
• 1:36:23
  Speaker 10: Grandpa will not forgive me.
• 1:36:25
  Speaker 8: Grandpa will throw me in a river.
• 1:36:27
  Speaker 1: Never mind.
• 1:36:27
  Speaker 10: He's threatened that before.
• 1:36:30
  Speaker 1: That seems about right, actually. So. With that, we're throwing
• 1:36:35
  Speaker 1: this episode in the river. Otherwise, that about does it.
• 1:36:39
  Speaker 1: We will return next time. I don't know. Even this
• 1:36:47
  Speaker 1: is going in the river. Otherwise, that about does it.
• 1:36:51
  Speaker 1: We will return next time. Same geek feed. Thanks for listening. Bye.
• 1:36:55
  Speaker 21: Let me tell you, buddy. There's a faster gun coming
• 1:37:02
  Speaker 21: over yonder. When tomorrow comes Let me tell you, buddy
• 1:37:10
  Speaker 21: And it won't be long Till you find yourself singing
• 1:37:16
  Speaker 21: Your last cowboy song.
• 1:37:20
  Speaker 22: Yippee-ki-yay-yay When the roundup ends Yippee-ki-yay-yay And the campfire dims
• 1:37:32
  Speaker 22: If the coyote ate, he shouts and he sings. When
• 1:37:39
  Speaker 22: a cowboy trades his spurs for wings.
• 1:37:48
  Speaker 21: When they wrap my body in the pendlin' sheet.
• 1:37:54
  Speaker 2: And they take my six eyes, pull the boots from
• 1:37:57
  Speaker 2: my feet.
• 1:38:00
  Speaker 21: Unsettle my pony, she'll be a-chinter-one. I'll be halfway to
• 1:38:09
  Speaker 21: heaven under horse power of my own.
• 1:38:13
  Speaker 22: Yippee-ki-yay-yay, when the roundup ends. Yippee-ki-yay-yay, and the campfire bends. Yippee-ki-yay-yay,
• 1:38:28
  Speaker 22: he shouts.
• 1:38:29
  Speaker 16: And he sings When a cowboy trades His spurs for wings.
• 1:38:37
  Speaker 21: Yippee-ki-yay-yay-yay I'm glory bound No more jangle-jangle I lay my
• 1:38:47
  Speaker 21: guns down.
• 1:38:49
  Speaker 16: Yippee-ki-yay, he shouts and he sings When a cowboy trades
• 1:38:59
  Speaker 16: his spurs for wings When a cowboy trades his spurs
• 1:39:15
  Speaker 16: for wings So.
• 1:39:18
  Speaker 10: That thought didn't occur to me. My big thought was like, yeah,
• 1:39:22
  Speaker 10: this is cool, but when are we stopping someplace with
• 1:39:24
  Speaker 10: a bathroom?
• 1:39:24
  Speaker 8: Well, still, it sounds way more interesting.
• 1:39:27
  Speaker 1: Can't you go in a haunted bathroom?
• 1:39:28
  Speaker 10: But he did point out, we're looking at the building,
• 1:39:31
  Speaker 10: and he was like, yeah, they took great pains during
• 1:39:34
  Speaker 10: the making of the movie to make sure there were
• 1:39:37
  Speaker 10: no cars, to cover up the sidewalks so it looked period,
• 1:39:41
  Speaker 10: to put in these fake cobblestones over the pavement. you know,
• 1:39:46
  Speaker 10: turn out all the lights in the surrounding area. He's like,
• 1:39:49
  Speaker 10: but if you ever go back, he's like, go back
• 1:39:51
  Speaker 10: and watch. And he's like, here's a scene where you
• 1:39:52
  Speaker 10: can see quite clearly that no parking sign that they
• 1:39:56
  Speaker 10: did not have in the 1800s.
• 1:39:58
  Speaker 1: No stagecoach parking. No parking. It still applies.
• 1:40:02
  Speaker 3: This episode is a production of Movie Meltdown, produced and
• 1:40:05
  Speaker 3: edited by the Audity Studios, with opening music performed by
• 1:40:08
  Speaker 3: the Empires. For more on how to sponsor or support
• 1:40:11
  Speaker 3: the show, email producer at moviemeltdown.com.
• 1:40:14
  Speaker 6: Talk hard!
• 1:40:21
  Speaker 12: This program is a proud member of the Battleship Pretension Fleet.