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Movies & Marketing: Disclosure Odyssey Jeopardy · Presented by Speaking Human

• 0:02
  Speaker 1: In a world where movies rely on marketing more than
• 0:06
  Speaker 1: ever to connect with audiences, one podcast aims to make
• 0:11
  Speaker 1: sense of it all. This is movies and marketing. Next
• 0:16
  Speaker 1: Saturday Nights, where's sending that to the future? Go ahead,
• 0:22
  Speaker 1: make my day? How about now? You're crazy Dutch bastard.
• 0:26
  Speaker 2: What we've got here is failure your mill gate. Take
• 0:31
  Speaker 2: them the ground where a crushole of power.
• 0:33
  Speaker 1: We might be as well with them.
• 0:37
  Speaker 2: I am an f be I agent, So Patrick, you know,
• 0:44
  Speaker 2: we usually start these episodes with some trivia. One of us,
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  Speaker 2: you know, comes up with some questions. We're throwing it
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  Speaker 2: at the other person, trying to stump them, make them
• 0:55
  Speaker 2: look like a fool on the airwaves, one of our
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  Speaker 2: great joys.
• 0:59
  Speaker 1: Yeah, we do a good job at that.
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  Speaker 2: But we're not gonna do that today because this whole
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  Speaker 2: episode basically gonna be one big ball of trivia in
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  Speaker 2: honor of summer releases from two big time directors, mister
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  Speaker 2: Steven Spielberg and Sir Christopher Nolan. I don't know if
• 1:18
  Speaker 2: he's been knighted or not, but seems like someone who
• 1:20
  Speaker 2: would be h We're gonna play a game of jeopardy.
• 1:23
  Speaker 2: Jeopardy like the game.
• 1:24
  Speaker 1: Show because we're old men and we like game shows.
• 1:28
  Speaker 2: We love games, game shows, trivia. But you know, the
• 1:32
  Speaker 2: wrinkle here is all the categories are gonna be based
• 1:36
  Speaker 2: around these two directors, and they're films little something new,
• 1:40
  Speaker 2: little twist, something we haven't done before, but we're gonna
• 1:42
  Speaker 2: try it out and see what happens. You know, we
• 1:45
  Speaker 2: like to experiment on this program.
• 1:47
  Speaker 1: So I love a good trivia episode where we just
• 1:51
  Speaker 1: you know, gamify the hell out of it. This feels
• 1:55
  Speaker 1: like it's gonna be a good one because Steven Spielberg
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  Speaker 1: Christopher Nolan. I mean, they're just two directors where they're
• 2:03
  Speaker 1: the ip.
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  Speaker 2: Yeah, they're the reason you go.
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  Speaker 1: Yeah, the directors are the brand for the movies. That
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  Speaker 1: must be a good feeling. Wouldn't that be such a
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  Speaker 1: good feeling where you know, you know that your name
• 2:15
  Speaker 1: is synonymous with quality. I guess.
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  Speaker 2: Yeah, people are coming to see what you make. You're
• 2:22
  Speaker 2: selling the tickets. Yeah.
• 2:23
  Speaker 1: People don't say I'm gonna go see that you know,
• 2:26
  Speaker 1: new sci fi conspiracy movie. They say I'm going to
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  Speaker 1: see the new Spielberg.
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  Speaker 2: Yeah, it's probably not much better. There's only a handful
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  Speaker 2: of name director where you know the director by name.
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  Speaker 1: Mm hmmm, you're like this guy.
• 2:39
  Speaker 2: I'm on board Tarantino, Paul Thomas Anderson.
• 2:42
  Speaker 1: Sam Raimi.
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  Speaker 2: I love some Sam Raimi. I don't know if everybody
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  Speaker 2: knows Sam Raimi though, No, but he's.
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  Speaker 1: In that upper echelon category of directors. I would say,
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  Speaker 1: mm hmm.
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  Speaker 2: I agree, he's on my Mount Rushmore. Yeah.
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  Speaker 1: So I'm super psyched about this episode and I think
• 2:59
  Speaker 1: a lot of fun. But before we get into our
• 3:01
  Speaker 1: game of jeopardy, let's talk a little bit about these
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  Speaker 1: two directors and the movies they have coming out. Unless
• 3:06
  Speaker 1: you live under our rock, you've probably heard and which
• 3:09
  Speaker 1: is some of you do. You're all listening to this podcast,
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  Speaker 1: So maybe you do, because ah.
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  Speaker 2: Shots fired.
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  Speaker 1: We're rock slash cave dwellers over here on this podcast.
• 3:19
  Speaker 1: We don't leave, we don't go out into the sun,
• 3:21
  Speaker 1: and you're our people listening. So I'm not you know,
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  Speaker 1: I'm not knocking that. But unless you've completely disconnected from
• 3:29
  Speaker 1: you know, the outside world, you know that these two
• 3:32
  Speaker 1: have movies on the horizon or have already come out,
• 3:35
  Speaker 1: depending on when you've listened to this. We've got both
• 3:38
  Speaker 1: Disclosure Day and the Odyssey. Are you on board for these?
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  Speaker 2: I'm about as on board as I can be with,
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  Speaker 2: you know, a movie coming out. These are both like
• 3:48
  Speaker 2: must sees for me, which maybe it's even a bad sign.
• 3:52
  Speaker 2: How how on board I am? You know, the expectations
• 3:56
  Speaker 2: are pretty high, but these are probably like my two
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  Speaker 2: my top too, summer movies, which makes me think to myself,
• 4:04
  Speaker 2: I'm like, oh, no, are these dad summer movies? Maybe
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  Speaker 2: they are, but yeah, I'm pretty into them. How about you?
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  Speaker 1: Yeah, I am too. I'm into them for different reasons.
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  Speaker 1: I'm more into Disclosure Day probably than The Odyssey. I
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  Speaker 1: know you're maybe more into The Odyssey than Disclosure Day.
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  Speaker 1: Would that be accurate?
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  Speaker 2: I don't think so. I think I'm more into Disclosure Day. Also,
• 4:23
  Speaker 2: are you okay?
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  Speaker 1: They're spectacles and like, yeah, we're talking about the directors
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  Speaker 1: themselves pull you in because you know you're getting something
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  Speaker 1: of substance. Usually when you talk about these tresores, like
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  Speaker 1: and Spielberg coming sort of back. That's one of the
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  Speaker 1: things that people have been talking about, like, oh man,
• 4:42
  Speaker 1: Spielberg's back right, Like he doesn't quite do what he's
• 4:47
  Speaker 1: doing here very often anymore, And you know, bringing in
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  Speaker 1: an alien movie sort of takes people back to the
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  Speaker 1: days of like Et and you know AI and Close Encounters,
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  Speaker 1: Close Encounters, things that he just had a had a
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  Speaker 1: heavy hand in and that live on they will live
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  Speaker 1: on in film history. Is like, you know, the great
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  Speaker 1: examples of sci fi for all humanity moving forward, you know,
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  Speaker 1: I mean really not.
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  Speaker 2: To overstate it, right, No, these guys are both like, yeah,
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  Speaker 2: architects of the summer blockbuster, right, Spielberg fifty years ago
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  Speaker 2: he's making Jaws and like which started summer movies in
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  Speaker 2: some way. And then you know, Nolan's been doing it
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  Speaker 2: for the past twenty years. Every movie, I think almost
• 5:31
  Speaker 2: every movie he comes out with has been released in
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  Speaker 2: the summer, going back to the you know, Batman movies anyway,
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  Speaker 2: and they're always like, you know, big and made for
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  Speaker 2: IMAX and made to wow you. So you know, you're
• 5:43
  Speaker 2: getting something that's not just like you know, a small,
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  Speaker 2: a small, little quaint movie. You're getting something like bombastic
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  Speaker 2: that feels like a summer movie, which is what I like.
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  Speaker 1: I love that to use the word bombastic to describe
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  Speaker 1: it because it made you think of Shaggy. It wasn't me, yeah,
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  Speaker 1: you know, and The thing is is like summer movies.
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  Speaker 1: I'm just gonna say, this is the reason why we
• 6:06
  Speaker 1: do the summer movie draft, right, Like summer movies is
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  Speaker 1: where it's at. It's like, do you want to be
• 6:12
  Speaker 1: on the main stage or do you want to be
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  Speaker 1: the supporting cast? Right, And that's what summer movies is.
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  Speaker 1: I think probably for directors, for movies in general, this
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  Speaker 1: is the main stage. Man, this is the prime time.
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  Speaker 1: This is not the late late show. This is the
• 6:29
  Speaker 1: tonight show.
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  Speaker 2: Yeah, we're going big, and I think both these guys
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  Speaker 2: have proven time after time they can deliver. You know,
• 6:36
  Speaker 2: that bets it. Both The trailers for both these movies
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  Speaker 2: haven't totally wowed be so I'm like a little hesitant,
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  Speaker 2: but my hopes, as I said, very high. I can't
• 6:46
  Speaker 2: wait to see both of them, and the Odyssey. You know,
• 6:48
  Speaker 2: obviously Imax huge for this one. I don't know, should
• 6:52
  Speaker 2: we go see this in Imax?
• 6:53
  Speaker 1: I'd see it in Imax, I will say. I'm I'm
• 6:56
  Speaker 1: increasingly coming into the shadfold of long movies. Man, two
• 7:01
  Speaker 1: fifty four I think is what this one's at. So
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  Speaker 1: three hours, that's tough. I got to plan half a
• 7:06
  Speaker 1: day plus your previews.
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  Speaker 2: Uh huh, No, your time ahead. I mean that's like
• 7:11
  Speaker 2: you're three and a half hours sitting there. That's a
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  Speaker 2: long time.
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  Speaker 1: I think that's probably one of the things that has
• 7:16
  Speaker 1: going against it, I think at this point. But it's
• 7:19
  Speaker 1: also you know, it's he's world building, so I get it.
• 7:22
  Speaker 1: You know what I mean. You can't have a spectacle
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  Speaker 1: without the spectacle.
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  Speaker 2: It's an epic, an epic.
• 7:29
  Speaker 1: Yeah, I don't know what you're talking about.
• 7:30
  Speaker 2: Though.
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  Speaker 1: The first Disclosure Day trailer that like Teaser Man, that
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  Speaker 1: wowed me. I was like, Oh, what is this man
• 7:39
  Speaker 1: where it's like Emily blunts like you know, yeah, clicking.
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  Speaker 1: I was like, oh, this might be. I don't even
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  Speaker 1: know if this is my favorite movie yet.
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  Speaker 2: But I guess I agree that one. I was like,
• 7:52
  Speaker 2: this is pretty good. I just saw versions of that
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  Speaker 2: repeatedly and nothing. There was no escalation.
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  Speaker 1: Yeah.
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  Speaker 2: Part of that is supposedly because they're like keeping things
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  Speaker 2: like tucked away, Yeah, which I appreciate. But at the
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  Speaker 2: same time, I kept seeing the trailer and as I
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  Speaker 2: saw it, it was like a little more diluted the
• 8:08
  Speaker 2: more you see it.
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  Speaker 1: That's always the tough part, Like don't give too much away,
• 8:12
  Speaker 1: but you regurgitate the same stuff, or you show stuff
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  Speaker 1: that's not as interesting because you're trying not to give
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  Speaker 1: plot points away. You know, I'd rather just stick with
• 8:21
  Speaker 1: that original teaser.
• 8:23
  Speaker 2: Keep you on your toes, grab you mm hmm. So
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  Speaker 2: thinking about these two guys together, Spielberg and Nolan, do
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  Speaker 2: you think these two directors are similar?
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  Speaker 1: And you know, I was trying to think about this.
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  Speaker 1: I feel like I want to say that Spielberg sort
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  Speaker 1: of starts with like emotion m m, whereas like Nolan
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  Speaker 1: is more about concept. Does that make sense now?
• 8:42
  Speaker 2: I think that makes total sense. You know.
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  Speaker 1: They both build to good places. It's one of the
• 8:47
  Speaker 1: reasons why they're so successful as directors. But that's where
• 8:50
  Speaker 1: they I mean, I don't know. I wouldn't say that
• 8:52
  Speaker 1: that's where their differences are, but that's where their similarities are.
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  Speaker 1: They're both they both have this like starting point where
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  Speaker 1: they hook you. And you know, me, I'm a big
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  Speaker 1: I love concept, but I also love a good story
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  Speaker 1: that you're connected to the characters. So they both have
• 9:08
  Speaker 1: those qualities, you know.
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  Speaker 2: Yeah, No, I think that's it. I mean, they're both
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  Speaker 2: obviously I think big movies. They're both you know, brands
• 9:14
  Speaker 2: unto themselves, they have very different styles. I think, like
• 9:19
  Speaker 2: you mentioned, Nolan's being much more cool and cerebral, whereas Spielberg,
• 9:24
  Speaker 2: you know, is known for kind of his warmth. They're
• 9:26
  Speaker 2: obviously at different ages and places in their career.
• 9:30
  Speaker 1: Yeah, they are different ages. But you know, I think
• 9:33
  Speaker 1: of Nolan as sort of this old soul like I
• 9:35
  Speaker 1: was telling you, I saw this interview where he doesn't
• 9:39
  Speaker 1: even have like a smartphone that speaks volumes to me,
• 9:43
  Speaker 1: you know, as a person who sort of sees how
• 9:46
  Speaker 1: a person deals with their daily life often translates into
• 9:50
  Speaker 1: the thought and care they put into their craft. And
• 9:53
  Speaker 1: I'm not saying that like having a smartphone means you
• 9:55
  Speaker 1: can't be a great creator or anything, but it's just
• 9:58
  Speaker 1: like he doesn't have time for that stuff because he's
• 10:01
  Speaker 1: thinking about his movies. Right. He's kind of that old
• 10:04
  Speaker 1: school like Spielberg, like we all come from this time
• 10:08
  Speaker 1: before technology ruled our lives to some degree, and he's
• 10:12
  Speaker 1: treating it like, well, I'm not.
• 10:14
  Speaker 2: Going to let it.
• 10:15
  Speaker 1: These ideas are coming from my heart and soul. That's
• 10:18
  Speaker 1: how I took the interview anyway from Nolan.
• 10:21
  Speaker 2: Yeah, which is super interesting and I think maybe him
• 10:23
  Speaker 2: and Spielberger a like in that way, and in terms
• 10:26
  Speaker 2: of their filmmaking, very like technologically savvy and progressive, you know,
• 10:31
  Speaker 2: in terms of making like films with effects and doing
• 10:34
  Speaker 2: different things, you know, in that way and like kind
• 10:37
  Speaker 2: of pushing the meetium forward. I think of Nolan with Imax, Yeah,
• 10:40
  Speaker 2: and then you hear something like that. Within their lives,
• 10:43
  Speaker 2: they're also like very like classical in terms of their
• 10:46
  Speaker 2: way they're thinking, you're like, you know, maybe even living
• 10:49
  Speaker 2: in the every day. So that's kind of an interesting
• 10:52
  Speaker 2: juxtaposition in some way to me, and maybe that's what
• 10:54
  Speaker 2: makes how they put things together so good.
• 10:58
  Speaker 1: If you could name an underrated movie by each director,
• 11:02
  Speaker 1: what would it.
• 11:03
  Speaker 2: Be So for Nolan, I think to me it's definitely
• 11:08
  Speaker 2: The Prestige, which is popular but not as big as
• 11:11
  Speaker 2: like some of his later movies. For those who don't know,
• 11:13
  Speaker 2: it's a movie kind of set in the late eighteen hundreds,
• 11:16
  Speaker 2: I think London, Yeah, about a rivalry between two magicians
• 11:21
  Speaker 2: who are Christian Bale and Hugh Jackman. Scarlett Johanson's also
• 11:26
  Speaker 2: in this as like the Magician's assistant. It's a movie
• 11:29
  Speaker 2: that's got a lot of like Twists and Surprises might
• 11:32
  Speaker 2: be my favorite Nolan movie. Yeah, I like this one
• 11:34
  Speaker 2: a lot. I feel like it's pretty good.
• 11:36
  Speaker 1: This is the one I would probably pick too, because
• 11:39
  Speaker 1: I I do, I like it, and this was before
• 11:41
  Speaker 1: I knew Nolan, like this, before Nolan became Nolan, I
• 11:46
  Speaker 1: think in the common vernacular or like you know, common
• 11:51
  Speaker 1: knowledge of like, oh, people know Christopher Nolan. Maybe people
• 11:54
  Speaker 1: did at the time.
• 11:55
  Speaker 2: I think he was like up and comer at that,
• 11:58
  Speaker 2: you know, still like on the at that point.
• 12:01
  Speaker 1: But this is a great example of why he is
• 12:05
  Speaker 1: who he is now and why people have elevated him
• 12:09
  Speaker 1: to a level of being the brand as I say,
• 12:12
  Speaker 1: you know, so, yeah, I would go with this. I
• 12:15
  Speaker 1: feel like it's one of the cleanest movies that he has.
• 12:19
  Speaker 1: It's still like it tells you exactly what it is,
• 12:21
  Speaker 1: but then it like fools you with like you said,
• 12:23
  Speaker 1: the twists and turns and I and I love that
• 12:26
  Speaker 1: about that.
• 12:27
  Speaker 2: Yeah, that's a good one. So if you haven't seen that,
• 12:30
  Speaker 2: that's definitely one. Spielberg is probably a little harder though
• 12:33
  Speaker 2: he has like a long filmography, so trying to pick
• 12:37
  Speaker 2: one there, I would probably pick a pretty recent one.
• 12:40
  Speaker 2: I would pick The Fableman's which he did in twenty
• 12:43
  Speaker 2: twenty two. It's kind of like autobiographical movie about his
• 12:47
  Speaker 2: life growing up and you know, the things that inspired
• 12:50
  Speaker 2: him to become a filmmaker. There's some really good parts
• 12:52
  Speaker 2: in it, including like the final shot of the movie,
• 12:55
  Speaker 2: which is like a little bit of a joke. I
• 12:58
  Speaker 2: don't know, it's pretty good. There's just some like a
• 13:00
  Speaker 2: few sequences in that movie that I'm like, have kind
• 13:02
  Speaker 2: of like stuck in my head. I think more people
• 13:05
  Speaker 2: need to check this one out.
• 13:06
  Speaker 1: I had kind of a tough time with this one
• 13:09
  Speaker 1: because there's some movies that you know, don't get talked
• 13:13
  Speaker 1: about a lot. And then I was like, well, you know,
• 13:15
  Speaker 1: do I pick one that sort of reacts with today's topic,
• 13:19
  Speaker 1: which is disclosure Day, like AI for example. Mm hmm, Yeah,
• 13:23
  Speaker 1: a lot of people know about that movie. I don't know,
• 13:25
  Speaker 1: if it gets.
• 13:26
  Speaker 2: Talked about a lot, I would call that underscene.
• 13:30
  Speaker 1: Yeah, that movie is stuck with me for a long
• 13:34
  Speaker 1: long time. When I think back to this movie, I
• 13:36
  Speaker 1: still think of scenes in this movie that man so
• 13:39
  Speaker 1: unbelievably powerful, and while it's so cool from a sci
• 13:45
  Speaker 1: fi standpoint, it's so heartbreaking from a reality like a
• 13:50
  Speaker 1: human standpoint, because you you see so much of like
• 13:55
  Speaker 1: human nature in it that it's pretty sad. It's depressing
• 13:59
  Speaker 1: in a lot of ways, and yet you know you're
• 14:01
  Speaker 1: pulled through with this like robot who wants to be
• 14:04
  Speaker 1: human so badly. If you haven't seen this, this is great.
• 14:07
  Speaker 1: It's Haley Joel Osman as a child, not as an adult, yeah.
• 14:14
  Speaker 2: When he was sixth cents age. And that movie's super interesting,
• 14:19
  Speaker 2: you know, even related to the topic today because it
• 14:21
  Speaker 2: was originally like a Stanley Kubrick project. He was going
• 14:25
  Speaker 2: to direct it and then he you know, died and
• 14:28
  Speaker 2: kind of passed it on to Steven Spielberg. Kubrick kind
• 14:33
  Speaker 2: of similar to Nolan in some ways and like the
• 14:35
  Speaker 2: way he makes movies, so it's almost you could see
• 14:39
  Speaker 2: him in that movie too. There's like some darker stuff
• 14:42
  Speaker 2: than you would typically find in a Spielberg movie.
• 14:45
  Speaker 1: Yeah, to the point where there's that cerebral element that
• 14:48
  Speaker 1: you mentioned, you know about Nolan, and I guess the
• 14:51
  Speaker 1: darkness too. I never really picked up on that, but
• 14:54
  Speaker 1: there are actually quite a few things in there that
• 14:56
  Speaker 1: are pretty dark, and you're like, doesn't feel totally spiled Berg,
• 15:00
  Speaker 1: but the execution is great.
• 15:02
  Speaker 2: Yeah, those are some good recommendations. So those are some
• 15:05
  Speaker 2: ones to watch, and also a pretty good preamble as
• 15:08
  Speaker 2: we now go into some Spielberg Nolan jeopardy. So at
• 15:18
  Speaker 2: this point we're gonna bring up our Jeopardy board, our
• 15:22
  Speaker 2: custom made Spielberg Nolan Jeopardy board. We're gonna work together
• 15:25
  Speaker 2: as a team on this one. Patrick, We're gonna see
• 15:28
  Speaker 2: if we can answer these questions. I'm gonna see how
• 15:30
  Speaker 2: much we know about Spielberg and Nolan and maybe, you know,
• 15:34
  Speaker 2: maybe we'll even learn some things in the process.
• 15:37
  Speaker 1: Yeah, who's to say. So for our.
• 15:40
  Speaker 2: Listeners, here, what we're looking at with our Jeopardy board
• 15:44
  Speaker 2: is as you would see on Jeopardy. We have five
• 15:47
  Speaker 2: different categories. Under each category there's questions worth different dollar amounts.
• 15:54
  Speaker 2: They get a little harder as you go two hundred
• 15:56
  Speaker 2: four hundred, six hundred eight hundred one thousand. So the category, Patrick,
• 16:00
  Speaker 2: why don't you read the categories for the people? Can
• 16:02
  Speaker 2: you read those all?
• 16:03
  Speaker 1: Right? Yeah? So the categories are iconic scenes you can't
• 16:08
  Speaker 1: unsee movie marketing mayhem. Their brains are weird behind the
• 16:15
  Speaker 1: scenes sequels franchises and other obligations, and two degrees of
• 16:23
  Speaker 1: Spielberg Nolan should have had therapists.
• 16:28
  Speaker 2: That one should always be on there. All right, do
• 16:31
  Speaker 2: you want to pick our first one?
• 16:34
  Speaker 1: Yeah, let's take iconic scenes you can't unsee. For two hundred,
• 16:38
  Speaker 1: Alex going easy.
• 16:40
  Speaker 2: We're hoping this is easy. Let's see the question or
• 16:43
  Speaker 2: the answer?
• 16:44
  Speaker 1: I guess.
• 16:45
  Speaker 2: In Jurassic Park, a t Rex approaches a stop jeep
• 16:48
  Speaker 2: in a rainstorm. The filmmakers realize the scene was working
• 16:52
  Speaker 2: when something unexpected started vibrating in rhythm with the dinosaur's footsteps.
• 16:58
  Speaker 1: What was it? Oh, well, that's definitely the cup on
• 17:02
  Speaker 1: the dash, the water.
• 17:05
  Speaker 2: Yeah, the glass of water.
• 17:06
  Speaker 1: Right.
• 17:06
  Speaker 2: Spielberg added the vibrating water cup after an editor noticed
• 17:10
  Speaker 2: it on set.
• 17:11
  Speaker 1: And it became one of the cinema's most iconic tension
• 17:14
  Speaker 1: building shots.
• 17:15
  Speaker 2: Wow, most iconic. All right, so we got one correct,
• 17:20
  Speaker 2: I'll choose next. I'm gonna go with movie marketing mayhem
• 17:24
  Speaker 2: for four hundred. Do you want to read this question? Answer?
• 17:27
  Speaker 1: Yeah. The marketing for The Dark Night in two thousand
• 17:30
  Speaker 1: and eight ran in an elaborate, months long alternate reality
• 17:34
  Speaker 1: game tied to the Joker character fans were sent real
• 17:39
  Speaker 1: physical items, including a phone number and a website called
• 17:42
  Speaker 1: this a reference to the Joker's campaign slogan in the film.
• 17:48
  Speaker 2: I'm gonna assume that's why so serious? Whyso serious? Dot com?
• 17:53
  Speaker 2: I don't know why so serious? That's gonna be my answer.
• 17:57
  Speaker 1: Okay, I don't know.
• 17:58
  Speaker 2: You think it's something different. I think that's on legit.
• 18:01
  Speaker 1: That sounds legit.
• 18:02
  Speaker 2: Let's see what we got, whyso serious dot com? The
• 18:07
  Speaker 2: viral campaign included cryptic clues, defaced Harvey Dent posters, and
• 18:12
  Speaker 2: eventually revealed the Joker's face in a crowded photo. We're
• 18:16
  Speaker 2: killing it.
• 18:17
  Speaker 1: That's pretty good. Surprised you got that. I don't know
• 18:19
  Speaker 1: if I would have gotten that. Dot com?
• 18:21
  Speaker 2: You don't remember why so serious?
• 18:23
  Speaker 1: Oh well yeah, yeah, all right. I'll take their brains
• 18:27
  Speaker 1: are weird. Behind the scenes for eight hundred, all.
• 18:32
  Speaker 2: Right, Spielberg has a well documented fear that was partly
• 18:36
  Speaker 2: responsible for why the mechanical Shark and Jaws barely appears
• 18:39
  Speaker 2: on screen because of kept malfunctioning. But separately, Spielberg has
• 18:44
  Speaker 2: also said his personal childhood fear directly inspired the content
• 18:48
  Speaker 2: of two of his most beloved films.
• 18:51
  Speaker 1: What was that? Fear Uh snakes?
• 18:55
  Speaker 2: Incorrect, fear of the dark slash things hiding in closets
• 19:00
  Speaker 2: under the bed. This inspired both E T The Alien
• 19:03
  Speaker 2: Hiding and Elliott's Closet and Poltergeis, which Spielberg co wrote
• 19:07
  Speaker 2: and produced.
• 19:08
  Speaker 1: See I was thinking, uh snake, So I was thinking
• 19:12
  Speaker 1: like Indiana Jones.
• 19:13
  Speaker 2: Yeah, which made sense. Yeah, all right, our first incorrect.
• 19:19
  Speaker 2: I'll take sequels, franchises and other obligations for six hundred.
• 19:25
  Speaker 1: Spielberg was originally set to direct this massive sci fi
• 19:30
  Speaker 1: franchise film in the early two thousands, but passed, handing
• 19:34
  Speaker 1: it off to then lesser known director who turned it
• 19:37
  Speaker 1: into a massive hit. The film was the first in
• 19:40
  Speaker 1: a franchise about robots that disguised themselves as everyday vehicles.
• 19:46
  Speaker 1: Oh my god, if you don't get this.
• 19:47
  Speaker 2: I'm yeah, I'm glad the second sentence was in there.
• 19:50
  Speaker 2: I would have never got it. But we were just
• 19:52
  Speaker 2: talking about these guys, the Transformers.
• 19:55
  Speaker 1: That's right, Transformers. Two thousand and seven. Spielberg produced it,
• 20:00
  Speaker 1: but pass on directing. Michael Bay directed it instead.
• 20:04
  Speaker 2: Sadly, now we've got Michael Bay forever.
• 20:08
  Speaker 1: Yeah, Michael Bay. All right, I'll take two degrees of Spielberg, Nolan,
• 20:13
  Speaker 1: I'm kind of interested in this category for eight hundred.
• 20:17
  Speaker 2: I thought you were going to go a thousand. Nolan
• 20:19
  Speaker 2: cited Spielberg's work is a major influence on Interstellar, specifically
• 20:24
  Speaker 2: calling out this Spielberg film as the emotional template he
• 20:28
  Speaker 2: wanted to capture, a story of an ordinary person whose
• 20:31
  Speaker 2: life is upended by contact with something incomprehensible and vast.
• 20:37
  Speaker 1: I really don't know what that is.
• 20:41
  Speaker 2: I think it's Close Encounters of the Third Kind. Oh yeah,
• 20:45
  Speaker 2: because you know space, That's what I think.
• 20:48
  Speaker 1: And his life is upended, he sees the UFO. You're
• 20:52
  Speaker 1: probably right, let's go with that.
• 20:55
  Speaker 2: Close Encounters Are the Third Kind nineteen seventy seven. Nolan's
• 20:59
  Speaker 2: specific referenced it in interviews as the spiritual predecessor to
• 21:04
  Speaker 2: what he was trying to do with Interstellar.
• 21:07
  Speaker 1: Yeah. In my head, like, I don't even connect those
• 21:09
  Speaker 1: two movies, but I guess it makes sense when he
• 21:13
  Speaker 1: describes it that way. I guess it's kind of like
• 21:16
  Speaker 1: very similar in that way, two very different movies. Yeah,
• 21:20
  Speaker 1: although I do love Interstellar, you know, I've talked about that.
• 21:24
  Speaker 2: That's your favorite. Nolan isn't it.
• 21:25
  Speaker 1: That's yeah, that's definitely my favorite Nolan.
• 21:29
  Speaker 2: Let's stick with two degrees of Spielberg Nolan and let's
• 21:32
  Speaker 2: do a thousand.
• 21:33
  Speaker 1: Let's get nuts, let's get crazy. Both directors share an
• 21:37
  Speaker 1: unusual Oscar distinction. Spielberg was not nominated for Best Director
• 21:42
  Speaker 1: for Jawser Raiders two Best Picture nominees. Nolan was not
• 21:47
  Speaker 1: nominated for Best Director for four acclaimed films that were
• 21:50
  Speaker 1: either nominated for Best Picture or DGA nominated. Name any
• 21:55
  Speaker 1: two of Nolan's four films that received Best Picture recognition
• 22:00
  Speaker 1: but no personal Best Director Oscar nomination for Nolan. That's
• 22:04
  Speaker 1: definitely worth a thousand.
• 22:06
  Speaker 2: Name any two. I'm gonna say one of them is inception,
• 22:12
  Speaker 2: and one of them is, uh, what was that movie
• 22:16
  Speaker 2: I took in.
• 22:16
  Speaker 1: The draft, Dunkirk?
• 22:17
  Speaker 2: Well that was like about the war, Yeah, Dunkirk. Okay,
• 22:21
  Speaker 2: so I'll say inception in Dunkirk. That sounds pretty good.
• 22:24
  Speaker 1: I think, oh, Memento, The Dark Knight, Inception. Those were
• 22:30
  Speaker 1: the three.
• 22:31
  Speaker 2: No Dunkirk, No Dunkirk.
• 22:33
  Speaker 1: That's definitely a complicated.
• 22:35
  Speaker 2: Uh yeah, question.
• 22:37
  Speaker 1: All right, Well, let's go to iconic scenes you can't
• 22:40
  Speaker 1: unsee for a thousand.
• 22:42
  Speaker 2: In Schindler's List, an otherwise black and white film, Spielberg
• 22:46
  Speaker 2: uses color exactly once for a specific narrative purpose. What
• 22:51
  Speaker 2: is the color used, what is it applied to? And
• 22:55
  Speaker 2: what happens to that image later in the film.
• 22:57
  Speaker 1: God, I don't remember it. I think it's red. Yeah,
• 23:02
  Speaker 1: I thought it was when someone was shot.
• 23:05
  Speaker 2: I thought it was like a kid in like a
• 23:08
  Speaker 2: red dress, like stop wearing something red. But I don't
• 23:12
  Speaker 2: know what happens to that image later in the film.
• 23:15
  Speaker 1: Yeah, I don't. I only know the color is red.
• 23:18
  Speaker 2: Ah, okay, red the.
• 23:20
  Speaker 1: Code of the little girl in a ghetto liquidation scene. Later,
• 23:25
  Speaker 1: Schindler sees her red coat on the cart of bodies.
• 23:27
  Speaker 1: That's right, the moment that fully breaks him. It's Spielberg's
• 23:33
  Speaker 1: most deliberate use of symbolic color in his career.
• 23:37
  Speaker 2: We were close once. They like describe it. I can
• 23:39
  Speaker 2: see it. Yeah, very deliberate and powerful. Yeah, we're still there.
• 23:44
  Speaker 2: Are we got two thousand dollars we've missed you know,
• 23:48
  Speaker 2: I guess we've missed three. All right. I'll go with
• 23:52
  Speaker 2: movie marketing mayhem for six hundred.
• 23:56
  Speaker 1: All right. Spielberg's et had one of the most effective
• 24:00
  Speaker 1: tagline and image combinations in Blockbuster history. The famous poster
• 24:04
  Speaker 1: image two fingers touching across a starry background was inspired
• 24:09
  Speaker 1: by a specific painting by this Renaissance artist.
• 24:13
  Speaker 2: Guessing It's starry night by Van Go. I'm glad they
• 24:16
  Speaker 2: didn't ask me the tagline because I was like, I
• 24:18
  Speaker 2: don't know what the tagline.
• 24:20
  Speaker 1: You know, one could say while we're playing this game
• 24:23
  Speaker 1: that we've completely screwed up because you said, what is
• 24:27
  Speaker 1: I know, starry night?
• 24:29
  Speaker 2: Ken Jennings would be like, sorry, can't accept it.
• 24:32
  Speaker 1: I mean, I know our listeners right now. I apologize
• 24:35
  Speaker 1: because if any of you are Jeopardy fans.
• 24:37
  Speaker 2: Throwing yourself out a window. Ah, but who is Van Go?
• 24:41
  Speaker 1: Ah?
• 24:42
  Speaker 2: Ah?
• 24:43
  Speaker 1: Michelangelo specifically the creation of Adam from the sixteen Chapel Ceiling.
• 24:49
  Speaker 2: Okay, well I get it with the ets finger yeah,
• 24:52
  Speaker 2: I was thinking of something totally different. They threw me
• 24:55
  Speaker 2: off with the starry background. It too fun home we
• 24:59
  Speaker 2: are really that was the SCARIESTDT I've ever heard. We're
• 25:02
  Speaker 2: really on a downslide.
• 25:04
  Speaker 1: Here, Yeah, I mean, this is good trivia, This is
• 25:07
  Speaker 1: stuff we would you know. I like finding out things
• 25:10
  Speaker 1: that I didn't know before we're learning their brains are weird.
• 25:15
  Speaker 1: Behind the scenes. For four hundred, all right.
• 25:18
  Speaker 2: Spielberg has said he got the idea for the Indiana
• 25:21
  Speaker 2: Jones franchise from this other legendary director over a sand
• 25:25
  Speaker 2: castle building conversation in Hawaii right after the stressful release
• 25:29
  Speaker 2: of nineteen forty one. Name the director, Oh this is uh,
• 25:35
  Speaker 2: what's his face? The guy Star Wars George Lucas. Lucas,
• 25:41
  Speaker 2: thank you, Yeah you said Star Wars. You knew, George Lucas.
• 25:46
  Speaker 2: The two are vacationing together in Hawaii during the opening
• 25:50
  Speaker 2: weekend of nineteen forty one, and Lucas pitched Spielberg his
• 25:53
  Speaker 2: idea for a globe trotting archaeologist adventure. Let's go with sequels, franchises,
• 25:59
  Speaker 2: and other obligations. For two hundred, Spielberg has directed films
• 26:04
  Speaker 2: in two of Hollywood's biggest franchises. One is Indiana Jones,
• 26:08
  Speaker 2: the other involves genetically resurrected prehistoric animals. Name both franchises
• 26:13
  Speaker 2: and how many films Spielberg directed in each.
• 26:17
  Speaker 1: Oh, that part's hard.
• 26:19
  Speaker 2: Yeah, that's kind of messed up. In Indiana Jones, he
• 26:26
  Speaker 2: did four. In Jurassic Park, he did two. Okay, I
• 26:30
  Speaker 2: think that's right. It's that right to you.
• 26:33
  Speaker 1: Uh maybe three he.
• 26:35
  Speaker 2: Did the three original Indiana Jones, then he did that
• 26:38
  Speaker 2: the Crystal Skull. Yeah, but he didn't do the last
• 26:41
  Speaker 2: one where he was super old, and that lost me
• 26:44
  Speaker 2: the box office draft. You got it right, I am.
• 26:50
  Speaker 2: I'm back.
• 26:52
  Speaker 1: I guess I didn't even really read that for the audience,
• 26:54
  Speaker 1: but I should have probably, Well, they know it's correct.
• 26:57
  Speaker 1: So yeah, I feel good. Let's go was movie marketing
• 27:01
  Speaker 1: mayhem for a thousand, Let's try to knock that guy
• 27:05
  Speaker 1: off the.
• 27:06
  Speaker 2: Board, sweeten the pot. When Jurassic Park was released in
• 27:10
  Speaker 2: nineteen ninety three, the merchandise licensing blitz that accompanied it
• 27:15
  Speaker 2: was unprecedented. Spielberg's team made a deliberate choice to include
• 27:19
  Speaker 2: a specific type of product in the film's own plot,
• 27:23
  Speaker 2: essentially making the movie a meta commentary on its own marketing.
• 27:26
  Speaker 2: What product category appears in the film as a plot point.
• 27:31
  Speaker 1: Well, like, a part of me wants to say the jeep,
• 27:34
  Speaker 1: but that's not it, and I'm trying to think of
• 27:36
  Speaker 1: what it is. Now, let's just say jeep. I'm probably
• 27:39
  Speaker 1: got it wrong.
• 27:40
  Speaker 2: But Jurassic Park merchandise, it's just jurass Park merchandise theme
• 27:46
  Speaker 2: park gift shop items. The film literally shows JP branded hats, mugs,
• 27:52
  Speaker 2: and souvenirs in the park's gift shop, a self aware
• 27:55
  Speaker 2: nod to the real merchandise machine Spielberg knew would follow
• 28:00
  Speaker 2: of a trick question there, Yeah, it is all right.
• 28:04
  Speaker 2: I'm gonna go with iconic scenes you can't unsee. For
• 28:08
  Speaker 2: six hundred, Spielberg.
• 28:11
  Speaker 1: Shot the D day opening of Saving Private Ryan with
• 28:14
  Speaker 1: a specific camera technique to make it feel like documentary
• 28:18
  Speaker 1: news footage. What did he do to the camera lenses
• 28:21
  Speaker 1: before filming?
• 28:23
  Speaker 2: What did he do to the camera lenses before filming?
• 28:28
  Speaker 2: I want to say, like he rubbed him with dirt,
• 28:32
  Speaker 2: Like made him dirty?
• 28:34
  Speaker 1: All right, I think that's a legit. Ah. So he
• 28:38
  Speaker 1: stripped the lens coating, desaturated, removed the anti reflective coating
• 28:42
  Speaker 1: to create a harsher, more bleached out look, and used
• 28:46
  Speaker 1: handheld cameras throughout.
• 28:49
  Speaker 2: Interesting, that's hard.
• 28:50
  Speaker 1: Yeah, in a way, you were kind of right. He
• 28:52
  Speaker 1: made it dirty.
• 28:54
  Speaker 2: He made it dirty.
• 28:57
  Speaker 1: Ar Layman's view of what happened. All right, let's do
• 29:02
  Speaker 1: two degrees of Spielberg Nolan for two hundred. I need
• 29:05
  Speaker 1: something easy on this one.
• 29:07
  Speaker 2: Sometimes you just got to get the juice gone. Both
• 29:09
  Speaker 2: directors have made films centered on real historical catastrophes that
• 29:13
  Speaker 2: killed thousands of people. Spielberg's is Shindler's List Holocaust. Nolan's
• 29:19
  Speaker 2: is Oppenheimer The Atomic Bomb. What do both films have
• 29:22
  Speaker 2: in common in terms of how their directors approached the
• 29:26
  Speaker 2: subject matter? He's getting harder.
• 29:31
  Speaker 1: I think this is a hard category to be honest
• 29:33
  Speaker 1: with you. Yeah, I'm going for the two hundred, and
• 29:36
  Speaker 1: the two hundred is difficult.
• 29:38
  Speaker 2: Mm hmm.
• 29:39
  Speaker 1: How they approach the subject matter? Well, for one, I
• 29:43
  Speaker 1: haven't seen Oppenheimer, so that's kind of tough for me.
• 29:46
  Speaker 1: What would you say as to how they approach the
• 29:48
  Speaker 1: subject matter? You've seen both of these.
• 29:50
  Speaker 2: Right, Yeah, Now that I'm thinking about it, I'm like,
• 29:52
  Speaker 2: maybe the answer is in the titles. You know, they
• 29:55
  Speaker 2: both it's through the eyes of like one person.
• 29:58
  Speaker 1: Oh, it's through the eyes of the Yes, it's shown
• 30:02
  Speaker 1: through the eyes of the antagonists. Really of history Schindler was,
• 30:08
  Speaker 1: I mean it was his list.
• 30:09
  Speaker 2: He's working with the Nazis.
• 30:10
  Speaker 1: Yeah, right, Oppenheimer, he's creating the atomic bomb. You know,
• 30:14
  Speaker 1: he's not the one stopping it. Or I don't know
• 30:18
  Speaker 1: what you would call that.
• 30:19
  Speaker 2: Yeah, let's go with that. We were way off.
• 30:23
  Speaker 1: Yeah.
• 30:23
  Speaker 2: So both are shot in the hybrid style, mixing black
• 30:26
  Speaker 2: and white and color photography. Schindler's list is mostly black
• 30:29
  Speaker 2: and white with selective color. Oppenheimer uses both formats, though
• 30:33
  Speaker 2: we could also accept refusal of conventional Hollywood heroism as
• 30:38
  Speaker 2: an answer, which is what I was saying. Yeah, so
• 30:41
  Speaker 2: I'm gonna give that to you. Okay.
• 30:45
  Speaker 1: I like the way it worded it better than the
• 30:47
  Speaker 1: way I worded. I worded as a human being. It
• 30:49
  Speaker 1: worded it as a robot.
• 30:51
  Speaker 2: Yeah, I agree. It seems like we've had success with sequels, franchises,
• 30:56
  Speaker 2: and other obligations, So I'm going to take that for
• 30:58
  Speaker 2: a thousand.
• 31:00
  Speaker 1: After the disappointment of nineteen forty one from nineteen seventy nine,
• 31:07
  Speaker 1: his one true box office flop, Spielberg made a very
• 31:11
  Speaker 1: deliberate commercial comeback with Raiders of the Lost Arc. Nineteen
• 31:15
  Speaker 1: forty one was so troubled that Spielberg said he learned
• 31:19
  Speaker 1: a specific lesson about filmmaking that he carried with him
• 31:22
  Speaker 1: ever after. What did he say the film taught him?
• 31:26
  Speaker 2: Ugh, I'm gonna say it taught him not to do comedy.
• 31:30
  Speaker 2: Nineteen forty one's kind of a comedy, So okay, don't
• 31:34
  Speaker 2: do comedy.
• 31:35
  Speaker 1: Ah, That spectacle without emotional grounding doesn't work ah, Or
• 31:43
  Speaker 1: that he couldn't simply pile up gags and set pieces
• 31:46
  Speaker 1: without a human story at the center. He has called
• 31:49
  Speaker 1: nineteen forty one the film that taught him restraint in
• 31:52
  Speaker 1: the importance of character.
• 31:54
  Speaker 2: Good lesson, good, lesson.
• 31:56
  Speaker 1: I was close. I mean you were close with the
• 31:58
  Speaker 1: comedy part. Yeah, all right, So let's go with their
• 32:03
  Speaker 1: brains are weird behind the scenes for two hundred, all right.
• 32:07
  Speaker 2: Christopher Nolan famously does not use a smartphone or email,
• 32:11
  Speaker 2: communicating primarily through this old fashioned method. He also reportedly
• 32:16
  Speaker 2: does not allow chairs on his film sets, insisting cast
• 32:19
  Speaker 2: and cruse stand throughout the shoot. So I guess the
• 32:22
  Speaker 2: question is what is the old fashioned method that he
• 32:24
  Speaker 2: communicates through.
• 32:26
  Speaker 1: He still has a flip phone.
• 32:28
  Speaker 2: You're going with flip phone?
• 32:29
  Speaker 1: I guess that's not really old fashion, but no, that
• 32:33
  Speaker 1: sounds what is writing letters in a flip phone?
• 32:38
  Speaker 2: Oh?
• 32:38
  Speaker 1: Landline phones? Facts? He uses a landline and fax machine.
• 32:43
  Speaker 2: It's a flip phone, landline. I'll take two degrees of
• 32:49
  Speaker 2: Spielberg Nolan for four hundred.
• 32:52
  Speaker 1: Spielberg produced and Nolan directed films that both starred the
• 32:56
  Speaker 1: same actor playing a man who gets stranded somewhere he
• 33:00
  Speaker 1: desperately needs to escape from. One in an airport and
• 33:04
  Speaker 1: one in a fifth dimensional bookcase. Name the actor and
• 33:08
  Speaker 1: both films.
• 33:09
  Speaker 2: I can think of the movies, but I can't think
• 33:12
  Speaker 2: of the movies, or I can't think of the actor
• 33:15
  Speaker 2: because the Terminal is the airport and then Interstellar is
• 33:19
  Speaker 2: the bookcase. But who's the same actor. I feel like
• 33:22
  Speaker 2: this answer is going to be wrong because I think
• 33:24
  Speaker 2: of McConaughey and I think of Hanks. Unless I've got
• 33:28
  Speaker 2: the movies wrong.
• 33:29
  Speaker 1: I don't think it's supposed to be the same actor.
• 33:33
  Speaker 1: Like the way it's worded is this guy is playing
• 33:37
  Speaker 1: a man who could strand somewhere he desperately needs to
• 33:39
  Speaker 1: escape from. I don't think it's so.
• 33:41
  Speaker 2: You think the answer is like The Terminal, Tom Hanks,
• 33:46
  Speaker 2: Interstellar Matthew McConaughey.
• 33:47
  Speaker 1: Yeah, correct answer. This is a trick question. The actor
• 33:52
  Speaker 1: is not the same The Terminal stars Tom Hanks, Interstellar
• 33:56
  Speaker 1: stars Matthew McConaughey. Award Points for catching the misdirection. That's awful.
• 34:02
  Speaker 2: What was that?
• 34:03
  Speaker 1: For four hundred?
• 34:04
  Speaker 2: I don't think they can do that?
• 34:06
  Speaker 1: Right?
• 34:07
  Speaker 2: Or do we just mess with you with this question?
• 34:09
  Speaker 2: That's really weird?
• 34:10
  Speaker 1: Yeah, all right, listen, this is what I'm gonna do.
• 34:15
  Speaker 1: Iconic scenes you can't unsee. For eight hundred, you got this.
• 34:20
  Speaker 2: The ending of The Dark Knight, in which Batman takes
• 34:22
  Speaker 2: the blame for Harvey Dent's crimes, involves him telling a
• 34:25
  Speaker 2: lie to protect Gotham's hope. Nolan has said the scene's
• 34:29
  Speaker 2: emotional power comes from a specific literary concept. What Greek
• 34:34
  Speaker 2: term describes a heroic figure who falls by a flaw,
• 34:38
  Speaker 2: which is what Dent becomes.
• 34:41
  Speaker 1: This is why I would never do well on Jeopardy.
• 34:47
  Speaker 2: I have no idea say any Greek word feta, a
• 34:53
  Speaker 2: tragic hero hamartia. I don't know how you say that
• 34:57
  Speaker 2: the fatal flaw. I thought of the word fatal flaw,
• 34:59
  Speaker 2: but I'm like, what's the I don't know this term.
• 35:02
  Speaker 2: You can also accept Harvey Dent is framed as a
• 35:05
  Speaker 2: classic tragic hero. So it's not feta.
• 35:08
  Speaker 1: It's not feta cheese.
• 35:11
  Speaker 2: Let me do movie marketing mayhem For two hundred The
• 35:14
  Speaker 2: original teaser.
• 35:16
  Speaker 1: Poster for Jaws, designed by artist Roger Castle, shows a
• 35:20
  Speaker 1: massive shark rising toward a loan swimmer from below. This
• 35:24
  Speaker 1: image became so iconic it essentially invented this specific marketing concept,
• 35:29
  Speaker 1: still used today.
• 35:31
  Speaker 2: This specific marketing concept, the concept. What is the concept?
• 35:40
  Speaker 1: The concept? A lot of these are like super tricky?
• 35:43
  Speaker 2: Yeah, do you have it? Do you have an idea? No?
• 35:47
  Speaker 1: I don't.
• 35:48
  Speaker 2: Okay, I feel like we should know this, but it
• 35:50
  Speaker 2: seems I'm just like not wrapping my brain around it.
• 35:54
  Speaker 2: This is a scam.
• 36:00
  Speaker 1: We're overthinking it a little bit. Yeah, the summer blockbuster
• 36:06
  Speaker 1: teaser poster, the concept of the one sheet movie poster
• 36:09
  Speaker 1: as a cultural event. We could also accept the idea
• 36:13
  Speaker 1: of leading with a threat scale imagery and a single
• 36:17
  Speaker 1: dramatic poster.
• 36:18
  Speaker 2: I mean, yeah, it invented the I guess it invented
• 36:23
  Speaker 2: the summer blockbuster, so it would invent the summer blockbuster poster. Yeah,
• 36:28
  Speaker 2: dumb question. I don't like it.
• 36:30
  Speaker 1: How about sequels, franchises, and other obligations?
• 36:34
  Speaker 2: For eight hundred, Nolan's films exist almost entirely as standalone stories,
• 36:39
  Speaker 2: except for his Dark Knight trilogy and one other instance,
• 36:43
  Speaker 2: where two of his films share an unlikely thematic and
• 36:47
  Speaker 2: structural parallel, so striking that fans call them a de
• 36:51
  Speaker 2: facto dip. Tyke named the two films.
• 36:56
  Speaker 1: I don't know. I'd say maybe Inception and Tenant something
• 37:00
  Speaker 1: like that. Okay, I don't know.
• 37:01
  Speaker 2: Ah. Oh. The Prestige and Inception both involve elaborate deceptions
• 37:08
  Speaker 2: with multiple layers of misdirection, and Nolan has acknowledged the
• 37:12
  Speaker 2: structural similarity.
• 37:14
  Speaker 1: Which makes a lot of sense because Prestige was very
• 37:17
  Speaker 1: popular and then Inception obviously much later. I guess not
• 37:22
  Speaker 1: much later. It's only four years difference between those two movies.
• 37:25
  Speaker 2: Yeah, surprising. All right, we've got only what we six
• 37:30
  Speaker 2: six left here. Let's do. Let's do iconic scenes you
• 37:35
  Speaker 2: can unsee for four hundred.
• 37:38
  Speaker 1: In Inception, the film's most visually dazzling sequence involves a
• 37:42
  Speaker 1: hallway that rotates three hundred and sixty degrees as characters
• 37:46
  Speaker 1: fight inside it. Nolan insisted on building a real rotating
• 37:50
  Speaker 1: set rather than using CGI. How long did it reportedly
• 37:54
  Speaker 1: take to construct?
• 37:56
  Speaker 2: I mean, this is just a shot in the dark.
• 37:58
  Speaker 2: Guess obviously, I'm gonna say it took three months.
• 38:01
  Speaker 1: All right? Oh, oh, three months, nice, ninety days in
• 38:08
  Speaker 1: and out. That's a good guess. I'm gonna take movie
• 38:13
  Speaker 1: marketing mayhem for eight.
• 38:14
  Speaker 2: Hundred, all right. Closing out the category, Nolan's Dunkirk was
• 38:18
  Speaker 2: marketed almost entirely without showing any famous actor's faces in
• 38:22
  Speaker 2: its trailers, leaning instead on sound, atmosphere, and imagery. This
• 38:27
  Speaker 2: was a deliberate choice, reflecting Nolan's belief that the film's
• 38:31
  Speaker 2: real star was something other than its cast. What did
• 38:34
  Speaker 2: he say The star of the film was, Uh, the set.
• 38:39
  Speaker 2: I would say the event itself, the Dunkirk evacuation, the
• 38:45
  Speaker 2: soldiers as a collective. Nolan said the film was an
• 38:48
  Speaker 2: experience rather than a character story, and market it that way.
• 38:52
  Speaker 2: The sets, the setting, the I would take I would
• 38:56
  Speaker 2: accept that as the event, the Dunkirk evacuation, right.
• 39:00
  Speaker 1: Would, because that's kind of what I intended. I mean,
• 39:02
  Speaker 1: it's a little bit more elaborate what the answer is giving, But.
• 39:06
  Speaker 2: All right, I'm gonna go with their brains are weird.
• 39:10
  Speaker 2: Behind the scenes for six hundred.
• 39:13
  Speaker 1: Nolan shoots all of his films on photochemical film rather
• 39:17
  Speaker 1: than digital. He's such a strong advocate that he personally
• 39:21
  Speaker 1: lobbied studios to maintain film as a viable format. He
• 39:27
  Speaker 1: made this specific case to the CEO of what major
• 39:30
  Speaker 1: studio who had been planning to eliminate film entirely.
• 39:35
  Speaker 2: I'm gonna go with Warner Brothers. I think he used
• 39:38
  Speaker 2: to work for Warner Brothers.
• 39:39
  Speaker 1: A Paramount Pictures. He lobbied Paramount CEO to keep maintaining
• 39:46
  Speaker 1: film stock. Other studios followed except any reasonable version. Answer
• 39:52
  Speaker 1: except for Warner Brothers. That one is not reasonable. All right,
• 39:58
  Speaker 1: Let's try sequels, franchises, and other obligations for four hundred.
• 40:03
  Speaker 2: Christopher Nolan famously does not make sequels, with one notable
• 40:08
  Speaker 2: exception his Batman trilogy. When he was done with it,
• 40:11
  Speaker 2: he made a very public statement that he would never
• 40:14
  Speaker 2: return to Gotham. He kept that promise, but DC has
• 40:18
  Speaker 2: since rebooted the character with a different director who directed
• 40:22
  Speaker 2: the twenty twenty two Batman film that followed Nolan's trilogy.
• 40:26
  Speaker 1: I remember there being a different director, but I don't
• 40:28
  Speaker 1: remember exactly who it was. Matt Reed.
• 40:32
  Speaker 2: Matt Reed's right, The Batman twenty twenty two starring Robert Pattinson.
• 40:37
  Speaker 2: All Right, I'm going with their brains are weird behind this? No,
• 40:41
  Speaker 2: I'm going with two degrees of Spielberg Nolan for six
• 40:43
  Speaker 2: hundred already failed that their brains are weird behind the scenes.
• 40:47
  Speaker 1: A couple times, both directors have made films about magicians
• 40:51
  Speaker 1: or people who use elaborate illusions to deceive others. Spielberg's
• 40:56
  Speaker 1: version starred appropriately a man named Frank, Nolan's starred two
• 41:02
  Speaker 1: rival magicians in Victorian England. Name both films, well, we
• 41:09
  Speaker 1: know one is The Prestige.
• 41:11
  Speaker 2: What's Spielberg's a man named Frank? Do you know what
• 41:15
  Speaker 2: that is?
• 41:17
  Speaker 1: Magicians?
• 41:21
  Speaker 2: Frank?
• 41:23
  Speaker 1: Oh?
• 41:23
  Speaker 2: Oh, okay, I think I got it. I think it's
• 41:26
  Speaker 2: catch me if you can. He kind of, you know,
• 41:29
  Speaker 2: he pretends to be elaborate deceive his others illusions, So
• 41:33
  Speaker 2: catch me if you can. In The Prestige, what is.
• 41:37
  Speaker 1: Catch me if you can? Two thousand and two Frank
• 41:40
  Speaker 1: Abagnale Junior as master con artist, illusionist and The Prestige, Yeah,
• 41:45
  Speaker 1: rival magicians played by Christian Bale and Hugh Jackman, which
• 41:48
  Speaker 1: you've already talked about. That's good.
• 41:50
  Speaker 2: That was a good get. That was hard. Our score
• 41:53
  Speaker 2: is five thousand dollars. I think we've gotten more than
• 41:56
  Speaker 2: we've missed.
• 41:57
  Speaker 1: Sor right, So their brains are weird. Behind the scene
• 42:00
  Speaker 1: for one thousand.
• 42:02
  Speaker 2: Last category, Let's see if we can finish strong. During
• 42:05
  Speaker 2: the making of Oppenheimer, Nolan achieved the practical effects equivalent
• 42:09
  Speaker 2: of a moon landing filming the Trinity atomic bomb test
• 42:13
  Speaker 2: without CGI. He and cinematographer Hoyat Van Hoyetoma used a
• 42:20
  Speaker 2: combination of real chemical reactions force perspective in this specialized
• 42:25
  Speaker 2: film format, the first time it had ever been used
• 42:29
  Speaker 2: for a fictional narrative feature.
• 42:31
  Speaker 1: To capture it, I don't know, a specialized film format.
• 42:35
  Speaker 2: Yeah, I don't know. I was thinking Imax, but I'm like,
• 42:37
  Speaker 2: that's not the first time it's ever been used Imax Filmax. Specifically,
• 42:43
  Speaker 2: he shot portions on black and white Imax film. The
• 42:47
  Speaker 2: first fictional film ever shot that way, black and white
• 42:50
  Speaker 2: Imax scam.
• 42:52
  Speaker 1: Question, why does it say the first fictional film.
• 42:56
  Speaker 2: Maybe there was nonfiction documentary shot that way.
• 43:00
  Speaker 1: Okay, it was hard.
• 43:07
  Speaker 2: It was harder than I expected.
• 43:09
  Speaker 1: That was a tough, tough, tough game of jeopardy.
• 43:13
  Speaker 2: Yeah. It started off I was like, Ah, we're gonna
• 43:15
  Speaker 2: kill this, and then quickly went downhill.
• 43:18
  Speaker 1: Yeah, it became so difficult that I realized that I'm
• 43:22
  Speaker 1: never gonna realize my Jeopardy dream.
• 43:26
  Speaker 2: Well, that's it.
• 43:27
  Speaker 1: I always saw to myself I could do Wheel of Fortune,
• 43:30
  Speaker 1: but Jeopardy is tough.
• 43:32
  Speaker 2: Yeah, so were we suck at Jeopardy? We know nothing
• 43:36
  Speaker 2: about Spielberg and Nolan, but you know, hopefully we all
• 43:40
  Speaker 2: learned a little something through that.
• 43:43
  Speaker 1: Yeah, humility, we live little humility.
• 43:48
  Speaker 2: Maybe a lesson we needed. Mm hmmmm, Well to wrap
• 43:52
  Speaker 2: things up on you know, the end of each movies
• 43:56
  Speaker 2: in marketing thing we like to do now is kind
• 43:58
  Speaker 2: of share an upcoming movie piece, marketing movie news items something.
• 44:04
  Speaker 2: It's kind of smacked into our radar. So what's on
• 44:08
  Speaker 2: your hype watch right now?
• 44:10
  Speaker 1: Patrick, Well, I just mentioned to you that I saw
• 44:12
  Speaker 1: this trailer just today. Brad Pitt has this movie coming
• 44:16
  Speaker 1: out about him and a dog. He's like a Special
• 44:19
  Speaker 1: Forces type of guy. He's got this dog. They're a
• 44:23
  Speaker 1: duo Heart of the Beast.
• 44:25
  Speaker 2: It's like a survival tale, isn't it.
• 44:28
  Speaker 1: Yeah? And you know, I think somewhere in the trailer
• 44:31
  Speaker 1: says life isn't about who you live for, it's who
• 44:34
  Speaker 1: you die for. Something along those lines.
• 44:36
  Speaker 2: It's deep.
• 44:37
  Speaker 1: Yeah, And I don't know, looks good. This seems like
• 44:40
  Speaker 1: a good Brad Pitt movie. Surprisingly, I don't like dog movies.
• 44:44
  Speaker 1: I mentioned if they killed the dog in the movie,
• 44:46
  Speaker 1: I'm done And I can't make out from the trailer
• 44:49
  Speaker 1: if it's going to be that movie, but definitely looks
• 44:52
  Speaker 1: like it might be a interesting story.
• 44:55
  Speaker 2: Do you think people are gonna get that confused with
• 44:57
  Speaker 2: the Dog stars? But what the dogs star? Did you
• 45:00
  Speaker 2: see the preview for that coming out beginning a September,
• 45:02
  Speaker 2: end of August something like that. It's like a post
• 45:05
  Speaker 2: apocalyptic thing with Josh Brolin and there's a dog in
• 45:08
  Speaker 2: it at some point.
• 45:10
  Speaker 1: Oh really, there's something to that. You know that there
• 45:13
  Speaker 1: needs to be more of those movies out there, I suppose.
• 45:16
  Speaker 2: Yeah, I'm just glad the dogs are, you know, getting
• 45:18
  Speaker 2: the work. Other people are putting the dogs to work again.
• 45:21
  Speaker 1: Yeah, what do you got? What's going on in the
• 45:25
  Speaker 1: world of shad Hype?
• 45:29
  Speaker 2: Well? I got another trailer? So I recently went to
• 45:32
  Speaker 2: see Back Rooms, which I told you about supporting my
• 45:36
  Speaker 2: box office movie Draft Team. But before that movie, I
• 45:40
  Speaker 2: got served a whopping nine trailers.
• 45:43
  Speaker 1: Nine I kid you not, that's insane.
• 45:46
  Speaker 2: I had to like write them down during because they
• 45:48
  Speaker 2: were showing so many, I'm like, I gotta keep tracks.
• 45:50
  Speaker 2: I remember all these, but the most interesting one was
• 45:54
  Speaker 2: probably the teaser trailer for the new Resident Evil movie,
• 45:59
  Speaker 2: which is coming out in September. This normally wouldn't be
• 46:02
  Speaker 2: super interesting to me, but it's from the writer director
• 46:06
  Speaker 2: who gave us Barbarian and Weapons, Zach Craiger. This guy's
• 46:10
  Speaker 2: got the juice.
• 46:11
  Speaker 1: Man.
• 46:11
  Speaker 2: I'm interested to see what he does next. If that
• 46:13
  Speaker 2: means checking out a Resident Evil movie, I'll do it.
• 46:16
  Speaker 2: Kind Of curious because of those other movies, which you know,
• 46:20
  Speaker 2: kind of defied expectation a little bit. I'm interesting to
• 46:22
  Speaker 2: see what he has up his sleeve with this one,
• 46:26
  Speaker 2: what he'll do with this. You know, we already got
• 46:27
  Speaker 2: a Resident Evil. We've got a couple Resident Evil movies before.
• 46:31
  Speaker 2: Curious to see what he'll do differently.
• 46:33
  Speaker 1: It's funny that there were nine movies you started taking notes.
• 46:37
  Speaker 1: I do love that the sign of more trailers means
• 46:41
  Speaker 1: there's more movies being made. There was a time not
• 46:44
  Speaker 1: that long ago where you'd get like maybe two trailers.
• 46:49
  Speaker 2: Yeah, we remember our very thin summer movie drafts, when
• 46:53
  Speaker 2: we're like coming to our last pick and we're like
• 46:55
  Speaker 2: that do we even have enough movies to do enough picks? Here?
• 46:59
  Speaker 1: What do we do after this? Yeah, we were we
• 47:01
  Speaker 1: were a little scared there for a second. Well, I
• 47:04
  Speaker 1: think that that's I gotta be honest. It's a very
• 47:06
  Speaker 1: long episode for all of our listeners out there. Hopefully
• 47:10
  Speaker 1: you were able to like kind of follow along with
• 47:12
  Speaker 1: the jeopardy and the questions there. Maybe you got a
• 47:16
  Speaker 1: lot more answers than we did. Maybe maybe you've got
• 47:20
  Speaker 1: a lot of right answers comparatively to us because we
• 47:24
  Speaker 1: struggled a bit. But yeah, that's It's been a fun,
• 47:28
  Speaker 1: fun ride through the Spielberg Nolan maze that we clearly
• 47:34
  Speaker 1: don't know as much as we thought we knew.
• 47:38
  Speaker 2: We know very little. The thing we know very little about.
• 47:43
  Speaker 1: Yeah, we we thought we thought we knew a lot
• 47:46
  Speaker 1: about these massive movie makers. We know nothing or next
• 47:51
  Speaker 1: to nothing. But hope you enjoyed this. That's it for
• 47:55
  Speaker 1: this episode of movies and marketing. Until next time. Let's
• 47:59
  Speaker 1: fade back. I'll be back. He's not coming back. H