Latest / The Cine-Files / 486 INTERSTELLAR (2014) Part 1 - The Season of Christopher Nolan

Transcript

486 INTERSTELLAR (2014) Part 1 - The Season of Christopher Nolan · The Cine-Files

0:02
[UNKNOWN]: I don't, don't, don't make me leave like this.
0:04
[UNKNOWN]: Come on, Murph.
0:06
[UNKNOWN]: Don't make me leave like this, Murph.
0:09
[UNKNOWN]: Hey, I love you forever.
0:13
[UNKNOWN]: Hear me?
0:14
[UNKNOWN]: I love you forever.
0:16
[UNKNOWN]: And I'm coming back.
0:25
[UNKNOWN]: Hello and welcome once again to the cinephiles and the season of Christopher Nolan.
0:29
[UNKNOWN]: My name is Steve Morris, I'm a filmmaker and directing instructor in Los Angeles, California.
0:34
[UNKNOWN]: Hello everyone.
0:34
[UNKNOWN]: My name is John Rokham, a writer, producer, host, and voiceover actor down here in San Diego, California.
0:40
[UNKNOWN]: And Steve, we have finally arrived at the first movie in our season of Nolan.
0:46
[UNKNOWN]: And I'm a little nervous.
0:47
[UNKNOWN]: I'm not a lot of you.
0:49
[UNKNOWN]: There are certain films that I feel like,
0:53
[UNKNOWN]: But this is one of those films kind of like the Godfather and a couple of the films we've tackled where like there's a real kind of need to fully pay attention and step up to the game here and and I kind of like the challenge even though I'm a little nervous about it, you know?
1:07
[UNKNOWN]: I mean, I, you know, they're there movies.
1:09
[UNKNOWN]: I like all the kinds of movies we've covered on the show and some of them, the the price of entry is relatively low, you know?
1:16
[UNKNOWN]: And some of them are a ton of fun, and this one, it's like, no, there's a lot of stuff.
1:21
[UNKNOWN]: There's a lot of stuff filmmaking wise going on.
1:24
[UNKNOWN]: There's a lot of stuff science wise going on.
1:26
[UNKNOWN]: There's emotionally a lot of stuff and philosophically a lot of ideas.
1:30
[UNKNOWN]: I mean, this is, you know, we're taking a big bite out of something.
1:34
[UNKNOWN]: Looking forward to diving in, brother.
1:35
[UNKNOWN]: And we, and of course, we couldn't take that bite without all of our supporters on Apple podcasts, as well as on Patreon dot com slash the cine files, where you can get ad free versions of the show and listen to our cine files short.
1:46
[UNKNOWN]: And we have a very special cine files short coming out this week.
1:50
[UNKNOWN]: For the first time ever, we brought the short topic to our cine files advisory board and recorded our episode with all of them.
1:58
[UNKNOWN]: And these are some
2:05
[UNKNOWN]: Yeah, 100% agree with so much fun to hear what they had to say about it and their responses and they gave us a lot to think about in our back and forth conversation about the topic that we covered there, which was, you know, just giving a little bit of tease, which was to do with AI and its place and what's going on with some of the requirements for certain movies and things like nature.
2:22
[UNKNOWN]: So I thought it was a really good discussion and maybe we'll be doing more of them in the future, we'll say.
2:28
[UNKNOWN]: I think so.
2:29
[UNKNOWN]: I mean, we did it as an experiment to see how it went and it went great.
2:32
[UNKNOWN]: It's still, if you're interested in not only supporting the podcast, but actually becoming a part of it and participating in a future cinema short, it's patreon.com slash the cinephiles.
2:41
[UNKNOWN]: Yeah, and if you want to support our show, if you can't support our show through the Patreon, you can also support our show.
2:46
[UNKNOWN]: When you listen to it on the non-add free tier, so when you hear the ads, if you hear a goods or service that you want to use or that sparks your interest, we'd appreciate you all use in our code, because, hey, you get a certain discounts off of it, and then be, you're going to try it out in the signal to these companies to keep coming back and supporting us here.
3:07
[UNKNOWN]: on the cinephiles right now, you're going to hear ads for true diagnostic for quints, some great clothes there, hymns and better help.
3:13
[UNKNOWN]: So pay attention to that, wait and listen, if it strikes you, or fancy, then please feel free to reach out to them, try out their services, and let us know how it went as well.
3:24
[UNKNOWN]: And we decided in conversation with our advisory board that the two films of Christopher Nolan, we wanted to explore, which was a tough choice, but I'm really glad to where we came to we're going to be Oppenheimer, which will tackle in about a month and get a stellar, which we're starting working on right now, John.
3:43
[UNKNOWN]: How did you first come to Interstellar?
3:46
[UNKNOWN]: Yeah, I imagine it was opening weekend.
3:49
[UNKNOWN]: Certainly, probably members of the crew went to go see it together.
3:53
[UNKNOWN]: And I think we saw it at the Chinese theater.
3:59
[UNKNOWN]: I think we saw it there and experienced it there.
4:03
[UNKNOWN]: If not, it was at the Grove.
4:04
[UNKNOWN]: But it was this massive theater going to see it.
4:06
[UNKNOWN]: And just was utterly blown away by the film.
4:11
[UNKNOWN]: I went back a few times to see it as well.
4:15
[UNKNOWN]: universally beloved by our group of friends.
4:18
[UNKNOWN]: So I found that to be a curious thing for me and I kept going back to it because I think it's just one of these films that speaks my language in the way it tackles the things that it tackles and the emotions that it navigates.
4:31
[UNKNOWN]: as it's tackling these very intense scientific philosophical debates.
4:36
[UNKNOWN]: And I just was blown away by this movie and rewatching it again for our conversation.
4:41
[UNKNOWN]: Dare I say 10 years later, I feel like the film is even more appropriate than it was when it was released back then.
4:47
[UNKNOWN]: So I did not see this in the theater, but my guess is you did see it at the Chinese, and here's why I think that's the case, is that this is when they had just read done the Chinese, to turn it in from a regular, beautiful movie palace into an IMAX and showing this film in IMAX in the Chinese was an important thing at this moment.
5:09
[UNKNOWN]: It had just opened up.
5:10
[UNKNOWN]: So I bet you did see it there.
5:11
[UNKNOWN]: I didn't see it, you know, this is when my kid was, he was two, and we really weren't going out that much.
5:17
[UNKNOWN]: So I waited for it to come on digital and this is one man I regret not being there in the theater with you.
5:23
[UNKNOWN]: So I've never seen it in the theater.
5:24
[UNKNOWN]: Oh, wow.
5:25
[UNKNOWN]: Yeah, yeah, yeah, there.
5:28
[UNKNOWN]: I imagine there's got to be like a re appreciation of whatever anniversary coming up.
5:33
[UNKNOWN]: Are they going to show this thing in the theaters again?
5:35
[UNKNOWN]: Because they've been doing that more and more if we even if you noticed that last few years, a lot of these films get are getting re-released again because people want to go back and experience them.
5:43
[UNKNOWN]: in the theaters again.
5:44
[UNKNOWN]: And these companies or these studios are making money off doing this stuff.
5:47
[UNKNOWN]: So it motivates them to do it even more.
5:50
[UNKNOWN]: So a bit of pre-production, this movie I love its origin story, which is as far as I know.
5:57
[UNKNOWN]: This is the first movie whose mission statement really started with doing real science and never lost that through the whole thing because this movie didn't originate with a screenwriter.
6:09
[UNKNOWN]: It didn't originate with a studio executive exactly.
6:13
[UNKNOWN]: It didn't have the regular origin story of a science fiction film.
6:18
[UNKNOWN]: This movie started with a scientist, and that guy is Kip Thorne, and Kip Thorne was an expert on gravity.
6:26
[UNKNOWN]: He's a physicist, and Carl Sagan, as he was finishing the book for contact, reaches out to Kip Thorne to say, hey, how am I doing?
6:36
[UNKNOWN]: What have I gotten right?
6:36
[UNKNOWN]: What have I gotten wrong?
6:38
[UNKNOWN]: Kip gives him some corrections, some changes, which find their way into the book.
6:42
[UNKNOWN]: He's becomes friends with Carl Sagan, Carl Sagan, and his wife go, we have the perfect girl for you.
6:49
[UNKNOWN]: And they set him up on a blind date.
6:52
[UNKNOWN]: Yes.
6:52
[UNKNOWN]: The interstellar exists because there was a blind date.
6:56
[UNKNOWN]: And the blind date was with movie producer Linda Oaksed.
7:00
[UNKNOWN]: Oh, wow.
7:02
[UNKNOWN]: Yep, and they go out on this blind date, and immediately realize we're not into each other.
7:08
[UNKNOWN]: And also realize we really like each other and they become good friends.
7:13
[UNKNOWN]: Oh, that's good.
7:14
[UNKNOWN]: And as they're hanging out at one point Linda, Kip has made some really important discoveries in gravity and she said to him, well, now that you've discovered this, what is the one thing you'd like to see more than anything else?
7:29
[UNKNOWN]: And he says, Oh, that would be a wormhole because his research had to do with wormholes and how they operate and they start talking about wormholes and they say, why don't we make let's try to make a real science movie about wormholes and kip thorns research.
7:46
[UNKNOWN]: and and Kip and Linda both stay on this project through the whole thing and the and the book that I read about the science of interstellar is written by Kip Thorne and so and he goes through the entire movie and discusses this is what is on rock solid science this is what is probable we think this is true but we're not 100 percent sure this is what is speculative and these are the things that are okay we've we've gone pretty much into the way speculative area
8:15
[UNKNOWN]: but he's in the commitment to really do real science stayed throughout the entire project from beginning to end.
8:22
[UNKNOWN]: Wow, that's amazing.
8:24
[UNKNOWN]: You want to have that kind of spark of excitement and discovery and wonder as a genesis for something like this.
8:33
[UNKNOWN]: It makes sense because that's coursing throughout this movie.
8:36
[UNKNOWN]: and who gets excited about the idea of this project that wants to direct it?
8:41
[UNKNOWN]: Well, Steven Spielberg.
8:42
[UNKNOWN]: Yes, of course.
8:44
[UNKNOWN]: Steven Spielberg is going to be the director of this film, Interstellar, and Kemp and Linda come up with, you know, a treatment where they sort of outline the story.
8:53
[UNKNOWN]: Spielberg is currently at Paramount.
8:55
[UNKNOWN]: They bring it to Paramount.
8:56
[UNKNOWN]: Paramount is all excited about it.
8:58
[UNKNOWN]: They're moving forward.
8:59
[UNKNOWN]: They decide to bring on as the writer.
9:02
[UNKNOWN]: Jonathan Nolan.
9:03
[UNKNOWN]: So strangely enough, he comes on to write the script.
9:08
[UNKNOWN]: He starts working on the screenplay.
9:10
[UNKNOWN]: And while this is happening, Spielberg is in major negotiations, because Paramount is, I believe at that time, was currently the home, the studio that housed DreamWorks.
9:21
[UNKNOWN]: icebergs company.
9:22
[UNKNOWN]: And the question is, is DreamWorks going to stay at Paramount?
9:26
[UNKNOWN]: And the answer is,
9:30
[UNKNOWN]: the negotiations fell through.
9:32
[UNKNOWN]: Dreamworks, I believe, at that time, moves over to Disney.
9:35
[UNKNOWN]: And now, suddenly, Spielberg cannot be the director of Interstellar.
9:42
[UNKNOWN]: But here's the thing as Johnathan Nolan is working on the script.
9:49
[UNKNOWN]: Of course his brother is calling him up and saying, how's that science fiction thing going?
9:54
[UNKNOWN]: Yeah, it sounds interesting.
9:56
[UNKNOWN]: Talks to him about ideas.
9:57
[UNKNOWN]: Oh yeah, you know, I kind of like that idea.
9:59
[UNKNOWN]: Oh, this is really interesting.
10:01
[UNKNOWN]: And strangely enough, as soon as Spielberg was no longer able to direct at Paramount, Paramount turns immediately to Christopher Nolan, who would have
10:10
[UNKNOWN]: Apparently, he'd been kind of hoping the whole time that he jumped in, and I am not going to say that this is a conspiracy.
10:16
[UNKNOWN]: I don't have any evidence of that, but there was a quote later on from Spielberg who said, yeah, I always knew that Chris was interested in the story, and I was pretty sure he was going to direct it if I ever decided to step away.
10:29
[UNKNOWN]: So I don't know that this was all part of the machinations to get DreamWorks out of Paramount or get Chris through Nolan, Andre and her stellar.
10:36
[UNKNOWN]: I don't think it was actually all a conspiracy, but put it without pretty well for all of us.
10:41
[UNKNOWN]: They say things happen for a reason, including he was destined to make this movie.
10:45
[UNKNOWN]: And I do think we had a completely different film in Spielberg's hands than the one we have in Nolan's hands.
10:53
[UNKNOWN]: And not that Spielberg doesn't
10:54
[UNKNOWN]: Bring up philosophical stuff or debates.
10:57
[UNKNOWN]: I just got out of disclosure day a couple of days ago, and certainly there's some of that brought up in the movie, but I just think Nolan loves to go way deeper than Spielberg does.
11:06
[UNKNOWN]: And I think this would have been a completely different movie.
11:08
[UNKNOWN]: And I'm kind of glad that things worked out the way they did, because I think this is, again, as I said, this is one of Nolan's masterpieces in a lot of ways in my mind.
11:19
[UNKNOWN]: I think Spielberg's version would have been really entertaining and far more conventional.
11:23
[UNKNOWN]: Yes, probably.
11:25
[UNKNOWN]: And it wouldn't push the, and you know, I love Steven Spielberg.
11:28
[UNKNOWN]: Yeah.
11:29
[UNKNOWN]: I don't, he wouldn't have pushed the envelope in the way that Nolan does.
11:32
[UNKNOWN]: I mean, Nolan goes out there, you know, in a lot of ways, you know.
11:36
[UNKNOWN]: But I have to feel, I do feel like the ending.
11:38
[UNKNOWN]: And when we get to the ending, probably four weeks of now, when we get to the end, like,
11:43
[UNKNOWN]: But there is a Spielberg Spielbergian energy to that end.
11:48
[UNKNOWN]: So it's an interesting conversation to have.
11:51
[UNKNOWN]: If this is something they retained from the conversations with Spielberg when he was around the project.
11:57
[UNKNOWN]: I wonder, you know?
11:58
[UNKNOWN]: You know what occurs to me?
12:01
[UNKNOWN]: Because this movie has real heart throughout.
12:04
[UNKNOWN]: Yes.
12:04
[UNKNOWN]: And I don't know that that's a thing I can say.
12:07
[UNKNOWN]: I'm trying to think of there's any Nolan movie that has heart in this sense.
12:12
[UNKNOWN]: I would say not like this, not like not, yeah, not the bad movies, yeah, not the bad movies, not any of the other, I'm not up and high, like as we said, like we said in our conversation, a lot of his male protagonists are broken people with broken relationships.
12:27
[UNKNOWN]: And so this film,
12:30
[UNKNOWN]: is much more about love, and so that's something Nolan doesn't necessarily tackle with his movies.
12:37
[UNKNOWN]: And I'm not saying people aren't in love with each other in his movies, but the way it's handled here is so uniquely different from any of his other movies.
12:45
[UNKNOWN]: So, you know, you're a great to point that out Steve, because I wonder if that's something they've retained, they retained from the Spielberg contributions and conversations.
12:52
[UNKNOWN]: Because I would argue there's not, I don't know that there's any of Jonathan Nolan's scripts,
12:56
[UNKNOWN]: other than this one that has that heart, that heart right at the center of it.
13:00
[UNKNOWN]: Well, it's like there's certainly as a love story in inception, but it is a twisted, obsessive, difficult, painful love story as opposed to Cooper and Merff, which is even though she's angry at him and hates him for a long time for decades, the reason she feels so strongly is because the positive love was so powerful.
13:22
[UNKNOWN]: You know, yeah, and the reason he comes back and does what he does is for the love of more fall time.
13:28
[UNKNOWN]: So yeah, I I'd be very curious, but yeah, the the the the place that I feel Spielberg the most is this relationship and the ending, you know, 100%.
13:38
[UNKNOWN]: The problem with Christopher Nolan's signing on to direct this movie, he wasn't free.
13:42
[UNKNOWN]: He was getting a lot of other things going on.
13:45
[UNKNOWN]: So what he did obviously, this is his brother who's writing the script, they had a lot of conversations.
13:49
[UNKNOWN]: And one of the things that he said that Christopher Nolan said to both Paramount and in the discussions with his brother that part of the goal was,
13:57
[UNKNOWN]: to make human space like popular again, to say that to make the argument of why humans need to continue to go on these journeys of exploration.
14:08
[UNKNOWN]: Yeah, it's so funny, because I mean, we're kind of walking back into that again.
14:13
[UNKNOWN]: I was thinking that too, yeah, right?
14:14
[UNKNOWN]: Like we're seeing this drive to go out into space again and the money being set aside to explore that now.
14:21
[UNKNOWN]: Whether the goal is to grow about America's greatness, that's a whole debate to be had later on.
14:28
[UNKNOWN]: But you certainly feel that there's this energy that people want to go back out into space again.
14:33
[UNKNOWN]: And certainly tech pros, the tech pros want to build space stations on Mars and get people there as quickly as possible.
14:39
[UNKNOWN]: So yeah.
14:41
[UNKNOWN]: But essentially is four years from when Christopher Nolan becomes the director of record and when they actually go in a production.
14:50
[UNKNOWN]: So Jonathan Nolan had lots of time to really work with this ideas, work with the script, and in particular to do research.
14:59
[UNKNOWN]: So.
15:00
[UNKNOWN]: the he and Jonathan Nolan enrolled in physics programs at Caltech.
15:05
[UNKNOWN]: So he just when it was taking classes in physics so that he could get his head around all of these things and let's be real clear.
15:12
[UNKNOWN]: There is a lot to get your head around in a stellar, I mean, you know, the relativistic physics is not that easy to figure out.
15:20
[UNKNOWN]: I'll tell you one of the movies that was really influential on them
15:25
[UNKNOWN]: Because the movie about earth and environmental collapse and the need to popular other planets and all of those things, that was stuff that they were, they were looking at a lot and so Jonathan gets the end of the script and his brother comes in and reads it and it sounds like this and this goes to the, the point we're making before about the relationship being maybe more part of the Spielbergness, yeah, is that Christopher loved
15:52
[UNKNOWN]: what he did in the first act of the film, setting up the relationships between corporate, Cooper and Murph.
15:58
[UNKNOWN]: And when he stepped in and started doing his own rewrites, it sounds like it was really the space stuff.
16:02
[UNKNOWN]: It was really the second and third acts that he was really trying to tighten it up and man.
16:07
[UNKNOWN]: This is a tight, tight script in the way that you do all this stuff.
16:11
[UNKNOWN]: Yeah, 100% agreed to, 100% agreed.
16:14
[UNKNOWN]: Um, he, no, Christopher Nolan, which I didn't realize, he is very big on secrecy.
16:19
[UNKNOWN]: He does not want, you know, there's some movies, you know, when, when I was making the assistance, and we sent our sent stuff out for casting and stuff like that, I got calls from random people who said, oh, I just read your script because my script didn't have any rules about secrecy.
16:35
[UNKNOWN]: But nobody got to, you know, this is it, I'm sure, I don't know if you've had to deal with this, but, you know, where literally the messenger comes over makes you sign a waiver while you read the script.
16:45
[UNKNOWN]: The messenger waits for you.
16:47
[UNKNOWN]: And then you give it back to them.
16:48
[UNKNOWN]: I mean, that sounds like that's how interstellar was.
16:51
[UNKNOWN]: Yeah, I remember we had to read the Black Panther script at Marvel, because at the time when I was working a collider, they wanted us to come up with a campaign to sell energy drinks connected to Black Panther.
17:04
[UNKNOWN]: So me and my friend David Griffin and our former boss there at Collider, Mark Fernandez, they invited us to Marvel.
17:13
[UNKNOWN]: And we had to go through all those whole rigumarole and we were put in a room.
17:17
[UNKNOWN]: It was like citizen Kate, we were put in a room and we were given two hours to read the script and then it never left the room.
17:24
[UNKNOWN]: And so those kinds of things that you have to kind of go through when secrecy is super important to companies or directors and yeah, it was a mind-bending experience to be in a room, reading the Black Panther script which was a lot different than the film that was shot.
17:41
[UNKNOWN]: So it's fascinating, you know.
17:43
[UNKNOWN]: I'm just picturing you and all the collider guys in that vault from Citizen Kane in Black and White reading the Black Panther script.
17:50
[UNKNOWN]: Yeah, yeah, just the three of us sitting there.
17:52
[UNKNOWN]: No conversations either.
17:53
[UNKNOWN]: We could talk to each other at all.
17:55
[UNKNOWN]: It was in.
17:55
[UNKNOWN]: Yeah.
17:56
[UNKNOWN]: So obviously all directors have influences, but it sounds like Christopher Nolan specifically is thinking about other movies as he's getting started to kind of frame things, right?
18:07
[UNKNOWN]: Unsurprisingly, here are some of the movies he's thinking about.
18:10
[UNKNOWN]: Okay.
18:10
[UNKNOWN]: Tropicalists?
18:12
[UNKNOWN]: Yeah.
18:13
[UNKNOWN]: 2001, a space Odyssey, obviously.
18:15
[UNKNOWN]: Yeah.
18:16
[UNKNOWN]: Blade Runner, Alien, and then Tarkovsky's Mirror, which I have never seen.
18:20
[UNKNOWN]: Hello, Tarkovsky.
18:21
[UNKNOWN]: Tarkovsky.
18:22
[UNKNOWN]: Yeah, certainly makes sense.
18:23
[UNKNOWN]: The right stuff.
18:25
[UNKNOWN]: And then the other movies that he was thinking about, I find super interesting, which is treasure the sear-modry and jaws.
18:34
[UNKNOWN]: Yeah, those are where people out on an adventure away from civilization and the other thing that treasure the Sierra Madre and jaws have in common is one person going crazy.
18:47
[UNKNOWN]: Um, right.
18:49
[UNKNOWN]: Right.
18:50
[UNKNOWN]: Um, that makes a lot of sense to me too.
18:53
[UNKNOWN]: Yeah.
18:53
[UNKNOWN]: Yeah.
18:54
[UNKNOWN]: Um, I would like to do something that I, I don't think I've ever done on the center file before, which is I want to repeat something.
19:01
[UNKNOWN]: I don't know if everyone listening, listen to our breakdown on Christopher Nolan.
19:04
[UNKNOWN]: I felt like we had a great conversation.
19:06
[UNKNOWN]: Yeah.
19:06
[UNKNOWN]: But one of the stories was an interstellar story, and I want to say it again, just because I think it's so interesting.
19:11
[UNKNOWN]: Maybe I can frame it in a slightly
19:13
[UNKNOWN]: is that, again, everyone's heard me say this many times, like the one myth that I would like to continue to explode as in the decades of us doing this in a files is the myth of the God-like director who has the movie totally in their head and just has to create it.
19:31
[UNKNOWN]: That's never true, it's not true with Kubrick, it's not true with Hitchcock, that there is no way for a human to know everything.
19:37
[UNKNOWN]: And what Nolan does is so interesting, what he wants to do,
19:41
[UNKNOWN]: is that it's not that he tells all the people working under him what he wants, right?
19:46
[UNKNOWN]: Is that he challenges them in ways so they come back at him with things that Nolan can't expect.
19:54
[UNKNOWN]: Wow.
19:55
[UNKNOWN]: That's the different thing.
19:55
[UNKNOWN]: And this is the story that I told before, but it's about working with Hans Zimmer, is that they just worked on all the Batman movies.
20:02
[UNKNOWN]: And he wanted to go a different direction and one of the things that he had been doing with him already also on inception was not doing a traditional spotning session, but to actually just create themes and then organically figure out where to use these things in the movie, then he did this thing.
20:17
[UNKNOWN]: or interstellar, where as he said, I've got a movie that I want you to do with me.
20:22
[UNKNOWN]: I'm not going to tell you what it is.
20:24
[UNKNOWN]: I'm going to write a little short story and give it to you.
20:28
[UNKNOWN]: And I want you to read it and come up with the themes and Hans went, well, is this story with the movies based on it?
20:33
[UNKNOWN]: He said, no, this is just a story.
20:35
[UNKNOWN]: And he wrote this story about a father and a son, and a father having to say goodbye to go to work or something like that.
20:41
[UNKNOWN]: Right.
20:41
[UNKNOWN]: And gave it to Hans and Hans.
20:44
[UNKNOWN]: wrote a bunch of themes and came back and only after he had written those themes did Nolan say this is a it's a father and a daughter and this is what this is what interstellars about yeah and what's so great about that and why I felt compelled to tell the story twice is the whole point of it is to make Hans Zimmer create something that Nolan doesn't expect
21:10
[UNKNOWN]: Yeah, and to push them to challenge them, and to see, like, how can I see, because I mean, if you're creative and you know, the Steve is a director yourself, I haven't worked with people who are the heads of separate departments, like, how they see the movie can be different than the way you see the movie, and but you are the end all be all as the director, but
21:31
[UNKNOWN]: There, if you're open to collaboration, there's elements of how they see the movie that will adjust how you see the movie.
21:37
[UNKNOWN]: And it might open up a whole new way to look at the movie and direct the movie and highlight certain things you hadn't thought of, which happens.
21:45
[UNKNOWN]: And so, this is such a smart way to do things.
21:49
[UNKNOWN]: So you have the purity of their reaction to what you've given to them and maybe there's something there, you might have missed, which will only enhance.
21:56
[UNKNOWN]: If you apply that to what you've already done,
22:00
[UNKNOWN]: Well, he's creating something for them to react to so that they create something for him to react to right right is that he's asking for the unexpected.
22:10
[UNKNOWN]: He's asking to be challenged.
22:13
[UNKNOWN]: He's challenging them creatively and they're challenging him back.
22:16
[UNKNOWN]: And then and that's and then more things are created.
22:19
[UNKNOWN]: It is the antithesis of the genius director who has figured everything out, which isn't to say that he's not a genius.
22:30
[UNKNOWN]: is because Hans Zimmer has a son.
22:34
[UNKNOWN]: He wants to tap into it.
22:35
[UNKNOWN]: So he's looking just like he would with an actor and working with a composer often is as close to working with an actor in terms of that sort of creative language you have to create between them is that you're looking for what will unlock their best stuff, you know, right, 100%.
22:52
[UNKNOWN]: Yeah.
22:53
[UNKNOWN]: And he does this in all of the departments.
22:55
[UNKNOWN]: The shoot begins on August 6th, 2013, and Alberta in Canada, and would you like to get in the interstellar?
23:03
[UNKNOWN]: Wow, already.
23:04
[UNKNOWN]: All right.
23:05
[UNKNOWN]: Let's do it.
23:06
[UNKNOWN]: Let's go.
23:07
[UNKNOWN]: Movie starts, I love it, I love it whenever movies transform the logos of all the studios and the fact that this is all in CPA is great, I just love that and we hear the sound of wind and we fade in on this bookshelf.
23:21
[UNKNOWN]: This bookshelf is one of the most important and visually recognizable locations in the film.
23:29
[UNKNOWN]: Um, and we see dust falling and the dust is falling on the models of the space shuttle and it's Oh, within the first, I don't know, six seconds, here's the themes of the film.
23:39
[UNKNOWN]: We have a light.
23:40
[UNKNOWN]: We have the mission to space to save the planet is in that image of dust.
23:44
[UNKNOWN]: And of course, the dust is also the gravity waves and it's also Cooper, you know, like all of this is in this first image.
23:52
[UNKNOWN]: Oh, my, it was farmer.
23:54
[UNKNOWN]: Like everybody else back then.
23:57
[UNKNOWN]: And we're looking at Ellen Burston.
23:59
[UNKNOWN]: how great Ellen Burston.
24:01
[UNKNOWN]: I mean, what can you say, Alice doesn't live here anymore?
24:04
[UNKNOWN]: The extra cysts, so many things that she was a part of.
24:07
[UNKNOWN]: And I love that they got her to be a part of the movie because you start off with her, you establish a kind of groundedness here.
24:16
[UNKNOWN]: And then we're going to get to
24:18
[UNKNOWN]: people with a slice of life type of approach to what is going on.
24:23
[UNKNOWN]: And so it immediately gives credibility to their remembrances and you're immediately buying into what's being told.
24:34
[UNKNOWN]: and suddenly we're on this plane or ship or something.
24:38
[UNKNOWN]: We're with a pilot.
24:39
[UNKNOWN]: We don't quite know what's going on.
24:41
[UNKNOWN]: And then everything starts to shake.
24:43
[UNKNOWN]: And by the way, later on in the movie, we'll learn that this is one of the first pieces of evidence of the gravity waves that are hitting the earth.
24:50
[UNKNOWN]: But we don't know what's going on at this moment.
24:52
[UNKNOWN]: And then suddenly we do the classic waking up from the bad dream and see Matthew about it.
25:01
[UNKNOWN]: This is a nice little window to give us like a subconscious foreshadowing of who this guy is, right?
25:07
[UNKNOWN]: Who is a pilot?
25:09
[UNKNOWN]: And there was a warning, this is very much the Maverick story.
25:11
[UNKNOWN]: Maverick, you can't go to ten.
25:13
[UNKNOWN]: You can't go to ten.
25:14
[UNKNOWN]: Right, the opening of Top Gun Maverick.
25:16
[UNKNOWN]: And he takes it to ten past ten and then the ship blows up, right?
25:20
[UNKNOWN]: And so you see that here in essence because he's pushing that out.
25:23
[UNKNOWN]: So you know he's an adventurer.
25:25
[UNKNOWN]: You know he's a risk taker, right, to subconsciously.
25:29
[UNKNOWN]: But you also know because of how he wakes up, that this is a terrible memory and the way it ends, that this is something that haunts him.
25:36
[UNKNOWN]: By the way, I don't think he does push it to 10, because I actually think what's goes on here is he wants to push it in 10, but the robot version of Tars or whatever doesn't let him in.
25:46
[UNKNOWN]: That's why it's precious.
25:47
[UNKNOWN]: But he wants to, is what I'm saying.
25:48
[UNKNOWN]: He wants to absolutely.
25:50
[UNKNOWN]: No, no.
25:50
[UNKNOWN]: Yeah.
25:51
[UNKNOWN]: So you know how frequently when we do movies, I will say, John, would you like to know some of the other people up for this part?
25:57
[UNKNOWN]: Yeah.
25:57
[UNKNOWN]: I have no, I have zero information of that.
26:02
[UNKNOWN]: I heard that Nolan wanted McConaughey basically from the beginning, wow, but and and there are no stories anywhere else he says he wanted in half the way he obviously wanted Michael King and that doesn't mean there aren't stories of the alternate I just don't have any of them.
26:18
[UNKNOWN]: And then we see he looks up and there is young Murphy played by McKenzie for.
26:23
[UNKNOWN]: Go back to bed.
26:24
[UNKNOWN]: I got you're the ghost.
26:27
[UNKNOWN]: Yeah, McKenzie-Foy didn't go on to do a lot of stuff after this necessarily, you know, she had been established already in the twilight films, playing the character of Renesme, you know, I'm saying that right for you, twilight people, please don't come for me, or maybe it's Renesme, but she showed up in a few more films after this, like a little prince, just stone, not cracker in the four realms, black beauty, and recently last year, in Conjuring the last rights, it's Cindy Perron, but she's also very big into horses.
26:54
[UNKNOWN]: So I, you know, I checked out her social media, it's give a little more background on her, which is very much into horses.
27:00
[UNKNOWN]: So an interesting actress, an interesting person.
27:02
[UNKNOWN]: As well, and I love her in this movie, dude.
27:04
[UNKNOWN]: Love her in this movie.
27:06
[UNKNOWN]: I was gonna say the same thing.
27:07
[UNKNOWN]: I think this is a fantastic kid performance.
27:11
[UNKNOWN]: Like, really, really good.
27:13
[UNKNOWN]: And now, there's scenes, girls, babe.
27:15
[UNKNOWN]: Rambus says you can get ghosts.
27:17
[UNKNOWN]: And now, maybe that's because grandpa's a little too close to being one himself.
27:23
[UNKNOWN]: I love that.
27:24
[UNKNOWN]: Which I think is funny and and and this is one of the keys of the this movie is that you know we we've said before this idea that all all stories are mysteries.
27:33
[UNKNOWN]: Yeah, and this one it is so perfect.
27:36
[UNKNOWN]: And laying out just enough information to keep you interested and involved.
27:42
[UNKNOWN]: But without explorers know that we don't get exposition dumps for a long long time.
27:47
[UNKNOWN]: You know, Nolan's going to pull you along.
27:49
[UNKNOWN]: Were you dreaming about the crash?
27:55
[UNKNOWN]: I love this opening scene between them Steve because we are going to find out because you can watch this in retrospect, right?
28:02
[UNKNOWN]: We're going to find out that they have a very strong bond.
28:07
[UNKNOWN]: You know, Murph and Cooper, they just have a very strong bond.
28:10
[UNKNOWN]: She does, in essence, exactly what he did in that dream.
28:16
[UNKNOWN]: He keeps telling her to go back to sleep, she keeps pushing to get the answers, she keeps pushing, she keeps pushing him.
28:23
[UNKNOWN]: And listen, this could be a throw away scene, and some of you may think it's a throw away scene.
28:27
[UNKNOWN]: But to me, I think this is good screenwriting in a way that gives us an idea of their relationship.
28:33
[UNKNOWN]: She goes past two or three statements past him saying go to bed, go to bed, go to bed, she keeps asking for more information.
28:41
[UNKNOWN]: So just like him, she has this need for information, like a scientific brains, need to get answers.
28:48
[UNKNOWN]: And she almost leaves when she leaves the scene on her terms equal with him.
28:52
[UNKNOWN]: And I think that's something that's to think about in their relationship and why she becomes who she becomes in the course of things as the film
29:02
[UNKNOWN]: There are a million things that are great about this movie, great special effects, great cinematography, incredible music, all that's true.
29:08
[UNKNOWN]: Yeah, the heart of it is this relationship and the key to it, I can't think of anywhere else in film that I have a better example of Kindred spirits.
29:19
[UNKNOWN]: Murph and Cooper are there is they are they are the same in some fundamental way and understand each other in some deep and fundamental way I think that's why devastates her when when he leaves like you know others leave children in movies all the time we see that because they got to go do things this one is one that really carries because there was a sense where she that she feels like a piece of her is literally a bit carved off of her
29:49
[UNKNOWN]: So, Cooper gets up, he looks out the window, and we see, you know, the cornfields, and as he's looking, we hear the sounds of the organ, rising up, the big church pipe organ, which is central, musically to this whole film.
30:05
[UNKNOWN]: This is a Christopher Nolan idea.
30:07
[UNKNOWN]: He goes to Hans Zimmer and I always think of Hans Zimmer.
30:10
[UNKNOWN]: I mean, Hans Zimmer loves real musicians and real instruments, but I always think of him sort of as the bridge between the synthesized world of music and the real world of music.
30:20
[UNKNOWN]: Yeah.
30:21
[UNKNOWN]: And he knows how to bring those things together beautifully.
30:25
[UNKNOWN]: But when Christopher Nolan comes to him and says, I'm thinking pipe organs.
30:29
[UNKNOWN]: Ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha
30:50
[UNKNOWN]: you know, it feels expansive.
30:52
[UNKNOWN]: It feels religious.
30:54
[UNKNOWN]: It feels fundamentally different.
30:56
[UNKNOWN]: So essentially Nolan sends Hans Zimmer out on a journey to learn about pipe organs, which he does.
31:04
[UNKNOWN]: And they are these fastened because these are instruments that are literally the size of buildings, like the whole building is the instrument.
31:10
[UNKNOWN]: And it is as far from computers as you could imagine.
31:14
[UNKNOWN]: This is a giant physical machine.
31:17
[UNKNOWN]: And again, Nolan doesn't know what Hans Zimmer is going to discover on his learning about pipe organs.
31:24
[UNKNOWN]: He doesn't know what direction he's going to go.
31:26
[UNKNOWN]: He just has this feeling about pipe organs and sends on Zimmer off to study them.
31:32
[UNKNOWN]: Like I said, artistic sensibility is there.
31:35
[UNKNOWN]: I know I want this.
31:37
[UNKNOWN]: you're going to compose my movie.
31:39
[UNKNOWN]: I want you to explore this for me.
31:41
[UNKNOWN]: And you trust someone like Zebra to get it right.
31:44
[UNKNOWN]: Well, it is possible that Zimmer comes back and says, I fucking hate pipe words.
31:48
[UNKNOWN]: What is this, and then you don't have the direction, you know, like, or you make the decision, our pipe organs more important to me than Hans Zimmer, you know, right, like, you know, I, you know, do I, or do I want a force, Hans Zimmer to do to do this thing that he doesn't like.
32:03
[UNKNOWN]: These are all decisions, directors have to make.
32:05
[UNKNOWN]: And this is crazy for people to think about, but when you're at this realm of talent,
32:10
[UNKNOWN]: You know, none of us would go to Hans Zimmer and be like, we go look at this and you know, whenever Hans Zimmer said when he came back, we'd be like, okay cool.
32:18
[UNKNOWN]: But I don't say, you know what I'm saying.
32:20
[UNKNOWN]: But Nolan probably knows Zimmer so well that he's like, go explore this, trust me on this, right?
32:27
[UNKNOWN]: He knows that Zimmer will find something there to use in the score.
32:31
[UNKNOWN]: And so sometimes when you're at that level, the people at that level see you as equal and treat you as an equal and will absolutely show you something that you may not have thought.
32:40
[UNKNOWN]: He's greatest you are.
32:41
[UNKNOWN]: You may not have thought to look at.
32:43
[UNKNOWN]: Well, and the thing too is part of what you're doing when you're directing, when you're working on a film, is you're developing a relationship, you're developing a method of communication, a sense of who that other person is, and a sense of what gets them creatively excited.
32:57
[UNKNOWN]: Yeah, because the great artists want to be challenged.
33:00
[UNKNOWN]: They want to be a little afraid.
33:01
[UNKNOWN]: They want to be put in a situation that they don't quite know what they're going to do, because that's where you create stuff, you know?
33:08
[UNKNOWN]: The way had died, the blood came and we had to burn it.
33:13
[UNKNOWN]: And we still had corn, we had acres of corn, but mostly we had dust.
33:19
[UNKNOWN]: And now we see the dust rolling across the plains.
33:23
[UNKNOWN]: And of course, to film this, they wanted to see what the dust bowl really looked like or what dust really looked like in these circumstances.
33:29
[UNKNOWN]: And so they went to Ken Burns' documentary on the dust bowl.
33:33
[UNKNOWN]: Yeah, really studied it, studied the images from that era, studied how the crops look, how the houses look.
33:39
[UNKNOWN]: And so a lot of this, the visuals we are seeing is inspired by Ken Burns' exploration of the dust bowl
33:49
[UNKNOWN]: You know, I think some of the people we see clips from are from that documentary talking about the remembrances of the Dust Bowl and what have you also Nolan grew 500 acres of corn.
34:01
[UNKNOWN]: Because he had done that for
34:04
[UNKNOWN]: Man of steel and so they grew it and then they sold it so it wasn't it wasn't it wasn't thrown away You know, so he really wanted authenticity here and there's a Something really audacious and unsettling about that, but but but God's ballsy is fuck you know in my opinion
34:22
[UNKNOWN]: it's funny we did another movie where they grew a lot of corn for the film and that of course is field of dreams and I remember in that one they said we got to go grow this corn fast we're going to put extra water on it and the farmer said well if you put extra water on it that you won't get ears of corn like it well it doesn't work that way I don't understand the farming of it and they said they're like well we don't want ears of corn we just want stocks
34:47
[UNKNOWN]: And this one, they're at like 4,100 feet in a way up in Alberta.
34:53
[UNKNOWN]: And they go to the farmers and they're like, we don't think corn will even grow here.
34:58
[UNKNOWN]: It's too windy, it's too cold, it's not enough sun.
35:01
[UNKNOWN]: And so they plant all the fives, you said, 500 acres of corn.
35:05
[UNKNOWN]: And it is not coming in.
35:06
[UNKNOWN]: And it sounds like it came in all of a sudden.
35:09
[UNKNOWN]: Oh, wow.
35:10
[UNKNOWN]: Near the end, when they're too old.
35:11
[UNKNOWN]: I guess I can't describe it.
35:13
[UNKNOWN]: It was just constant just that steady blow of dirt.
35:18
[UNKNOWN]: I just want to go back to what you said about the interview footage coming down Ken Burns documentary.
35:22
[UNKNOWN]: I never knew that and it ended up that he called up Ken Burns and said, Ken, we use this footage.
35:27
[UNKNOWN]: So then what they're doing is that they have to make the Ellen Burston right footage match the way Ken Burns shot his interviews.
35:36
[UNKNOWN]: And I just think it is so brilliant because it obviously feels so real as you're hearing these interviews.
35:42
[UNKNOWN]: Well, because it is real, this is, this is people we're actually talking about their lives.
35:48
[UNKNOWN]: little strips of sheep, but sometimes over our nose and mouth, so we wouldn't read this so much of it.
35:55
[UNKNOWN]: And I have a feeling that Nolan knew that a majority, 95% of the people who watched this movie would not have watched the Dust Bowl documentary in Canberra, such a distinct and niche thing in the history of our country that I think it would only be a select few people who would actually watch it on PBS.
36:12
[UNKNOWN]: Well, when we set the table, we always set the plate upside down.
36:16
[UNKNOWN]: Glasses or cups, whatever it was upside down.
36:19
[UNKNOWN]: Which is what we see them doing.
36:21
[UNKNOWN]: I'm just the idea of setting the table.
36:23
[UNKNOWN]: I haven't set a table in decades, you know, just the idea.
36:27
[UNKNOWN]: I occasionally set the table, one of it is having a kid.
36:30
[UNKNOWN]: Well, yes, right.
36:32
[UNKNOWN]: Is I don't want him to grow up as a complete savage?
36:35
[UNKNOWN]: But it is funny because you know, I mean, I was at some fairly formal eating situations when I was a kid And so it was very serious I was taught this fort versus that fort.
36:46
[UNKNOWN]: Oh, yeah, which way if I if I set the table and the knife blade was pointing out instead of pointing in And of course, we're on the right side of the plate Do only only only a barbarian would put the knife on the left side of the plate
36:59
[UNKNOWN]: Like, I was told, like, you have to go around and reverse all those knives, so that is not correct.
37:04
[UNKNOWN]: You know, it was, it my kid knows none of these things.
37:08
[UNKNOWN]: Yeah.
37:10
[UNKNOWN]: But then the moment, as we're seeing what looks like, you know, the 1930s Dust Bowl is there setting the table, we also see them wiping the dust off a laptop.
37:19
[UNKNOWN]: Yeah.
37:20
[UNKNOWN]: And again, this movie is like, what's going on?
37:22
[UNKNOWN]: Where the mystery is so powerful?
37:25
[UNKNOWN]: We're having breakfast.
37:26
[UNKNOWN]: This house, by the way, was built for the film in Calgary.
37:30
[UNKNOWN]: And part of it is because they had shot Man of Steel and smallville was up in Calgary.
37:36
[UNKNOWN]: And they went, well, this is going to be perfect for this stuff in interstellar.
37:40
[UNKNOWN]: Oh, make sense.
37:41
[UNKNOWN]: Yeah.
37:42
[UNKNOWN]: And then we see one of my favorite actors.
37:45
[UNKNOWN]: I don't know if we've had a lot of movies with him on the cinephiles, but John Lethgo, he can do it all.
37:51
[UNKNOWN]: He really can.
37:53
[UNKNOWN]: Yeah.
37:53
[UNKNOWN]: Yeah.
37:54
[UNKNOWN]: That's a fantastic actor.
37:56
[UNKNOWN]: Again, my first film I ever saw was our rated was a world according to Garp.
38:00
[UNKNOWN]: He too.
38:01
[UNKNOWN]: Yeah, that's my first one of his.
38:03
[UNKNOWN]: Yeah, and it was great to see him in that.
38:05
[UNKNOWN]: And now he's going to be double door.
38:07
[UNKNOWN]: So we'll see how that series plays out in a few months for sure.
38:11
[UNKNOWN]: I have, if you get, I mean, you got the two standards, didn't you?
38:14
[UNKNOWN]: John, let's go, Michael K. Yeah.
38:16
[UNKNOWN]: You got the two veteran older actors to come in and deliver their lives.
38:21
[UNKNOWN]: But both of whom can do comedy, can do drama, can do, you like both of whom have these really fascinating ranges.
38:29
[UNKNOWN]: Yeah.
38:30
[UNKNOWN]: And we also see which I had forgotten.
38:32
[UNKNOWN]: I'm sure you would remember, but we get a young Timothy Schallermey playing.
38:36
[UNKNOWN]: Yeah.
38:37
[UNKNOWN]: Yeah.
38:37
[UNKNOWN]: with the appropriate defensiveness and pugnacious energy that he always brings to his role.
38:43
[UNKNOWN]: So you know that he's that's essentially who he is and he's of course currently cheering on the New York nicks in the NBA finals for those who have been watching those games.
38:52
[UNKNOWN]: He's been on the sidelines in San Antonio and in New York with Spike Lee and Ben still are going crazy there.
38:57
[UNKNOWN]: But yeah, of course recently didn't get when the Oscar for Marty Supreme, which I still think he
39:06
[UNKNOWN]: I don't know, so a lot of good actors this year.
39:08
[UNKNOWN]: That was a tough, tough, tough category, but he's great.
39:11
[UNKNOWN]: He's great.
39:13
[UNKNOWN]: And Murphy comes in with the broken lander, which was broken by the ghost.
39:17
[UNKNOWN]: What the heck did you do to my lander, mate?
39:20
[UNKNOWN]: Let me guess, as your ghost.
39:26
[UNKNOWN]: And we think that we're going to get into sort of a normal father daughter, the kid is superstitious, and that's what we're going to do with it.
39:34
[UNKNOWN]: But we really don't go in that direction.
39:36
[UNKNOWN]: And I think it's fascinating because Nolan here is mixing a lot of things, right?
39:40
[UNKNOWN]: We're seeing the relationship and the love.
39:42
[UNKNOWN]: We're seeing the dust, so the groundedness of nature and its effect on human beings.
39:47
[UNKNOWN]: We're seeing him flip over in the computer so technology and on the screen, there's all kinds of things and data and all these calculations happening.
39:55
[UNKNOWN]: And then we're talking about ghosts.
39:58
[UNKNOWN]: So there's a lot of different things that are coursing through this opening that are keeping us on our toes to keep on top or to remember and keep on top of.
40:06
[UNKNOWN]: Ah, it's not very scientific, Murr.
40:09
[UNKNOWN]: You said science is about meeting what we don't know.
40:11
[UNKNOWN]: She's got you there.
40:13
[UNKNOWN]: What's interesting, I think they established the relationship with Donald, which is the John Lethgo character, really beautifully, which is, this is unquestionably a family, that genuinely cares about each other.
40:27
[UNKNOWN]: And Donald doesn't like every single thing about Cooper, and Cooper does not like every single thing about Donald.
40:34
[UNKNOWN]: You know?
40:34
[UNKNOWN]: Right, right.
40:36
[UNKNOWN]: Yeah.
40:36
[UNKNOWN]: Um, and Cooper's, it seems is about, he's about to disengage with Merff's ghost talk.
40:43
[UNKNOWN]: It went to Arnold kind of gestures at her, like be a dad for a moment, and he realizes he needs to, he sits down and he says,
41:04
[UNKNOWN]: I think that sentence plots the path of her future life.
41:10
[UNKNOWN]: Yes.
41:11
[UNKNOWN]: And I also think, again, we're a constructing character, right, with Cooper, Cooper in the dream, wanting to push it to the edge.
41:19
[UNKNOWN]: Yep.
41:19
[UNKNOWN]: Cooper here is ready to just go off and do what he needs to do without addressing the situation with Murph, the extra bit he needs to take to make the connection to make the human connection with Murph, because he's caught in the goes, again, I feel like these protagonists reflect Nolan.
41:36
[UNKNOWN]: And I'm sure Nolan has at times walked out of a room when his children were needing that extra bit of affection or extra bit of conversation because he's so focused on doing what he's doing.
41:46
[UNKNOWN]: It doesn't mean he's disrespectful to his kids.
41:48
[UNKNOWN]: It's just that he's caught up with achieving the thing he needs to achieve.
41:51
[UNKNOWN]: So I think there's an element of that that's here as well, like with all of his male protagonists and their kind of broken relationships at times.
42:00
[UNKNOWN]: I think in really good movies, the themes go all the way down, top to bottom.
42:06
[UNKNOWN]: And I think that Cooper is an explorer at his heart.
42:10
[UNKNOWN]: He's always moving forward and explorers are fundamentally about the future.
42:16
[UNKNOWN]: They are about what's over the next horizon.
42:19
[UNKNOWN]: Getting to it, getting to it.
42:21
[UNKNOWN]: And that is contrasting with the farmer.
42:25
[UNKNOWN]: And the farmer is about here and now.
42:28
[UNKNOWN]: It is stuck in one place literally to the land.
42:32
[UNKNOWN]: And the tension between the farmer and the explorer is central to this whole movie.
42:37
[UNKNOWN]: Cooper, yeah, you know, and so no, be here where you are.
42:41
[UNKNOWN]: And of course, he did go become the explorer, which is his biggest regret was that he didn't stay.
42:47
[UNKNOWN]: Yes, you know, like that's what I mean is that the themes go all the way up and down throughout the whole film.
42:52
[UNKNOWN]: Yeah, this scene is almost a microcosm of what's going to happen in two a bigger ways in a few minutes.
42:58
[UNKNOWN]: Yeah.
42:59
[UNKNOWN]: And now he again, he wants to rush off and do something.
43:02
[UNKNOWN]: And Donald
43:07
[UNKNOWN]: not grandparents, which again is a line that holds multitudes because what it says is 95% of the time Donald has been in charge of the kids in getting the school.
43:19
[UNKNOWN]: Not bad.
43:20
[UNKNOWN]: And I imagine that's the way his wife was, too.
43:23
[UNKNOWN]: And so Cooper is like, Cooper is this guy who is going to the next thing constantly.
43:28
[UNKNOWN]: Because as you said, he's driven to explore again.
43:32
[UNKNOWN]: I think this is a reflection of Nolan and someone is having to bring him back.
43:36
[UNKNOWN]: Someone is having to remind him of his responsibilities and things of that nature to the people who are who he's family with, you know, and so I love that Donald calls him out.
43:44
[UNKNOWN]: In another film, you just jump past this scene, but this scene is important to establish the relationship throughout the whole movie.
43:50
[UNKNOWN]: So, now we're outside, and we see that there's smoke in a distance.
43:55
[UNKNOWN]: Nelson's torture is whole crop.
43:57
[UNKNOWN]: Light?
43:58
[UNKNOWN]: They're saying it's the last harvest for Oprah.
44:01
[UNKNOWN]: ever.
44:02
[UNKNOWN]: In our discussion of Christopher Nolan, we talked about this idea that he has of things not being linear and made the metaphor of a news story where you read the headline with the summary and then you read some background and then you read more detail and then later on you read a book about it and that we're getting information is coming in and drips and drabs in a non-linear way.
44:20
[UNKNOWN]: That's how this movie is doing next position.
44:23
[UNKNOWN]: We hear this thing about blight and last ochre ever, and it's like, wait, again, we're going, what is going on?
44:28
[UNKNOWN]: We have one more little piece of information, but we don't understand the whole picture at all yet, but it keeps us engaged.
44:35
[UNKNOWN]: So, and then just as he's leaving, Donald says to him, he'd be nice to that in his hand, like, she's single.
44:41
[UNKNOWN]: Well, it's as opposed to me.
44:43
[UNKNOWN]: Repopulating the earth.
44:44
[UNKNOWN]: Start pulling your way young, man.
44:46
[UNKNOWN]: No, she's not mine, man.
44:48
[UNKNOWN]: It is nice.
44:52
[UNKNOWN]: So we're driving off to school and he's having Merff do the gear changes, which is, again, another little sign of how he's keeping her engaged and wants her to understand and learn things, which I think is great.
45:05
[UNKNOWN]: Yeah.
45:06
[UNKNOWN]: Tom makes fun of her when she grinds a gear and then we have a flat tire.
45:10
[UNKNOWN]: What you doing, Merff?
45:12
[UNKNOWN]: She didn't do nothing.
45:13
[UNKNOWN]: Food tires off, Murphy's low.
45:16
[UNKNOWN]: Shut up, grab the spare time.
45:19
[UNKNOWN]: That is the spare.
45:22
[UNKNOWN]: How much does the past out here?
45:23
[UNKNOWN]: I'm going to figure it out.
45:25
[UNKNOWN]: No, it's good to be here to help him.
45:27
[UNKNOWN]: Which is true.
45:28
[UNKNOWN]: I love you.
45:29
[UNKNOWN]: Jeez.
45:30
[UNKNOWN]: Yep.
45:30
[UNKNOWN]: I mean, that, again, another sign to me of a great film, just nothing wasted here.
45:35
[UNKNOWN]: Every line is here for a reason.
45:37
[UNKNOWN]: Yep.
45:38
[UNKNOWN]: Even the worship between Tom and Merve.
45:41
[UNKNOWN]: Absolutely.
45:42
[UNKNOWN]: Ballbusting, sibling relationship that's there.
45:44
[UNKNOWN]: Yeah.
45:45
[UNKNOWN]: What's going on, Merve?
45:47
[UNKNOWN]: Why did you, mommy and I have to something that's bad?
45:50
[UNKNOWN]: Oh, we didn't.
45:52
[UNKNOWN]: Murphy's law.
45:54
[UNKNOWN]: Murphy's law doesn't mean that something bad will happen, what it means is that whatever can happen will happen and that's how it's just fine with us.
46:04
[UNKNOWN]: It's awesome.
46:05
[UNKNOWN]: And then a drone like, like, shocking one, like flies overhead.
46:09
[UNKNOWN]: Get in.
46:10
[UNKNOWN]: Get in.
46:12
[UNKNOWN]: Let's go.
46:13
[UNKNOWN]: What about the flat fire?
46:16
[UNKNOWN]: They're just going to drive on that flat and again we're going what the hell is going on like what is this?
46:21
[UNKNOWN]: What's happening here?
46:22
[UNKNOWN]: They're driving chasing the drone and now they turn into the cornfields.
46:27
[UNKNOWN]: Yeah, and to think about this is they're really driving blind.
46:30
[UNKNOWN]: There is no way for the stunt driver to understand where he's going.
46:35
[UNKNOWN]: And so and which means it's hard to coordinate with cameras and everything else they have to do.
46:39
[UNKNOWN]: So what they finally did was they have a helicopter.
46:42
[UNKNOWN]: That's hovering above the truck just behind him.
46:46
[UNKNOWN]: That's essentially spotting for the truck.
46:48
[UNKNOWN]: So the driver who is blind is on the radio and the helicopter is saying 3 degrees left.
46:54
[UNKNOWN]: Straighten it out.
46:55
[UNKNOWN]: Okay.
46:55
[UNKNOWN]: Now this and telling him how to drive through this cornfield.
47:00
[UNKNOWN]: Yikes.
47:01
[UNKNOWN]: Yikes.
47:03
[UNKNOWN]: As they're driving, we hear that this is an Indian Air Force drone and that the solar power has big solar cells and it's going to be really useful.
47:12
[UNKNOWN]: But it's still exciting.
47:14
[UNKNOWN]: He switches seats with Tom while driving.
47:16
[UNKNOWN]: They're aiming at this thing.
47:18
[UNKNOWN]: There's obviously something they're trying to do.
47:20
[UNKNOWN]: We don't know what it is.
47:22
[UNKNOWN]: And then we look up and they're like heading towards a cliff.
47:25
[UNKNOWN]: Yeah.
47:27
[UNKNOWN]: I almost got it.
47:27
[UNKNOWN]: No stop.
47:28
[UNKNOWN]: No stop.
47:30
[UNKNOWN]: Dad!
47:31
[UNKNOWN]: Go!
47:32
[UNKNOWN]: And the fuck the lady dad looks up and they stop right at the edge.
47:42
[UNKNOWN]: I guess that answers the elephant.
47:44
[UNKNOWN]: I actually drive off a cliff scenario.
47:48
[UNKNOWN]: Which A is funny, and B, I think, reveals character, which is, what is Tom?
47:53
[UNKNOWN]: What do we find about Tom?
47:54
[UNKNOWN]: Tom is stubborn.
47:56
[UNKNOWN]: Tom will literally keep doing the same action, even if it costs everything, and not turn.
48:02
[UNKNOWN]: That is what's going to be happening with him later on in the film.
48:06
[UNKNOWN]: We lost him.
48:07
[UNKNOWN]: No, we didn't.
48:09
[UNKNOWN]: and we realize he's somehow taking control of that drone with his life and the laptop.
48:13
[UNKNOWN]: He flies it and then he has mirrored fly.
48:16
[UNKNOWN]: I can't get the alarm.
48:18
[UNKNOWN]: Which is really cool.
48:19
[UNKNOWN]: We land the thing.
48:22
[UNKNOWN]: I want these but up there.
48:23
[UNKNOWN]: Ellie, Michigan, the troll.
48:25
[UNKNOWN]: Down same as ours.
48:26
[UNKNOWN]: 10 years ago.
48:27
[UNKNOWN]: We've built our 10 years.
48:30
[UNKNOWN]: I had to come now for a while.
48:34
[UNKNOWN]: the son cooked its brain or at least looking for something.
48:37
[UNKNOWN]: Is this saying that is this part of the whole plan, this solar drone landing, or did it just get hit by a gravity wave, or is it a good question?
48:48
[UNKNOWN]: At this point, I don't know what it is, right?
48:51
[UNKNOWN]: But I think it's all meant to show how
48:55
[UNKNOWN]: Adapt Cooper is how quick and smart he is, how much Murphy is inspired and excited by that as well and influenced by it.
49:04
[UNKNOWN]: But also, you know, that he has no problem.
49:07
[UNKNOWN]: Again, he has no problem violating the rules, whether it's driving on a broken tire or taking possession of something else, someone else's some countries other technology, he has no problem doing all that because he has an intention for it.
49:22
[UNKNOWN]: And he thinks he has a right to it, which is interesting.
49:25
[UNKNOWN]: Yeah, he is an active guy.
49:28
[UNKNOWN]: He is always going to be doing something.
49:30
[UNKNOWN]: Can't we just let it go?
49:33
[UNKNOWN]: It wasn't her and anybody?
49:35
[UNKNOWN]: I think me to learn how to adapt, Murph.
49:37
[UNKNOWN]: I could have asked how much.
49:40
[UNKNOWN]: Again, no wasted lines, you know?
49:41
[UNKNOWN]: Yep.
49:42
[UNKNOWN]: We arrive at school, Tom is heading off, but says, This one needs to wait.
49:48
[UNKNOWN]: Why did you get it?
49:49
[UNKNOWN]: Let's tell you about it when we get in there.
49:51
[UNKNOWN]: But I'm not going to be mad.
49:52
[UNKNOWN]: That would be, I'm just pleased trying not to.
49:54
[UNKNOWN]: Hey, relax.
49:56
[UNKNOWN]: Get there.
49:58
[UNKNOWN]: Again, the silent understanding that she knows that he is not going to be mad at her, but he's going to be furious at the at the school.
50:07
[UNKNOWN]: Yeah, we go into the office and we see David O'Yellow and Colette Wolfe.
50:13
[UNKNOWN]: Yes.
50:14
[UNKNOWN]: David O'Yellow, of course, who famously played Martin Luther King Jr. and Selma, one of the greatest films about the King's themselves here.
50:23
[UNKNOWN]: But he, of course, he's done recently did Lawman Bass Reeves.
50:26
[UNKNOWN]: He was a voiceover on the American Revolution there.
50:29
[UNKNOWN]: He did a Apple TV show recently called Government Cheese.
50:33
[UNKNOWN]: He's done a number of things over the last few years and certainly a name that everybody
50:37
[UNKNOWN]: He's getting to know more more as the work that he does and collect wealth.
50:41
[UNKNOWN]: Some of you may remember from hot tub time machine.
50:44
[UNKNOWN]: She is the home that hooks up with Cordries character and birth the young geeky kid with glasses.
50:51
[UNKNOWN]: But she's also been in young adult, observant, report, you're the worst.
50:56
[UNKNOWN]: She was a referring character on you're the worst, which is a series of a lot of people seem to like, I couldn't get into it, a lot of people seem to like, but yeah, she worked
51:05
[UNKNOWN]: 20 some years here in the business and being a part of it.
51:08
[UNKNOWN]: And I like her in this.
51:10
[UNKNOWN]: She's an interesting choice and man, this dialogue dude, this dialogue in this scene could be happening today.
51:19
[UNKNOWN]: It's insane.
51:20
[UNKNOWN]: Well, and you say you like her in this, and as an actor, I like her in this too.
51:25
[UNKNOWN]: Yes, yes, that's what I mean.
51:26
[UNKNOWN]: I do not like her.
51:27
[UNKNOWN]: Yeah.
51:28
[UNKNOWN]: I'll like that.
51:29
[UNKNOWN]: Also, with this character, you're so right, do we like this character?
51:32
[UNKNOWN]: We don't like it.
51:33
[UNKNOWN]: But remember, Donald had said to him, it's time to find somebody.
51:37
[UNKNOWN]: You've got to populate Earth, right?
51:40
[UNKNOWN]: And this is who is the single teacher he was referring to.
51:44
[UNKNOWN]: So, right.
51:46
[UNKNOWN]: So, we're walking into this scene thinking, oh, is this going to be a flirty scene?
51:51
[UNKNOWN]: And it becomes anything but I had never connected that this was the person that Donald's suggesting he floats with, you know, of course, now I make it better.
51:59
[UNKNOWN]: We hear that Tom Scott is scores back and they say that he's going to make an excellent farmer.
52:06
[UNKNOWN]: What about college?
52:08
[UNKNOWN]: Well, the university only takes a handful.
52:10
[UNKNOWN]: They don't really have the resources.
52:11
[UNKNOWN]: I still pay my taxes.
52:14
[UNKNOWN]: And where's that money?
52:15
[UNKNOWN]: There's no more armies.
52:17
[UNKNOWN]: So, hey, no more armies.
52:18
[UNKNOWN]: It's another little piece of this puzzle.
52:21
[UNKNOWN]: And then also this thing about university.
52:24
[UNKNOWN]: But, Coup, you have to be realistic.
52:25
[UNKNOWN]: You're rolling my son out for college now.
52:29
[UNKNOWN]: It gets 15.
52:30
[UNKNOWN]: Tom score simply is high enough.
52:33
[UNKNOWN]: I love Cooper's tactic.
52:35
[UNKNOWN]: His next move is really funny.
52:37
[UNKNOWN]: What's your waste line?
52:39
[UNKNOWN]: Oh, I 32.
52:40
[UNKNOWN]: I'm about 33, and see you.
52:42
[UNKNOWN]: I'm not sure I see what you're getting out.
52:43
[UNKNOWN]: And you're telling me it takes two numbers to measure your own ass, but only one to measure my son's future.
52:48
[UNKNOWN]: It's a great line, man.
52:50
[UNKNOWN]: Yeah.
52:52
[UNKNOWN]: But again, Cooper pushing back Cooper saying, no, I don't want to accept what you've given me.
52:57
[UNKNOWN]: This is what I want.
52:59
[UNKNOWN]: And the thing is,
53:01
[UNKNOWN]: This is very reminiscent of what you hear about that goes on in communist countries.
53:05
[UNKNOWN]: Well, we're not gonna educate them past this.
53:08
[UNKNOWN]: This is very reminiscent of like Soviet Union.
53:11
[UNKNOWN]: They had that situation as well, where if you didn't show promise at a certain age, they moved you into the agriculture section.
53:18
[UNKNOWN]: You were not like, there was no later on, you developed an intelligence for this kind of stuff.
53:23
[UNKNOWN]: It was very controlled.
53:25
[UNKNOWN]: And so to see
53:26
[UNKNOWN]: These kinds of words, going, oh, this kind of back and forth happening in an American scenario is a little unsettling and considering what we've been through for the last ten years with COVID and now what we're seeing with some of these restrictions and controls being put on through the government.
53:41
[UNKNOWN]: Like, there's a lot here that feels now more realistic than fantastical when I watch this movie in 2014 and sadly so.
53:49
[UNKNOWN]: Well, and there's, I mean, what's happening?
53:52
[UNKNOWN]: Like we're going like, oh, we get there.
53:54
[UNKNOWN]: No more armies now.
53:57
[UNKNOWN]: So something really, really big is happening.
53:59
[UNKNOWN]: The university can only take a small handful of people and everybody, and we already heard, everyone is a farmer now.
54:06
[UNKNOWN]: And so it's like, okay, what the hell is going on?
54:10
[UNKNOWN]: And it is true that when resources are in trouble, the governments have to make decisions, they have to do some triage in certain ways and say, okay, we're not going to do that anymore.
54:21
[UNKNOWN]: That makes sense up to a certain point.
54:24
[UNKNOWN]: You know, I know, I agree.
54:26
[UNKNOWN]: Yeah, and people are going to push back on it, because it's not going to be my kid.
54:30
[UNKNOWN]: It'll be the other person's kid.
54:32
[UNKNOWN]: But that's what everyone thinks, you know, and so it becomes a battle.
54:36
[UNKNOWN]: I really like this moment.
54:37
[UNKNOWN]: Come on, you're a well-educated man, and a trained pilot, and an engineer.
54:43
[UNKNOWN]: That identity is real important to him.
54:46
[UNKNOWN]: Oh, yeah.
54:47
[UNKNOWN]: Because that's why I think that line he said earlier to Murph about what we all need.
54:52
[UNKNOWN]: That thing needs to adapt just like we do.
54:54
[UNKNOWN]: If there's anyone who is not adapted to this world,
54:58
[UNKNOWN]: It is, it is coop, no matter what he says, yeah, it became a farmer, but I think he'd be grudgingly came a farmer, I think he was about all the time, and so this idea that everyone else needs that everyone should adapt, he's not adapting himself.
55:12
[UNKNOWN]: Well, and to be clear, the way the world is adapting, they will all die.
55:18
[UNKNOWN]: The only people that are going to save them are the engineers, you know, like that, the scientists, the people moving forward.
55:24
[UNKNOWN]: This is like the anti-crypton.
55:26
[UNKNOWN]: On Crypton, the science council doomed them.
55:29
[UNKNOWN]: Yeah.
55:30
[UNKNOWN]: And here it's like, no, no, that's who we need.
55:32
[UNKNOWN]: But that's not what the principal says.
55:34
[UNKNOWN]: Okay.
55:35
[UNKNOWN]: Well, right now, we don't need more engineers.
55:40
[UNKNOWN]: We didn't run out of television screens and planes.
55:42
[UNKNOWN]: We ran out of food.
55:44
[UNKNOWN]: The world needs farmers.
55:46
[UNKNOWN]: Good farmers, like you and Tom.
55:48
[UNKNOWN]: Uneducated farmers.
55:51
[UNKNOWN]: Because what we're about to find out is this world, it isn't just that they're saying, we only have so many resources to educate so many people.
55:59
[UNKNOWN]: Yeah, they have a whole bunch of lies that we don't even know the half of.
56:04
[UNKNOWN]: Yeah, that is how they're educating.
56:06
[UNKNOWN]: Yeah, and Cooper's ready to go.
56:09
[UNKNOWN]: Yeah.
56:09
[UNKNOWN]: But Tom was just the appetizer.
56:11
[UNKNOWN]: Now we get to move on to Murph.
56:15
[UNKNOWN]: And after saying some very nice compliments about Murph, she says that she's had some trouble.
56:20
[UNKNOWN]: She brought this in to show the other students, the section on the lunar landings.
56:24
[UNKNOWN]: Yeah, it's a male dex books.
56:27
[UNKNOWN]: She always loved the pictures.
56:29
[UNKNOWN]: It's an old federal textbook.
56:30
[UNKNOWN]: We've replaced them with the corrected versions.
56:33
[UNKNOWN]: Corrected.
56:35
[UNKNOWN]: explaining how the Apollo missions were fake to bankrupt the Soviet Union.
56:40
[UNKNOWN]: It's hard, it's hard watching this.
56:42
[UNKNOWN]: Yeah, it's what I'm not telling you.
56:44
[UNKNOWN]: It's so insane to watch the movie now in 2026 when there are so many people invested in pushing misinformation and lies about our history, to whitewash our history, to change our history.
56:57
[UNKNOWN]: And here we have,
56:58
[UNKNOWN]: a young white blonde woman pushing this narrative of, no, this is the real reason.
57:04
[UNKNOWN]: And we see happening in all these other states and in all these other school systems that they're trying to push fake history, fake past stories to push their own narratives.
57:17
[UNKNOWN]: And that's what you have.
57:18
[UNKNOWN]: really unsettling this scene, whereas the scene was like funny in 2014 is like something that could never happen or fantastical, now it feels very much more real and unsettling with just the simple exchange about like, it's ridiculous to think we ever landed on the moon like, you know, this kind of stuff.
57:35
[UNKNOWN]: And so she is clearly a conspiracy theorist or is pushing happily pushing the government, the government decided narratives about this situation.
57:45
[UNKNOWN]: several thoughts.
57:46
[UNKNOWN]: The first thing is I don't know that she is a conspiracy theorist or pushing government a government narration.
57:53
[UNKNOWN]: She might just believe this is the truth.
57:56
[UNKNOWN]: Yes, I guess.
57:57
[UNKNOWN]: Sure.
57:57
[UNKNOWN]: I mean, well, because the truth is whatever people tell you is the truth.
58:01
[UNKNOWN]: I mean, how you find out the truth.
58:03
[UNKNOWN]: I mean, there is real truth.
58:05
[UNKNOWN]: But how we find out about it is someone says, this is how this works.
58:08
[UNKNOWN]: You know, that's he Ross sold the flag and George Washington threw a silver
58:15
[UNKNOWN]: Well, you know, like we'd have to know is like when did this, when did this new reality come into existence?
58:21
[UNKNOWN]: How many generations has this new reality been in existence?
58:23
[UNKNOWN]: It's a good point you make.
58:25
[UNKNOWN]: Well, this is one of the weird things about this movie and it's a very specific choice by Christopher Nolan.
58:30
[UNKNOWN]: And I think it pays all sorts of strange dividends.
58:33
[UNKNOWN]: Yeah, which is that normally when you're designing a science fiction world, a world of the future, you make it look like the future.
58:41
[UNKNOWN]: Yes.
58:41
[UNKNOWN]: And he made the very clear choice to make this look like today ordinary today.
58:46
[UNKNOWN]: Yeah.
58:46
[UNKNOWN]: And to not give and the technological cues is like what we see laptops and we see drone what he wanted.
58:53
[UNKNOWN]: Yeah, he wanted technology that was a whole range of technology.
58:57
[UNKNOWN]: Yeah.
58:57
[UNKNOWN]: And so the idea is, like, this was just very, very human-hour world.
59:02
[UNKNOWN]: And some technology has been invented since then since the Blight started, some hasn't.
59:08
[UNKNOWN]: And a lot of it is reused old technology.
59:10
[UNKNOWN]: When they get on to the ships and how they're designed, they kept that going with some of this seems super modern and high-tech and some of it is switches and feels very mechanical because Nolan didn't want to go.
59:22
[UNKNOWN]: This is 2028 and this is how it works, you know, you wanted it to feel like us.
59:27
[UNKNOWN]: And so how long this has been going on, like it's possible that Donald is my age and was born in 1968 and this is now 2035 or 2040 it's also possible Donald was born in 2000 or 2150 we don't really know.
59:46
[UNKNOWN]: Right.
59:46
[UNKNOWN]: You know, some research for this, a person, one of the people who analyze the film aspect of it, that Donald is of the millennial generation.
59:54
[UNKNOWN]: Right.
59:55
[UNKNOWN]: Because he talks about the ball players and stuff like that when my day.
59:58
[UNKNOWN]: And so yeah, it may be right in your assumption that he could be your age.
1:00:03
[UNKNOWN]: When this all went down and now it's all this time later.
1:00:06
[UNKNOWN]: Yeah.
1:00:07
[UNKNOWN]: Well, and the other thing too, just in terms of things that are going on today, is I could tell two stories about Thomas Jefferson, both entirely filled with facts that were totally, totally different.
1:00:20
[UNKNOWN]: But both of them are accurate.
1:00:22
[UNKNOWN]: You know what I mean?
1:00:23
[UNKNOWN]: One could focus on Thomas Jefferson, the scholar, and the scientist, and the statesmen, and one could focus on him as the slave owner.
1:00:35
[UNKNOWN]: whether or not we land it on the moon is not that one of those is not factual.
1:00:41
[UNKNOWN]: One of those is a complete lie that's going on and his reaction to this is powerful.
1:00:48
[UNKNOWN]: You don't believe we went to the moon.
1:00:51
[UNKNOWN]: I believe it was a brilliant piece of propaganda that the Soviets bankrupted themselves pouring resources into rockets and other useless machines.
1:01:00
[UNKNOWN]: It's the useless machines at the end of that line.
1:01:05
[UNKNOWN]: Again, this is rough because you hear, in my opinion, the bullshit narratives that are out there to explain some of the things from our past or some of the things we did, and I just, I go insane when I see it, you know, because we know the truth, we know the truth, and people create false narratives in order to push their own agendas, and it's mind blowing, you know?
1:01:26
[UNKNOWN]: You're saying Stanley Kubrick didn't fake the moon landing.
1:01:29
[UNKNOWN]: Yeah, it's right.
1:01:29
[UNKNOWN]: He didn't fake the moon landing.
1:01:31
[UNKNOWN]: I liked it.
1:01:32
[UNKNOWN]: And look, the, recently we had those astronauts, right, who went out into space, and they were confronted in the hallways of Congress by conspiracy theorists who yelled at them saying it was a false flag operation.
1:01:46
[UNKNOWN]: I mean, this is what we're dealing with now is this breakdown of intelligence and we're lifting up people who are proudly unintelligent about this stuff or proudly believe conspiracy theories about this stuff.
1:01:59
[UNKNOWN]: And you might be right, she's young enough.
1:02:01
[UNKNOWN]: that she could have been born when the narratives were changed and she just grew up knowing or believing that the truth was that we never landed on the moon and that was this was a whole thing to defund the Soviets or break them economically.
1:02:17
[UNKNOWN]: Well, and like all good bullshit, it has a sliver of truth part of what broke the Soviet Union was them trying to keep up in the space race.
1:02:25
[UNKNOWN]: Exactly.
1:02:26
[UNKNOWN]: Exactly.
1:02:27
[UNKNOWN]: You know, yeah, it's, well, it's so funny to me about the people confronting those astronauts as they're posting up on their social media.
1:02:34
[UNKNOWN]: They're using their cell phones, which could not exist without the space program.
1:02:39
[UNKNOWN]: Exactly.
1:02:40
[UNKNOWN]: Like, there's so much of our world is dependent upon the space program having been real, right?
1:02:46
[UNKNOWN]: Like, satellite TV is not fake.
1:02:48
[UNKNOWN]: You're getting the TV.
1:02:49
[UNKNOWN]: All right.
1:02:50
[UNKNOWN]: Yeah, exactly.
1:02:53
[UNKNOWN]: And if we don't want to repeat of the excess and wastefulness of the 20th century, then we need to teach our kids about this planet, not tales of leaving it.
1:03:01
[UNKNOWN]: Which A is the whole theme of the movie again.
1:03:03
[UNKNOWN]: We're right on the film.
1:03:05
[UNKNOWN]: And B, I think it does tap into a whole bunch of people who think there were all sorts of environmental excesses in the 20th century that go, yeah.
1:03:14
[UNKNOWN]: You know?
1:03:15
[UNKNOWN]: Yeah, true.
1:03:16
[UNKNOWN]: And today, if you asked me, should we invest our time in saving our planet or finding a way to leave it?
1:03:23
[UNKNOWN]: I would say we should invest our time in saving our planet.
1:03:26
[UNKNOWN]: I agree with that.
1:03:27
[UNKNOWN]: And again, his comebacks.
1:03:29
[UNKNOWN]: Every one of his comebacks with these guys, I love.
1:03:31
[UNKNOWN]: You know, one of those useless machines that used to make us call them all right.
1:03:36
[UNKNOWN]: And if we had any of those left, the doctors would have been able to find the system, how I sprained before she died and said I have to worse.
1:03:43
[UNKNOWN]: And then she didn't then want to sit in there, listen to this, instead of me, which would have been a good thing, because she was always that a calmer one.
1:03:54
[UNKNOWN]: What's so great, it ties perfectly to Murph telling him not, you know, he says somebody to be bad, not at me.
1:03:59
[UNKNOWN]: You guys, she was exactly what he was going to happen here.
1:04:02
[UNKNOWN]: Yeah, I'll have to be said.
1:04:04
[UNKNOWN]: I'm sorry about your wife, Mr. Cooper.
1:04:08
[UNKNOWN]: Murrf got into a fistfight with several per classmates over this Apollo nonsense, so we thought it would be best to bring you in and see what ideas you might have for dealing with her behavior on the home front.
1:04:18
[UNKNOWN]: I've been in this meeting with a teacher or a principal, and this is like, okay, and my response is always, all right, here is how I will get my kid to behave or I'm going to work on getting my kid to behave better, because I take that school's issues seriously.
1:04:33
[UNKNOWN]: I want my kid to be socially, you know, correct.
1:04:37
[UNKNOWN]: I don't want him to create a disruption to the school.
1:04:39
[UNKNOWN]: So yes, this is the, that is not who her Cooper goes.
1:04:44
[UNKNOWN]: though he tells them his plan and again I love it yeah you know what um there's a game tomorrow night she's going through a bit of a baseball phase favorite teams plan there's gonna be candy and soda I think I'll take her to that great love this guy love him as a dad it's great
1:05:08
[UNKNOWN]: Ms. Hanley's reaction is one of like shock, right?
1:05:10
[UNKNOWN]: Yeah, she's not used to having a parent who would not do this, right?
1:05:14
[UNKNOWN]: Because to be real clear, what he just said is, yes, my way of dealing with this is to reward her for her good behavior in protecting the truth.
1:05:26
[UNKNOWN]: Yep, exactly.
1:05:27
[UNKNOWN]: Yep.
1:05:30
[UNKNOWN]: Back to the car, he's whistling.
1:05:31
[UNKNOWN]: How do you go?
1:05:33
[UNKNOWN]: got you suspended.
1:05:35
[UNKNOWN]: What?
1:05:36
[UNKNOWN]: And then right on this happens, we get a call on the CB that something's going wrong with the combines that apparently Cuz Cooper is the engineer that he's been in charge of.
1:05:45
[UNKNOWN]: Goes out to the farm.
1:05:46
[UNKNOWN]: We see this big what looks like robotic sort of farm equipment, all acting strangely.
1:05:56
[UNKNOWN]: But of course, I think we know what's going wrong with the compass, is that it's gravity waves, it's the same thing that's causing everything to go wrong.
1:06:02
[UNKNOWN]: Yeah.
1:06:03
[UNKNOWN]: Walks into the house.
1:06:04
[UNKNOWN]: It feels kind of creepy when he gets back to the house here to me.
1:06:06
[UNKNOWN]: Yeah.
1:06:08
[UNKNOWN]: Here's noise upstairs, goes upstairs, goes into Nerfys room.
1:06:13
[UNKNOWN]: I found the spaces.
1:06:14
[UNKNOWN]: What?
1:06:16
[UNKNOWN]: In case the ghost is trying to communicate, I'm trying more.
1:06:22
[UNKNOWN]: Yeah, Dr. Dasha is used to it.
1:06:23
[UNKNOWN]: I know it more because if I still think it looks else when I tell it to you.
1:06:29
[UNKNOWN]: The irony.
1:06:30
[UNKNOWN]: Yeah, it is not only to try to talk to her, he's still undoing the talking.
1:06:36
[UNKNOWN]: And now they sit down, him and Donald, and have a beer on the porch.
1:06:40
[UNKNOWN]: I thought we forgot new we are now.
1:06:45
[UNKNOWN]: Explore spiny years, not caretakers.
1:06:48
[UNKNOWN]: There's Cooper's philosophy.
1:06:50
[UNKNOWN]: Yeah.
1:06:51
[UNKNOWN]: And then Donald.
1:06:52
[UNKNOWN]: When I was a kid, it felt like they made something new every day.
1:06:56
[UNKNOWN]: Some gadget or idea.
1:07:00
[UNKNOWN]: My favorite day was Christmas, but six billion people.
1:07:05
[UNKNOWN]: Just try to imagine that.
1:07:08
[UNKNOWN]: And every last one of them trying to have it all.
1:07:11
[UNKNOWN]: which is a diagnosis of the world to some degree and is a problem, you know, explain to me that line because I could not get past the line in my head.
1:07:21
[UNKNOWN]: Does he mean?
1:07:23
[UNKNOWN]: that we had six billion people back then, because we're what we have eight billion people now.
1:07:27
[UNKNOWN]: We're eight.
1:07:27
[UNKNOWN]: Yeah.
1:07:28
[UNKNOWN]: So is he talking about was it was that as the numbers in 2014 was it six billion or was he saying that six billion people died?
1:07:36
[UNKNOWN]: And this is what's left.
1:07:38
[UNKNOWN]: That's what I couldn't figure out, you know, trying to have it all possibly died, trying to have it all.
1:07:44
[UNKNOWN]: It's a good, my gut has always been, and I, that, that it was the population when this film came out.
1:07:50
[UNKNOWN]: Okay.
1:07:51
[UNKNOWN]: Like, okay.
1:07:52
[UNKNOWN]: That's, that's been my gut, but I agree with you.
1:07:54
[UNKNOWN]: It's, it's, if they were saying this started in the future, it should have been 10 billion.
1:07:59
[UNKNOWN]: Right.
1:07:59
[UNKNOWN]: You know, if they were in or if they're saying that six billion people have died, this line is not delivering that emotionally.
1:08:07
[UNKNOWN]: You know what I mean?
1:08:08
[UNKNOWN]: Like I don't they would you would want to be super clear of that.
1:08:11
[UNKNOWN]: So I don't feel like that's what it is.
1:08:13
[UNKNOWN]: But yeah, it's a little bit weird.
1:08:14
[UNKNOWN]: But we're in we certainly are in this world where the quote unquote developed world,
1:08:20
[UNKNOWN]: uses 80% I don't know what the numbers are of the resources and as standard of living is coming up in the underdeveloped parts of the world, well they want to be able to live the same lives that we've been living.
1:08:34
[UNKNOWN]: But the world doesn't have that many resources, you know, and of course we liberal guy that I am.
1:08:40
[UNKNOWN]: We've screwed it up for everybody else because we've caused all this climate change, which is mostly affecting in much stronger ways, the developed world that is just trying to catch up, you know?
1:08:50
[UNKNOWN]: Yeah.
1:08:51
[UNKNOWN]: Yeah.
1:08:52
[UNKNOWN]: I mean, that's why this film is almost...
1:08:54
[UNKNOWN]: uh, present with the stuff that they're talking about because our climate change gets worse.
1:08:59
[UNKNOWN]: And then now we've got the Avenue AI and how much that's going to tax our natural resources and things that nature, it's just like it seems like we're barreling towards this with tech rows who want to start exploring, colonizing other planets for God's sake.
1:09:14
[UNKNOWN]: Yeah.
1:09:15
[UNKNOWN]: Oh, it's just burnout this world and we just go find another one.
1:09:18
[UNKNOWN]: Yeah.
1:09:19
[UNKNOWN]: This world isn't so bad.
1:09:21
[UNKNOWN]: and Tom will do just fine, you're the one who doesn't belong.
1:09:25
[UNKNOWN]: Born 40 years too later, 40 years too early, my daughter knew it, God bless her, and your kids know it, especially Murph.
1:09:36
[UNKNOWN]: I think Donald really gets Cooper.
1:09:38
[UNKNOWN]: Yeah, well, we could remember, I mean, Donald is
1:09:41
[UNKNOWN]: his late wife's father.
1:09:43
[UNKNOWN]: And so I imagine he was, you know, they was conversations there the whole time and what have you and I bet I bet Donald wasn't the biggest fan of Cooper and felt like his daughter was marrying someone who wasn't 100% like I feel like he's always been a dreamer.
1:09:58
[UNKNOWN]: And so it's like it probably wasn't something he was 100% behind, you know.
1:10:02
[UNKNOWN]: And so this back and forth could you tell Donald's much more of a grounded person Cooper is the one looking to what's next.
1:10:10
[UNKNOWN]: I love this moment because this way I have this feeling about Donald of, he doesn't like all of Cooper, but Cooper is family, and he does care about him and does see him.
1:10:21
[UNKNOWN]: And I feel like in this last moment he's kind of giving him a gift.
1:10:25
[UNKNOWN]: Well, he used to look up in the sky and wonder at our place in the stars.
1:10:32
[UNKNOWN]: I just look down, I'm worried about our place and dad, Cooper, you were good at something.
1:10:40
[UNKNOWN]: And you never got a chance to do anything with it.
1:10:43
[UNKNOWN]: I'm sorry.
1:10:45
[UNKNOWN]: Maybe that's the first time he's really understood.
1:10:48
[UNKNOWN]: Like...
1:10:49
[UNKNOWN]: You know, he didn't, I think you understood Cooper until after his, his daughter and Cooper's wife died and they had to come together to raise the kids right figure it out and so he's growing to understand Cooper a bit more.
1:11:01
[UNKNOWN]: But as you said, I was like all of Cooper, but understands him in that moment.
1:11:05
[UNKNOWN]: It's a nice bit understanding to get I've always felt I don't know how you feel my, I feel that Donald actually was a farmer.
1:11:13
[UNKNOWN]: You know, very possible.
1:11:14
[UNKNOWN]: Yeah, very possible.
1:11:17
[UNKNOWN]: Like he's the opposite.
1:11:18
[UNKNOWN]: He's the other sees the Tom side of the.
1:11:20
[UNKNOWN]: I do want to be staying by land.
1:11:22
[UNKNOWN]: Right.
1:11:23
[UNKNOWN]: Right.
1:11:23
[UNKNOWN]: Wow.
1:11:25
[UNKNOWN]: That's the line of the movie in my opinion.
1:11:27
[UNKNOWN]: You know, that's true.
1:11:30
[UNKNOWN]: You know, where's our exploration?
1:11:34
[UNKNOWN]: Where is that gone?
1:11:35
[UNKNOWN]: And this idea of focusing on the dirt, of course, we're focusing on just what's in front of us instead of the future.
1:11:47
[UNKNOWN]: fame money power what they want us to be focused on they want us to be focused and i'll send a kick in conspiracy theirs but they do they want us focused on just what's in front of our faces so we don't see the bigger picture that the things that they're doing there's nothing people who want to control a world or an environment
1:12:07
[UNKNOWN]: want more than to make a majority of people be distracted by things, so they don't see what the people in control are trying to do to keep them in control, to satisfy their own impulses for control and for wealth.
1:12:19
[UNKNOWN]: And that's, and we're also focused on the dirt could be our phones, the dirt could be our TV shows, the dirt could be just what's in front of our faces.
1:12:28
[UNKNOWN]: But there are people who are invested in seeing the bigger picture so they can
1:12:35
[UNKNOWN]: that there's the great moment in the speech from network where he says we sit in the house and slowly the world we're living in is getting smaller and all we say is please at least leave us alone in our living room let me have my toaster and my TV and my steel belt and radio so I won't say anything just leave us alone well I'm not good to leave you alone I want you to get mad
1:13:00
[UNKNOWN]: And we're at a baseball game, which I think is great because we're going to see a baseball game later on in this movie in a very different way Donald is a bit grumpy Yeah, but I think this is what passes for baseball.
1:13:15
[UNKNOWN]: I think this is actually a professional baseball game in the future because there isn't the Yankees hats and stuff, you know, yeah
1:13:22
[UNKNOWN]: And the one person who's not upset about the school's decisions is Tom, he wants to be a farmer.
1:13:28
[UNKNOWN]: Like that's, you know, he knows that's not what his father wants, but that's what he wants.
1:13:32
[UNKNOWN]: A grounder gets hit to a player and he reaches down and does not pick it up at all.
1:13:37
[UNKNOWN]: And he looks up and we're like, what the hell is going on?
1:13:39
[UNKNOWN]: And then we see what we, but at first I go, is that smoke rising in distance and we realize it's dust and that's when the air raid siren hits or the dust siren hits,
1:13:50
[UNKNOWN]: and everybody gets up and leaves that game.
1:13:53
[UNKNOWN]: Now, they're driving through the dusty town.
1:13:55
[UNKNOWN]: Again, Christopher Nolan likes to make everything real in camera.
1:13:59
[UNKNOWN]: So they have massive rigs.
1:14:01
[UNKNOWN]: It's not just, you know, they have giant fans that are used to create winded movies, probably picture what they look like.
1:14:06
[UNKNOWN]: Well, what they basically created was a train of fans.
1:14:10
[UNKNOWN]: They have one truck,
1:14:11
[UNKNOWN]: Like, multiple fans on wheels that they can drive with the truck that's, you know, in the picture car along with.
1:14:19
[UNKNOWN]: So they can continue to blow this dust as they move through this town.
1:14:24
[UNKNOWN]: Right.
1:14:24
[UNKNOWN]: And the dust itself isn't just tested some kind of a manufactured for the movie.
1:14:31
[UNKNOWN]: material that they knew would stick on things the way it's like it's like we've seen seen in lots of movies where they did materials tests to go well We want dust that has these properties and they developed it, but that also meant that they had to clean up the town Location so after they did this they had to clean everything out over in the town back to it's where it was Game was mask up Tom earth check
1:14:57
[UNKNOWN]: And it's obvious that this is not their first rodeo, you know, and it's it's scary and distressing.
1:15:04
[UNKNOWN]: We get back to the house and Murph runs up to a room and we see that no, she didn't and when does this blasting into the room?
1:15:15
[UNKNOWN]: The way it's falling is odd, it's falling in these straight lines.
1:15:21
[UNKNOWN]: And again, it's the mystery.
1:15:22
[UNKNOWN]: One more little clue in the mystery.
1:15:24
[UNKNOWN]: And now I think for the first time, Cooper is going, oh, that something is weird.
1:15:28
[UNKNOWN]: Yeah, you know, something, at first he didn't, you know, because your kid says there's a ghost in my room and it's like, sure, there's just no such thing.
1:15:34
[UNKNOWN]: And now he's going, oh, something's going on.
1:15:37
[UNKNOWN]: It's not a gosh.
1:15:39
[UNKNOWN]: And he tosses a coin and the coin falls really fast.
1:15:44
[UNKNOWN]: Yep.
1:15:46
[UNKNOWN]: And now he takes that notebook that she was looking at.
1:15:48
[UNKNOWN]: It's not Morse, Murphy's binary.
1:15:52
[UNKNOWN]: Vic is one, thin, and zero.
1:15:56
[UNKNOWN]: Coordnance.
1:15:57
[UNKNOWN]: Again, we're laying out little pieces of this mystery.
1:16:00
[UNKNOWN]: Yeah.
1:16:01
[UNKNOWN]: We go through a bunch of maps.
1:16:03
[UNKNOWN]: Finally, he finds the correct coordinates.
1:16:05
[UNKNOWN]: Cooper heads out to the car.
1:16:06
[UNKNOWN]: I can't miss this.
1:16:09
[UNKNOWN]: Grand Paul, we back in a couple hours, Mur.
1:16:13
[UNKNOWN]: But you don't know what you're going to find.
1:16:15
[UNKNOWN]: And then, you're going to want me to take you.
1:16:21
[UNKNOWN]: which is a great deadline.
1:16:22
[UNKNOWN]: So he says, no to her, he goes back in to get some other stuff in the house, calls out to her.
1:16:28
[UNKNOWN]: She doesn't answer, he assumes that she's just gone.
1:16:31
[UNKNOWN]: He gets back in the car, is driving, drives for a while, reaches over to the blanket of the passenger seat, grabs it, and Murphy is under it.
1:16:39
[UNKNOWN]: I think McConnell, he's shocked at this moment, is great.
1:16:41
[UNKNOWN]: Yeah, yeah.
1:16:43
[UNKNOWN]: And by the way, this is what a young Cooper would have done, too.
1:16:46
[UNKNOWN]: Exactly.
1:16:47
[UNKNOWN]: Exactly, right.
1:16:50
[UNKNOWN]: What are you doing?
1:16:51
[UNKNOWN]: Do you think it's funny?
1:16:54
[UNKNOWN]: You want to be here for us for me?
1:16:56
[UNKNOWN]: And with very little time, he hands her the map and says, Well, make yourself useful.
1:17:03
[UNKNOWN]: And you see that smile and he's glad she's there.
1:17:07
[UNKNOWN]: I mean, it's so obvious that he wants the relationship.
1:17:10
[UNKNOWN]: I mean, we have no idea what the hell's going on in this world.
1:17:13
[UNKNOWN]: Yeah.
1:17:13
[UNKNOWN]: But their relationship is so solid.
1:17:15
[UNKNOWN]: You know what I mean?
1:17:17
[UNKNOWN]: I'm just in for them.
1:17:19
[UNKNOWN]: We drive off into the night, she falls asleep.
1:17:21
[UNKNOWN]: I think Nolan does an incredible job of making you feel the isolation, the distance, the, your completely alone and away from other humans kind of like your flying out in space.
1:17:32
[UNKNOWN]: Yeah, I think.
1:17:33
[UNKNOWN]: Yeah, good point.
1:17:34
[UNKNOWN]: And they get to a gate with barbed wire.
1:17:36
[UNKNOWN]: I think they stand in the road.
1:17:42
[UNKNOWN]: Thanks for being the bulk cutters.
1:17:48
[UNKNOWN]: Again, it's that sink between the two of them.
1:17:50
[UNKNOWN]: Yep.
1:17:51
[UNKNOWN]: He goes up to the fence with the bolt cutters.
1:17:55
[UNKNOWN]: And before he could do anything, he gets hit with this super bright light.
1:17:59
[UNKNOWN]: We hear this loud voice say,
1:18:19
[UNKNOWN]: And so after this moment, we're now in the interrogation room.
1:18:23
[UNKNOWN]: We're in some space.
1:18:24
[UNKNOWN]: We hear a voice.
1:18:25
[UNKNOWN]: We don't see who's talking.
1:18:27
[UNKNOWN]: How did you find this place?
1:18:32
[UNKNOWN]: Then we see what Koop is seeing, and we just see an empty room.
1:18:36
[UNKNOWN]: There's no person there.
1:18:37
[UNKNOWN]: There's, there is this strange rectangular shaped metal thing.
1:18:43
[UNKNOWN]: But I think when you see this movie the first time, you don't even think that that's what's talking to him.
1:18:47
[UNKNOWN]: You know, right, right, yeah.
1:18:48
[UNKNOWN]: No, why would you?
1:18:49
[UNKNOWN]: It's so unusual, yeah.
1:18:51
[UNKNOWN]: You had the coordinates for the facility marked on your map.
1:18:54
[UNKNOWN]: Or did you get those coordinates?
1:18:55
[UNKNOWN]: Where is my daughter?
1:18:57
[UNKNOWN]: So make me take you down again, sit down.
1:19:00
[UNKNOWN]: And we realize that this strange thing is what's talking to him.
1:19:04
[UNKNOWN]: And I think I'll just say right now.
1:19:05
[UNKNOWN]: Yeah.
1:19:07
[UNKNOWN]: Hey, Tars and Kase, these robots that we're going to meet, are two of the most amazing designs, and unusual designs in any science fiction movie ever.
1:19:18
[UNKNOWN]: Yeah, yeah, yeah.
1:19:21
[UNKNOWN]: The other thing I will say is I think that the shape of this strange robot things to me looks suspiciously like the monolith from 2001.
1:19:31
[UNKNOWN]: 100% 100% absolutely that was the influence for the design of these things because they're except that they're talking back and having information and they become essentially another human-like character in the film.
1:19:46
[UNKNOWN]: You know, yeah, very much the opposite of how, in fact, because, and it's so funny, I actually think this is like a classic, this is a classic trope of can you trust the robot right in right in 2001 you cannot trust the robot no in alien you cannot trust the robot in aliens you can trust the robot right in interstellar it ends up that you can and it's the humans that you can't trust you know
1:20:12
[UNKNOWN]: Yep.
1:20:13
[UNKNOWN]: And we should say that not only is the voice of this robot, the great, great Bill Irwin.
1:20:19
[UNKNOWN]: Yeah.
1:20:19
[UNKNOWN]: But he's actually inside this thing for most of this movie.
1:20:23
[UNKNOWN]: Oh, wow.
1:20:24
[UNKNOWN]: I did not know that.
1:20:25
[UNKNOWN]: Wow.
1:20:26
[UNKNOWN]: Wow.
1:20:28
[UNKNOWN]: How do you see to have the back and forth is he just listening to have the back and forth?
1:20:33
[UNKNOWN]: I mean, I see the logic because you're playing off of the emotions and the facial movements that McConaughey is giving you or wherever he's in contact with is giving you.
1:20:42
[UNKNOWN]: So I see the logic of it, but this is fascinating to be inside of them.
1:20:46
[UNKNOWN]: So I had no idea that Bill Irwin was actually inside this thing until I started doing the research.
1:20:52
[UNKNOWN]: And it is fascinating.
1:20:54
[UNKNOWN]: The first thing that Nolan wanted was he didn't want anything to look remotely human.
1:21:00
[UNKNOWN]: That's always been,
1:21:02
[UNKNOWN]: With tons of sci-fi, we just mentioned a few, the human-shaped robot, you know, you got C3PO, you got all the ones in Alien and Aliens, and we're seeing what's really crazy about Tars in case is we're now seeing actually robots today.
1:21:17
[UNKNOWN]: being built and a lot of them are being built to be human shaped.
1:21:20
[UNKNOWN]: And no one was like, I want this to be a machine.
1:21:23
[UNKNOWN]: I want this to be so clearly not human and different that we never kind of anthropomorphize them because of how they look, you know, interesting.
1:21:34
[UNKNOWN]: Okay, and so the first thing he said now I couldn't find anything where he said I want to make something that looks like the bundle it from 2001 I have no evidence of that, but it looks like that to me.
1:21:44
[UNKNOWN]: Yeah, and so but this but his idea was I want a block
1:21:50
[UNKNOWN]: just a physical block that is rectangular and then figure out ways that we can do stuff with this.
1:21:56
[UNKNOWN]: So this is how they approached it.
1:21:57
[UNKNOWN]: But they did, it sounds like high end Lego to build this block that are tiny little pieces and then they each were able to rotate and turn.
1:22:08
[UNKNOWN]: I'm doing hand gestures.
1:22:10
[UNKNOWN]: see clearly what we're talking about.
1:22:12
[UNKNOWN]: But each one could rotate and turn so that and they just took this block with these little meat made out of these mini blocks and went, how many different things can we do with this?
1:22:23
[UNKNOWN]: Right.
1:22:24
[UNKNOWN]: How could we, if we had this, could it carry something, could it touch something, could it pilot something, could it grab something?
1:22:31
[UNKNOWN]: And so they kept
1:22:32
[UNKNOWN]: making smaller and smaller blocks and playing with them to make this happen.
1:22:36
[UNKNOWN]: But then the next thing that Nolan wanted was because Nolan likes practical things.
1:22:40
[UNKNOWN]: Yeah.
1:22:40
[UNKNOWN]: He wants practical real things on set.
1:22:43
[UNKNOWN]: He didn't want to create characters made out of see, you know, that we're CG.
1:22:47
[UNKNOWN]: Right.
1:22:48
[UNKNOWN]: And although they do, there's sometimes that these robots are CG, but he wanted them human.
1:22:54
[UNKNOWN]: And so he went and found a human actor.
1:22:58
[UNKNOWN]: I think he must have really been
1:23:00
[UNKNOWN]: Yoda and, you know, all of these great characters in the Star Wars world and found Brought Bill or Winner, and I'm sure you have some biographical material on him because he's fascinating, but what they did was first they built this whole thing, this whole box out of aluminum, and it's like the box is the front.
1:23:19
[UNKNOWN]: Yeah.
1:23:19
[UNKNOWN]: And then Bill Irwin steps into it from behind and he had things to grab to move the arms and to move the legs.
1:23:27
[UNKNOWN]: And it was relatively light because it was made out of aluminum.
1:23:30
[UNKNOWN]: And what happened, Bill Irwin became a real collaborator because he's in the shop with the guys.
1:23:35
[UNKNOWN]: And he's going, well, I can't move this or it would be easier if this was like this.
1:23:39
[UNKNOWN]: And they're making adjustments to the design and how it's going to work.
1:23:43
[UNKNOWN]: And he's
1:23:44
[UNKNOWN]: So they're exploring with like the little thing, what are all the things that we could do with this machine?
1:23:50
[UNKNOWN]: And then Bill Irwin is experimenting with this body type, and what can I do, and how can I move, and how can I make this happen?
1:23:56
[UNKNOWN]: And then they come up with the decision to switch the exterior surface from aluminum to stainless steel.
1:24:05
[UNKNOWN]: I don't know how many more times heavy stainless steel is than aluminum, but it is way.
1:24:11
[UNKNOWN]: And so the newer version was suddenly like almost 200 pounds.
1:24:17
[UNKNOWN]: And so now Bill Irwin, who is not a huge guy,
1:24:21
[UNKNOWN]: cannot really manipulate this thing properly.
1:24:23
[UNKNOWN]: So then they had to create essentially a pneumatic system within the whole thing so that he has extra power to move it around.
1:24:31
[UNKNOWN]: So it's kind of like what I would compare it to is it's it's it's Ripley and the auto loader in Haley is that's essentially what he's in is he's in a thing that he's inside a machine and then he is controlling it and I swear from everything I can tell.
1:24:48
[UNKNOWN]: any time they are talking to Tars, Bill Irwin is inside that thing.
1:24:53
[UNKNOWN]: That's amazing.
1:24:54
[UNKNOWN]: Yeah, that's amazing.
1:24:55
[UNKNOWN]: That's why you, I mean, listen, you can do it with voiceover and be just a seamless, right?
1:24:59
[UNKNOWN]: But clearly, Bill Irwin wanted to, you know, want it to be a part of this thing in his own way.
1:25:06
[UNKNOWN]: And I think it makes a lot of sense when you look at his history and just kind of use that as a segue into his biography.
1:25:11
[UNKNOWN]: I mean, he, he, his father is an aerospace engineer.
1:25:14
[UNKNOWN]: Let's just start
1:25:16
[UNKNOWN]: Yes, his father was a horse G Irwin.
1:25:18
[UNKNOWN]: He was an aerospace engineer's mom was a teacher.
1:25:21
[UNKNOWN]: But he also graduated from the wringling brothers in Barnum Bailey's clown circus in college, Florida, and in Florida, rather, and then received a MacArthur genius grant in 1984.
1:25:32
[UNKNOWN]: So this is an incredibly intelligent guy who clearly sees that
1:25:36
[UNKNOWN]: There's something connective in his talent with his body and the usage of his body and the moving of his body.
1:25:42
[UNKNOWN]: He's well known for being for creating plays.
1:25:45
[UNKNOWN]: Using my work, his first wife was a choreographer and they both won a Tony for their choreography for a play that they did on Broadway.
1:25:52
[UNKNOWN]: He won a Tony back in 2005 for who's afraid of Virginia Wolf doing it on stage as well.
1:25:58
[UNKNOWN]: And he's been selling it.
1:25:59
[UNKNOWN]: Oh, you did?
1:25:59
[UNKNOWN]: I saw him in that.
1:26:01
[UNKNOWN]: He's been nominated for two other Tony's for largely New York.
1:26:05
[UNKNOWN]: and also for acting in that as well.
1:26:10
[UNKNOWN]: And remember, he's in the, don't worry, if he happy video with Robin Williams, and he gives as good as Robin Williams gets in terms of the physicality that he plays with there in the movie.
1:26:20
[UNKNOWN]: So the video, rather, so it's no surprise, because Bill Irwin has a history decades long history of physicality being important to his performance, that he wanted to be inside this thing and wanted to be able to go back and forth with the actors on set.
1:26:35
[UNKNOWN]: a real kind of interest in here creatively to take this on.
1:26:38
[UNKNOWN]: So I wish I knew how Nolan bumped on Bill Irwin and put him into this row, had he seen him and stuff, had he explored what he could do because he clearly wanted a collaborator on this and was open to having Bill Irwin working with his people because that's extra money to do something like this, to create something to make him be inside of it.
1:26:59
[UNKNOWN]: Well, it what's so funny is it lines up exactly with what we were saying with Hans Zimmer is that he goes, here's this interesting guy who has all these interesting talents.
1:27:10
[UNKNOWN]: What if I bring him in and what is he going to come up with?
1:27:13
[UNKNOWN]: I'll tell you my first experience with Bill Irwin, which is I remember the first time I came aware of him, he was on an episode of the Cosby Show.
1:27:21
[UNKNOWN]: And in the episode of the Cosby Show, at one point he opened he has like a big steamer trunk and he opens it up steps inside and then he walks down stairs To disappear into the trunk and it would it's like the most seamless.
1:27:34
[UNKNOWN]: It's exactly what you're talking about.
1:27:35
[UNKNOWN]: It's like this incredible body control And then I'd seen him.
1:27:39
[UNKNOWN]: I think he was in a play at Berkeley rep that I'd seen him in and then maybe six or seven years ago
1:27:46
[UNKNOWN]: Yeah, some friends of ours were the theater company and they said you've got to go see the Bill Irwin's one-man show and we went to a little 99, you know, seat house place and he did, he does a night of Beckett.
1:28:00
[UNKNOWN]: He's a Samuel Beckett expert.
1:28:01
[UNKNOWN]: Wow.
1:28:02
[UNKNOWN]: And so he did Beckett monologues and he did Beckett scenes and he did
1:28:06
[UNKNOWN]: And it, well, and I'm not the biggest Beckett God.
1:28:09
[UNKNOWN]: Like Beckett, you know, I've seen one play where I was like, okay, that was amazing.
1:28:14
[UNKNOWN]: And some of the times, you know, because particularly when you see bad Samuel Beckett, there's nothing there, you know?
1:28:20
[UNKNOWN]: And watching Bill or when go through every single word, all these abstract words that don't quite make sense and all of this, all of it made sense.
1:28:29
[UNKNOWN]: It was all like right there.
1:28:30
[UNKNOWN]: He's so great.
1:28:32
[UNKNOWN]: He's great.
1:28:32
[UNKNOWN]: Yeah, yeah, one of the greats for sure.
1:28:36
[UNKNOWN]: By the way, one thing I had to look up, there is a rumor that's never been proven that Arthur C. Clark who wrote the book 2001 and wrote the screenplay with Kubrick has totally denied forever, which is that the reason that the, the reason that the computer is named how HAL is because if you add one letter to each of those, it becomes IBM.
1:29:01
[UNKNOWN]: And so I was going, and of course, like I said, this has been denied, there's no evidence that this is really true.
1:29:07
[UNKNOWN]: So I'm sitting there going, what does Tars and CASE mean?
1:29:11
[UNKNOWN]: And CASE is the other one.
1:29:13
[UNKNOWN]: Well, Kip is named for Kip Thorne, who's the scientist.
1:29:16
[UNKNOWN]: Kip is the assembled one.
1:29:17
[UNKNOWN]: But so I was playing where letter games with these things.
1:29:21
[UNKNOWN]: I was looking on the internet, seeing if I can find something.
1:29:24
[UNKNOWN]: And people have said that they think that Tars might be for star.
1:29:31
[UNKNOWN]: And I forget what someone said case might be by rearranging them.
1:29:35
[UNKNOWN]: But the answer is we have no answer and of course Christopher Nolan is never going to tell us what these what these names mean.
1:29:40
[UNKNOWN]: Right.
1:29:40
[UNKNOWN]: Right.
1:29:41
[UNKNOWN]: There are unusual and they're memorable for short.
1:29:49
[UNKNOWN]: I got grunts like you, Mo and my grass.
1:29:52
[UNKNOWN]: Again, Nolan is just peppering in tiny bits of information that we don't quite understand.
1:29:57
[UNKNOWN]: Yeah.
1:29:58
[UNKNOWN]: You know, he's grown up just like a long, nor they don't turn you into an overclock.
1:30:02
[UNKNOWN]: I've been acting in the leader.
1:30:03
[UNKNOWN]: No, you won't.
1:30:05
[UNKNOWN]: And then strangely enough, two movies in a row, we have Anne Hathaway.
1:30:08
[UNKNOWN]: Yeah, exactly.
1:30:09
[UNKNOWN]: Yeah, yeah, yeah.
1:30:11
[UNKNOWN]: I do want to ask you something before we get into Anne Hathaway.
1:30:18
[UNKNOWN]: example of Cooper having an issue with machines and it's fascinating right because he said well we're going to take this
1:30:27
[UNKNOWN]: memory, what it was out of the drone, and put it to good use, something humanitarian.
1:30:33
[UNKNOWN]: This is a guy who talks about reaching for the stars, who talks about getting off the planet, who talks about exploring, yet he has a serious issue, kind of like the Mandalorian with droids, he has a serious issue with this technology, this kind of technology, and I wonder about it
1:30:54
[UNKNOWN]: Sure, is his anger at the machines misplaced or is his anger just the machines are an extension of his anger at the scientists who created these machines and the people in charge who use these machines for wars and what I imagine as I extend my mind out on this to subjugate people, considering the fact that Tars was threatening to throw him down at the ground again, I'm sure that's not the first time he said that to someone.
1:31:18
[UNKNOWN]: And so that's what I'm looking at
1:31:23
[UNKNOWN]: the word dichotomy or hypocrisy that he wants to aspire for this exploration, but part of exploration is also technology, but he has an issue with technology even though he's become an expert at it.
1:31:35
[UNKNOWN]: So it's a fascinating mixture of contradicting philosophies or points of views.
1:31:42
[UNKNOWN]: So I had an initial response, which I will share with you.
1:31:44
[UNKNOWN]: But then as you spoke, I think I came up with a better answer to this question.
1:31:49
[UNKNOWN]: So my initial response is Cooper's a humanist.
1:31:51
[UNKNOWN]: Like he is about, humans exploring humans doing this, humans doing that.
1:31:56
[UNKNOWN]: He, the idea, I think the,
1:31:59
[UNKNOWN]: The idea of robots doing four things for humans would fall against the we need to grow and move and do all that stuff that was my initial and I think that's true of his character sure, but then what I realized if we are correct that his crash over the straight was because a robot took over control of his plane.
1:32:21
[UNKNOWN]: Then it would give him an even better reason for that make sense.
1:32:24
[UNKNOWN]: That makes sense, you know, okay.
1:32:27
[UNKNOWN]: I can absolutely get behind that.
1:32:29
[UNKNOWN]: Okay, cool.
1:32:30
[UNKNOWN]: Thank you, take it a risk.
1:32:31
[UNKNOWN]: He's an ex-pilitarian security.
1:32:34
[UNKNOWN]: They're old and they're controlling units or unpredictable.
1:32:38
[UNKNOWN]: It's what the government could spare.
1:32:42
[UNKNOWN]: Who are you?
1:32:43
[UNKNOWN]: Dr. Brandt.
1:32:45
[UNKNOWN]: And I knew Dr. Brandt once he was a professor.
1:32:48
[UNKNOWN]: What makes you think I'm not?
1:32:49
[UNKNOWN]: It's funny coming off of Anne Hathaway from Devawer's Prada.
1:32:53
[UNKNOWN]: And I really feel like Dr. Herd, Dr.
1:32:57
[UNKNOWN]: Brand is a character.
1:32:58
[UNKNOWN]: Like she's really created something that's very different.
1:33:01
[UNKNOWN]: Whereas I think in Devawer's Prada, I'm not saying she's playing herself, but it's more that kind of a role.
1:33:07
[UNKNOWN]: You're supposed to be a natural human, as opposed to what she does here.
1:33:11
[UNKNOWN]: Right, um, when is, so Interstellar's 2014 Devawer's Prada,
1:33:18
[UNKNOWN]: 2006.
1:33:19
[UNKNOWN]: 2006.
1:33:19
[UNKNOWN]: So, I would argue that she's grown as an actress from 2006, I mean, having been through becoming Jane, Rachel getting married, the Dark Knight Rises, so she's, and lay Miss Robbs, so she's won the Oscar by now for her work.
1:33:39
[UNKNOWN]: So, I think what she brings to this character, just her opening scene here,
1:33:45
[UNKNOWN]: is strong and powerful, and it's so different than what you see in devil wars products.
1:33:50
[UNKNOWN]: So this is Anne, who's been through the wars of her career being called the theater kid, being mocked and ridiculed for warning that Oscar, so nakedly, obviously.
1:33:59
[UNKNOWN]: And now, or being nakedly, obviously, about how much you want to see Oscar.
1:34:02
[UNKNOWN]: And now we've got this Anne, who's been through all of that.
1:34:04
[UNKNOWN]: And so what she brings here, I think, is some really powerful stuff, just from the opening scene, even.
1:34:10
[UNKNOWN]: This is a woman now.
1:34:11
[UNKNOWN]: seasoned by experience and pain.
1:34:13
[UNKNOWN]: And you can see that on her face.
1:34:15
[UNKNOWN]: And she talks about how Nolan, like kind of rescued her in a way, because she was kind of lost after the whole, um, the whole labor, labor is robbed and the backlash against her.
1:34:26
[UNKNOWN]: And the course, the divorce, the first husband who turned out to be a con man.
1:34:30
[UNKNOWN]: So there was a lot here.
1:34:31
[UNKNOWN]: So she kind of talks about how Nolan kind of hold her out of that to give her this role and give her a shot to show
1:34:38
[UNKNOWN]: Yeah, it's so funny like the difference in what she's asked to do because what she's asked to do in Prada is be an ordinary person who's a little bit overwhelmed to feel just like one of us in her 20, you know.
1:34:50
[UNKNOWN]: Yeah, exactly.
1:34:50
[UNKNOWN]: Yeah, exactly.
1:34:51
[UNKNOWN]: Yeah.
1:34:52
[UNKNOWN]: Whereas here, I think there's mystery around her from the moment she walks in this room.
1:34:56
[UNKNOWN]: Oh, yeah.
1:34:57
[UNKNOWN]: 100% 100% and you could see it all over her face.
1:35:01
[UNKNOWN]: You know, and one of the things that happens basically a general rule is if you have two attractive people of the opposite sex or sometimes of the same sex, they will be attracted to each other like in almost every movie and this movie handles that with such a deaf touch and one of the first moments is right here wasn't near as cute either.
1:35:23
[UNKNOWN]: Like, that wasn't near as cute.
1:35:25
[UNKNOWN]: Yeah.
1:35:25
[UNKNOWN]: He's almost the only hint that there could be attraction between these two people.
1:35:31
[UNKNOWN]: Well, I think there'd be more attraction from him towards her than her towards him because we know what her ulterior motive is here, right?
1:35:37
[UNKNOWN]: Well, we'll find out where we watch the movie.
1:35:39
[UNKNOWN]: But I think she's making a feminist stand here by being like, well, why wouldn't you think I'd be a professor?
1:35:43
[UNKNOWN]: You know, there's a bit of a question.
1:35:44
[UNKNOWN]: Of course.
1:35:45
[UNKNOWN]: That calling him out on that.
1:35:46
[UNKNOWN]: Yeah.
1:35:47
[UNKNOWN]: But he, but he, and he defaults to that man thing I've tried to be cute with the,
1:35:51
[UNKNOWN]: the flirty leg rich, but I think she's not having.
1:35:54
[UNKNOWN]: Yep, yep, she's turns and starts walking right away.
1:35:57
[UNKNOWN]: As soon as she says that, and then, which is great, is then Cooper gets honest.
1:36:01
[UNKNOWN]: Please, Dr. Brady, I don't have any idea what this is.
1:36:05
[UNKNOWN]: Then I'm scared from my daughter, and I want to run my side.
1:36:07
[UNKNOWN]: You give me that, I'll tell you anything you want to know.
1:36:11
[UNKNOWN]: Get the princess and the problem with her, please, please.
1:36:16
[UNKNOWN]: daughter is fine, break it, let's have a very smart mother.
1:36:21
[UNKNOWN]: I love, it's a great line.
1:36:23
[UNKNOWN]: Yeah.
1:36:24
[UNKNOWN]: It's pretty clear you don't want any visitors.
1:36:26
[UNKNOWN]: It's one of those back up from your fence and we'll be on our way.
1:36:30
[UNKNOWN]: Huh?
1:36:30
[UNKNOWN]: It's not that simple.
1:36:32
[UNKNOWN]: Well, sure it is.
1:36:33
[UNKNOWN]: I don't know anything about you.
1:36:35
[UNKNOWN]: I don't know anything about this place.
1:36:38
[UNKNOWN]: What's he doing?
1:36:39
[UNKNOWN]: And she opens the door into this conference room.
1:36:41
[UNKNOWN]: Again, the movie is a mystery, is a mystery, is a mystery.
1:36:45
[UNKNOWN]: You know, like you're like, okay, where are we?
1:36:47
[UNKNOWN]: What the hell is going on?
1:36:48
[UNKNOWN]: There's people in suits, which by the way, I mean, I'm not wearing a suit now and I'm telling you that if there's a blight taking over the earth, it is casual Friday for me.
1:36:58
[UNKNOWN]: I'm not shooting up to save the planet.
1:37:00
[UNKNOWN]: That's just seem silly.
1:37:02
[UNKNOWN]: But for these people,
1:37:03
[UNKNOWN]: that they're they're all nicely dressed and of course as soon as he sees murk he runs right to her yeah and they hug and then we hear from off-camera
1:37:16
[UNKNOWN]: I'm so happy that Christopher Nolan found Michael Caine.
1:37:19
[UNKNOWN]: Yeah, yeah, yeah, yeah.
1:37:21
[UNKNOWN]: It's a fascinating thing the way they, and I think this is an every screenwriter who listens to us, because one of the compliments we get all the time Steve is that our show is kind of like a film school for some people who watch who want to get into it and it's an honor to hear that from people who say that.
1:37:34
[UNKNOWN]: And pay attention to how the mystery is being rolled out here.
1:37:38
[UNKNOWN]: This is how you keep an audience captive.
1:37:41
[UNKNOWN]: You make every section of the unrolling of the mystery interesting in captivating, leave you wanting to know more.
1:37:48
[UNKNOWN]: And every surprise has to build upon the surprise from before and be just that little bit more interesting, a little bit more powerful, a little bit more engaging.
1:37:58
[UNKNOWN]: And so these, they're opening the door.
1:38:00
[UNKNOWN]: This is the first doctor, but it's not Michael Cain, they agreed to him, which could have been the easy out.
1:38:05
[UNKNOWN]: It's the daughter.
1:38:06
[UNKNOWN]: So now we've introduced Anne Hathaway.
1:38:07
[UNKNOWN]: Now he comes in, who is talking to Merff, but Dr.
1:38:12
[UNKNOWN]: Professor Brandt, who is my cocaine character, they're sitting next to each other.
1:38:15
[UNKNOWN]: So already you're like subconsciously in your mind, or quickly you're thinking, oh, they've been in Combersady, so the ads even more credibility to Merff that she's able to talk to a guy like this about probably about scientific stuff before she runs into Cooper's arms.
1:38:28
[UNKNOWN]: So all this stuff is being laid out and little seeds are being dropped here as you go further into the movie, which is great.
1:38:36
[UNKNOWN]: It's a great point and I think the way I was thinking about it is that it's like because my students would always go well I need to explain everything that's going on so everybody understands and it's like no that's not actually your job is to make it interesting like your job is to hold your audiences interest and where it's it's sometimes explaining everything actually lessons their interest because then they go I know it's going on.
1:39:00
[UNKNOWN]: And then they might try to get ahead of you, which removes the mystery Steve.
1:39:03
[UNKNOWN]: Yeah, exactly.
1:39:04
[UNKNOWN]: That if they know what's happening, they're not it's not exciting anymore.
1:39:08
[UNKNOWN]: It's on it's solving the mystery that makes it exciting except you also get into what I would describe as lost territory, which is, yeah, you just keep feeding mystery.
1:39:17
[UNKNOWN]: But that's weird thing, and that's weird thing, and this weird thing, and at a certain point is the audience, you start to go, oh, there's never going to be an explanation, like the thing about interstellar is in the end they go, and this is what it is, and you go, and this is the other thing, the more mysterious you make the thing, the more you have the higher the requirements to deliver on, because at the end you have to go, wow, that was all worth it, all that mystery.
1:39:41
[UNKNOWN]: Right, the payoff.
1:39:42
[UNKNOWN]: A polar bear.
1:39:43
[UNKNOWN]: Oh, yeah.
1:39:44
[UNKNOWN]: Yeah, I'm getting excited.
1:39:47
[UNKNOWN]: I so remember when I turned on that show.
1:39:49
[UNKNOWN]: It was so I was like, oh, this isn't.
1:39:51
[UNKNOWN]: This is you're just fucking with me.
1:39:53
[UNKNOWN]: Yeah, yeah.
1:39:53
[UNKNOWN]: It's just fucking with me.
1:39:54
[UNKNOWN]: Yeah.
1:39:56
[UNKNOWN]: And then, will you be to Vayne?
1:39:58
[UNKNOWN]: Yeah, self.
1:40:00
[UNKNOWN]: Explain to me how you found this facility.
1:40:02
[UNKNOWN]: kind of axed him to sort of stumble upon it.
1:40:04
[UNKNOWN]: We're on a salad drum again.
1:40:06
[UNKNOWN]: You're sitting in the best kept secret in the world.
1:40:09
[UNKNOWN]: Nobody stumbles in here.
1:40:10
[UNKNOWN]: Nobody stumbles out.
1:40:12
[UNKNOWN]: One of the greatest actors that never got his full do.
1:40:18
[UNKNOWN]: And I would say one of the greatest John Kennedy's I ever saw on screen.
1:40:22
[UNKNOWN]: Oh yeah, William Devane.
1:40:24
[UNKNOWN]: It was the 1970s movie or 80s.
1:40:26
[UNKNOWN]: I can't remember the movie.
1:40:27
[UNKNOWN]: He was Kennedy in, but I
1:40:29
[UNKNOWN]: I remember it was a TV movie and it was just amazing.
1:40:32
[UNKNOWN]: Amazing.
1:40:32
[UNKNOWN]: It's Cuban Missile Crisis.
1:40:33
[UNKNOWN]: Yes.
1:40:34
[UNKNOWN]: Yes.
1:40:35
[UNKNOWN]: 13 days in October.
1:40:37
[UNKNOWN]: Yeah.
1:40:37
[UNKNOWN]: It's not because there's the Kevin Costa one that has a something.
1:40:40
[UNKNOWN]: Oh, yeah.
1:40:41
[UNKNOWN]: 13 days.
1:40:41
[UNKNOWN]: Yeah.
1:40:42
[UNKNOWN]: Missile's a October.
1:40:42
[UNKNOWN]: Missile's a October.
1:40:43
[UNKNOWN]: Yes.
1:40:45
[UNKNOWN]: 1974 TV movie for those you all don't have to remember it you you know it's a good movie for those you've never seen it find it on YouTube or one of these free stuff free things and watch it it's really good but i mean divine is just been such a fantastic actor series record on knots landing for 266 episodes apart remember testament that film he did in 1983 which was kind of rocked me as well black beauty he was in the TV
1:41:14
[UNKNOWN]: Yeah, that freaked me out, I remember that.
1:41:16
[UNKNOWN]: Right?
1:41:16
[UNKNOWN]: It was an intense show or a film rather.
1:41:19
[UNKNOWN]: And so, yeah, part of the member he was in payback, the male Gibson movie as well.
1:41:23
[UNKNOWN]: So, you know, he's such an incredible actor and has that kind of tea, has those memorable teeth that Boston Accent or the New England Accent.
1:41:32
[UNKNOWN]: And I love that he's immediately, you're just immediately to go, oh, this is serious shit.
1:41:37
[UNKNOWN]: If we'm divine this year, this is serious shit.
1:41:39
[UNKNOWN]: You know, you're paying attention.
1:41:40
[UNKNOWN]: It's great.
1:41:41
[UNKNOWN]: Cooper, please co-operate with these people.
1:41:45
[UNKNOWN]: Well, it's kind of hard to explain.
1:41:50
[UNKNOWN]: Now, we learn these coordinates from an anomaly.
1:41:55
[UNKNOWN]: What sort of anomaly?
1:41:56
[UNKNOWN]: I hesitate to turn him in super natural, but it definitely wasn't time-tip efficient.
1:41:59
[UNKNOWN]: You shouldn't have to be specific Mr. Cooper right now.
1:42:04
[UNKNOWN]: And they keep pushing him to get an answer, and he keeps resisting until finally Murph jumps in with it was gravity.
1:42:12
[UNKNOWN]: And the second she says gravity, the reaction around the room is huge.
1:42:16
[UNKNOWN]: Yep, yep.
1:42:18
[UNKNOWN]: particularly from West Bentley who plays the oil of course West Bentley you guys know from American beauty and of course recently in the Yellowstone series playing the put-up on castrated I guess in essence brother there the youngest son there of Kevin Coston the Dutton Ranch so yeah
1:42:39
[UNKNOWN]: West was always interesting.
1:42:40
[UNKNOWN]: I always thought West was going to be bigger than he was.
1:42:43
[UNKNOWN]: Maybe he did too.
1:42:45
[UNKNOWN]: But some of the choices just never really kind of paned out.
1:42:47
[UNKNOWN]: But he had that kind of mix of piano Reeves Nicholas Cage type of energy when he was younger.
1:42:52
[UNKNOWN]: And I thought for sure he'd be doing more things than he does.
1:42:55
[UNKNOWN]: But, you know, he's in here.
1:42:58
[UNKNOWN]: It's got to be tough.
1:42:59
[UNKNOWN]: I mean, not that anything like this has ever been happened to me, but to be labelled as the potential next movie star.
1:43:06
[UNKNOWN]: Because there was a moment, because the thing is, if you don't fulfill that, like you and I are character actor guys, if we're gonna, you know, there's a wide range of stuff, and we don't have to hit the pinnacle.
1:43:18
[UNKNOWN]: But if someone says, hey, this could be the next Brad Pitt, the next Tom Cruz, and you're not.
1:43:23
[UNKNOWN]: Yeah, it's tough.
1:43:24
[UNKNOWN]: You know, people know what's going to hire you, but I think he's good in this.
1:43:28
[UNKNOWN]: Yeah.
1:43:29
[UNKNOWN]: Well, what sort of gravitational on, where was this thing?
1:43:32
[UNKNOWN]: I'm really happy he's you're excited about gravity, but.
1:43:36
[UNKNOWN]: neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck and neck
1:44:05
[UNKNOWN]: Well, by the way, she's named Amelia for Amelia Earhart, which is something to think about.
1:44:10
[UNKNOWN]: Of course she is.
1:44:11
[UNKNOWN]: I hadn't thought about that.
1:44:13
[UNKNOWN]: Don't you know who we are?
1:44:14
[UNKNOWN]: Cool.
1:44:15
[UNKNOWN]: No professor, I know.
1:44:16
[UNKNOWN]: You know, my father, professor brand, Renasa.
1:44:21
[UNKNOWN]: And now we, that's an answer, like for me, we get an answer.
1:44:24
[UNKNOWN]: And rather than give an explanation via words, Nolan is smart enough to give an explanation via visuals between walk into a new space and we see the bottom of rocket thrusters.
1:44:35
[UNKNOWN]: Yeah.
1:44:37
[UNKNOWN]: I heard they shut you down, sir.
1:44:39
[UNKNOWN]: We're accusing the drop bombs from the stratosphere on the star of the people.
1:44:43
[UNKNOWN]: When they realized that killing other people was not a long-term solution, and they needed this, but in secret.
1:44:50
[UNKNOWN]: Which man the bombing the starving people is 100% I think what will happen if we had some situation like this all hundred percent a hundred percent and I mean, I was part of and no That's part of Nolan's for not philosophy in terms of his Desire but it is something these highlighted in other movies dark and rice is same thing happens, right?
1:45:10
[UNKNOWN]: They could cut off New York and bomb it to keep the Joker and all of them.
1:45:15
[UNKNOWN]: Oh, sorry the
1:45:16
[UNKNOWN]: the thing, the Tom Hardy stuff from spreading, what beans doing from spreading to the other areas.
1:45:20
[UNKNOWN]: That happens all the time.
1:45:21
[UNKNOWN]: And so you see that in his stuff.
1:45:24
[UNKNOWN]: The other thing that's interesting here too, Steve is the window into
1:45:31
[UNKNOWN]: the society that we get.
1:45:32
[UNKNOWN]: You mentioned this already a few seconds, a few minutes ago, like there's little hints about what this society was like after it all started falling apart.
1:45:40
[UNKNOWN]: It's very obvious one is, well, I thought you were gonna bomb the poor people, you didn't bomb the starving people to be able to, you know, they changed their minds.
1:45:48
[UNKNOWN]: But the fact that they created NASA in secret, or put NASA together back in secret, why would they do that in secret?
1:45:55
[UNKNOWN]: Why?
1:45:55
[UNKNOWN]: Because we heard the first great teacher say the excesses of the 20th century, and also there would be a large populace who would have an issue with you trying to put NASA back together again, is that what we need to be spending money on, we need to be spending a money on feeding people and blah, blah, blah, blah, blah.
1:46:12
[UNKNOWN]: Whatever's in front of us, that's what we need to be spending on, the problem is in front of us, not thinking about the future,
1:46:18
[UNKNOWN]: issues in the continuation of our race.
1:46:20
[UNKNOWN]: So if species rather, so if this was ever found out that NASA was around, there would be a revolt.
1:46:27
[UNKNOWN]: They'd find this place eventually and tear it to pieces.
1:46:30
[UNKNOWN]: So that's as an interesting window as well, because we see that now.
1:46:33
[UNKNOWN]: People complain all the time.
1:46:35
[UNKNOWN]: Now, what were you spending money?
1:46:36
[UNKNOWN]: Why are we going to the moon?
1:46:37
[UNKNOWN]: Why are we going to the places when we can't even feed our people?
1:46:40
[UNKNOWN]: So it's an interesting little window into what the
1:46:48
[UNKNOWN]: I mean, this is the, why are we going to work?
1:46:52
[UNKNOWN]: Why are we doing this?
1:46:52
[UNKNOWN]: What are we doing that?
1:46:53
[UNKNOWN]: Why are we to, you know, the, and that is obviously, you know, everyone knows I'm a lefty, but, but conservatives can say the same things about liberal goals of why you spending this, why you spend that.
1:47:07
[UNKNOWN]: And the thing too is it's, to me, it's 100% Motivatable.
1:47:09
[UNKNOWN]: Yeah.
1:47:12
[UNKNOWN]: If Jackson were starving, and I couldn't find food, and I heard billions or trillions were being spent on the most ridiculous, impossible long shot.
1:47:23
[UNKNOWN]: You know, because this thing is a long shot, the verb whole.
1:47:26
[UNKNOWN]: All of it.
1:47:27
[UNKNOWN]: Yeah, yeah, yeah, yeah.
1:47:28
[UNKNOWN]: Yeah, absolutely.
1:47:29
[UNKNOWN]: It makes total sense, which is what they say.
1:47:31
[UNKNOWN]: Because public opinion wouldn't allow spending on space exploration, not when you're struggling to put food on the tables.
1:47:39
[UNKNOWN]: Blight.
1:47:41
[UNKNOWN]: Wait, seven years ago.
1:47:44
[UNKNOWN]: Okra, this year.
1:47:46
[UNKNOWN]: Now there's just corn.
1:47:47
[UNKNOWN]: By the way, losing out on Okra isn't the big.
1:47:50
[UNKNOWN]: I mean, I like, look, I like gumbo as much as the next guy, but wheat, corn, you know, those are big things.
1:47:57
[UNKNOWN]: The Okra's like fine, which we've lost the Okra.
1:48:01
[UNKNOWN]: Yo, there's the luxury.
1:48:04
[UNKNOWN]: I mean, a lot of people hate it.
1:48:06
[UNKNOWN]: We lost out all the cinnamon!
1:48:07
[UNKNOWN]: What?!
1:48:08
[UNKNOWN]: Ha ha ha!
1:48:09
[UNKNOWN]: And we're growing more than we ever have.
1:48:10
[UNKNOWN]: Well, with likely potatoes in Ireland and the week in the dust pond, the corn will die.
1:48:19
[UNKNOWN]: So...
1:48:20
[UNKNOWN]: And now I get to deliver and I apologize and advance a digression.
1:48:24
[UNKNOWN]: I've been waiting 10 years on the cinephiles.
1:48:26
[UNKNOWN]: Wow, dearly because I don't know if that's really true.
1:48:30
[UNKNOWN]: But it's a great little tidbit that directly applies to this.
1:48:34
[UNKNOWN]: And I've never been able to share it before, which is years ago, I read this article that was all about how important bananas are to world history.
1:48:43
[UNKNOWN]: And one of the things they talked about that, you know, bananas we never had bananas in the United States because you couldn't transport them because they don't grow in the United States.
1:48:49
[UNKNOWN]: But once we had trains and steamships, suddenly America's really started like in Bananas.
1:48:56
[UNKNOWN]: And I'll give you a couple of things about this and explain how this relates to what we're talking about.
1:49:00
[UNKNOWN]: Okay.
1:49:00
[UNKNOWN]: So the first one, obviously, is we want to control the countries where the Bananas are grown and so national fruit and dole and all these companies became the powers there, which is why where we get the term Bananas Republic.
1:49:15
[UNKNOWN]: comes from our love of bananas.
1:49:18
[UNKNOWN]: That is where that term comes from.
1:49:20
[UNKNOWN]: It is not just the store with the clothes.
1:49:23
[UNKNOWN]: The next thing that happens.
1:49:25
[UNKNOWN]: And there is a connection here, which is crazy, is that, well, people were eating bananas.
1:49:30
[UNKNOWN]: They bananas.
1:49:31
[UNKNOWN]: You know, apples were the most popular fruit and bananas like surpassed it by far and to this day are still the most popular fruit in the United States and at the time people really littered a lot They were just throwing their banana peels everywhere and people were slipping on them, which is where that whole joke comes from
1:49:49
[UNKNOWN]: And apparently in some cities, it's an excess of banana peels that started their sanitation departments and street sweepers.
1:49:56
[UNKNOWN]: Wow.
1:49:57
[UNKNOWN]: People are so in so many bananas around.
1:49:59
[UNKNOWN]: And the banana at the time, banana is a monoculture.
1:50:02
[UNKNOWN]: It's not really a monoculture.
1:50:03
[UNKNOWN]: They're all sorts of varieties of bananas.
1:50:05
[UNKNOWN]: Right.
1:50:05
[UNKNOWN]: But in terms of the United States, we only eat one kind of banana.
1:50:10
[UNKNOWN]: If you went to Brazil or Southeast Asia or any place that there's dozens, there's a little bit in as big bananas playing chains, all these other things.
1:50:18
[UNKNOWN]: But in the US you go and you get a banana.
1:50:20
[UNKNOWN]: And the banana they got at the time was called a big mic or a gron Michelle or something like that.
1:50:26
[UNKNOWN]: But the big mic got affected by blight exactly what is going on in this movie.
1:50:33
[UNKNOWN]: And slowly, but surely, the bananas started to disappear.
1:50:37
[UNKNOWN]: And people were trying to find bananas.
1:50:40
[UNKNOWN]: And so they would go to the store where there would be a sign.
1:50:43
[UNKNOWN]: And the sign would say, yes, we have no bananas.
1:50:46
[UNKNOWN]: The song, yes, we have no bananas, which I'm sure you've heard.
1:50:49
[UNKNOWN]: Yes, I have.
1:50:51
[UNKNOWN]: Comes from a blight.
1:50:52
[UNKNOWN]: It's because the big mic went extinct.
1:50:55
[UNKNOWN]: And then we replaced the big mic with the banana that we eat today, which is called the Cavendish.
1:51:02
[UNKNOWN]: Currently, there is a blight.
1:51:04
[UNKNOWN]: And we'll probably not have Cavendish, but in us, five years from now.
1:51:09
[UNKNOWN]: Wow!
1:51:10
[UNKNOWN]: Yeah, so this is a real thing.
1:51:12
[UNKNOWN]: This isn't like something they're making up for the movie, right?
1:51:15
[UNKNOWN]: This is also, by the way, just to point it out.
1:51:17
[UNKNOWN]: This is the major problem with monoculture.
1:51:19
[UNKNOWN]: Monoculture is we're just growing one variety of this.
1:51:22
[UNKNOWN]: If you grow 100 varieties of bananas and a blight takes out one of them, you're fine, but if you're entirely dependent on one kind of rice, one kind of corn, one kind of weed, you're much more fragile.
1:51:34
[UNKNOWN]: And so this is why this is why we have seed vaults, which I don't know if you know that they exist, but there are,
1:51:39
[UNKNOWN]: Yeah, up in the, up in the Arctic Circle there's one and there are a bunch of others where we're just trying to keep all the seeds of all the varieties of food in case something like this happens and we have to regrow the planet on some level that makes sense that makes sense again got to think of the future where they like it or not so that makes sense all the round yeah.
1:51:58
[UNKNOWN]: I didn't know that about the bananas.
1:51:59
[UNKNOWN]: I thought I'd seen many different bananas.
1:52:01
[UNKNOWN]: Really not.
1:52:02
[UNKNOWN]: Well, you have, I mean, like, if you see, you know, like, if you go to the fancy section, or your story, you'll see a little tiny red banana, and a big green banana, they're definitely exist.
1:52:10
[UNKNOWN]: Yeah.
1:52:10
[UNKNOWN]: But basically, that big stack of bananas in the grocery store, they're all cabiners.
1:52:14
[UNKNOWN]: Us atmosphere is 80%.
1:52:17
[UNKNOWN]: Nitrogen.
1:52:18
[UNKNOWN]: We don't even breathe nitrogen.
1:52:20
[UNKNOWN]: Blight does, and as it thrives, our air gets less and less oxygen.
1:52:25
[UNKNOWN]: The last people to starve will be the first to suffocate.
1:52:29
[UNKNOWN]: It's a chilling line.
1:52:31
[UNKNOWN]: It's also because I read this book from Kipthorn.
1:52:34
[UNKNOWN]: He says, yeah, probably not scientifically accurate.
1:52:37
[UNKNOWN]: They probably starve first.
1:52:40
[UNKNOWN]: So just, well, it is like, it's so funny.
1:52:42
[UNKNOWN]: Like, what we do would be like brave heart or something.
1:52:44
[UNKNOWN]: We're really on the history.
1:52:45
[UNKNOWN]: Yeah.
1:52:46
[UNKNOWN]: And checking in.
1:52:46
[UNKNOWN]: Well, this is what I'm trying to really be on the science.
1:52:49
[UNKNOWN]: This is one not so I can't.
1:52:49
[UNKNOWN]: I enjoy Dota's generation.
1:52:54
[UNKNOWN]: will be the last to survive on Earth.
1:52:56
[UNKNOWN]: Mercury's feeling a little tired.
1:52:58
[UNKNOWN]: I was wondering if she could take a nap at my office.
1:53:00
[UNKNOWN]: A which is nice.
1:53:01
[UNKNOWN]: And B, I think Merfs' awesomeness is palpable to so many of these scientists.
1:53:08
[UNKNOWN]: Yes, yes.
1:53:09
[UNKNOWN]: Yes.
1:53:10
[UNKNOWN]: And of course, also, as she eludes to a little bit in that back up with Wakana Hay,
1:53:18
[UNKNOWN]: She's very clear that as a woman, she hasn't been taken as seriously as men are in this field.
1:53:22
[UNKNOWN]: And so there's a little bit of even like gender connection that a young girl would be interested in the stuff she wants to encourage that.
1:53:31
[UNKNOWN]: She wants to make a connection with her, I'm sure.
1:53:33
[UNKNOWN]: And so that's very important.
1:53:35
[UNKNOWN]: So people who are able to stake out a claim in a certain area that other people like them want to follow in their footsteps or have the same inclination or interest, it's very important to help them.
1:53:48
[UNKNOWN]: Now you need to tell me what your plan is to say who we're on.
1:53:52
[UNKNOWN]: We're not meant to save the world.
1:53:55
[UNKNOWN]: We're meant to leave it.
1:53:56
[UNKNOWN]: And we see that we have Rangers, which is one of this, which is the kind of ship that Cooper had been flying when he had his crash.
1:54:04
[UNKNOWN]: You sit.
1:54:05
[UNKNOWN]: People out there looking for a new home.
1:54:07
[UNKNOWN]: The Lazarus missions.
1:54:09
[UNKNOWN]: That's how it's cheerful.
1:54:10
[UNKNOWN]: Lazarus came back from the dead.
1:54:12
[UNKNOWN]: Sure, but he had to die in the first place.
1:54:15
[UNKNOWN]: I think this is a clue that for Professor Brand, Plan A is bullshit.
1:54:21
[UNKNOWN]: Because what we're going to discover is there are two plans.
1:54:24
[UNKNOWN]: There's Plan A, which is we're going to send people.
1:54:26
[UNKNOWN]: And if we can't send people, then we're going to send, basically, fertilize the eggs to be raised later.
1:54:32
[UNKNOWN]: So either we're going to save the people living on the earth, or they're all going to die, but we will still bring the human race back to life, which is Lazarus.
1:54:42
[UNKNOWN]: You know?
1:54:43
[UNKNOWN]: Yeah.
1:54:44
[UNKNOWN]: But I love it says the means we got a die first.
1:54:46
[UNKNOWN]: I love that.
1:54:47
[UNKNOWN]: Yeah, but poop knows there's no planet in the solar system that could support human life The nearest other stars or a thousand years away Cooper I can't tell you any more unless you agree to pilot this craft So there's a certain point where movies with a destiny.
1:55:05
[UNKNOWN]: Yeah, the logic becomes real circular.
1:55:08
[UNKNOWN]: Yeah, and this moment of like
1:55:11
[UNKNOWN]: He was the best pilot, and it just happened that he's the guy who found the signal and he just had, and it's not that he just happens because he sent the signal to himself, but it is very like, it's like, there's certain Stephen King novels where it's like, you didn't know why I had to turn left, but he knew he had to turn left, and it's like, well, okay, and I love Stephen King novels, and I love this movie, but it is very circular.
1:55:32
[UNKNOWN]: It is circular, but everything in this movie is circular, even though even so I think it's all about that people with a theme to a degree, but I hear you, it's a bit convenient that the greatest pilot they have would stumble upon them, why haven't they reached out to him by now?
1:55:47
[UNKNOWN]: Well, and frankly, I don't think they spend nearly of enough time investigating Murph's room over the next 20 plus years, knowing that this is what has happened.
1:55:56
[UNKNOWN]: You know, they should be going, this is really weird.
1:55:59
[UNKNOWN]: The answer part of the answer is in the room.
1:56:01
[UNKNOWN]: They would have found the watch and everything forever ago.
1:56:05
[UNKNOWN]: There's a way to pull all the way back out of this and wonder if
1:56:09
[UNKNOWN]: how much influence the future is having on this present mode.
1:56:12
[UNKNOWN]: So it becomes like a, you know, like it's a good thing.
1:56:15
[UNKNOWN]: Yeah.
1:56:16
[UNKNOWN]: Yeah.
1:56:16
[UNKNOWN]: Yeah.
1:56:17
[UNKNOWN]: And this is also why, you know, that way lies madness.
1:56:20
[UNKNOWN]: There's no reason to keep this is that this is what this movie is.
1:56:24
[UNKNOWN]: Yes.
1:56:24
[UNKNOWN]: You know, and it has, I think it's not a cheat, but it has the, it is impossible for us to understand fifth dimensional beings, right, and how they do things.
1:56:33
[UNKNOWN]: Therefore, we can't, it seems circular to us, but based on the construct of the movie, you know, that they're seen in entirely different reality.
1:56:41
[UNKNOWN]: An hour ago, you didn't even know I was alive.
1:56:43
[UNKNOWN]: I mean, you were going anyway.
1:56:45
[UNKNOWN]: We had no choice.
1:56:47
[UNKNOWN]: But something sent you here.
1:56:49
[UNKNOWN]: They chose you.
1:56:50
[UNKNOWN]: Who's there?
1:56:53
[UNKNOWN]: And now we cut to, I don't, I think he is so good in this movie, David Giasi, who plays Romalate.
1:57:00
[UNKNOWN]: Yes.
1:57:01
[UNKNOWN]: I think the subtlety of his performance and the softness and the gentleness is just, it's such a perfect counterpoint to all the other characters.
1:57:11
[UNKNOWN]: Yeah, he's an actor, a British actor, born in London, who I have not seen in many things.
1:57:19
[UNKNOWN]: And only saw him, I think, and understand a couple of things.
1:57:22
[UNKNOWN]: But he has consistently been working all through the 2000s in movies and TV shows.
1:57:27
[UNKNOWN]: And has really kind of started working a lot over the last few years.
1:57:32
[UNKNOWN]: He was in Dark Knight Rises.
1:57:33
[UNKNOWN]: He was in Cloud Atlas.
1:57:35
[UNKNOWN]: He was, as I said, interstellar, annihilation.
1:57:38
[UNKNOWN]: uh... hunter killer uh... he was also a serious regular in a series called chuggington and carnival roe which was on HBO back in two thousand nineteen uh... and recently uh... twenty two episodes of the diplomat so he's a guy works all the time i just don't always see the stuff he's in he was in an episode of of the same man as well but just as a voice so you know but he is fantastic here
1:58:01
[UNKNOWN]: in his energy.
1:58:01
[UNKNOWN]: And I wonder why Nolan chose him for this and not a yellowo for this.
1:58:05
[UNKNOWN]: Because yellowo, I think was the name.
1:58:08
[UNKNOWN]: So he is such a small partner.
1:58:10
[UNKNOWN]: We why not put him in this, but maybe he felt as you were saying, describing him that energy that Gasi gives is the energy he wanted for this character.
1:58:17
[UNKNOWN]: And finally, by the way, we're actually going to get some straight-up exposition.
1:58:20
[UNKNOWN]: Yeah.
1:58:21
[UNKNOWN]: 30 minutes into the movie.
1:58:23
[UNKNOWN]: We hear that they detected the anomalies like 50 years ago, the gravitational anomalies, we connect this idea that Koop encountered one of the first ones when he crashed.
1:58:35
[UNKNOWN]: But the important thing is the biggest anomaly is out near Saturn, which, by the way, is where they detect the monolith in 2001, is somewhere out near Saturn.
1:58:46
[UNKNOWN]: I'm sure that that's on purpose that they put it in the same place, because they have detected a wormhole.
1:58:51
[UNKNOWN]: Yeah.
1:58:53
[UNKNOWN]: And this wormhole leads to another galaxy.
1:58:56
[UNKNOWN]: And Cooper says, which from what Kipthorn says is true.
1:59:00
[UNKNOWN]: Oh, well, it's not a naturally occurring phenomenon.
1:59:03
[UNKNOWN]: Someone placed it there.
1:59:05
[UNKNOWN]: Hey.
1:59:07
[UNKNOWN]: And whoever they are, they appear to be looking out for us.
1:59:11
[UNKNOWN]: And this is what we find out to happen.
1:59:13
[UNKNOWN]: It's not only did they send probes into this wormhole, but they actually sent humans.
1:59:22
[UNKNOWN]: 12 possible worlds 12 Ranger launches carrying the bravest humans ever to live led by the remarkable Dr. Man.
1:59:32
[UNKNOWN]: Yeah, he's remarkable, all right.
1:59:33
[UNKNOWN]: Yeah.
1:59:34
[UNKNOWN]: Let's see, let's see what we meet him and what we hear basically is that they each had life support for two years in their pods.
1:59:42
[UNKNOWN]: They could use hibernation to stretch that out and their job was to assess the world.
1:59:48
[UNKNOWN]: Show if it has potential to support human life and then go to sleep, essentially, and wait for someone to come rescue them because there's no getting off of it.
1:59:57
[UNKNOWN]: Yeah, if they land on the world and it's no good, then they're just going to wait and die.
2:00:01
[UNKNOWN]: Data transmission back through the wormhole is rudimentary.
2:00:04
[UNKNOWN]: Simple binary pings on an annual basis give us some clues to which world's have potential.
2:00:09
[UNKNOWN]: And one system shows promise.
2:00:11
[UNKNOWN]: And one that's a bit of a long shot, and one system with three potential worlds, a long shot.
2:00:19
[UNKNOWN]: Brand is, and she's got a weird smirk on her face.
2:00:22
[UNKNOWN]: She is an odd character.
2:00:23
[UNKNOWN]: She has an odd kind of rhythm to her, you know?
2:00:26
[UNKNOWN]: When you rewatch the film after you've seen it,
2:00:29
[UNKNOWN]: Clearly, because that's where you can pick things out that she's doing.
2:00:33
[UNKNOWN]: Yeah, sometimes I say the dumbest shit I have.
2:00:35
[UNKNOWN]: Listen, this is a time travel movie.
2:00:37
[UNKNOWN]: In her stellar, you could rewatch the movie before you saw it.
2:00:40
[UNKNOWN]: That's true.
2:00:41
[UNKNOWN]: It's all circular.
2:00:42
[UNKNOWN]: But like, when you go back and watch the movie and watch her performance, she's doing something really incredible.
2:00:48
[UNKNOWN]: That in the first watch, as you said, she's unusual.
2:00:51
[UNKNOWN]: Why does she react and we watch the smirk all that?
2:00:53
[UNKNOWN]: But when you go back and watch it, knowing your connection,
2:00:56
[UNKNOWN]: The Dr.
2:00:57
[UNKNOWN]: Brand, there is, let me start to, Dr. Man, there's a whole other way to read how she's reacting to everything, because she has a little secret.
2:01:05
[UNKNOWN]: And there's nothing actors love more than having a little spling that they have a little secret in some.
2:01:11
[UNKNOWN]: Okay.
2:01:13
[UNKNOWN]: So, if we find out in one, that's the long shot.
2:01:21
[UNKNOWN]: This plan A, and the plan B,
2:01:25
[UNKNOWN]: Did you know descending strange about the launch ship?
2:01:29
[UNKNOWN]: Cut to the launch chamber, we look at it.
2:01:31
[UNKNOWN]: I love the way Nolan reveals this, which is cooped tilts his head, and as he tilts his head, the whole camera tilts, and we've realized we're inside a centrifuge.
2:01:40
[UNKNOWN]: Yeah, this is the space station.
2:01:42
[UNKNOWN]: They're holding the space station here.
2:01:44
[UNKNOWN]: Yeah, crazy.
2:01:46
[UNKNOWN]: The first gravitational anomalies change everything.
2:01:50
[UNKNOWN]: Suddenly we knew that harnessing gravity was real.
2:01:55
[UNKNOWN]: So, I started working on Ethereum, we started building this station, but she hadn't solved it yet.
2:02:03
[UNKNOWN]: That's why there's Plan B.
2:02:06
[UNKNOWN]: But to be clear, because we, you know, spoiled everything on the center files, it has solved it.
2:02:11
[UNKNOWN]: Yeah, he has already solved it and he knows that it is not workable.
2:02:15
[UNKNOWN]: Yeah.
2:02:16
[UNKNOWN]: So he knows there is no plan A.
2:02:18
[UNKNOWN]: He knows that Cooper is not going to save his children.
2:02:21
[UNKNOWN]: That whole, you know, go and save your children thing is bullshit because Professor Brand's plan is all of them die and they go with plan B. Yeah.
2:02:30
[UNKNOWN]: And so now we see what plan B is, which is we're in the lab and we see Dr.
2:02:34
[UNKNOWN]: Brand with, you know, the cylinder and basically what we hear is we're going to send fertilized eggs.
2:02:41
[UNKNOWN]: really difficult to be with colonization is genetic diversity.
2:02:45
[UNKNOWN]: That's it's here that.
2:02:46
[UNKNOWN]: Also, I would not trust science or technology to give me genetic diversity.
2:02:50
[UNKNOWN]: And like I did, there's an arrogance to that that I think is hilarious.
2:02:54
[UNKNOWN]: So I'm smiling at this for different reasons than she's smiling at this.
2:02:58
[UNKNOWN]: Well, I don't know what they did.
2:03:00
[UNKNOWN]: I mean, they might have collected sperm and eggs from 10,000 people around the world all with different genetic make-ups, or they might be gene splicing in order to create genetic diversity.
2:03:11
[UNKNOWN]: If it's the formur, I think you could totally get genetic diversity.
2:03:14
[UNKNOWN]: If it's later, I'm with you.
2:03:15
[UNKNOWN]: I don't trust science.
2:03:17
[UNKNOWN]: Now, what about the people here?
2:03:18
[UNKNOWN]: You just give up on them.
2:03:21
[UNKNOWN]: My kids.
2:03:23
[UNKNOWN]: That's why Playa is a lot more fun.
2:03:27
[UNKNOWN]: How far have you got?
2:03:29
[UNKNOWN]: Almost there.
2:03:30
[UNKNOWN]: You're asking me to hang everything.
2:03:34
[UNKNOWN]: I'm almost.
2:03:35
[UNKNOWN]: I'm asking you to trust me.
2:03:38
[UNKNOWN]: Which, the fact that he's lying to him right now is just it's rough because I love Michael Caine.
2:03:43
[UNKNOWN]: Yeah.
2:03:43
[UNKNOWN]: Yep.
2:03:44
[UNKNOWN]: Yep.
2:03:45
[UNKNOWN]: But you have to, you know, and this is the horrible truth of it.
2:03:48
[UNKNOWN]: Just he has to lie to get people to do things because what's important is the...
2:03:54
[UNKNOWN]: success of the species.
2:03:56
[UNKNOWN]: And if you tell the truth, some people won't do it, the people who are most equipped might not do it or most capable might not do it.
2:04:01
[UNKNOWN]: And so, you know, it's a horrible truth, like, um, like Lutheran in Andor, right?
2:04:06
[UNKNOWN]: Like I think he's kind of at times, I think he's a bit of a despicable person because he's saying shit to people that he knows is not fucking true.
2:04:14
[UNKNOWN]: Yet he's the one that needs to be staying alive until, of course,
2:04:18
[UNKNOWN]: uh... what happens is do but like to me this is where i find these kind of people i get where they're coming from my get their points of you so they're difficult to watch them and believe them because you know they're kind of lying but they have a bigger picture in my that has to be i i i totally agree and i i Lutheran is an amazing character yes that speech where he says like yes i know i'm doing terrible things amazing yeah
2:04:40
[UNKNOWN]: Here's, remember when I said and maybe I didn't say it in the best possible way that Miranda saying I'm the only one who can do this job.
2:04:49
[UNKNOWN]: that there is an arrogance and a danger to that mindset.
2:04:54
[UNKNOWN]: Because yes, what you describe of what Professor Brand is doing is exactly right.
2:04:58
[UNKNOWN]: He sees that the only way to save the Earth is to create the lie of plan A in order to get plan B because he knows that plan A cannot be solved.
2:05:08
[UNKNOWN]: Yep.
2:05:09
[UNKNOWN]: But he hasn't asked anybody else.
2:05:11
[UNKNOWN]: He took that decision entirely on himself.
2:05:14
[UNKNOWN]: Yes.
2:05:15
[UNKNOWN]: And in fact, plan A can be solved and will be solved.
2:05:17
[UNKNOWN]: Now, it needs a whole bunch of stuff to be solved, right?
2:05:20
[UNKNOWN]: But had he shared with Murphy and with all the other brilliant people around him, I got this far.
2:05:27
[UNKNOWN]: And I think we're fucked.
2:05:28
[UNKNOWN]: Yeah, well, someone else might have been able to go farther, but because he would held it to himself because he believed he's the only human on earth that it's capable of solving it.
2:05:36
[UNKNOWN]: Therefore, if you can't solve it, it can't be solved.
2:05:39
[UNKNOWN]: Are you trying to tell me there are arrogant scientists?
2:05:41
[UNKNOWN]: That's this breaking news.
2:05:42
[UNKNOWN]: Yeah, breaking news.
2:05:43
[UNKNOWN]: Yeah.
2:05:44
[UNKNOWN]: Yeah.
2:05:46
[UNKNOWN]: Well, I mean, honestly, I mean, I wasn't sure where to bring this up.
2:05:50
[UNKNOWN]: Yeah.
2:05:50
[UNKNOWN]: But there is a huge movement to populate Mars, and it is being pushed by.
2:05:56
[UNKNOWN]: Among the most brilliant people, certainly one of the most brilliant people on earth, who is a very, very extremely arrogant person who believes that he can do things that other thing people can't and that he has all the solutions for everybody else, you know, right?
2:06:12
[UNKNOWN]: Like, I have, I have some problems with that.
2:06:14
[UNKNOWN]: I have the, I, wait, hate me all you, people can hate me all you want, but I don't trust a genius to have a humanity streak.
2:06:23
[UNKNOWN]: I just don't.
2:06:24
[UNKNOWN]: My experience with seeing geniuses and how they look at the rest of humanity is not equivalent to people who would legitimately care fully for humanity, you know, it's much more about achievement than it is about caring for humanity in my opinion.
2:06:42
[UNKNOWN]: I think it's entirely dependent upon how you define genius.
2:06:46
[UNKNOWN]: So if you go, if you go genius scientist or genius this, for me, Abraham Lincoln's a genius, Gandhi's a genius, there are genius, I think Jesus is a genius.
2:06:57
[UNKNOWN]: There are all sorts of geniuses who are filled to the brim with love of humanity's thing.
2:07:04
[UNKNOWN]: I don't know if I see them that way, but it's interesting point.
2:07:07
[UNKNOWN]: Yeah.
2:07:08
[UNKNOWN]: Again, this is a ridiculous digression.
2:07:12
[UNKNOWN]: But one of the huge mistakes I think we continually make is that we think intelligence is one thing.
2:07:19
[UNKNOWN]: Right.
2:07:19
[UNKNOWN]: When intelligence quotient is an average of a whole bunch of skills.
2:07:23
[UNKNOWN]: There are people that have a genius for compassion, that have a genius, that has a genius, that have a genius, Bill Irwin is a genius to move his body.
2:07:31
[UNKNOWN]: Right, right, right, right.
2:07:32
[UNKNOWN]: You know, it's like the whole wonder of humanity is all the different ways that we can be geniuses.
2:07:39
[UNKNOWN]: You know what?
2:07:40
[UNKNOWN]: Like that's, so, and I also think, if you spend your time studying numbers, it doesn't leave a lot of room to build compassion.
2:07:49
[UNKNOWN]: And if you spend your time studying people, then maybe you will build a bit more compassion.
2:07:53
[UNKNOWN]: Yeah.
2:07:55
[UNKNOWN]: But I definitely think that arrogant people who think they have all the answers are, it can be very dangerous.
2:08:02
[UNKNOWN]: Yes.
2:08:03
[UNKNOWN]: 100%.
2:08:06
[UNKNOWN]: Find us a new home.
2:08:09
[UNKNOWN]: by the time you return, I would have sold the problem of gravity.
2:08:15
[UNKNOWN]: I could feel my word.
2:08:17
[UNKNOWN]: And the camera pushes in on him and then we're back home.
2:08:19
[UNKNOWN]: And to me at least, I didn't think about where the movie is going to go next.
2:08:24
[UNKNOWN]: Yeah, because I wasn't thinking about Murph.
2:08:27
[UNKNOWN]: I was just thinking about, you know, finding a new planet.
2:08:30
[UNKNOWN]: Because that's a movie logic.
2:08:31
[UNKNOWN]: We're conditioned.
2:08:32
[UNKNOWN]: Okay, here's the problem.
2:08:34
[UNKNOWN]: You're being recruited to solve the problem.
2:08:36
[UNKNOWN]: The next step is him getting in that spaceship to go.
2:08:39
[UNKNOWN]: But of course, the movie has to honor the relationship.
2:08:42
[UNKNOWN]: They've spent the first 30 to 45 minutes establishing the love between Cooper and Merff.
2:08:47
[UNKNOWN]: So we have to check back in with that.
2:08:49
[UNKNOWN]: Yet, in our minds, we weren't necessarily thinking that, right?
2:08:51
[UNKNOWN]: So it's great.
2:08:52
[UNKNOWN]: You know, in the in Apollo 13, there's the scene where he's gym level is with his son and there's been the accident on whichever Apollo, I don't remember what it was where it burnt up and was the door.
2:09:05
[UNKNOWN]: Yeah.
2:09:05
[UNKNOWN]: And there's the whole scene where he has to comfort his kid because his kids of scared he's going to die and then something goes wrong on Apollo 13 and mom tells the kid and the kid says, was it the door?
2:09:14
[UNKNOWN]: That's the set-up I think that I'm in, where the movie, where we're setting up a relationship with the kid, but the movie's about going off into space, but that isn't the movie we're in.
2:09:24
[UNKNOWN]: The relationship with the kid is the center of this film.
2:09:28
[UNKNOWN]: Oh.
2:09:29
[UNKNOWN]: Go.
2:09:30
[UNKNOWN]: If you're leaving, just go.
2:09:32
[UNKNOWN]: And later, he's talking to Donald on the porch.
2:09:36
[UNKNOWN]: This world was never enough for you, was a coupe.
2:09:39
[UNKNOWN]: Because heading out there, I feel like I was born to do.
2:09:44
[UNKNOWN]: And it excites me, and does not make it wrong.
2:09:49
[UNKNOWN]: Which I agree with, the fact that this line's up with his desires does not necessarily make it wrong.
2:09:54
[UNKNOWN]: But Donald says, it might not trust the right thing done for the wrong reason.
2:10:01
[UNKNOWN]: The why of the thing, that's the foundation.
2:10:03
[UNKNOWN]: I think that's a great counterargument.
2:10:05
[UNKNOWN]: Yeah, yeah.
2:10:06
[UNKNOWN]: In the foundation salad, we farmers, we sit here every year
2:10:15
[UNKNOWN]: next year.
2:10:17
[UNKNOWN]: Now next year, I'm gonna say there's no one after that.
2:10:21
[UNKNOWN]: There's walls of treasure, Donald has been telling us a leave for a while now.
2:10:25
[UNKNOWN]: It's a great speech.
2:10:26
[UNKNOWN]: It also has echoes to me.
2:10:27
[UNKNOWN]: I don't know if you hear this of the farmer's speech from 7 Samurai.
2:10:31
[UNKNOWN]: Oh, yeah, yeah, yeah.
2:10:33
[UNKNOWN]: Like, you know, the too much rain, too little rain.
2:10:35
[UNKNOWN]: Yeah, all that stuff.
2:10:37
[UNKNOWN]: Yeah.
2:10:38
[UNKNOWN]: It's a funny call.
2:10:39
[UNKNOWN]: I was watching that again the night for about an hour.
2:10:42
[UNKNOWN]: That movie holds up, huh?
2:10:43
[UNKNOWN]: It does.
2:10:46
[UNKNOWN]: Yeah, you walk me right into that.
2:10:47
[UNKNOWN]: Yes, absolutely.
2:10:49
[UNKNOWN]: I was just, I was just, again, Pluto.
2:10:51
[UNKNOWN]: Changing channel, I couldn't believe seven, seven, I was on Pluto.
2:10:54
[UNKNOWN]: I was like, I'm watching this, just set there for an hour and watching it.
2:10:56
[UNKNOWN]: And you're right, the farmer stuff is so powerful.
2:10:58
[UNKNOWN]: And I'd like the Donald processes it.
2:11:01
[UNKNOWN]: Yeah.
2:11:01
[UNKNOWN]: Thinks about it.
2:11:02
[UNKNOWN]: And I think there are parts of him that disapprove and there are parts of him that go, yeah, this is what this guy gets to do.
2:11:09
[UNKNOWN]: Tom will be right, but you've got to make things right with him.
2:11:12
[UNKNOWN]: Yeah, well.
2:11:14
[UNKNOWN]: without making promises you don't know you can keep.
2:11:17
[UNKNOWN]: That's the part he's not gonna do.
2:11:18
[UNKNOWN]: Yeah, you know, he goes back up to Mercerom and she's like barricaded the door and he pushes his way in.
2:11:26
[UNKNOWN]: Yeah, to talk to me, Mercer.
2:11:28
[UNKNOWN]: I need to fix this before I go.
2:11:31
[UNKNOWN]: Don't keep it broken, she left us stay.
2:11:33
[UNKNOWN]: It's a great retort.
2:11:34
[UNKNOWN]: Yep.
2:11:36
[UNKNOWN]: And then he says this thing that his wife said when they had kids.
2:11:40
[UNKNOWN]: We're just here.
2:11:43
[UNKNOWN]: and memories, or I kids.
2:11:45
[UNKNOWN]: Which is, again, we have the scene with Dr. Man, where he talks about parents and kids, we talks about who you think of when you die, you talk, talks about what does it matter if we remember people after their dead.
2:11:57
[UNKNOWN]: These themes, these ideas of memory and parents and children go throughout the whole movie.
2:12:03
[UNKNOWN]: Yep.
2:12:04
[UNKNOWN]: I think you can now understand what you meant.
2:12:07
[UNKNOWN]: You're a pen, and you're the ghost of your children's future.
2:12:10
[UNKNOWN]: That one's almost too on the nose for me.
2:12:14
[UNKNOWN]: Like, I wish they hadn't used the word ghost.
2:12:16
[UNKNOWN]: Because he's literally the ghost of her future, we've already mentioned the word ghost, but it's still great.
2:12:21
[UNKNOWN]: You think ghosting exists?
2:12:25
[UNKNOWN]: I've heard of me.
2:12:28
[UNKNOWN]: I can't be here, though, it's right now.
2:12:31
[UNKNOWN]: I need to exist.
2:12:34
[UNKNOWN]: They chose me.
2:12:37
[UNKNOWN]: They chose me, you saw you the one that led me to.
2:12:40
[UNKNOWN]: I think I forget her name, but the actress playing Murphy is so good in this.
2:12:44
[UNKNOWN]: Yeah, my Kenzie boy.
2:12:45
[UNKNOWN]: Yeah.
2:12:45
[UNKNOWN]: That's exactly why you can't go.
2:12:47
[UNKNOWN]: I figured out the message.
2:12:51
[UNKNOWN]: One word.
2:12:52
[UNKNOWN]: You know what it is?
2:12:54
[UNKNOWN]: Stay.
2:12:56
[UNKNOWN]: It says stay dad.
2:12:59
[UNKNOWN]: which is what he's going to tell her.
2:13:01
[UNKNOWN]: Yep.
2:13:02
[UNKNOWN]: It's so painful.
2:13:03
[UNKNOWN]: Yeah.
2:13:03
[UNKNOWN]: And then he says exactly what Donald told him not to say.
2:13:07
[UNKNOWN]: Yeah.
2:13:07
[UNKNOWN]: I'm coming back and he pulls out the two watches and tells her about the fact that when he goes through hypersplit that because of relativistic space, he's going to age much more slower than she is.
2:13:19
[UNKNOWN]: Turn the run differently for us.
2:13:24
[UNKNOWN]: We might be the same age.
2:13:26
[UNKNOWN]: You hear me?
2:13:28
[UNKNOWN]: What?
2:13:29
[UNKNOWN]: Imagine that.
2:13:30
[UNKNOWN]: Which it's not that they're not going to be the same age.
2:13:32
[UNKNOWN]: Yeah.
2:13:34
[UNKNOWN]: But to her, this is what, this is what sells it for her.
2:13:38
[UNKNOWN]: You have no idea when you're coming back.
2:13:42
[UNKNOWN]: No idea.
2:13:44
[UNKNOWN]: He throws the watch, it covers yourself with a blanket, and he is begging.
2:13:48
[UNKNOWN]: And I think we get the sense now, like, oh no, time is of the essence.
2:13:52
[UNKNOWN]: He actually, yeah, this is it.
2:13:54
[UNKNOWN]: He has to leave this minute.
2:13:56
[UNKNOWN]: Yeah.
2:13:57
[UNKNOWN]: Hey, I love you forever.
2:14:01
[UNKNOWN]: Hear me?
2:14:02
[UNKNOWN]: I love you forever, and I'm coming back.
2:14:07
[UNKNOWN]: I'm coming back.
2:14:08
[UNKNOWN]: and he goes back to the door and just as he's heading out, that ghost knocks another book off that bookshelf.
2:14:14
[UNKNOWN]: Yeah, which we're going to see later because that's him.
2:14:17
[UNKNOWN]: Yep.
2:14:18
[UNKNOWN]: I love that.
2:14:20
[UNKNOWN]: This is so interesting because you look at the philosophy here of the relationship.
2:14:25
[UNKNOWN]: Cooper at times is as guilty of the things he's mad at, other people in power of being because he is, in essence, a person in
2:14:36
[UNKNOWN]: And in this moment, they're having the back and forth.
2:14:38
[UNKNOWN]: He is trying to get Murph to satisfy his need, to have a positive ending to their relationship for now so that he can get on the ship.
2:14:48
[UNKNOWN]: It's for him.
2:14:50
[UNKNOWN]: She is not happy, she's in pain, she loves him, she doesn't want to let him go, she doesn't want to, she's saying it says, stay, you don't listen to me.
2:14:58
[UNKNOWN]: But Cooper's desire, as Nolan script and Jonathan Nolan script lay out here earlier
2:15:05
[UNKNOWN]: we were meant to be in the start, look for the stars, you know, not look at our place in the dirt.
2:15:10
[UNKNOWN]: So Cooper is very much just like Donald in a lot of ways, or not the um, uh, uh, uh, Professor Brande in a lot of ways, because he's also telling little many lies to satisfy his own belief in his desire and what he wants.
2:15:26
[UNKNOWN]: And so here he's, and I know a lot of people can look at this scene and be like, oh, it's a father really trying to get his daughter and the daughter should meet him and the daughter should forgive him and the daughter should accept it.
2:15:36
[UNKNOWN]: But I like the fact that she doesn't.
2:15:38
[UNKNOWN]: I like the fact that this is something that carries through the whole movie, what happens here because she isn't going to give him what he wants because she has a right to her feelings and to process this as she sees fit and he's got to deal with it because he's the one making the decision to leave.
2:15:54
[UNKNOWN]: And he's the one making the wrecking the situation, and he's also, he's the one that's also in a way selfishly pursuing what he wants to do, because what he's, as you said earlier Steve, the fact that that plane crashed, the fact that he eludes to the fact that he that the gravity ways affect that his career as a pilot, this is all unfinished business for him.
2:16:13
[UNKNOWN]: Now the opportunity is coming in, instead of thinking about Murphy, instead of thinking about Tom's, the thing about being there,
2:16:18
[UNKNOWN]: He's thinking about himself, and yes, of course, it's doing for the rest of the humanity.
2:16:21
[UNKNOWN]: That's the thing he tells himself.
2:16:22
[UNKNOWN]: And I think there's an element of that that's there surely.
2:16:24
[UNKNOWN]: But I think it's very much about his own desire to prove to himself that he can lead a mission and be a captain again and matter again to himself.
2:16:33
[UNKNOWN]: And so again, it's interesting levels and complexities in the character of Cooper and decisions he makes here, you know?
2:16:39
[UNKNOWN]: You brought up something when we did our bio of Christopher Nolan that I'm just totally thinking about right now, which is Christopher Nolan is a parent.
2:16:46
[UNKNOWN]: Because I think it's easy, very easy, to see Christopher Nolan as a person with a purpose, as a mission with a destiny to be a great filmmaker.
2:16:55
[UNKNOWN]: And so, and we talk to about there being no more
2:17:00
[UNKNOWN]: more wholesome, more real emotional relationship in any Christopher Nolan we movie we can think of.
2:17:06
[UNKNOWN]: Yeah.
2:17:06
[UNKNOWN]: Then between Cooper and Merff.
2:17:08
[UNKNOWN]: And maybe that's what he's channeling is he's going off to shoot tenet.
2:17:12
[UNKNOWN]: He's going off to shoot whatever.
2:17:13
[UNKNOWN]: Right.
2:17:14
[UNKNOWN]: Right.
2:17:14
[UNKNOWN]: And the fight with the kid and him knowing I have to go do this thing.
2:17:18
[UNKNOWN]: Right.
2:17:18
[UNKNOWN]: And I have to leave my kid and I am sure.
2:17:21
[UNKNOWN]: because all parents do that on some level, he manipulated the truth, or minimized, or tried to make them feel better, all that stuff.
2:17:28
[UNKNOWN]: And that's why this scene feels so real.
2:17:31
[UNKNOWN]: Yeah, and I want to make sure, people, I hope people don't say, I'm not being judgmental of Cooper.
2:17:35
[UNKNOWN]: I'm saying this is something that's very human.
2:17:38
[UNKNOWN]: The struggle, for parents, even more so, the struggle of your desires, because you have a right to be human being as well to pursue the things that you want to pursue.
2:17:47
[UNKNOWN]: But you also have to look at all the other factors that are involved here and the sacrifices that are being made in order for you to pursue the thing you want to pursue.
2:17:55
[UNKNOWN]: And so I think that's fascinating to put that in this relationship is interesting.
2:17:59
[UNKNOWN]: It could have been a very conventional approach to this, but the fact that this, the pain of this breakup lingers through the whole movie, I think, is a genius move by, but both no lens, you know.
2:18:10
[UNKNOWN]: I mean, that's what humans do all the time.
2:18:12
[UNKNOWN]: Whenever we want, what we want, we then try to present the thing that we want to the other person, in the way that they want to hear it.
2:18:18
[UNKNOWN]: So for instance, I haven't told you about my plan to turn the cinephiles into an entirely musical show.
2:18:25
[UNKNOWN]: But if I were to present that to you, I would probably start with how much I've always enjoyed your singing voice and love it when you, and I just want more of an opportunity to hear you sing,
2:18:34
[UNKNOWN]: Yeah.
2:18:34
[UNKNOWN]: And this is what, you know, we always try to present things in a way to fit the, it's like we have the key to someone else's lock and we're trying to go like, I want you to do this.
2:18:44
[UNKNOWN]: And sometimes they're well motivated and sometimes they're, you know, mixed.
2:18:48
[UNKNOWN]: Yeah, exactly.
2:18:49
[UNKNOWN]: Oh, book just fell off my shelf.
2:18:50
[UNKNOWN]: It said stop.
2:18:53
[UNKNOWN]: Don't turn it into a musical.
2:18:54
[UNKNOWN]: Don't do this.
2:18:56
[UNKNOWN]: How to go.
2:18:56
[UNKNOWN]: I find it.
2:18:59
[UNKNOWN]: That's fine.
2:18:59
[UNKNOWN]: Which of course it didn't.
2:19:01
[UNKNOWN]: Right.
2:19:05
[UNKNOWN]: Hey, can I use your truck where you're gone?
2:19:07
[UNKNOWN]: You need your truck.
2:19:10
[UNKNOWN]: I'll make sure they bring it back.
2:19:13
[UNKNOWN]: Okay, after my kids, now.
2:19:15
[UNKNOWN]: And then it happens fast.
2:19:17
[UNKNOWN]: Like I really do think time was of the essence.
2:19:19
[UNKNOWN]: And so he jumps in that car.
2:19:21
[UNKNOWN]: I think the POV of the rear tire, looking back at the farm shot, is an amazing shot.
2:19:29
[UNKNOWN]: I've never seen that shot anywhere else.
2:19:30
[UNKNOWN]: And it has so much to it, you know?
2:19:33
[UNKNOWN]: Yeah, agreed to, agreed to.
2:19:34
[UNKNOWN]: And then the great moment, he looks in the passenger seat where that blanket that Murphy had hidden under before and he looks under it, just not there.
2:19:43
[UNKNOWN]: And then, and again, this is efficient filmmaking.
2:19:46
[UNKNOWN]: This is dramatic filmmaking, as he is driving away from his home, from his family, from Murphy, we're hearing the sounds of the countdown.
2:19:56
[UNKNOWN]: Yeah, a lot.
2:19:56
[UNKNOWN]: Go for a minute, start T-10.
2:20:00
[UNKNOWN]: And so this is him leaving his house.
2:20:03
[UNKNOWN]: Is the same as leaving the planet?
2:20:05
[UNKNOWN]: Because emotionally, that's what it is for.
2:20:07
[UNKNOWN]: Yep, absolutely.
2:20:09
[UNKNOWN]: There's nothing on this planet other than his family
2:20:12
[UNKNOWN]: Yeah.
2:20:13
[UNKNOWN]: And I think that's why Donald understands because Donald knows who Cooper is.
2:20:17
[UNKNOWN]: He knew this day would eventually come.
2:20:19
[UNKNOWN]: The Cooper would leave.
2:20:22
[UNKNOWN]: Cooper's always wanted to want it more.
2:20:25
[UNKNOWN]: And I bet this is something Cooper talked his wife's ear off until she passed.
2:20:30
[UNKNOWN]: about what I could have been, what I should have been, if only that gravity wave hadn't come through out of in this or that.
2:20:37
[UNKNOWN]: And so I'm sure that's something she talked about with her dad, Donald, many times, and so Donald knows that and has that, so that's why he's more understanding of the situation and then a grandfather might be, you know, because I think he suspects Cooper's not coming back either.
2:20:50
[UNKNOWN]: Well, of course, I mean, the odds of the Cooper coming back are so ridiculous slim.
2:20:54
[UNKNOWN]: I mean, this is a crazy thing.
2:20:56
[UNKNOWN]: And so what I like to is I think they clearly made the choice not to be a Paul 13.
2:21:01
[UNKNOWN]: Yeah, we are not going to give you the my new detail of exactly how a launch works.
2:21:06
[UNKNOWN]: We don't care.
2:21:07
[UNKNOWN]: We see him driving away.
2:21:10
[UNKNOWN]: We hear the countdown.
2:21:11
[UNKNOWN]: We see one or two shots of the launch.
2:21:14
[UNKNOWN]: And then we're out in space.
2:21:16
[UNKNOWN]: And as the crew of the Ranger heads off into space, I think it is time for us to end part one of our exploration of interstellar.
2:21:24
[UNKNOWN]: Of course, we'd love to hear your thoughts.
2:21:25
[UNKNOWN]: The conversations that have been happening on social media, on Facebook, on Twitter,
2:21:34
[UNKNOWN]: on Patreon, where great conversations are taking place.
2:21:38
[UNKNOWN]: Our fantastic, and we love participating in those.
2:21:41
[UNKNOWN]: If you haven't subscribed to the show, either on YouTube, or Apple, or Spotify, or any of your other favorite podcast hosts, we'd love you to do so that way you could be sure to get part two of their stellar.
2:21:51
[UNKNOWN]: And of course, we want to support the show on patreon.com slash the cinephiles, you can get ad free versions of the show, be on our cinephiles advisory board, possibly participate in a future short, like we did this week with our advisory board.
2:22:03
[UNKNOWN]: You can also get some of those perks, but not the advisory board through Apple Podcast.
2:22:09
[UNKNOWN]: If you're an Apple person, and I'm at SR Morris on Twitter, John, how would folks reach you?
2:22:13
[UNKNOWN]: You can also find me at the Roca says on all social media.
2:22:16
[UNKNOWN]: And of course, my YouTube channel, where we get into talking about film and television entertainment as well.
2:22:21
[UNKNOWN]: YouTube.com slash John Roca says, come and subscribe there as well.
2:22:25
[UNKNOWN]: And our own YouTube channel, the cinephiles YouTube channel, will re endeavour to go live once a month on that channel as well.
2:22:32
[UNKNOWN]: I mean, not, I don't know if we're going to do that anytime soon with these two films.
2:22:35
[UNKNOWN]: Yeah.
2:22:36
[UNKNOWN]: But certainly that is something we do endeavor to do in the future.
2:22:39
[UNKNOWN]: I mean, we could always jump on an extra do an extra live show.
2:22:43
[UNKNOWN]: Those are those aren't the amount of research that these ones are, but I think that is it for this week.
2:22:48
[UNKNOWN]: We will move back next week with much more research, much more science and much more excitement as we travel in our stellar.