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Transcript

220: The Sounds of The Silence · Movie Meltdown

• 0:08
  Speaker 1: Yes, hello, this is Kentucky Riley. You're listening to Movie Meltdown.
• 0:29
  Speaker 1: It's showtime.
• 0:30
  Speaker 2: The following feature has been rated R by the Motion
• 0:33
  Speaker 2: Picture Association of America. It is intended for mature audiences
• 0:37
  Speaker 2: and parental discretion is advised.
• 0:39
  Speaker 3: Our nuclear reactor pumping out one million kilowatts of power.
• 1:12
  Speaker 4: Oh, fuck it. I don't have to talk either, man.
• 1:17
  Speaker 4: See how you like it. Just total fucking silence. Two
• 1:25
  Speaker 4: could play at that game, smart guy. We'll just see
• 1:28
  Speaker 4: how you like it.
• 1:32
  Speaker 5: Total silence.
• 1:42
  Speaker 6: What's up and welcome to Movie Meltdown.
• 1:44
  Speaker 7: I'm Brian.
• 1:45
  Speaker 8: And I'm Phillip.
• 1:46
  Speaker 4: I'm Lucy.
• 1:47
  Speaker 1: I'm Fred.
• 1:48
  Speaker 6: And we are coming to you live via digital recording
• 1:49
  Speaker 6: from the Alley Theater. And we're glad to be back here.
• 1:53
  Speaker 6: And I'm still liking the setup here. It's definitely quieter.
• 1:59
  Speaker 6: I like that. We're not dealing with near as many
• 2:03
  Speaker 6: sound issues at the moment. So that's always a plus
• 2:07
  Speaker 6: as far as I'm concerned.
• 2:08
  Speaker 1: We're on the stage.
• 2:10
  Speaker 6: We are, as we should be. We are stars.
• 2:13
  Speaker 4: And there's actually lights on us, too. When we first
• 2:14
  Speaker 4: got here, it made me nervous. I was having flashbacks
• 2:17
  Speaker 4: to school production.
• 2:18
  Speaker 6: You wait until we get the audience out there. That's coming, too.
• 2:22
  Speaker 1: I'm going to quote Mitch Hedberg again. When he's on stage,
• 2:25
  Speaker 1: he says, I like this. It's like y'all were all
• 2:28
  Speaker 1: chasing me, and when you finally got me cornered, you
• 2:31
  Speaker 1: just went all fuck it and sat down.
• 2:34
  Speaker 6: That sounds like Mitch Hedberg. So to get into this
• 2:38
  Speaker 6: week's geek activity, the only thing I had, but it actually,
• 2:42
  Speaker 6: the more I thought about it, it ties in kind
• 2:45
  Speaker 6: of a little too well, like more than I expected.
• 2:48
  Speaker 6: I did go see, they're doing sort of a film
• 2:51
  Speaker 6: noir series at Dreamland Theater that we were recently at,
• 2:57
  Speaker 6: and I saw Act of Violence. Are you familiar with
• 3:01
  Speaker 6: this one?
• 3:01
  Speaker 9: It's 1948.
• 3:01
  Speaker 6: It's Van, I'm trying to say, heffling i'm not calling
• 3:08
  Speaker 6: him van helsing like i really want to but uh
• 3:11
  Speaker 6: it's him robert ryan i guess the most notable is
• 3:15
  Speaker 6: uh a young janet lee isn't it in 48 she
• 3:18
  Speaker 6: was pretty young so it's uh it's really again it's
• 3:23
  Speaker 6: definitely like they did sort of a double feature and
• 3:25
  Speaker 6: it was my favorite of that bill and it's it's
• 3:27
  Speaker 6: interesting and then the more i got to this it
• 3:29
  Speaker 6: is about guys who used to be friends and then
• 3:33
  Speaker 6: something goes wrong and then one takes off and the
• 3:37
  Speaker 6: other one's searching for him and there's people die. Like it's,
• 3:42
  Speaker 6: it's a little closer to where we're going later in
• 3:44
  Speaker 6: this episode. But it's actually, it's funny how most movies
• 3:49
  Speaker 6: that came into the whole little film noir world, a
• 3:54
  Speaker 6: lot of it, you know, when you get into like
• 3:55
  Speaker 6: movie geeks and film historians, which is a fine line,
• 3:58
  Speaker 6: by the way, I mean, they always go into how
• 4:00
  Speaker 6: it's all like post-war and it's all this, this feeling about,
• 4:04
  Speaker 6: you know, after the war. And like, this one is
• 4:06
  Speaker 6: literally about, it is a POW from World War II
• 4:11
  Speaker 6: comes back looking for one of his buddies. And it's like,
• 4:14
  Speaker 6: everything ties to this event that happened during the war.
• 4:18
  Speaker 6: I mean, it's very, you know, right in your face
• 4:21
  Speaker 6: with the whole World War II angle this time around,
• 4:24
  Speaker 6: which is unusual. Usually it's just sort of an, overbearing
• 4:27
  Speaker 6: presence that goes on in these. But no, this one's
• 4:30
  Speaker 6: very specific. World War II fucked us up. So, you know.
• 4:34
  Speaker 6: That was mine, unless anybody else has some fun stuff
• 4:37
  Speaker 6: to get to.
• 4:38
  Speaker 1: I saw My Life as a Dog. It was really
• 4:44
  Speaker 1: pretty good. I was struck by how vividly it had
• 4:50
  Speaker 1: to be like a memoir because nobody can make up Like,
• 4:55
  Speaker 1: a credible life experience the way you can. And even
• 5:00
  Speaker 1: at that, this person must have, like, meticulously kept notes
• 5:05
  Speaker 1: about their life and then edited them to just, like,
• 5:10
  Speaker 1: really striking, memorable things. It was a nice movie.
• 5:12
  Speaker 6: One story.
• 5:13
  Speaker 1: Yeah.
• 5:14
  Speaker 6: Take out all this other crap that happened to me,
• 5:16
  Speaker 6: but one specific moment.
• 5:19
  Speaker 3: Yeah.
• 5:20
  Speaker 6: I've heard good things about it.
• 5:21
  Speaker 1: Yeah, it's pretty good. That's all I've got to say
• 5:25
  Speaker 1: about it.
• 5:27
  Speaker 4: I went to see Side Effects, the new Soderbergh film.
• 5:31
  Speaker 4: I believe that's the name of it.
• 5:32
  Speaker 6: I think they're all just the new Soderbergh movies.
• 5:36
  Speaker 4: Yeah, exactly. I don't even pay attention anymore. I mean,
• 5:38
  Speaker 4: that's the thing that's kind of delightful about Soderbergh as
• 5:41
  Speaker 4: a director, is that even when he makes terrible things
• 5:43
  Speaker 4: like Magic Mike, he's still interesting. You still want to
• 5:47
  Speaker 4: see what he makes and talk about it, even if
• 5:49
  Speaker 4: it's just to deride it.
• 5:51
  Speaker 6: And he also cranks them out. Is he in a
• 5:54
  Speaker 6: competition with Woody Allen? He's getting out like two a year.
• 5:58
  Speaker 4: It's really amazing, especially for a man that retired five
• 6:00
  Speaker 4: movies ago. He seems to be even more prolific now.
• 6:03
  Speaker 6: Yeah, Soderbergh, every time I turn around, there's like, and
• 6:06
  Speaker 6: the new one. And I'm like, but it's only been
• 6:08
  Speaker 6: like six months since the last new one. Like, how
• 6:10
  Speaker 6: can he keep cranking them out?
• 6:11
  Speaker 4: Well, the thing is like, you kind of forget that
• 6:13
  Speaker 4: he's actually a really talented filmmaker. That was what was
• 6:16
  Speaker 4: nice about watching this movie. It was like, Oh yeah,
• 6:18
  Speaker 4: I do remember that he is really good at these things. Um,
• 6:21
  Speaker 4: I feel like he's one of these guys and who
• 6:23
  Speaker 4: blames him. I mean, he's a smart guy. He's got
• 6:26
  Speaker 4: a lot of friends. Sometimes he just wants to take
• 6:28
  Speaker 4: the studio money and go to Vegas. Or maybe he
• 6:30
  Speaker 4: wants to hang out in Florida with Matthew McConaughey. Like
• 6:33
  Speaker 4: let him do what he wants to do. Like, This
• 6:36
  Speaker 4: movie was actually a movie again. It had a plot.
• 6:39
  Speaker 4: Not a great one. It was very schlocky. There's lots
• 6:42
  Speaker 4: of sort of twists and turns. If you haven't seen
• 6:44
  Speaker 4: the trailer, I suggest you not see the trailer because
• 6:47
  Speaker 4: there's some serious spoilers in the trailer that made it
• 6:50
  Speaker 4: kind of a bummer to watch. But it's great. And
• 6:54
  Speaker 4: Rooney Morris... in it. She's legitimately talented. Catherine Zeta-Jones is
• 7:01
  Speaker 4: legitimately void of talent.
• 7:04
  Speaker 6: That sounds about right. I was afraid you were going
• 7:05
  Speaker 6: the other way. I was going to have to argue.
• 7:08
  Speaker 4: That's the biggest weak link. But again, he wants to
• 7:11
  Speaker 4: hang out with his friends. Let's let him do it.
• 7:13
  Speaker 4: There's these moments of brilliance that shine through and we
• 7:16
  Speaker 4: get to benefit from them. I'm okay with that. I'll
• 7:20
  Speaker 4: let him slide with a lot. I give it a
• 7:23
  Speaker 4: thumbs up. It's not a perfect film. There were some
• 7:26
  Speaker 4: some plot points that weren't totally deserved. There's lots of, like, oh,
• 7:32
  Speaker 4: this will be a fun setup to have this thing happen.
• 7:36
  Speaker 4: It's like, no, I wouldn't do that. Nobody would do that.
• 7:38
  Speaker 4: But anyway, you just watch it.
• 7:39
  Speaker 6: I'm putting your quotes on the poster now. It's actually
• 7:43
  Speaker 6: sort of a movie again.
• 7:44
  Speaker 1: You know, actually, advertising like that would probably work for me.
• 7:54
  Speaker 1: you know, like understated.
• 7:55
  Speaker 6: It's like, it passed two hours.
• 7:59
  Speaker 2: Yeah.
• 7:59
  Speaker 8: Well, when David Lynch released Lost Highway, the advertising had
• 8:05
  Speaker 8: all these quotes from all these critics. This movie's horrible.
• 8:08
  Speaker 4: I hated it.
• 8:09
  Speaker 8: Don't waste your time. And it was in all of
• 8:11
  Speaker 8: the print advertising on the radio. It was everywhere. And even,
• 8:16
  Speaker 8: I think it was Roger Ebert was like, because he
• 8:18
  Speaker 8: was one of the ones who hated it. And his
• 8:19
  Speaker 8: was the biggest quote. And he was like, He's like,
• 8:22
  Speaker 8: I love it. He's like, it's honest. You've got a
• 8:24
  Speaker 8: filmmaker who actually said, yeah, my movie's a piece of crap,
• 8:27
  Speaker 8: but here it is.
• 8:28
  Speaker 3: Watch it.
• 8:29
  Speaker 1: Steve Martin said whenever people went on talk shows hawking
• 8:33
  Speaker 1: their movie, they would always show the best clip. He said,
• 8:39
  Speaker 1: what I do is I'm going to show the worst
• 8:41
  Speaker 1: part of the movie, so at least audiences will know.
• 8:45
  Speaker 1: that all the rest of it is at least better
• 8:47
  Speaker 1: than this.
• 8:47
  Speaker 6: They can sit at home and go, well, we got
• 8:49
  Speaker 6: that out of the way.
• 8:51
  Speaker 1: You've seen the rock bottom. So the rest, you know.
• 8:54
  Speaker 6: It's... That's the opposite of how they do trailers now.
• 8:57
  Speaker 6: I watch that and go, I don't need to see
• 8:59
  Speaker 6: that movie because that's the best five minutes in that
• 9:01
  Speaker 6: whole movie put together. Well, have you seen anything recently?
• 9:05
  Speaker 8: Yeah, I recently saw the movie Mama, which not a
• 9:10
  Speaker 8: very deep intellectual movie, but very creepy. very disturbing, atmospheric
• 9:17
  Speaker 8: type movie. And I jumped several times in the theater.
• 9:22
  Speaker 8: I'll be honest. There was a sharp intake of breath.
• 9:26
  Speaker 6: Did you see it?
• 9:26
  Speaker 4: Yeah, I hated it.
• 9:28
  Speaker 6: It was just so silly. I almost have a.
• 9:31
  Speaker 4: Theory now that Guillermo del Toro is producing other Spanish
• 9:36
  Speaker 4: language filmmakers, just purposefully bad ones. I feel like it's
• 9:41
  Speaker 4: almost like The Tarantino-Eli Roth-like relationship where he just wants
• 9:46
  Speaker 4: to be like, I'm obviously the best.
• 9:48
  Speaker 6: That's what I'm thinking. If he puts a lot of
• 9:50
  Speaker 6: other bad Spanish language films out, he'll just be like,
• 9:53
  Speaker 6: look how good mine are.
• 9:54
  Speaker 4: But I felt so bad for Jessica Chastain the whole time.
• 9:57
  Speaker 4: I was like, oh, you've built a career and you're
• 10:00
  Speaker 4: actually now like legitimate and sort of respected. And then
• 10:05
  Speaker 4: this has to come out at the same time. And
• 10:07
  Speaker 4: it's heartbreaking.
• 10:08
  Speaker 6: I'm sure the people who made the movie love that.
• 10:11
  Speaker 6: That timing was awesome for them.
• 10:14
  Speaker 4: All right.
• 10:15
  Speaker 6: Well, I think, I think we've, Got another movie to
• 10:19
  Speaker 6: get into, so we'll go ahead and take our break
• 10:21
  Speaker 6: and come back with this week's movie.
• 10:25
  Speaker 10: Words like violence Break the silence Come crashing in Into
• 10:36
  Speaker 10: my little world Painful to me Pierce right through me
• 10:45
  Speaker 10: Can't you understand Oh my little girl All I ever
• 10:52
  Speaker 10: wanted All I ever needed Is here in my heart
• 11:04
  Speaker 10: All I ever wanted All I ever needed Is here
• 11:11
  Speaker 10: in my heart.
• 11:16
  Speaker 4: All I ever wanted.
• 11:20
  Speaker 2: Hey, kids, how would you like to hear this on
• 11:23
  Speaker 2: the screen instead of the great show you came to see?
• 11:28
  Speaker 2: That's what you sound like.
• 11:30
  Speaker 4: Honest.
• 11:31
  Speaker 2: Please cooperate and do your part in keeping this theater
• 11:34
  Speaker 2: quiet so everyone, including you, can enjoy it. Remember, lots
• 11:39
  Speaker 2: of adults and kids, too, paid admission to enjoy the show.
• 11:43
  Speaker 2: We must insist on absolute quiet.
• 11:47
  Speaker 7: Otherwise.
• 11:48
  Speaker 2: we will be forced to evict all disturbance makers from
• 11:51
  Speaker 2: the theater. Those asked to leave today will be refused
• 11:55
  Speaker 2: admission to this theater in the future.
• 12:02
  Speaker 1: You get spotted before the hit, the contract's off. You
• 12:06
  Speaker 1: understand me?
• 12:08
  Speaker 3: Yeah, I understand you.
• 12:14
  Speaker 11: You're going to be party to an attempt to kill
• 12:16
  Speaker 11: a man. This is the asphalt jungle. This is New
• 12:20
  Speaker 11: York City, with its fancy women and fancy hoodlums, with
• 12:25
  Speaker 11: its very special beat, its very special places.
• 12:32
  Speaker 1: Its hunters and hunted.
• 12:35
  Speaker 11: And you will walk side by side with Frankie Bono
• 12:38
  Speaker 11: as he stalks his prey, knowing what is in his mind,
• 12:41
  Speaker 11: feeling what is in his heart. And your hands will
• 12:45
  Speaker 11: sweat with his fear, Your pulse will pound with his desire.
• 12:49
  Speaker 7: Frank, no.
• 12:52
  Speaker 9: You're going to have to be game, Frank.
• 12:56
  Speaker 5: You're going to have to pay luxury prices, boy.
• 13:00
  Speaker 4: I'll pay you nothing.
• 13:03
  Speaker 11: And even as he prepares to unleash his blast of silence,
• 13:06
  Speaker 11: you will discover that you and Frankie Bono are playing
• 13:10
  Speaker 11: the most dangerous game in the world.
• 13:25
  Speaker 6: Hey guys, look what I've got. Check out these awesome
• 13:28
  Speaker 6: earbuds I'm using right now. Look at that. That's wood
• 13:32
  Speaker 6: right there. That's actual wood.
• 13:35
  Speaker 1: Why would you use wood to make technology?
• 13:37
  Speaker 6: Because they're, it's like, they're steampunk. Is steampunk really wood?
• 13:43
  Speaker 1: I thought it was more of a brass thing.
• 13:44
  Speaker 6: Well, you got to work the wood in to hold
• 13:46
  Speaker 6: the brass together. These are the fancy high-end steampunk versions
• 13:50
  Speaker 6: with a mic built in, mind you. But yeah, where
• 13:54
  Speaker 6: would I get these you wonder? Tweaked Audio.
• 14:00
  Speaker 7: Way to pitch.
• 14:01
  Speaker 6: You want to hear more, you say?
• 14:03
  Speaker 1: TweakedAudio.com.
• 14:06
  Speaker 6: Hey, they are available in three styles and seven colors only.
• 14:10
  Speaker 6: And they sound pretty damn good. I kind of forgot
• 14:12
  Speaker 6: because I hadn't had my old pair in a while
• 14:15
  Speaker 6: and I was using the knockoff crappy ones I bought
• 14:17
  Speaker 6: at the store. And I got these and put them in.
• 14:20
  Speaker 6: I was like, oh, shit, that's right. These are actually
• 14:22
  Speaker 6: really good. So they are professional quality earbuds, mind you. And,
• 14:26
  Speaker 6: you know, noise reducing, compatible with your iPods and most phones,
• 14:32
  Speaker 6: unless you have a dumb phone. You should really get
• 14:34
  Speaker 6: a smartphone, not a dumb phone, but So anyway, the
• 14:37
  Speaker 6: basic rundown here, if you need yourself some earbuds, tweakedaudio.com.
• 14:42
  Speaker 6: And if you go there, there's a deal. There's a
• 14:45
  Speaker 6: Meltdown deal. If you go, there's a discount code, and
• 14:48
  Speaker 6: you put in Meltdown, you get 33% off and free shipping.
• 14:52
  Speaker 6: You guys are excited, right? Yeah. As well you should be. tweakedaudio.com.
• 14:58
  Speaker 6: Use the Meltdown code. That's all I'm saying.
• 15:02
  Speaker 11: Hi, I'm John Water.
• 15:03
  Speaker 2: Hi, this is Dolph Lundgren.
• 15:04
  Speaker 3: Hi, I'm Lance Henriksen.
• 15:06
  Speaker 11: Hi, this is Keith Gordon.
• 15:07
  Speaker 1: Robert Kuhn.
• 15:08
  Speaker 4: Miguel Ferrer.
• 15:09
  Speaker 12: Nancy Allen.
• 15:10
  Speaker 1: Robert Davi.
• 15:10
  Speaker 3: Richard Elfman.
• 15:11
  Speaker 1: Ileana Douglas. Patrick Warburg.
• 15:13
  Speaker 13: Wings Hauser.
• 15:15
  Speaker 8: Cliff DeYoung.
• 15:15
  Speaker 6: Steve Railsback.
• 15:16
  Speaker 2: Mr. T.
• 15:17
  Speaker 1: William K.
• 15:18
  Speaker 3: If you haven't been listening to the Projection Booth podcast,
• 15:20
  Speaker 3: you're missing out. Each week, the Projection Booth brings you
• 15:23
  Speaker 3: in-depth discussions of some of the most interesting movies ever made.
• 15:26
  Speaker 3: I'm Mike White. No, the other one. I'm the guy
• 15:29
  Speaker 3: who wrote the film fanzine Cashiers to Cinemart since 1994.
• 15:33
  Speaker 3: Since early 2011, I've been co-hosting the Projection Booth podcast.
• 15:36
  Speaker 3: Try us, won't you?
• 15:37
  Speaker 4: I never try anything. I just do it.
• 15:40
  Speaker 3: Visit the Projection Booth at projection-booth.com.
• 15:46
  Speaker 13: I've got to keep on searching for the dream that
• 15:50
  Speaker 13: I've been seeking since I left my Oklahoma.
• 15:56
  Speaker 8: Hi, this is Martha Stevens, and you are listening to
• 15:59
  Speaker 8: Movie Meltdown.
• 16:00
  Speaker 6: Hey, this is Drifter.
• 16:02
  Speaker 1: You're listening to.
• 16:03
  Speaker 4: That'd be great.
• 16:04
  Speaker 1: Oh, I wish I could be called Drifter.
• 16:07
  Speaker 4: It's not appropriate, though.
• 16:09
  Speaker 13: I'm a drifter, and I've seen the rain.
• 16:14
  Speaker 6: I'm a drifter.
• 16:16
  Speaker 13: And I felt the pain, the pain that comes with loneliness.
• 16:21
  Speaker 13: So I drift from town to town, searching all around.
• 16:25
  Speaker 7: It's time for Sofa Theater.
• 16:29
  Speaker 9: And?
• 16:29
  Speaker 3: How's it going?
• 16:31
  Speaker 6: I'm just playing. Exactly 23 years.
• 16:34
  Speaker 14: On July 8, 1986, the 11-year-old Pia was raped and
• 16:36
  Speaker 14: murdered in this field.
• 16:37
  Speaker 7: A boy had a red small car at the time.
• 16:39
  Speaker 3: But the perpetrator was never caught.
• 16:46
  Speaker 14: An derselben Stelle fand die Polizei heute Morgen ein Mädchenfahrrad
• 16:49
  Speaker 14: und eine Sporttasche. Die Blutspuren am Fundort deuten auf ein
• 16:52
  Speaker 14: Gewaltverbrechen hin. Auf verblüffende Weise stimmen die Indizien mit dem
• 16:56
  Speaker 14: alten Fall überein. Auch damals gab es zunächst kein Opfer.
• 16:59
  Speaker 14: Erst Wochen nach der Tat wurde die Leiche des Mädchens
• 17:02
  Speaker 14: in einem See gefunden. Der Täter konnte bis heute nicht
• 17:04
  Speaker 14: gefasst werden. Trotzdem geht die Polizei im Moment noch von
• 17:07
  Speaker 14: einem vermissten Fall aus. Wenn Sie sachdienliche Hinweise haben, wenden
• 17:11
  Speaker 14: Sie sich bitte an Ihre nächste Polizeistation.
• 17:13
  Speaker 6: No darkness, my old friend.
• 17:18
  Speaker 1: I've come to talk with you.
• 17:20
  Speaker 15: Again Because a vision softly creeping Left its seeds while
• 17:28
  Speaker 15: I was sleeping And the vision that was planted in
• 17:36
  Speaker 15: my brain.
• 17:38
  Speaker 12: Still remains within the sound of silence In restless dreams
• 17:49
  Speaker 12: I walked alone Narrow streets of cobblestone.
• 17:57
  Speaker 16: Neath the halo of a street lamp I turned my
• 18:02
  Speaker 16: collar to the cold and damp When my eyes were
• 18:07
  Speaker 16: stabbed by the flash of a neon light.
• 18:12
  Speaker 12: It split the night touch the sound of silence.
• 18:22
  Speaker 1: And in the naked light i.
• 18:24
  Speaker 6: Saw all right welcome back to movie meltdown sofa theater
• 18:29
  Speaker 6: and i will tell you a heads up now this
• 18:31
  Speaker 6: movie is actually just coming out and just coming out
• 18:33
  Speaker 6: in theaters so we're a little ahead of the game
• 18:35
  Speaker 6: possibly depending on when you're listening to this so uh
• 18:39
  Speaker 6: we'll throw the spoiler alert right now because you probably
• 18:42
  Speaker 6: want to go see this um in some form or another,
• 18:46
  Speaker 6: whether it's in your town or, you know, pick it
• 18:49
  Speaker 6: up on maybe video demand. I don't know. But it's
• 18:53
  Speaker 6: definitely worth seeing. So before we ruin it for you, yeah,
• 18:56
  Speaker 6: we'll throw the spoiler alert now. So this week's Sofa
• 18:59
  Speaker 6: Theater feature is The Silence. And it is, if you're confused,
• 19:04
  Speaker 6: there's like a Bergman film out there. It's not that.
• 19:06
  Speaker 6: It's from year 2013. It is actually a German language film.
• 19:11
  Speaker 6: So go looking for that if you're looking for it.
• 19:13
  Speaker 6: The director is Boren Boadar. And the plot, and they
• 19:18
  Speaker 6: gave a whole big rundown of it. I think I'm
• 19:19
  Speaker 6: going to cut it off with the first two sentences
• 19:21
  Speaker 6: before it goes too far into it, in case you
• 19:23
  Speaker 6: weren't listening on the spoiler alert. The silence begins 23
• 19:27
  Speaker 6: years ago on a hot summer day when a young
• 19:29
  Speaker 6: girl named Pia is brutally murdered in a field of wheat.
• 19:32
  Speaker 6: Now on the exact same date, in the present, 13-year-old
• 19:35
  Speaker 6: Seneca is missing and her bicycle abandoned in the same spot.
• 19:39
  Speaker 6: And we'll leave it at that. It goes on to
• 19:41
  Speaker 6: the whole rest.
• 19:41
  Speaker 1: Of the plot.
• 19:41
  Speaker 6: So I think that's a good setup. That gets you
• 19:44
  Speaker 6: right into it. So uh where would you like to
• 19:47
  Speaker 6: begin with the silence.
• 19:50
  Speaker 1: Well early on i i started to think it it
• 19:54
  Speaker 1: might be a really really good movie but um I
• 20:00
  Speaker 1: came to feel that it suggests a much better movie
• 20:03
  Speaker 1: than it is.
• 20:04
  Speaker 6: Amen.
• 20:05
  Speaker 1: It suggests a movie that it doesn't quite live up
• 20:10
  Speaker 1: to the, I'm still, I just really finished watching it
• 20:16
  Speaker 1: a few hours ago. And, uh, the cinematography in it
• 20:21
  Speaker 1: is so fastidious and clean and bright. It's like the
• 20:26
  Speaker 1: air quality.
• 20:27
  Speaker 4: Yeah. Yeah.
• 20:29
  Speaker 1: It's just i'm not sure how it connects to anything
• 20:33
  Speaker 1: in the movie but it's so striking.
• 20:36
  Speaker 6: Very yeah it's got a really strong visual presence but
• 20:39
  Speaker 6: at the same time it is very different than the
• 20:41
  Speaker 6: subject matter it's not what you would expect going.
• 20:43
  Speaker 1: Into this those wheat fields there is not a grain
• 20:46
  Speaker 1: of wheat out of place you know.
• 20:49
  Speaker 6: Keep in mind the director was an artist He came
• 20:54
  Speaker 6: late into film and specifically spent years getting into painting
• 20:59
  Speaker 6: and doing everything in that very controlled, very specific, very
• 21:04
  Speaker 6: visually oriented world and then found filmmaking.
• 21:08
  Speaker 1: Super clean.
• 21:09
  Speaker 6: It explains a lot.
• 21:10
  Speaker 1: There was one crumb in the entire movie. Did you
• 21:13
  Speaker 1: see it? It was like when the women on the
• 21:18
  Speaker 1: cutting board with the knife and the guy picks up
• 21:21
  Speaker 1: the knife. There was like a single crumb.
• 21:24
  Speaker 6: And he placed them.
• 21:27
  Speaker 1: Because you've never seen anything else like that in this
• 21:29
  Speaker 1: whole movie. It's like, wow, there's a crumb there.
• 21:34
  Speaker 6: It's very specifically placed, I'm telling you.
• 21:36
  Speaker 1: Yeah, so that was my overall general take without getting
• 21:40
  Speaker 1: into too much specifics.
• 21:44
  Speaker 6: Well, where do you think it goes off track? Because
• 21:49
  Speaker 6: I think it's telling a really interesting story and one
• 21:51
  Speaker 6: that's different from a lot of movies of this type.
• 21:55
  Speaker 6: So what is it that you.
• 21:56
  Speaker 4: Thought is different?
• 21:56
  Speaker 1: Well, it really starts to engage me early on when
• 21:59
  Speaker 1: a couple of the characters talk about how they're not
• 22:02
  Speaker 1: good at math. And it's just like, ooh, something weird
• 22:06
  Speaker 1: is going on here. There's some sort of literary kind
• 22:09
  Speaker 1: of undercurrent. Somebody knows they're doing something with it. But
• 22:14
  Speaker 1: then there's no specific... Wait, no, there is. There is
• 22:18
  Speaker 1: a specific point. I can't think of it right now.
• 22:22
  Speaker 1: um there's some dialogue i think it's when the guy
• 22:28
  Speaker 1: uh the the character his name is um not not
• 22:34
  Speaker 1: pier but uh timo yeah timo is sitting in his
• 22:38
  Speaker 1: volvo staring at the lake and he gets a call
• 22:41
  Speaker 1: from and he's talking to his wife and their dialogue
• 22:46
  Speaker 1: and she says something about their son has, like, hurt
• 22:50
  Speaker 1: himself on the trampoline, and she says she thought that
• 22:54
  Speaker 1: was a bad idea to begin with. It's like, he
• 22:56
  Speaker 1: knows that. Why is she telling it and giving us, like,
• 22:59
  Speaker 1: that's just bad dialogue.
• 23:01
  Speaker 6: Isn't that how marriages work? You tell each other shit.
• 23:03
  Speaker 1: You already know. Yeah, I don't know. It's just at
• 23:06
  Speaker 1: that point, it's like the dialogue isn't ringing true.
• 23:09
  Speaker 4: Well, there was another moment like that, though, where after Seneca...
• 23:14
  Speaker 4: leaves and the wife sitting on the well after she's
• 23:17
  Speaker 4: dead and she's sitting on the stairs and she's like
• 23:19
  Speaker 4: why didn't why wouldn't you take her to tennis practice.
• 23:21
  Speaker 1: That one killed me yeah that one killed me but it's.
• 23:25
  Speaker 4: That same like oh by the way you're an asshole.
• 23:28
  Speaker 6: Well and that one's just like when you're in that
• 23:30
  Speaker 6: horrible situation it's starting to shift blame oh it's.
• 23:34
  Speaker 1: Like i feel guilty i feel bad for both of them.
• 23:36
  Speaker 6: Yeah like i need to make someone else feel even.
• 23:39
  Speaker 1: Worse and yeah it's oh that's but Really, I don't
• 23:44
  Speaker 1: think it was like any one thing. It's just there's
• 23:46
  Speaker 1: a mounting sense that this isn't really living up to
• 23:52
  Speaker 1: what I expected it to do or be. And you
• 23:57
  Speaker 1: start to feel like, isn't it odd how you don't
• 24:01
  Speaker 1: care more about the girl who is currently missing? Isn't it?
• 24:06
  Speaker 1: There's a weird feeling like it's just an abstract thing
• 24:09
  Speaker 1: hanging in the air, like there's not this urgency.
• 24:14
  Speaker 6: Because everybody seemed to feel that she was already dead.
• 24:17
  Speaker 1: Yeah, that's because the number two is irresistible to our
• 24:21
  Speaker 1: Western minds. You can't help think that it's... Why would
• 24:28
  Speaker 1: the detective, without any evidence, say, oh, she's dead? They
• 24:32
  Speaker 1: don't know she's dead! But the weirdness of having a
• 24:37
  Speaker 1: replicated crime scene... It's just there's something strange about it,
• 24:43
  Speaker 1: something really deeply strange about, like, you just want it
• 24:49
  Speaker 1: to be somehow the same thing again or the same criminal.
• 24:53
  Speaker 1: There's no real hard reason to think it is, but
• 24:58
  Speaker 1: that's what we do. And to me it's interesting because
• 25:03
  Speaker 1: I've had this discussion about math many times, which I
• 25:08
  Speaker 1: maintain that math is fiction. And some people believe that
• 25:12
  Speaker 1: math is real. No, it's a tool. We made it up.
• 25:16
  Speaker 1: Somebody thought of the idea of zero. And without zero,
• 25:21
  Speaker 1: all this stuff we do with math, you can't do.
• 25:24
  Speaker 1: You have to have a repeating system.
• 25:28
  Speaker 6: We made it up.
• 25:32
  Speaker 1: Because my philosophy is that there is no two. Two
• 25:37
  Speaker 1: is just the way we look at things. We say,
• 25:40
  Speaker 1: This thing and that thing are the same thing, so
• 25:42
  Speaker 1: we're going to class them together. But in the real world,
• 25:45
  Speaker 1: every single thing is a different thing. And there only
• 25:51
  Speaker 1: becomes two because we consider them from our point of view. Anyway,
• 25:56
  Speaker 1: that's just a thing that I've had little bullshit philosophy
• 26:02
  Speaker 1: things about. And it comes partly from one of my
• 26:06
  Speaker 1: favorite writers, Nabokov, said philosophically he was an indivisible monist.
• 26:12
  Speaker 1: And that's essentially what that comes to, is that you
• 26:15
  Speaker 1: don't believe that math is fiction, and it's a tool
• 26:19
  Speaker 1: that we use. And so that's interesting to me, you know,
• 26:22
  Speaker 1: because there's a fiction writer behind this, and it seems
• 26:26
  Speaker 1: to me like he's doing something like George Louis Borges,
• 26:30
  Speaker 1: his detective stories. or he had a story about a
• 26:34
  Speaker 1: guy who, um, had a perfect memory. So he devised
• 26:38
  Speaker 1: his own system of numbers that didn't have any repetition.
• 26:43
  Speaker 1: Like every number just had a different name. Um, and,
• 26:47
  Speaker 1: and he discussed, and he did this thing like he
• 26:51
  Speaker 1: would write fiction, uh, The short way, instead of writing
• 26:55
  Speaker 1: like a big long novel, he'd pretend he'd already written
• 26:58
  Speaker 1: the novel and write a review of it. And you
• 27:00
  Speaker 1: got a good sense in a couple of pages of
• 27:02
  Speaker 1: what the book was and the characters. And it was charming.
• 27:07
  Speaker 1: Just charming. But anyway, that's the thing that got me interested.
• 27:11
  Speaker 1: I thought somebody is really trying to get into something weird.
• 27:15
  Speaker 1: And why are there two killers? And what is their
• 27:18
  Speaker 1: weird relationship? Talk about being an enabler.
• 27:21
  Speaker 2: Yeah.
• 27:25
  Speaker 1: After a while, there was too much unanswered about that relationship.
• 27:28
  Speaker 1: There is a lot left open there. I started to
• 27:31
  Speaker 1: not buy the one guy, Timo. It's like, how can
• 27:36
  Speaker 1: that guy exist? I don't know.
• 27:39
  Speaker 6: In the middle, I kind of was at that point.
• 27:41
  Speaker 6: And then as it unfolded a little more, I was like, oh,
• 27:44
  Speaker 6: I guess that's how. It seems like it becomes a
• 27:47
  Speaker 6: little more credible when you find out more about him.
• 27:50
  Speaker 6: But I don't know. What was your take?
• 27:53
  Speaker 4: What was frustrating for me was that, and sometimes these
• 27:56
  Speaker 4: movies happen, and where... It's like a whodunit or a
• 28:01
  Speaker 4: crime thriller. And you start constructing these endings. You're like, oh,
• 28:06
  Speaker 4: I think I know what– oh, that's good. This is
• 28:09
  Speaker 4: going to be good. And then that's not what happened.
• 28:12
  Speaker 4: And then by the end, you've written five better movies
• 28:14
  Speaker 4: than the one you're watching. And I thought it was
• 28:17
  Speaker 4: so many different ways it was going to end. And
• 28:18
  Speaker 4: I was like, oh, that's going to be really satisfying.
• 28:20
  Speaker 4: And then it literally ended in the least satisfying way
• 28:23
  Speaker 4: where it was like, what? That doesn't even make sense.
• 28:24
  Speaker 12: What?
• 28:25
  Speaker 6: I don't know. In a way, I– kind of came
• 28:28
  Speaker 6: to like that because i felt like it was a
• 28:31
  Speaker 6: very real world case it really i mean that's i
• 28:35
  Speaker 6: mean it's like so many of those police you know
• 28:39
  Speaker 6: he actually has had like all these different cops come
• 28:42
  Speaker 6: up and tell him like this is how my job
• 28:44
  Speaker 6: was like you know there's so many cases that go
• 28:47
  Speaker 6: either unclosed or they close them and i'm pretty sure
• 28:50
  Speaker 6: they got the wrong guy or they did you know
• 28:52
  Speaker 6: they they pinned it on this guy and this guy's dead.
• 28:55
  Speaker 6: And you know, there's so much of that that I
• 28:57
  Speaker 6: think goes on that we don't want. And maybe again,
• 29:01
  Speaker 6: cause we don't want it cause it's a fictionalized narrative, but,
• 29:04
  Speaker 6: and it made, that made it feel really real world
• 29:07
  Speaker 6: to me was the fact that everybody was kind of
• 29:10
  Speaker 6: dirty in some way or another. Everybody got roped into it.
• 29:14
  Speaker 6: There was not a whole lot of black and white
• 29:16
  Speaker 6: and this by the end, there was no real happy
• 29:19
  Speaker 6: ending for anybody. It was very real world to me.
• 29:21
  Speaker 6: It felt, I don't like life, sadly.
• 29:25
  Speaker 4: Well, okay, so how, are we just going spoilers?
• 29:28
  Speaker 6: Are we full blasted? I mean, yeah, because I don't
• 29:32
  Speaker 6: know how we can really talk about it without it, Okay,
• 29:36
  Speaker 6: because it felt.
• 29:36
  Speaker 4: Like the, I've completely forgotten all the characters' names. Was
• 29:39
  Speaker 4: it David? Who was the cop whose wife's died?
• 29:42
  Speaker 6: David.
• 29:43
  Speaker 11: Okay.
• 29:43
  Speaker 1: Yeah.
• 29:45
  Speaker 4: It seems like he was sort of our voice of
• 29:48
  Speaker 4: reason throughout. Like he was the one that was actually
• 29:51
  Speaker 4: good at his job and not trying to sleep with people.
• 29:55
  Speaker 1: And woke up on his kitchen floor in a.
• 29:58
  Speaker 6: He missed his wife. It smelled like her.
• 30:00
  Speaker 8: I like that scene. What I liked about that scene
• 30:03
  Speaker 8: was the older cop shows up while he's got his
• 30:06
  Speaker 8: wife's nightgown on. Doesn't even acknowledge it. Just like, hey,
• 30:11
  Speaker 8: I got some info on the case. And I'm like, well,
• 30:14
  Speaker 8: say something. And it just moves on to the next scene.
• 30:16
  Speaker 8: I'm like, that's Germany for you.
• 30:20
  Speaker 4: Oh, I would love to get into German protocol in
• 30:22
  Speaker 4: the police department, by the way. But we can save that.
• 30:24
  Speaker 4: But so... at the end where he pieces everything together
• 30:29
  Speaker 4: and figures out that he was the second man and
• 30:31
  Speaker 4: then okay but he says wouldn't he have raped her
• 30:37
  Speaker 4: if it's a pedophile wouldn't he have gone ahead and
• 30:39
  Speaker 4: raped her so wait why why didn't summer why didn't
• 30:42
  Speaker 4: it why didn't he rape her he's a pedophile she's
• 30:44
  Speaker 4: right there rape.
• 30:45
  Speaker 6: Her again i don't think he even cared about that
• 30:48
  Speaker 6: again that's why like the more it got into it
• 30:50
  Speaker 6: the more fucked up it was like it's to the
• 30:52
  Speaker 6: point where Everything seems like he's going through the motions
• 30:56
  Speaker 6: at this point, to the point where he really doesn't
• 30:58
  Speaker 6: even need to have the sex part. All he wanted
• 31:00
  Speaker 6: was the act and to drop the body in the
• 31:03
  Speaker 6: same spot and to send the message out. Because it's
• 31:05
  Speaker 6: not even about, like, he's not even getting anything out
• 31:08
  Speaker 6: of it anymore. Even the porn isn't doing it. All
• 31:11
  Speaker 6: he wants is to not be alone anymore. All he
• 31:14
  Speaker 6: wants is to bring this guy back, the only guy
• 31:16
  Speaker 6: that he feels like he connected with.
• 31:18
  Speaker 4: Why does he assume that that guy, I mean, the
• 31:21
  Speaker 4: guy obviously was appalled by the original violent act. He
• 31:23
  Speaker 4: obviously put as much distance between him as possible. He
• 31:26
  Speaker 4: obviously disappeared. You bring him back, why don't you just
• 31:29
  Speaker 4: assume that the rest of your relationship is going to
• 31:33
  Speaker 4: be him pointing to you from a witness stand?
• 31:36
  Speaker 1: Yeah, he seemed completely unconcerned that the guy might rat
• 31:41
  Speaker 1: him out. He was so placid. There was something about
• 31:44
  Speaker 1: the relationship that I could maybe accept it on some
• 31:49
  Speaker 1: abstract level, but I don't know. Something about it didn't
• 31:52
  Speaker 1: quite work for me.
• 31:53
  Speaker 6: It does feel like something's missing in the middle between
• 31:55
  Speaker 6: those two, and I don't know. You never really know
• 31:58
  Speaker 6: what it is.
• 31:58
  Speaker 1: There's something that's not in their scenes that maybe needs
• 32:00
  Speaker 1: to be there.
• 32:02
  Speaker 6: I will give you that.
• 32:02
  Speaker 1: About their relationship. And when the guy, like, and maybe
• 32:06
  Speaker 1: this is natural, but he goes to see him, but
• 32:09
  Speaker 1: then he decides to leave and he runs away. It's like,
• 32:12
  Speaker 1: It's a little too, like, he keeps doing that. Like,
• 32:17
  Speaker 1: you know, he goes to see him and he runs away.
• 32:19
  Speaker 1: And the way he played it just didn't quite seem.
• 32:22
  Speaker 6: He's very inactive, obviously, from the very beginning. Like, that's
• 32:25
  Speaker 6: what gets him into trouble to begin with, is the
• 32:28
  Speaker 6: fact that he just sits there and lets things happen
• 32:31
  Speaker 6: that he knows he shouldn't.
• 32:32
  Speaker 1: I'm not entirely convinced that it couldn't be that way.
• 32:35
  Speaker 1: It just didn't seem believable the way they did it, somehow.
• 32:40
  Speaker 1: It just, there was something missing.
• 32:41
  Speaker 4: I agree.
• 32:42
  Speaker 1: And I couldn't understand why the murder rapist guy was
• 32:47
  Speaker 1: just so... Oblivious.
• 32:49
  Speaker 6: I think he didn't care. I mean, by the end
• 32:52
  Speaker 6: of it, that's what it felt like. It's like, I
• 32:54
  Speaker 6: don't care if he tracks me down and kills me
• 32:57
  Speaker 6: as a way to stop me. I don't care if
• 32:59
  Speaker 6: he throws me in jail. I've been doing the caretaker
• 33:02
  Speaker 6: job for 30 damn years. I just want something to change.
• 33:07
  Speaker 6: I just want somebody to care about me. Even if
• 33:09
  Speaker 6: it's in a horrible negative way. I think it's just
• 33:12
  Speaker 6: he needed something.
• 33:14
  Speaker 1: Okay, that explains groundskeeper Willie. But I'm not sure about
• 33:20
  Speaker 1: This guy. Because he does seem concerned enough about getting
• 33:25
  Speaker 1: caught to go through the thing with the knife in
• 33:28
  Speaker 1: his pocket.
• 33:28
  Speaker 4: Exactly. He does have a sense of self-preservation.
• 33:30
  Speaker 1: Yeah, but as far as that other guy goes, he
• 33:34
  Speaker 1: just seems kind of like, let's have a drink.
• 33:38
  Speaker 4: But in the scenes with his family, he really did
• 33:40
  Speaker 4: seem like a normal dad. He was having fun at
• 33:42
  Speaker 4: the pool. Everything was awesome. And then he saw the news.
• 33:45
  Speaker 4: And then he went into his weird trance-like thing. The
• 33:47
  Speaker 4: character just never felt developed enough. in a way that
• 33:52
  Speaker 4: made the plot work.
• 33:54
  Speaker 6: Well, I liked the fact that they worked in what
• 33:57
  Speaker 6: a good normal person he'd become. And especially as they
• 34:01
  Speaker 6: get into, because again, I thought he was just, he
• 34:03
  Speaker 6: was horrified by that and he didn't want anything to
• 34:05
  Speaker 6: do with it. And then, you know, that's why he left.
• 34:07
  Speaker 6: He just didn't want to be implicated in it. And
• 34:09
  Speaker 6: then as you get into it and you're knee deep
• 34:11
  Speaker 6: in and you're like, oh shit, he really is into that.
• 34:14
  Speaker 6: And like, he knows that it's wrong and he's the
• 34:16
  Speaker 6: one that's fighting it. He's the one that does have
• 34:18
  Speaker 6: a problem with it. And it's like feeling this overwhelming guilt,
• 34:22
  Speaker 6: but like it's a compulsion and he's trying to deal
• 34:25
  Speaker 6: with it as best he can and still be a
• 34:27
  Speaker 6: good dad. And still like that never crosses over into
• 34:30
  Speaker 6: the other world. And like, that's, kind of amazing because
• 34:33
  Speaker 6: you know that's going on out there like there have
• 34:35
  Speaker 6: to be people out there going through that situation because
• 34:38
  Speaker 6: you see the ones that go wrong and don't pull
• 34:40
  Speaker 6: it off so somebody's skating that line out there and
• 34:43
  Speaker 6: this was I thought a pretty at least I mean
• 34:45
  Speaker 6: again they probably could have done a little more yeah
• 34:47
  Speaker 6: they could have done a little more maybe with developing
• 34:49
  Speaker 6: his character at home before he left but yeah I
• 34:53
  Speaker 6: don't I don't know I like what it presented there.
• 34:56
  Speaker 4: With him well but the good dad part I mean
• 34:58
  Speaker 4: it just didn't make any sense that he would get
• 34:59
  Speaker 4: off the phone with his wife he hasn't confessed anything
• 35:02
  Speaker 4: and And then he kills himself, and then maybe he
• 35:05
  Speaker 4: decides that he doesn't want to kill himself, but then
• 35:06
  Speaker 4: it's too late. He didn't murder this girl, and now
• 35:11
  Speaker 4: his children are going to be the children of a
• 35:16
  Speaker 4: pedophilic girl killer. Why wouldn't he write a note being like,
• 35:20
  Speaker 4: this is what happened... I'm sorry, I'm going to plunge
• 35:23
  Speaker 4: myself into this lake now. But kids, you get to
• 35:25
  Speaker 4: live the rest of your lives not chastised by the community.
• 35:29
  Speaker 4: And it just didn't make sense.
• 35:30
  Speaker 6: That's a very logical suicide plan. I don't know if
• 35:33
  Speaker 6: that always comes into play.
• 35:34
  Speaker 1: Why would he not want to give... I don't know,
• 35:37
  Speaker 1: like the scene where he goes to the mother's house.
• 35:42
  Speaker 1: Why couldn't she know what happened?
• 35:44
  Speaker 4: What.
• 35:46
  Speaker 6: She kind of did, but she was waiting until he left,
• 35:49
  Speaker 6: I guess.
• 35:49
  Speaker 1: Is he like such a good friend to the actual
• 35:52
  Speaker 1: rapist murderer that it's like, I don't want to mess
• 35:55
  Speaker 1: up his life. He's got a thing going.
• 35:57
  Speaker 11: Yeah.
• 35:58
  Speaker 1: He's got his groundskeeper gig. Kind of worked out.
• 36:02
  Speaker 4: Well, this is one of the endings that I came
• 36:04
  Speaker 4: up with because when David starts saying that maybe it
• 36:08
  Speaker 4: was a trap to bring somebody out, I was like, oh.
• 36:10
  Speaker 4: what if the mom was the one that killed a
• 36:12
  Speaker 4: girl because her daughter's case had gone to the cold
• 36:15
  Speaker 4: cases and nobody cared about it anymore? And then I
• 36:18
  Speaker 4: was going to love that movie because it was just
• 36:20
  Speaker 4: going to be so over the top and insane. And
• 36:23
  Speaker 4: then I was thinking back to the beginning, and I
• 36:25
  Speaker 4: was like, well, when she saw the police around the cross.
• 36:28
  Speaker 6: She walked away.
• 36:29
  Speaker 4: And I was like, oh, my God, I'm about to
• 36:31
  Speaker 4: love this movie. But, no. And then for a while
• 36:34
  Speaker 4: I thought that maybe Seneca– never died and that she
• 36:38
  Speaker 4: was just a petulant 12 year old that hated her
• 36:40
  Speaker 4: parents so she decided to do this thing and then
• 36:42
  Speaker 4: run away and then that would come out and then
• 36:45
  Speaker 4: this man's life would have totally unraveled based on something
• 36:48
  Speaker 4: that had nothing to do with anything and i was
• 36:50
  Speaker 4: like that would be a more interesting movie there were
• 36:52
  Speaker 4: just so many more interesting it was.
• 36:54
  Speaker 1: A really striking concept for a detective movie, and it
• 37:02
  Speaker 1: just somehow, for me, didn't live up to the expectations.
• 37:08
  Speaker 6: I mean, I went in not knowing anything except seeing
• 37:12
  Speaker 6: the visuals in the trailer, which is amazing. It's definitely just...
• 37:16
  Speaker 6: That sucked me in right there. But going into it,
• 37:20
  Speaker 6: I ended up... Again, I ended up being really impressed
• 37:23
  Speaker 6: with what it did. Again, there may be a few
• 37:26
  Speaker 6: things that it didn't do right, but I think it presents...
• 37:29
  Speaker 6: a couple of different things that it does really well.
• 37:31
  Speaker 6: And it does do that weird, like shades of gray
• 37:36
  Speaker 6: thing that like, there are really black and white, especially
• 37:39
  Speaker 6: when you get into the killers and everybody's kind of
• 37:42
  Speaker 6: wrong and kind of horrible and kind of, you know,
• 37:45
  Speaker 6: going about everything the wrong way. And I like that
• 37:48
  Speaker 6: it presented that and didn't make one or the other,
• 37:51
  Speaker 6: this squeaky clean character. And it didn't make him horribly
• 37:55
  Speaker 6: bad by the end. That guy is horrible, but, But
• 37:59
  Speaker 6: at the same time, you start to see, like, I
• 38:02
  Speaker 6: don't know, there is a little bit of humanity to
• 38:04
  Speaker 6: him and you don't understand him, which is good. But
• 38:07
  Speaker 6: at the same time, you see that, like, and I
• 38:09
  Speaker 6: think that's what he was trying to go for was
• 38:11
  Speaker 6: the fact that all of these horrible acts that go
• 38:14
  Speaker 6: on out in the world, it's like it's not, you know,
• 38:17
  Speaker 6: I think he described it as like it's not done
• 38:19
  Speaker 6: by monsters. They're monsters, things done by human beings. And
• 38:23
  Speaker 6: he's trying to look at the human behind it and, like,
• 38:26
  Speaker 6: it's horrible, but why? why are you doing it? Like,
• 38:29
  Speaker 6: it's something that I don't think they fully understand. I
• 38:31
  Speaker 6: don't think it's something they control.
• 38:33
  Speaker 4: Yeah.
• 38:33
  Speaker 6: It's just something that they do.
• 38:35
  Speaker 1: I think, I mean, I, I respect that, but in
• 38:40
  Speaker 1: that framework, it does seem like, couldn't they have like
• 38:43
  Speaker 1: shown us like them relating as friends or like, so
• 38:48
  Speaker 1: we understood they had some sort of connection that the guy,
• 38:52
  Speaker 1: because they never really, you know, it was, it was
• 38:56
  Speaker 1: so dry.
• 38:56
  Speaker 6: Yeah. Well, even in the beginning, it would make sense
• 39:00
  Speaker 6: by the end, but even in the beginning, it seemed
• 39:02
  Speaker 6: like they barely knew each other.
• 39:03
  Speaker 4: Yeah.
• 39:04
  Speaker 1: So it would make a lot more sense. There wasn't
• 39:07
  Speaker 1: like a great sense of something at stake. At the end,
• 39:10
  Speaker 1: you find out it's like, oh, it's because he didn't
• 39:13
  Speaker 1: want to be alone and he wanted to have a friend.
• 39:15
  Speaker 1: But you never really saw the upside of their relationship.
• 39:20
  Speaker 1: You just saw... a girl get raped and murdered and
• 39:24
  Speaker 1: the other guy got sick over it, but not enough
• 39:27
  Speaker 1: to act.
• 39:29
  Speaker 6: Again, it would make more sense to develop that. Again,
• 39:32
  Speaker 6: that is the only big area that I feel like
• 39:36
  Speaker 6: it really needed something.
• 39:37
  Speaker 1: There was something in their relationship that wasn't developed enough.
• 39:41
  Speaker 8: It was like they only had two things in common.
• 39:44
  Speaker 8: You know, they were both bad at math. And they
• 39:47
  Speaker 8: were both into kiddie porn. And that was it. I mean,
• 39:50
  Speaker 8: that seemed to be the only commonality, you know, between
• 39:53
  Speaker 8: the two of them.
• 39:54
  Speaker 1: Yeah, and part of that was even imaginary because Pierre
• 39:58
  Speaker 1: wound up.
• 40:00
  Speaker 1: Timo?
• 40:01
  Speaker 3: Yeah.
• 40:02
  Speaker 1: I keep wanting to.
• 40:02
  Speaker 8: Call him Tivo.
• 40:04
  Speaker 4: I want to call him Tito.
• 40:06
  Speaker 6: Tito.
• 40:09
  Speaker 1: He said he quit school. He was studying... He said
• 40:13
  Speaker 1: he didn't do well in math. And the other guy said,
• 40:15
  Speaker 1: I told you.
• 40:17
  Speaker 7: No, you didn't.
• 40:18
  Speaker 1: You just said you were bad at math. You didn't
• 40:20
  Speaker 1: tell him.
• 40:21
  Speaker 6: He told him in that scene that he wanted.
• 40:23
  Speaker 1: I mean, it's only been 23 years. Do you not
• 40:25
  Speaker 1: remember what you said to this guy on a bench
• 40:28
  Speaker 1: one day? How do you?
• 40:32
  Speaker 6: It was in that scene that was cut out. Where
• 40:34
  Speaker 6: they developed a really touching relationship.
• 40:38
  Speaker 4: Yeah, I don't know. I've, yeah.
• 40:41
  Speaker 1: Yeah, it did raise a lot of expectations, and it
• 40:43
  Speaker 1: came so late, like, where, you know, it started to
• 40:48
  Speaker 1: fit together. And, of course, it seemed to begin a
• 40:51
  Speaker 1: movie about David, like, trying to reopen the case, but,
• 40:59
  Speaker 1: you know, that wasn't where it was going. It was
• 41:01
  Speaker 1: almost similar to a Coen Brothers ending, where, like, nobody
• 41:06
  Speaker 1: in the end would know what actually happened.
• 41:09
  Speaker 4: Yeah.
• 41:11
  Speaker 1: It's kind of like that, and that's sort of, you know,
• 41:13
  Speaker 1: like Blood Simple is a classic detective construction that maybe
• 41:18
  Speaker 1: is wholly original to them. I don't know of any
• 41:21
  Speaker 1: other story where it winds up like nobody ever really
• 41:26
  Speaker 1: understood each other enough to know what actually happened. And
• 41:30
  Speaker 1: they do that again. It's sort of like they're by
• 41:33
  Speaker 1: the numbers, Coen Brothers script, like in Burn After Reading,
• 41:38
  Speaker 1: where they wind up, well, I guess we learned never
• 41:41
  Speaker 1: to do that again. Whatever it was, it didn't work
• 41:47
  Speaker 1: out very well. And that's kind of similar to this too,
• 41:52
  Speaker 1: because they had this unresolved murder case and like, are
• 41:57
  Speaker 1: they going to be able to learn from the mistakes
• 42:00
  Speaker 1: of the, but the future isn't the same as the past.
• 42:04
  Speaker 1: That's the problem. How do you, you know, How do
• 42:07
  Speaker 1: you apply a moral to a lesson that you don't
• 42:10
  Speaker 1: even know if it fucking applies? Because they don't know
• 42:15
  Speaker 1: if the girl's dead or what. They just found a
• 42:18
  Speaker 1: bike and shit.
• 42:20
  Speaker 8: It's weird.
• 42:21
  Speaker 1: I mean, that would be such a bizarre and disturbing
• 42:27
  Speaker 1: situation for everybody involved. Those early scenes, like when they
• 42:34
  Speaker 1: hand all the different people and their reactions to the news.
• 42:38
  Speaker 6: Yeah, I really liked that scene. Yeah, me too. How
• 42:42
  Speaker 6: it sort of wove everybody together into this one reaction
• 42:45
  Speaker 6: shot almost. Yeah. It was really impressive.
• 42:49
  Speaker 4: See, for a while, another film I thought the film
• 42:51
  Speaker 4: might wind up being was I thought that he'd baited
• 42:53
  Speaker 4: him back to pin the crime on him so that
• 42:56
  Speaker 4: he could start living the rest of his life because
• 42:58
  Speaker 4: there was so much stuff that didn't make sense. It's like, Yeah,
• 43:00
  Speaker 4: those headphones with your fingerprints on them. Just throw those
• 43:03
  Speaker 4: out the window.
• 43:05
  Speaker 6: And here's some evidence I'm going to.
• 43:08
  Speaker 4: Plant on you. Here's a DVD of a girl that
• 43:10
  Speaker 4: is also dead.
• 43:12
  Speaker 6: I was like, that was the 80s. You could still
• 43:14
  Speaker 6: get away with doing that.
• 43:16
  Speaker 4: DNA, maybe. Fingerprints, I'm pretty sure that was still a thing.
• 43:18
  Speaker 6: No, they didn't have those in the 80s. Maybe not
• 43:20
  Speaker 6: in Germany. Way back in Germany.
• 43:22
  Speaker 4: I will say this about Germany. Save the girl... rapings
• 43:27
  Speaker 4: and killings it seemed like a very um civilized place
• 43:31
  Speaker 4: because i was noticed like the police never have to
• 43:33
  Speaker 4: pull out a badge everybody just trusts like this stranger
• 43:36
  Speaker 4: coming into my house if they say they're a police
• 43:38
  Speaker 4: person they're a police person um and then when they
• 43:40
  Speaker 4: find the computer full of the kiddie porn and they're
• 43:42
  Speaker 4: like all right well don't you.
• 43:44
  Speaker 1: Touch that he said don't touch it i can't touch.
• 43:47
  Speaker 4: It now so it seemed like a nice place to
• 43:51
  Speaker 4: live but you know and there's only two pedophiles in
• 43:53
  Speaker 4: the whole country.
• 43:54
  Speaker 1: And they met each other because yeah on a bench
• 43:59
  Speaker 1: yeah it is weird and they must have gone over
• 44:01
  Speaker 1: the whole country with like a lint roller before they
• 44:05
  Speaker 1: filmed this because there was just not a speck of
• 44:09
  Speaker 1: anything anywhere it was like the opposite of a 70s
• 44:14
  Speaker 1: urban cop movie yeah.
• 44:19
  Speaker 6: But yeah i mean they were focusing on the small
• 44:21
  Speaker 6: town in germany I don't know what small town this was,
• 44:24
  Speaker 6: but it was pretty ideal.
• 44:26
  Speaker 1: But there's a lot of truth in that. I mean,
• 44:28
  Speaker 1: cultural standards, there are a lot of places where it's just,
• 44:31
  Speaker 1: you know, that's exactly how it is. I don't know
• 44:36
  Speaker 1: if you've ever had the experience of going to a
• 44:38
  Speaker 1: foreign country and going out into the suburbs and walking
• 44:42
  Speaker 1: up to a stranger's front door, knocking on it, and
• 44:45
  Speaker 1: then standing there like you expect to be invited in.
• 44:49
  Speaker 1: But I have. I have done that. because the numbers
• 44:56
  Speaker 1: to the house were misaligned somehow, and I was supposed
• 45:01
  Speaker 1: to be at this dinner in Versailles in France, and
• 45:04
  Speaker 1: I was running late, and I get there, oh, and
• 45:06
  Speaker 1: here's the house, and I go up and I knock
• 45:08
  Speaker 1: on the door. Some guy opens it, and I'm like, hi.
• 45:12
  Speaker 4: Hi.
• 45:16
  Speaker 1: And there's an awkward moment. Eventually, I work out that
• 45:23
  Speaker 1: I'm at the wrong house and the dinner is at
• 45:26
  Speaker 1: the house next door.
• 45:27
  Speaker 6: You're supposed to be in Versailles. You got that all wrong.
• 45:31
  Speaker 1: But, you know, there's perfectly, I could have said I
• 45:34
  Speaker 1: was a cop. I've been invited in. Look around, rifle
• 45:38
  Speaker 1: through the DVDs, stuff like that.
• 45:41
  Speaker 4: Or you could have pretended that you were the murderer
• 45:44
  Speaker 4: of their child and they'd invite you in.
• 45:46
  Speaker 1: To give you crackers or whatever that was. Because I'm
• 45:50
  Speaker 1: looking for a house. Is anybody moving?
• 45:53
  Speaker 6: That's how I look for a place to live.
• 45:54
  Speaker 9: You're the killer.
• 45:54
  Speaker 4: Come on in.
• 45:56
  Speaker 1: Is that how you house hunt in Germany?
• 45:59
  Speaker 6: In Germany, yes.
• 46:01
  Speaker 1: Do you know of anybody moving?
• 46:03
  Speaker 6: They don't have realtors in Germany, man.
• 46:07
  Speaker 1: That's not a job.
• 46:09
  Speaker 6: They have real jobs.
• 46:11
  Speaker 8: Just go ask around.
• 46:13
  Speaker 6: Just go ask your neighbors.
• 46:15
  Speaker 1: Anybody not doing well, maybe going to die? I don't know.
• 46:20
  Speaker 6: If not, we can arrange that.
• 46:22
  Speaker 1: I can ask around.
• 46:23
  Speaker 6: I know a guy that kills people, but only one.
• 46:26
  Speaker 4: Or two.
• 46:26
  Speaker 6: Maybe two, but we don't know that yet.
• 46:30
  Speaker 12: Morgen.
• 46:31
  Speaker 4: Morgen.
• 46:33
  Speaker 2: Ja, hier wurde ja schon mal ein Mädchen erwartet, ja.
• 46:37
  Speaker 15: Well, what was.
• 46:52
  Speaker 6: Your police procedure? Oh, that was it.
• 46:56
  Speaker 4: Just that they never have to show badges and that
• 46:59
  Speaker 4: they don't take evidence. They just ask you politely not
• 47:03
  Speaker 4: to remove it.
• 47:03
  Speaker 1: Don't touch that badge.
• 47:05
  Speaker 6: I thought otherwise as a procedural, it kind of worked
• 47:08
  Speaker 6: pretty well, like more than most for me. I don't know.
• 47:11
  Speaker 6: Sometimes that's, and maybe it's just because we're like completely
• 47:14
  Speaker 6: oversaturated with like procedurals in this country. So maybe like
• 47:19
  Speaker 6: we've just seen too much of it, or maybe I've
• 47:20
  Speaker 6: seen so many completely watered down, wrap it up in
• 47:24
  Speaker 6: 55 minutes versions that I like, I'm so sick of
• 47:27
  Speaker 6: those that this one was, I thought pretty decent, but again,
• 47:31
  Speaker 6: there's weird cop stuff going on.
• 47:33
  Speaker 8: So, I did like, when they had the crime scene
• 47:35
  Speaker 8: taped off, they had one cop holding back everybody. And
• 47:39
  Speaker 8: they listened.
• 47:40
  Speaker 1: Nope.
• 47:41
  Speaker 4: Yeah.
• 47:41
  Speaker 8: You know, even the ex-cop, when he tried to, like,
• 47:44
  Speaker 8: sneak in, you know, he didn't put up much of
• 47:46
  Speaker 8: a fight.
• 47:46
  Speaker 6: He was like a Boy Scout cop, too. How old
• 47:50
  Speaker 6: was that guy, like 12?
• 47:50
  Speaker 8: Yeah, I mean, I don't think he'd started shaving yet.
• 47:54
  Speaker 6: And yet, they put him in charge of the police line.
• 47:56
  Speaker 6: It's interesting.
• 47:58
  Speaker 8: I think he was the only uniformed cop in the
• 48:01
  Speaker 8: whole thing, actually.
• 48:01
  Speaker 6: Yeah, everybody else was a detective, I suppose.
• 48:03
  Speaker 1: Yeah, they weren't even dressed like they had a sense
• 48:06
  Speaker 1: that they were cops.
• 48:08
  Speaker 8: Well, the one guy, his shirt was always wrinkled, and
• 48:10
  Speaker 8: he never shaved.
• 48:12
  Speaker 6: He was in mourning. Yeah.
• 48:16
  Speaker 1: Yeah, and the whole town, and even the trees and
• 48:21
  Speaker 1: the sky, it was all gleaming, so they really stood out.
• 48:25
  Speaker 1: Against that background, all these unshaven, sort of ruffled figures
• 48:30
  Speaker 1: against this shiny... It was like the whole world of
• 48:36
  Speaker 1: the movie had that new car smell. It was just
• 48:40
  Speaker 1: all shiny and clean and bright.
• 48:43
  Speaker 6: It's a wonderful land called Germany.
• 48:46
  Speaker 1: Yeah, they get a lot more sun than we do,
• 48:49
  Speaker 1: I've heard the news. That's why there's solar energy. works
• 48:55
  Speaker 1: because they get more sun and they try to do
• 48:57
  Speaker 1: it yeah where we don't i.
• 48:59
  Speaker 8: Also like that they kept telling you what day it
• 49:01
  Speaker 8: was in the movie i was like why are they
• 49:03
  Speaker 8: telling me what day it is over and over and.
• 49:06
  Speaker 6: Over you gotta keep track you're supposed to take notes
• 49:09
  Speaker 6: at all oh yeah that's kind of an odd device
• 49:14
  Speaker 6: you know like those novels that are written as journal entries,
• 49:18
  Speaker 6: like June 17th, 3 o'clock.
• 49:22
  Speaker 8: The only thing I could think was it was some
• 49:25
  Speaker 8: sort of nod to The Shining, because they'd show you
• 49:28
  Speaker 8: the day, and then you'd hear this stark music cue,
• 49:33
  Speaker 8: and then it'd go off to something else. But then,
• 49:35
  Speaker 8: other than that, there was no real reason for it
• 49:39
  Speaker 8: that I could see.
• 49:40
  Speaker 6: It made sense the first day.
• 49:42
  Speaker 8: Yeah.
• 49:43
  Speaker 6: Because that was important that it was on Friday.
• 49:45
  Speaker 1: But every time it came up, it made me feel
• 49:47
  Speaker 1: like something's going to happen this day.
• 49:49
  Speaker 4: It's Wednesday. Yeah.
• 49:52
  Speaker 8: Now something's going to happen.
• 49:54
  Speaker 4: All right.
• 49:55
  Speaker 6: By the end, I thought like the overall feeling of it,
• 49:58
  Speaker 6: aside from the creepiness from everything going on, it was
• 50:02
  Speaker 6: almost like everybody involved, like the whole thing is sort
• 50:05
  Speaker 6: of just like looking at dealing with horrible things and
• 50:10
  Speaker 6: just kind of moving on like everybody's just sort of
• 50:13
  Speaker 6: like it's all this like ending and beginning and it's
• 50:16
  Speaker 6: all going around on around this death you know it's
• 50:19
  Speaker 6: just like you've got a guy dealing with the fact
• 50:21
  Speaker 6: that his wife just died who's there with a woman
• 50:23
  Speaker 6: who's pregnant no and they're just dealing with this murdered
• 50:27
  Speaker 6: girl and like it's like i don't know everything is
• 50:30
  Speaker 6: like these grieving parents you've got this parent that been
• 50:32
  Speaker 6: grieving for 23 years and you've got these that just
• 50:35
  Speaker 6: found out their daughter might be dead I don't know
• 50:38
  Speaker 6: it's all these different glimpses of like different points in
• 50:41
  Speaker 6: this process all kind of centering around the same thing
• 50:44
  Speaker 6: I thought that part was pretty good because it takes
• 50:46
  Speaker 6: this really good look at how this one event intertwines
• 50:51
  Speaker 6: with all these different people and it's on both sides
• 50:53
  Speaker 6: usually it'll just do the cop procedural part or it'll
• 50:56
  Speaker 6: focus weirdly on the serial killer but like this one
• 50:59
  Speaker 6: was pretty evenly balanced with like everybody that it was
• 51:02
  Speaker 6: even mildly involved. Like it, it went back and forth
• 51:05
  Speaker 6: through everybody pretty evenly, which I thought was kind of
• 51:09
  Speaker 6: interesting to, to balance it out like that.
• 51:11
  Speaker 4: Yeah.
• 51:12
  Speaker 1: It was a, it was a strange pace though, the
• 51:17
  Speaker 1: way they wove it together. Like I kept thinking things
• 51:21
  Speaker 1: were going to turn corners a little differently, like the
• 51:24
  Speaker 1: way they would cut from one moment to the next. The,
• 51:28
  Speaker 1: I think, One of the best ones was like after,
• 51:31
  Speaker 1: you know, the most disturbing scene in the movie is
• 51:34
  Speaker 1: the murder. And then it goes to that guy and
• 51:40
  Speaker 1: his kids playing by the pool and everything seems so happy.
• 51:44
  Speaker 1: But you're just so, it's so freighted with like really disconcerting,
• 51:52
  Speaker 1: disturbing stuff. And maybe that's what the cleanness of it
• 51:58
  Speaker 1: is about. They're trying to, I don't know, use that
• 52:01
  Speaker 1: as kind of an offset. I don't know.
• 52:05
  Speaker 6: The director either, like, just really got into this idea. Again,
• 52:09
  Speaker 6: it's so dealing with loss that, like, he on several
• 52:13
  Speaker 6: occasions captures this perfect look of despair and utter destroy. Just, like,
• 52:20
  Speaker 6: the shot of the parents when they find out that
• 52:23
  Speaker 6: she is dead and it just, like, kind of lingers
• 52:25
  Speaker 6: on both of them just staring off into space just
• 52:28
  Speaker 6: like emptiness and then like it goes to like the
• 52:31
  Speaker 6: next time we see that is the when once the
• 52:35
  Speaker 6: other guys killed himself and we get to his family
• 52:37
  Speaker 6: and they're just cleaning the place out and the cops
• 52:39
  Speaker 6: are taking all the stuff for evidence and like all
• 52:42
  Speaker 6: three of them are just sitting there just like dead
• 52:44
  Speaker 6: like it's I don't know he really like pinned that
• 52:47
  Speaker 6: down that look of complete hopelessness at that point and
• 52:51
  Speaker 6: I don't know that it was just done so Well
• 52:54
  Speaker 6: and horribly sad.
• 52:56
  Speaker 1: And he got, like, a really good effect of, like,
• 53:00
  Speaker 1: creepiness when the two guys meet each other, and they're
• 53:03
  Speaker 1: both wearing those kind of noncommittal long hair haircuts from, like,
• 53:09
  Speaker 1: the late 70s or early 80s.
• 53:11
  Speaker 6: Leftover from the 70s, yeah.
• 53:12
  Speaker 1: Yeah, it's like the people, don't really have short hair,
• 53:15
  Speaker 1: don't really have long hair. It's sort of in between
• 53:18
  Speaker 1: and feathered.
• 53:19
  Speaker 4: Mm-hmm.
• 53:20
  Speaker 6: I was working that for a while. I was at
• 53:22
  Speaker 6: that get a haircut phase.
• 53:24
  Speaker 1: And the one guy was wearing like this yellow shirt
• 53:27
  Speaker 1: with his little tubby guts in there. That was so,
• 53:32
  Speaker 1: so disgusting. That was seriously disgusting.
• 53:38
  Speaker 6: Well, I don't think you're supposed to like him too much.
• 53:41
  Speaker 1: And didn't he have a little bit of like a German...
• 53:45
  Speaker 1: Jeff Daniels quality.
• 53:47
  Speaker 6: See I was thinking if Germany had a Gerard Depardieu.
• 53:53
  Speaker 8: Maybe yeah or kind of couple times where he's got
• 53:56
  Speaker 8: the longer hair with a catchment just the right angle
• 53:59
  Speaker 8: he kind of looks like a like a strawberry blonde
• 54:02
  Speaker 8: like Robin Williams.
• 54:03
  Speaker 1: Oh he does have a little bit of a Robin
• 54:05
  Speaker 1: Williams quality too yeah I.
• 54:07
  Speaker 4: Thought Seneca's dad was very Wonder Years father also I'd
• 54:10
  Speaker 4: just like to throw that out in terms of bizarro
• 54:12
  Speaker 4: casting yeah.
• 54:13
  Speaker 1: And then the older retired cop had a little bit
• 54:17
  Speaker 1: of like a George Bush quality. He really did. Yeah, junior.
• 54:23
  Speaker 6: Dub you?
• 54:24
  Speaker 4: Yeah.
• 54:24
  Speaker 6: I don't know if I'm seeing that, but all right.
• 54:28
  Speaker 1: Well, his face is broader, but he has kind of
• 54:30
  Speaker 1: that nose, which the Queen of England has, too, for
• 54:34
  Speaker 1: some reason.
• 54:35
  Speaker 4: Hmm.
• 54:39
  Speaker 1: Yeah, there are times like in Profile, and also just
• 54:42
  Speaker 1: sort of his physicality was similar. And I guess, you know,
• 54:47
  Speaker 1: you just let police in without ID, and you wind
• 54:52
  Speaker 1: up sleeping with them. And I sort of missed where
• 54:55
  Speaker 1: that developed. Yeah, there was an interesting jump cut. I
• 54:57
  Speaker 1: kind of liked that, actually.
• 54:58
  Speaker 7: I did, too.
• 55:00
  Speaker 6: I didn't really like the way it wrapped up, because
• 55:01
  Speaker 6: I didn't understand where... that came from to me that
• 55:05
  Speaker 6: seemed more yeah that seemed more out of place than the.
• 55:07
  Speaker 4: Beginning i kind of liked it i i felt like
• 55:09
  Speaker 4: he needed to get out of her kitchen.
• 55:11
  Speaker 6: Well probably but if i don't know it felt like
• 55:14
  Speaker 6: both of them were kind of doing something useful with
• 55:16
  Speaker 6: this relationship versus what they've been doing for 23 years
• 55:20
  Speaker 6: so to have them in that means okay now you're
• 55:22
  Speaker 6: both going to go back to living a horrible miserable
• 55:25
  Speaker 6: lonely life yay germany.
• 55:31
  Speaker 4: They can both move on now they haven't for 23
• 55:33
  Speaker 4: years yeah but now there's some resolution the part that
• 55:36
  Speaker 4: I didn't understand okay so he had told her that
• 55:38
  Speaker 4: the killer very well may come back to the house
• 55:42
  Speaker 4: I'm not entirely sure how he knew that but he
• 55:45
  Speaker 4: knew that was going to happen so she was kind
• 55:47
  Speaker 4: of waiting for him so when he shows up and
• 55:49
  Speaker 4: he has this weird cover story and she's like alright
• 55:52
  Speaker 4: come on in and she's fearless and she invites the
• 55:54
  Speaker 4: killer of her child into her home and Why doesn't
• 55:56
  Speaker 4: she call the police at that point while he's sitting
• 55:58
  Speaker 4: on the couch waiting for her to make food? Why
• 56:00
  Speaker 4: isn't she like, well, I'll just take your business card
• 56:02
  Speaker 4: and thank you very much? Like, it's just nothing that
• 56:05
  Speaker 4: anybody did made any sense to me in this film.
• 56:07
  Speaker 1: Yeah, and that whole scene, I kept thinking of The
• 56:12
  Speaker 1: Virgin Spring. It's weird that there's another Bergman movie with
• 56:18
  Speaker 1: the same name as this movie. And then there's that
• 56:21
  Speaker 1: thing where the killer of your daughter comes into your
• 56:23
  Speaker 1: home and he serves her cake. I guess she gets
• 56:28
  Speaker 1: the cake out and then he serves her. And those
• 56:32
  Speaker 1: are huge fucking pieces of cake that they're eating. Those
• 56:36
  Speaker 1: are big pieces of cake.
• 56:38
  Speaker 4: Well, she does run all the time, so she's working
• 56:40
  Speaker 4: that off.
• 56:40
  Speaker 1: That's true. That's true. But I don't know. That's a
• 56:47
  Speaker 1: strange scene, and I couldn't really understand what... I mean,
• 56:49
  Speaker 1: in a way, you could see, like, he wanted to
• 56:54
  Speaker 1: go there, but it was odd. It was really odd.
• 56:59
  Speaker 6: A lot of his actions and motivations are odd.
• 57:02
  Speaker 1: Yeah.
• 57:04
  Speaker 6: But again, he's a weird guy.
• 57:05
  Speaker 1: Yeah, he was kind of like a Lon Chaney pedophile.
• 57:11
  Speaker 1: Because remember how Lon Chaney was always so... He always
• 57:15
  Speaker 1: felt so bad about being a werewolf. And he would
• 57:18
  Speaker 1: mope around. He was kind of like the school janitor
• 57:23
  Speaker 1: in a way. He was just like this little guy like, Oh,
• 57:26
  Speaker 1: I feel bad. I turn into a wolf and kill
• 57:28
  Speaker 1: people and stuff.
• 57:32
  Speaker 6: Again, I think that's something that they don't do in
• 57:35
  Speaker 6: these movies. Again, they make them big, cheesy... cartoony serial
• 57:39
  Speaker 6: killers and horrible child rapists and murderers. And I like
• 57:44
  Speaker 6: that he's trying to look at it from some sort
• 57:46
  Speaker 6: of human angle and be like, yeah, they are horrible,
• 57:48
  Speaker 6: but they're, they started as a person. Some not even
• 57:52
  Speaker 6: doing a weird backstory. I kind of liked that. It
• 57:54
  Speaker 6: didn't give you his reasoning why he did this. Like
• 57:56
  Speaker 6: he's just fucked up and we're looking at why this
• 58:00
  Speaker 6: is going on again. It doesn't pinpoint it down. Probably, uh,
• 58:03
  Speaker 6: I don't know, probably in a way that people won't like.
• 58:06
  Speaker 6: They want some sort of resolution to it, but I
• 58:09
  Speaker 6: don't know. I kind of like the fact that it
• 58:10
  Speaker 6: just sort of catches him in this middle portion where
• 58:12
  Speaker 6: it's like he's just messed up, and depending on which one,
• 58:16
  Speaker 6: either one of them are messed up, but the one
• 58:17
  Speaker 6: is very aware of it and kind of self-loathing because
• 58:22
  Speaker 6: of that. It's like he knows it's wrong, but he won't,
• 58:25
  Speaker 6: you know, it's a compulsion, it's a need, and he
• 58:27
  Speaker 6: still does what he does, but he tries to contain
• 58:31
  Speaker 6: it enough to not, you know, hurt other people on the,
• 58:34
  Speaker 6: I think that's interesting because there's, again, that's like to
• 58:38
  Speaker 6: the best of everyone's benefit. Like if you're that messed up,
• 58:42
  Speaker 6: but you have enough of a conscience to stop yourself
• 58:44
  Speaker 6: from hurting others, like that's.
• 58:46
  Speaker 1: That's interesting.
• 58:47
  Speaker 6: So like it should, yeah.
• 58:49
  Speaker 8: Well, not even credit.
• 58:50
  Speaker 6: Like it's interesting, like just from a philosophical level, from
• 58:54
  Speaker 6: a psychological level, like how you are looking at your
• 58:58
  Speaker 6: life and like how you're using that, your consciousness to like,
• 59:02
  Speaker 6: save other people from being taken down that horrible road.
• 59:05
  Speaker 6: I don't know.
• 59:06
  Speaker 1: I think that's something that Victorians believed in more than
• 59:10
  Speaker 1: we do in the general culture today. It was like
• 59:13
  Speaker 1: vices could be kept like a house plant, just contained.
• 59:20
  Speaker 1: But you couldn't imagine anything like that now because the
• 59:24
  Speaker 1: assumption is that somebody who is messed up is going
• 59:27
  Speaker 1: to act on it. But that's not true, and I
• 59:30
  Speaker 1: know because I've worked in retail for years and many
• 59:35
  Speaker 1: times wanted to punch a customer in the side of
• 59:39
  Speaker 1: the head, and I've never done it.
• 59:42
  Speaker 6: So you're keeping it at bay.
• 59:44
  Speaker 1: Yeah.
• 59:44
  Speaker 4: That's where the movie didn't work for me because he
• 59:47
  Speaker 4: knows that there's a person out there who is acting
• 59:49
  Speaker 4: on it, and why wouldn't he want to stop that person?
• 59:52
  Speaker 4: It is weird.
• 59:52
  Speaker 1: Like they didn't get into that. There needs to be
• 59:54
  Speaker 1: more to.
• 59:54
  Speaker 4: The relationship where we understand why he would protect this person.
• 1:00:00
  Speaker 4: Because there's no reason. There's no reason.
• 1:00:02
  Speaker 1: Well, I mean. And why would he do that to
• 1:00:04
  Speaker 1: his family?
• 1:00:05
  Speaker 6: Again, as it goes on, it's also he's implicated into
• 1:00:08
  Speaker 6: it to the point where.
• 1:00:09
  Speaker 4: I assume there's an anonymous tip line. I mean, come on. Yeah.
• 1:00:13
  Speaker 6: Assuming he knows.
• 1:00:14
  Speaker 2: Again, Germany.
• 1:00:14
  Speaker 4: I don't know.
• 1:00:15
  Speaker 6: Yeah, maybe not in Germany. I don't know. They have
• 1:00:17
  Speaker 6: crazy stuff going on there.
• 1:00:18
  Speaker 4: Maybe anonymity is frowned upon.
• 1:00:20
  Speaker 6: And again, he's just very inactive. So, I don't know.
• 1:00:23
  Speaker 6: I mean, he's just like that's become his way of
• 1:00:26
  Speaker 6: dealing with things is not dealing with them.
• 1:00:27
  Speaker 1: Not dealing with them.
• 1:00:28
  Speaker 6: Moving and running away and changing his name to his
• 1:00:31
  Speaker 6: wife's name. It's like, that's his way of dealing with things.
• 1:00:34
  Speaker 6: So he's not really out to save anybody.
• 1:00:37
  Speaker 1: But my wife's last name was Perkins. And I didn't
• 1:00:41
  Speaker 1: want to be Fred Perkins.
• 1:00:43
  Speaker 6: I don't know. That sounds like a TV character.
• 1:00:45
  Speaker 5: Yeah.
• 1:00:45
  Speaker 1: Yeah.
• 1:00:46
  Speaker 6: I didn't want to do it.
• 1:00:47
  Speaker 1: She took my name, which, you know, I didn't want
• 1:00:51
  Speaker 1: her to, but she was just tired of spelling it.
• 1:00:53
  Speaker 4: Yeah.
• 1:00:53
  Speaker 6: Yours is pretty normal.
• 1:00:55
  Speaker 4: Yeah.
• 1:00:55
  Speaker 1: I guess. I don't know.
• 1:00:58
  Speaker 6: I thought that was an interesting movie.
• 1:01:00
  Speaker 1: It's a really interesting movie. I'm curious what would be
• 1:01:03
  Speaker 1: in the book that they didn't manage to flesh out
• 1:01:07
  Speaker 1: in the movie. Because you can't get away with that
• 1:01:11
  Speaker 1: in the book, with evading that much psychology and motivation.
• 1:01:17
  Speaker 1: In the movie, you can just watch people doing things.
• 1:01:21
  Speaker 1: And it's interesting how the one guy was like, always
• 1:01:24
  Speaker 1: you could see him being tortured. almost to the point
• 1:01:27
  Speaker 1: where they were illustrating it. And then the other guy
• 1:01:30
  Speaker 1: was just so blasé, and he's like, oh, no, that
• 1:01:33
  Speaker 1: was just that rape murder. That was a one-time thing
• 1:01:37
  Speaker 1: back then.
• 1:01:38
  Speaker 4: That was.
• 1:01:40
  Speaker 1: Oh, okay.
• 1:01:41
  Speaker 8: I think that's exactly how he phrases it. That's a
• 1:01:44
  Speaker 8: one-time deal.
• 1:01:44
  Speaker 6: That's a one-time thing. But again, I mean, there are
• 1:01:47
  Speaker 6: people out there walking around that have done that. Again,
• 1:01:51
  Speaker 6: even if they don't fully examine it the way they should,
• 1:01:54
  Speaker 6: I thought just using that character is really interesting. Maybe
• 1:01:58
  Speaker 6: it deserves more exploring, but I don't know.
• 1:02:01
  Speaker 1: Did you believe him at that point that he didn't?
• 1:02:05
  Speaker 1: Because I was kind of up in the air at
• 1:02:07
  Speaker 1: that point. Yeah, at that point I wasn't sure, but
• 1:02:10
  Speaker 1: Was it not him, and was it somebody?
• 1:02:12
  Speaker 6: I don't know. Yeah, they were kind of setting that
• 1:02:14
  Speaker 6: up at that point. Like, it really did, because they
• 1:02:16
  Speaker 6: went out of their way to make sure you couldn't
• 1:02:18
  Speaker 6: see the guy dumping the body and throwing the phone.
• 1:02:21
  Speaker 4: And they were wearing a big jacket, so it could
• 1:02:22
  Speaker 4: have been a lady.
• 1:02:23
  Speaker 6: They really went out of the way to make sure
• 1:02:25
  Speaker 6: you didn't know who it was.
• 1:02:27
  Speaker 4: And he didn't have a car.
• 1:02:29
  Speaker 6: He didn't have a car. They set it up pretty good. So, again,
• 1:02:32
  Speaker 6: I think at that point... and they're also late like
• 1:02:35
  Speaker 6: they wait really late on that for him and they
• 1:02:37
  Speaker 6: wait really late on the other guy as to how
• 1:02:39
  Speaker 6: messed up he is like you're still assuming he's just
• 1:02:42
  Speaker 6: living his squeaky clean life and the only thing he
• 1:02:44
  Speaker 6: ever did wrong was you know run away and not
• 1:02:46
  Speaker 6: report him but as you get into it you're like
• 1:02:49
  Speaker 6: no he's equally messed up and was at that point
• 1:02:52
  Speaker 6: too and we didn't know it we're getting these flashbacks
• 1:02:55
  Speaker 6: granted maybe more flashbacks would have been good but Yeah,
• 1:02:58
  Speaker 6: they keep you in the dark all the way up
• 1:03:00
  Speaker 6: until the last third of the movie on both of
• 1:03:02
  Speaker 6: them as to what's kind of going on in both
• 1:03:05
  Speaker 6: of their heads.
• 1:03:06
  Speaker 1: But do you remember that weird scene where she's calling
• 1:03:09
  Speaker 1: her daughter's phone and there's the guy in the hoodie
• 1:03:13
  Speaker 1: walking around with the phone? And he did have a car.
• 1:03:15
  Speaker 1: It was like a silver something.
• 1:03:17
  Speaker 6: Right, it's a neighbor's car. Yeah, you borrowed it from
• 1:03:20
  Speaker 6: the old lady.
• 1:03:20
  Speaker 4: Yeah, that's... I think you, Fred, totally hit the nail
• 1:03:25
  Speaker 4: on the head that I'd completely forgotten that it was
• 1:03:27
  Speaker 4: an adaptation. And I think maybe that's a problem. Had
• 1:03:29
  Speaker 4: this person written much else, this writer, director?
• 1:03:31
  Speaker 6: I think so. The director, this is actually his first
• 1:03:33
  Speaker 6: feature film. So I think visually he's amazing.
• 1:03:37
  Speaker 4: No, but I mean the actual person who adapted the screenplay.
• 1:03:39
  Speaker 4: Because it does kind of have that feeling of somebody
• 1:03:41
  Speaker 4: that read a book and understood the book. And then
• 1:03:45
  Speaker 4: when you try to tell a story and there's details.
• 1:03:47
  Speaker 1: You maybe leave out certain parts.
• 1:03:48
  Speaker 4: Yeah, there's details that you assume the person knows because
• 1:03:50
  Speaker 4: it's in your brain that you forget to communicate. And
• 1:03:53
  Speaker 4: it feels like he created a screenplay.
• 1:03:55
  Speaker 1: Like some of those adaptations of books that everybody has read,
• 1:03:59
  Speaker 1: but you haven't. And so you're going, what?
• 1:04:05
  Speaker 4: So maybe that's what happened.
• 1:04:07
  Speaker 6: I think he wrote the screenplay.
• 1:04:09
  Speaker 4: The author?
• 1:04:10
  Speaker 6: No, the director.
• 1:04:11
  Speaker 4: Right, that's what I'm saying. Maybe he's just a bad screenwriter.
• 1:04:15
  Speaker 4: And he got so obsessed with those books.
• 1:04:17
  Speaker 6: Maybe the book's not really I think you're going to
• 1:04:20
  Speaker 6: have to investigate to claim that one because I don't
• 1:04:22
  Speaker 6: want to have to read it that's words.
• 1:04:26
  Speaker 5: I read no words and it's in German even more
• 1:04:30
  Speaker 5: difficult to read yeah I don't know that's always a
• 1:04:34
  Speaker 5: question that's a funny thing my son just.
• 1:04:38
  Speaker 1: Read One Flew Over the Cuckoo's Nest and had like
• 1:04:42
  Speaker 1: the most interesting like because he had seen the movie
• 1:04:46
  Speaker 1: already And he was like, all the stuff they leave
• 1:04:49
  Speaker 1: out of the movie is all stuff about the chief.
• 1:04:52
  Speaker 1: And I'm like, yeah, I remember how like he started
• 1:04:55
  Speaker 1: having this issue when like people came to his hometown
• 1:04:58
  Speaker 1: and ignored him. I was like, yeah. And it's weird
• 1:05:02
  Speaker 1: that the movie kind of ignores him and makes it
• 1:05:04
  Speaker 1: all about. It's almost like deeply ironic that the movie
• 1:05:10
  Speaker 1: makes it all about what a cool guy McMurphy is.
• 1:05:14
  Speaker 4: Yeah.
• 1:05:15
  Speaker 1: But the book is very much about the chief, and
• 1:05:19
  Speaker 1: you don't even know in the movie that he was
• 1:05:21
  Speaker 1: in the war or anything like that.
• 1:05:23
  Speaker 8: Well, he's such a minor character in the movie.
• 1:05:25
  Speaker 4: Yeah.
• 1:05:26
  Speaker 8: But in the book, I mean, it's pretty much his story.
• 1:05:29
  Speaker 8: It's what makes the book is because it found a
• 1:05:32
  Speaker 8: way to make a first-person omniscient narrator. Because he's just
• 1:05:38
  Speaker 8: a guy talking, but because everybody thinks he's a vegetable,
• 1:05:42
  Speaker 8: he knows everything.
• 1:05:43
  Speaker 4: Yeah.
• 1:05:44
  Speaker 1: And then he has this visionary thing that, you know, like,
• 1:05:47
  Speaker 1: I think in the end he says, even if it
• 1:05:49
  Speaker 1: didn't happen, it's still true. Yeah. But, yeah, I don't know.
• 1:05:56
  Speaker 1: To me, there was stuff that was missing from the
• 1:05:58
  Speaker 1: movie that would have made it work better.
• 1:06:03
  Speaker 6: See, I think it can work the other way, too, though.
• 1:06:05
  Speaker 6: I think you can, there are things that are elaborated
• 1:06:08
  Speaker 6: on in the book that, either don't need to be
• 1:06:11
  Speaker 6: or sometimes take it down the road that I don't
• 1:06:13
  Speaker 6: think it needs to go down.
• 1:06:14
  Speaker 1: Yeah, no, I'm not saying it needs to be the book.
• 1:06:17
  Speaker 6: No, I'm just saying I'll watch a movie that takes
• 1:06:19
  Speaker 6: some of those parts out and sometimes it's really selective
• 1:06:22
  Speaker 6: about what it takes out and it makes it a
• 1:06:23
  Speaker 6: better story, I think. So it can go either way.
• 1:06:27
  Speaker 6: This one, I don't know, but the director did write
• 1:06:29
  Speaker 6: the screenplay.
• 1:06:30
  Speaker 1: Did you think it was quoting Fargo? Pregnant detective?
• 1:06:35
  Speaker 4: Not really. I read up about that on the IMDb page.
• 1:06:38
  Speaker 4: Did you read that? Yep.
• 1:06:40
  Speaker 1: And it wasn't because they didn't know she was pregnant
• 1:06:42
  Speaker 1: when they cast her. But it is interesting because it
• 1:06:46
  Speaker 1: reminded me of the two kidnapper-murderer guys in Fargo I've
• 1:06:52
  Speaker 1: always thought were such an interesting pair because the one
• 1:06:55
  Speaker 1: guy was so transparent, the funny-looking guy. You could see
• 1:07:00
  Speaker 1: he had just weird issues with authority and he got
• 1:07:03
  Speaker 1: in an argument with a parking lot guy. Because he's
• 1:07:07
  Speaker 1: in a uniform. You think you're some figure of authority
• 1:07:10
  Speaker 1: in that uniform? And you could just tell he's messed up.
• 1:07:13
  Speaker 1: And he couldn't shut up. He's like, all the way,
• 1:07:15
  Speaker 1: all the way here, I'm talking. And you don't have
• 1:07:18
  Speaker 1: anything to say. You know, the Twin Towers. And he
• 1:07:23
  Speaker 1: always had, you could just, he was transparent. But the
• 1:07:27
  Speaker 1: other guy is just a. He's just impenetrable. You couldn't
• 1:07:32
  Speaker 1: get any sense of him except that he was a
• 1:07:35
  Speaker 1: guy who would kill people if it was in his interest.
• 1:07:39
  Speaker 1: And he was so slow moving, but he always caught
• 1:07:42
  Speaker 1: up with everybody. These guys, somehow they didn't become characters
• 1:07:50
  Speaker 1: that I could understand in any way. And I think
• 1:07:52
  Speaker 1: that was maybe they were trying to do that. They
• 1:07:55
  Speaker 1: were trying to humanize them, but I didn't see them
• 1:07:57
  Speaker 1: connecting well. really in a credible way.
• 1:08:00
  Speaker 6: I mean, that's kind of the one thing that we said.
• 1:08:05
  Speaker 6: I think it throws out all these issues and does
• 1:08:09
  Speaker 6: it in a really interesting way and sets up an
• 1:08:12
  Speaker 6: interesting procedural, but the thing that would have, I mean,
• 1:08:16
  Speaker 6: that's kind of what's missing from it. If it had that,
• 1:08:20
  Speaker 6: it would probably make this so much better as it
• 1:08:23
  Speaker 6: comes together. It really kind of needs them to connect
• 1:08:26
  Speaker 6: and it needs to sort of flesh out just a
• 1:08:28
  Speaker 6: little bit more. Again, I don't even need to know
• 1:08:30
  Speaker 6: the weird backstory as to why they got the way
• 1:08:32
  Speaker 6: they are. I think I just would like to see
• 1:08:34
  Speaker 6: a little more of what brought them together and why
• 1:08:38
  Speaker 6: they would, you know, why he would want to cover
• 1:08:40
  Speaker 6: up for him aside from the fact that he doesn't
• 1:08:42
  Speaker 6: do anything. And then why the other one really wants
• 1:08:44
  Speaker 6: him back after 23 years. Like why he's going to
• 1:08:46
  Speaker 6: all this trouble. It would make it more of a
• 1:08:50
  Speaker 6: satisfying payoff if there was something at stake there.
• 1:08:53
  Speaker 1: Did it take him that long to think of it?
• 1:08:55
  Speaker 1: I guess.
• 1:08:57
  Speaker 6: And he couldn't wait till 25 a nice you know.
• 1:08:59
  Speaker 1: Anniversary year i mean because what what anniversary is the
• 1:09:04
  Speaker 1: 23rd is that the dead girl well there's the modern
• 1:09:08
  Speaker 1: style and then there's.
• 1:09:09
  Speaker 8: I think it's contemporary because you get 25 you get
• 1:09:11
  Speaker 8: silver and i think 23 is pickles.
• 1:09:13
  Speaker 6: I don't know I think it's the dead girl anniversary.
• 1:09:15
  Speaker 8: Or dead girl in a field anniversary.
• 1:09:17
  Speaker 1: It could be that. It's the wheat anniversary.
• 1:09:19
  Speaker 8: Wheat anniversary, yeah.
• 1:09:23
  Speaker 6: So I got more of like a Zodiac feel, which
• 1:09:26
  Speaker 6: granted it's the most procedural movie ever is Zodiac. But again,
• 1:09:31
  Speaker 6: I think just the way that it operated, it felt
• 1:09:33
  Speaker 6: like a not so elongated Zodiac version. I still think visually,
• 1:09:38
  Speaker 6: like there's so much stuff he does. Like I really
• 1:09:40
  Speaker 6: want to see what else he does. as a director.
• 1:09:43
  Speaker 1: Do you know what kind of painter he was? Was
• 1:09:45
  Speaker 1: he like a photo realist?
• 1:09:47
  Speaker 5: Maybe?
• 1:09:47
  Speaker 6: I don't know, but he like that. I mean, just the,
• 1:09:51
  Speaker 6: the shots, the overhead shots, which again is very like omnipotent.
• 1:09:57
  Speaker 6: And like, especially when you tie it in with the
• 1:09:59
  Speaker 6: little model that they have, that's, I thought that was
• 1:10:02
  Speaker 6: a cool little tie in. And then the, um, just
• 1:10:05
  Speaker 6: like the dream sequence is amazing. I don't know. There's
• 1:10:09
  Speaker 6: so many really good visual things.
• 1:10:11
  Speaker 11: Yeah.
• 1:10:11
  Speaker 6: Yeah. I, I definitely don't fault him as a visual director.
• 1:10:15
  Speaker 6: Just hire a screenwriter. Screenwriter, just bring in a co-screenwriter.
• 1:10:20
  Speaker 6: Punch up those extra scenes. Tie everything together.
• 1:10:23
  Speaker 1: A little bit. Yeah, his visual style kind of reminds
• 1:10:27
  Speaker 1: me of a photo realist. I'm not big on photo
• 1:10:29
  Speaker 1: realist painters, but I came across this woman, Lee Price,
• 1:10:35
  Speaker 1: who paints herself surrounded by junk food over and over,
• 1:10:39
  Speaker 1: and she's just delightful. It's just wonderful. And it's not
• 1:10:44
  Speaker 1: just because of this funny idea. She's just so incredibly good.
• 1:10:50
  Speaker 1: Great painter. And she'll be like in a bed surrounded
• 1:10:55
  Speaker 1: by cakes. Or in a bathtub with like ice cream
• 1:11:01
  Speaker 1: lined up along the side. And she does things that
• 1:11:04
  Speaker 1: look like some of his scenes like There was one
• 1:11:09
  Speaker 1: scene where there were just two stalks of wheat like
• 1:11:11
  Speaker 1: blurred in the foreground. And I think you're seeing the
• 1:11:15
  Speaker 1: killer standing there just sort of like coming to terms
• 1:11:18
  Speaker 1: with like, oh, fuck. It's just such a great shot.
• 1:11:25
  Speaker 1: But I don't know. For some reason, it reminded me
• 1:11:29
  Speaker 1: of this woman who paints herself.
• 1:11:31
  Speaker 4: Where is she based?
• 1:11:34
  Speaker 1: I think she's in New York. Lee Price.
• 1:11:37
  Speaker 3: Yeah.
• 1:11:39
  Speaker 1: Yeah, I'm not a big fan of photorealism, because usually
• 1:11:42
  Speaker 1: it looks sort of disappointing. You see it in reproductions,
• 1:11:45
  Speaker 1: it looks like, oh, super tight, then you see it,
• 1:11:47
  Speaker 1: and it's like, nah, okay. That sort of works if
• 1:11:52
  Speaker 1: you get back from it.
• 1:11:54
  Speaker 6: You squint and tilt your head.
• 1:11:56
  Speaker 1: Yeah, but she sneaks in little color things, like the
• 1:11:59
  Speaker 1: bathtub water will get this Michelangelo cloud effect to it
• 1:12:05
  Speaker 1: that you know isn't true. Bathtub water doesn't look like that.
• 1:12:08
  Speaker 1: But it looks great. You know.
• 1:12:13
  Speaker 6: That's how this guy seems to work.
• 1:12:14
  Speaker 1: Yeah.
• 1:12:15
  Speaker 4: We haven't addressed the gratuitous full frontal male nudity.
• 1:12:20
  Speaker 6: It just makes me think.
• 1:12:21
  Speaker 1: I was hoping we could just quietly pass over.
• 1:12:24
  Speaker 4: No, no.
• 1:12:24
  Speaker 6: This is a warning. Don't go swimming in lakes and
• 1:12:27
  Speaker 6: ponds in Germany. Yeah. Because that might be waiting for you.
• 1:12:31
  Speaker 1: Dear God.
• 1:12:33
  Speaker 4: With the body or the naked guy?
• 1:12:34
  Speaker 6: No, the naked guy.
• 1:12:35
  Speaker 1: I mean, the body, whatever.
• 1:12:37
  Speaker 6: If you got to find a dead body, I mean,
• 1:12:38
  Speaker 6: you know. Whatever, but it's crazy, creepy, naked guy. I
• 1:12:41
  Speaker 6: don't need that.
• 1:12:42
  Speaker 1: What was he doing there? Yeah, and his body language,
• 1:12:47
  Speaker 1: if you'd call it that. He was like a drunk bear.
• 1:12:53
  Speaker 1: Why does he crouch over and go... I don't even
• 1:12:58
  Speaker 1: know what you... Loping into the water.
• 1:13:01
  Speaker 6: Things about Germany we do not understand.
• 1:13:04
  Speaker 4: Wow.
• 1:13:06
  Speaker 1: Yeah, that was such a strange scene. I mean... I
• 1:13:08
  Speaker 1: guess I had the idea maybe they're going to find
• 1:13:12
  Speaker 1: the body, but is that necessary? Couldn't some guy be
• 1:13:16
  Speaker 1: walking along?
• 1:13:18
  Speaker 6: It's supposed to be a dog walker. It's always like
• 1:13:20
  Speaker 6: a dog walker or a runner in the park. A jogger, yeah. Yeah,
• 1:13:23
  Speaker 6: it's usually one of those two.
• 1:13:25
  Speaker 1: Yeah, but no, it's a big naked guy in a pond.
• 1:13:31
  Speaker 11: I don't know.
• 1:13:31
  Speaker 6: I still think it's definitely worth seeing. It's not a
• 1:13:34
  Speaker 6: perfect movie, but I think it's got a lot of
• 1:13:36
  Speaker 6: interesting things to work with. I think visually it's pretty
• 1:13:40
  Speaker 6: damn amazing. So, I don't know. That's my take.
• 1:13:44
  Speaker 1: Works for me.
• 1:13:46
  Speaker 4: Yeah, I mean, there's a lot to like about it.
• 1:13:48
  Speaker 4: I mean, I think that's what ultimately was so frustrating
• 1:13:51
  Speaker 4: about it. If it had just been a bad movie,
• 1:13:52
  Speaker 4: then all the questions I have wouldn't matter, and I
• 1:13:54
  Speaker 4: would forget it immediately. But there was so much potential there.
• 1:13:57
  Speaker 4: And it seemed like it was going someplace really interesting,
• 1:14:00
  Speaker 4: and then it just, like Fred said, was just lacking.
• 1:14:04
  Speaker 1: Yeah, I'd like to write a version of that movie.
• 1:14:06
  Speaker 4: I was actually thinking, like, maybe I kind of want
• 1:14:08
  Speaker 4: to remake it with My Mom Killer.
• 1:14:10
  Speaker 6: Like when your five movies are coming.
• 1:14:12
  Speaker 1: Well, I think I'm going to do the Borges thing and, like,
• 1:14:16
  Speaker 1: pretend I've already made these movies and write reviews of them.
• 1:14:19
  Speaker 4: Yeah, or you could just do a trailer for your movie.
• 1:14:21
  Speaker 6: I think, Lucy, you should do, like, a clue style and, like,
• 1:14:24
  Speaker 6: just go ahead and go, or maybe it ended like this.
• 1:14:27
  Speaker 1: Or how about like this?
• 1:14:29
  Speaker 4: As long as leaving gets the part.
• 1:14:32
  Speaker 1: Oh, yeah, you could make it into a video game then,
• 1:14:34
  Speaker 1: and it ends depending on which way.
• 1:14:37
  Speaker 4: The choose your own adventure.
• 1:14:38
  Speaker 1: Yeah, and so you'd be the little rumpled detective in
• 1:14:42
  Speaker 1: the lavender negligee.
• 1:14:46
  Speaker 6: I wanted that role.
• 1:14:48
  Speaker 1: The game starts... You wake up on the floor of
• 1:14:51
  Speaker 1: your kitchen.
• 1:14:54
  Speaker 6: Like many a night, sure.
• 1:14:56
  Speaker 1: Well, who hasn't?
• 1:14:59
  Speaker 6: Waking up on the floor in a negligee. It happens.
• 1:15:03
  Speaker 1: I missed my wife. Of course, she was just upstairs asleep.
• 1:15:08
  Speaker 6: But I mean, I didn't feel like going all the
• 1:15:10
  Speaker 6: way upstairs.
• 1:15:10
  Speaker 1: But the negligee was down here in the laundry room, so.
• 1:15:14
  Speaker 8: Yeah, it had its flaws, but I think overall, I
• 1:15:17
  Speaker 8: think they were going for something that they just didn't
• 1:15:19
  Speaker 8: quite possibly get.
• 1:15:22
  Speaker 6: I just like what it brings to the table, I think,
• 1:15:24
  Speaker 6: and how it doesn't treat things the way most movies do.
• 1:15:27
  Speaker 1: Yeah, that's definitely on the plus side. It's a different movie.
• 1:15:34
  Speaker 4: And I loved The Bad Detective. The Bad Detective was
• 1:15:36
  Speaker 4: my favorite. I was like, I don't know, I think
• 1:15:38
  Speaker 4: it's a coincidence. I don't know, I think this.
• 1:15:40
  Speaker 1: I loved it when they first found it, The guy
• 1:15:44
  Speaker 1: shows up and it must be a coincidence.
• 1:15:48
  Speaker 6: You are a good guy.
• 1:15:49
  Speaker 8: Breathtaking. Everybody in the movie is already piecing these two
• 1:15:54
  Speaker 8: murders together except for that guy. And then later on,
• 1:15:57
  Speaker 8: he's like, oh, we got to do everything by the book.
• 1:15:59
  Speaker 1: Can't go crazy.
• 1:16:01
  Speaker 8: But it's like, well, how could you not think that
• 1:16:04
  Speaker 8: this girl who was murdered in the same spot, you know,
• 1:16:08
  Speaker 8: on the anniversary couldn't be at all related?
• 1:16:11
  Speaker 4: Yeah.
• 1:16:13
  Speaker 6: Fine police work, then.
• 1:16:14
  Speaker 4: Yeah.
• 1:16:16
  Speaker 1: Must be a coincidence. There's nothing to it. And then
• 1:16:20
  Speaker 1: the other detective is like, she's dead.
• 1:16:23
  Speaker 2: Yeah.
• 1:16:23
  Speaker 1: She's dead.
• 1:16:24
  Speaker 4: He's like, I'm sure she's going to show back up
• 1:16:27
  Speaker 4: any minute.
• 1:16:27
  Speaker 6: It's like the opposite extremes. And then we've got our
• 1:16:31
  Speaker 6: dead wife guy that's there in the middle piecing it
• 1:16:33
  Speaker 6: all together, man. I like that guy.
• 1:16:37
  Speaker 4: Yeah.
• 1:16:38
  Speaker 8: Yeah, that guy was cool.
• 1:16:40
  Speaker 6: All right, so that is the silence, and hopefully you've
• 1:16:43
  Speaker 6: already seen it if you listen this far in. Otherwise,
• 1:16:45
  Speaker 6: you've messed it all up. All right, well, we do
• 1:16:49
  Speaker 6: want to thank Sterling for letting us come back in
• 1:16:51
  Speaker 6: here and hang around the alley. It's very cool, and
• 1:16:55
  Speaker 6: we're planning lots of devious ideas.
• 1:16:58
  Speaker 8: Thank you, Sterling, who's not in here right now.
• 1:17:00
  Speaker 6: He's wandered off, but he's in the building somewhere. He
• 1:17:03
  Speaker 6: wouldn't leave us alone. We're like children. We'd be swinging
• 1:17:06
  Speaker 6: off these rafters, and that light would be broken already. Anyway,
• 1:17:11
  Speaker 6: thank you, Sterling, for trusting us not to break all
• 1:17:14
  Speaker 6: your stuff. Again, that is theallytheater.org and see what they've
• 1:17:18
  Speaker 6: got in the works. And I think that about does it. Otherwise,
• 1:17:22
  Speaker 6: that is it. We will return next week. Same geek time,
• 1:17:25
  Speaker 6: same geek feed. Thanks for listening.
• 1:17:28
  Speaker 16: Hello, darkness mild.
• 1:17:30
  Speaker 9: I'm going to talk to you. The meeting that was
• 1:17:55
  Speaker 9: meant to be I'm cold as hell My eyes are
• 1:18:35
  Speaker 9: stabbed by the passion I said you do not know
• 1:19:15
  Speaker 9: Silence like a cancer rose We'll be right back.
• 1:20:24
  Speaker 6: We're like completely....
• 1:20:33
  Speaker 8: Are we about to be chainsaw murder?
• 1:20:34
  Speaker 6: Maybe so.
• 1:20:35
  Speaker 7: This episode is a production of Movie Meltdown, produced and
• 1:20:38
  Speaker 7: edited by The Oddity Studios, with the opening music performed
• 1:20:41
  Speaker 7: by The Empires. For more on how to sponsor or
• 1:20:44
  Speaker 7: support the show, email producer at moviemeltdown.com.
• 1:20:47
  Speaker 2: Talk hard!