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160: Top 10 Best Directors W/ Melissa Ford | #thebaldbrotherspodcast · The Bald Brothers Podcast

• 0:00
  Speaker 1: Well, what have you'alltch?
• 0:00
  Speaker 2: Your boy Kevin on stage, Tony Bakers. This is the
• 0:03
  Speaker 2: Bob Brothers Podcast. You have a special guest today, Melissa
• 0:07
  Speaker 2: for She's shared a wax poetic wax poetically with us
• 0:14
  Speaker 2: on TV, movies and film and whatever we want to
• 0:17
  Speaker 2: talk about today.
• 0:19
  Speaker 1: We're kicking it off with Melissa Ford.
• 0:21
  Speaker 2: The topic is top ten best movie directors. Melissa Ford.
• 0:29
  Speaker 2: Since you are a guest, you are kicking it off first.
• 0:33
  Speaker 3: Okay, well you know I had I don't really have
• 0:36
  Speaker 3: to think long and hard about this.
• 0:37
  Speaker 4: I've already told you guys. It's David Fincher.
• 0:39
  Speaker 1: David Fincher. That is my choice, that's your choice. Why
• 0:43
  Speaker 1: David Fincher? For you? What has he done for you
• 0:45
  Speaker 1: in your life? Your life? What movies moved you?
• 0:49
  Speaker 4: Seven? Right off the bat, right off the bat? Seven?
• 0:53
  Speaker 3: So David Fincher. He started off as a music video director.
• 0:58
  Speaker 3: I never got a chance to be at anyone of
• 1:00
  Speaker 3: David's videos, but he moved on to doing movies. In
• 1:04
  Speaker 3: his first movie was Aliens three that was heavily panned.
• 1:09
  Speaker 4: He does hate that movie.
• 1:10
  Speaker 5: He hates talking about it really absolutely, it's that bad.
• 1:15
  Speaker 5: He hate for him the studio put him through a lot.
• 1:17
  Speaker 5: He had zero control. They was meddling.
• 1:19
  Speaker 1: He was just He's like out this movie. Yeah.
• 1:22
  Speaker 3: And that's the thing that a lot of people don't
• 1:24
  Speaker 3: understand about filmmaking is that a lot of times the
• 1:27
  Speaker 3: finished product is not decided.
• 1:29
  Speaker 1: By the sure they don't have final cuts a lot.
• 1:32
  Speaker 3: If you are a big name, do have a lot
• 1:34
  Speaker 3: of control, but it takes a long time to even
• 1:36
  Speaker 3: get there. So Aliens three he does not like to
• 1:38
  Speaker 3: talk about. But when I say he redeemed himself on
• 1:41
  Speaker 3: the next project.
• 1:42
  Speaker 2: Seven seven, when he was not, the box is closed
• 1:51
  Speaker 2: and he's.
• 1:51
  Speaker 1: Still like once in the ba. He don't he knows,
• 1:55
  Speaker 1: but he doesn't want to know.
• 1:57
  Speaker 2: Rad Pitt said in his contract, if I do this movie,
• 2:00
  Speaker 2: you cannot change the ending. And the studio tried to
• 2:03
  Speaker 2: change the movie ending. They were like, man, it's too much.
• 2:05
  Speaker 2: He was like, no, no, no, remember where y'all said,
• 2:09
  Speaker 2: y'all can't. The reason he wanted to do the movie
• 2:11
  Speaker 2: was because he liked the end. Ding Kevin Spacey, God
• 2:16
  Speaker 2: rest his soul. He is alive, but rest his soul
• 2:19
  Speaker 2: choices he made.
• 2:20
  Speaker 4: He was like, what, God, rest his career.
• 2:23
  Speaker 1: Rest his career, Morgan Freeman, I mean yeah, and Brad Pitt, Yeah, young, younger, younger,
• 2:31
  Speaker 1: Brad not young young, not like Louise Brad.
• 2:36
  Speaker 3: I mean it's only four years wait film and Louise
• 2:39
  Speaker 3: was ninety one.
• 2:41
  Speaker 1: Seven was ninety five.
• 2:42
  Speaker 4: Yeah, so it's only four years different.
• 2:44
  Speaker 1: Was he in his twenties then?
• 2:45
  Speaker 4: Yes, he had differences, he had a buzz cut. Yeah,
• 2:48
  Speaker 4: he had changed his appearance a little bit more.
• 2:51
  Speaker 3: But Brad Pitt, like when he was like when he
• 2:54
  Speaker 3: was a young actor, he really.
• 2:55
  Speaker 4: Was really brave with his choices.
• 2:58
  Speaker 1: Yes, he was like a fight twelve months.
• 3:02
  Speaker 4: It was so eccentric.
• 3:04
  Speaker 1: Yeau.
• 3:05
  Speaker 4: He's like, you know, really weird hand movements that he would.
• 3:08
  Speaker 2: Did you see him in Snatch? Yes, he was so
• 3:12
  Speaker 2: good and Snatch.
• 3:14
  Speaker 1: The accent was.
• 3:18
  Speaker 3: Language and I still don't know half of what he
• 3:20
  Speaker 3: was saying, but it's just like it just kind of
• 3:22
  Speaker 3: like revealed his brilliance. But David Fincher just really put
• 3:25
  Speaker 3: himself on the map with seven, because you know, you're
• 3:29
  Speaker 3: in a really large city, but you never know what
• 3:31
  Speaker 3: the city.
• 3:32
  Speaker 1: Is for sure.
• 3:32
  Speaker 2: It never is just like telephone, poles and desert. Yeah,
• 3:35
  Speaker 2: it's just like city. Yeah, America.
• 3:38
  Speaker 1: Yeah, I didn't even know it was LA until recently.
• 3:40
  Speaker 1: I don't know to this moment. It was rainy. You
• 3:43
  Speaker 1: never never put rain in Los Angeles. Yeah, but that's.
• 3:46
  Speaker 4: What I love about David Fincher as well.
• 3:48
  Speaker 3: It's like he choose he creates these atmospheric, really really
• 3:52
  Speaker 3: dark movies. Yeah, exactly, and it's like it's a it's
• 3:59
  Speaker 3: it's literally another part of it's another character of the movie.
• 4:03
  Speaker 3: And so the entire movie takes place in just like
• 4:06
  Speaker 3: it either in nighttime with rain falling until the final
• 4:10
  Speaker 3: scene in.
• 4:12
  Speaker 4: The desert with Kevin Spacey and it's.
• 4:13
  Speaker 2: Bright sun it was colored really weird, like it was
• 4:17
  Speaker 2: like an odd like almost Western background.
• 4:22
  Speaker 1: Yeah, big contrast where we have been seeing them.
• 4:25
  Speaker 3: It's very very monochromatic throughout the entire film because like
• 4:29
  Speaker 3: he wants to set that atmosphere, that tension kind of thing.
• 4:33
  Speaker 3: And then it's almost like when the sunshine appears in
• 4:36
  Speaker 3: his movies that usually is.
• 4:37
  Speaker 4: Like a like it's usually indicating.
• 4:40
  Speaker 1: Death for sure. Yeah.
• 4:41
  Speaker 3: Yeah, And so it's like kind of a juxtaposition of
• 4:43
  Speaker 3: what the sunshine usually means for people, you know, and
• 4:47
  Speaker 3: so it means it means death is coming, and finality
• 4:50
  Speaker 3: is coming to you know, the to you know, the
• 4:53
  Speaker 3: culmination of the film.
• 4:55
  Speaker 4: And I just and I also just loved, you.
• 4:59
  Speaker 3: Know, Morgan Freeman playing opposite Brad Pitt. I mean, you've
• 5:03
  Speaker 3: got this seasoned wise old detective.
• 5:06
  Speaker 1: And he was younger. That was like thirty years ago.
• 5:09
  Speaker 3: Freeman has not changed in fifty He must have been
• 5:12
  Speaker 3: like forty.
• 5:13
  Speaker 1: At that time.
• 5:14
  Speaker 4: Looked the exact same way in the last fifty.
• 5:16
  Speaker 5: Yeah, bra Brad was thirty something when seven was done,
• 5:20
  Speaker 5: he was thirty seven. No, he was thirty something because
• 5:22
  Speaker 5: he's born in sixty three, so he was thirty two.
• 5:25
  Speaker 1: Thirty two.
• 5:26
  Speaker 2: How was Mark I'm about to look up Morgan right now.
• 5:28
  Speaker 2: He must have been fifty then, because he's like eighty
• 5:30
  Speaker 2: almost ninety now.
• 5:32
  Speaker 1: Morgan Freeman, he's born at thirty seven, Yeah, forty.
• 5:36
  Speaker 4: Seven, eighty eight?
• 5:38
  Speaker 1: Yeah, how old was he in ninety five? Forty seven?
• 5:40
  Speaker 4: Oh, don't ask me, I'm terrible.
• 5:42
  Speaker 2: Forty eight, thirty forty fifty something. Wait, you're born in
• 5:45
  Speaker 2: thirty seven or forty seven?
• 5:46
  Speaker 1: Thirty seven? So he was in his fifties for seven?
• 5:53
  Speaker 1: How does he look like that all the time? Fifty
• 5:55
  Speaker 1: eight he's fifty eight and seven.
• 5:57
  Speaker 5: Yeah, he was about to retire, and that's the retirement
• 6:00
  Speaker 5: age as opposed for.
• 6:01
  Speaker 1: Sure here thirty eight. All right, all right, David Fincher's up.
• 6:06
  Speaker 1: I'm up.
• 6:07
  Speaker 5: Steven Bartholomew Spielbird is the He's the to me, he's
• 6:14
  Speaker 5: the goat director because he could do so many different genres.
• 6:18
  Speaker 5: He has a classic and so many different from.
• 6:22
  Speaker 1: Jurassic Park to Schindler's List. He made a horror movie.
• 6:26
  Speaker 1: Johns was a horror movie, Johnson's horror movie. He kicked
• 6:29
  Speaker 1: it off with that.
• 6:29
  Speaker 5: Yeah, then he gonna circle back and hit you with
• 6:31
  Speaker 5: Close Encounters of the Third kind, doubled down on e T.
• 6:35
  Speaker 1: Yeah, they hit you with.
• 6:37
  Speaker 5: Jurassic Park, Shindler's List in the same year, and then
• 6:41
  Speaker 5: he came on the same year.
• 6:43
  Speaker 1: And then he's the director of the color Purple, Color Purple.
• 6:46
  Speaker 1: He went black on us, went black, and didn't. I
• 6:48
  Speaker 1: feel like he did a good job, fantastic job.
• 6:51
  Speaker 5: Didn't went black, Color Purple. Then he then he hits
• 6:55
  Speaker 5: us with Minority Report. He saving Private Rhyme, which is
• 6:58
  Speaker 5: the best wharf favorite war.
• 7:00
  Speaker 4: Spielberg did Minority Report.
• 7:02
  Speaker 1: I didn't know that.
• 7:02
  Speaker 4: No, No, Google I'm sorry.
• 7:06
  Speaker 1: I'm Google Report. Absolutely.
• 7:11
  Speaker 2: Tony was offended that you said, you want to know
• 7:15
  Speaker 2: why off is a minority report first Weekend Domestic domestically.
• 7:20
  Speaker 1: No, look, but you want to know.
• 7:22
  Speaker 3: Why because he's like not the kind of he's not
• 7:25
  Speaker 3: the director that kind of like you know, plays with timelines,
• 7:28
  Speaker 3: you know.
• 7:28
  Speaker 4: What I'm saying. Like Kim Tarantino likes to play with time.
• 7:32
  Speaker 1: Nolan, So does Nolan.
• 7:33
  Speaker 4: They play with time. They're obsessed with like Report. It's
• 7:38
  Speaker 4: just it's okay.
• 7:40
  Speaker 1: He did ward the worlds. He did catch me.
• 7:41
  Speaker 2: If you can that first thirty minutes of seven Private Ryan, Oh,
• 7:45
  Speaker 2: that that you could have never had a piece of
• 7:48
  Speaker 2: dialogue if that was just like, yo, this is a
• 7:49
  Speaker 2: short film on World War Two. I've been like, yo,
• 7:52
  Speaker 2: this is what amazing. Was like when that dude picks
• 7:54
  Speaker 2: up his arm and then that movie's even better. Vin
• 7:58
  Speaker 2: Diesel was really active this before he was only driving.
• 8:02
  Speaker 2: It was like really like heartstrings. His death kicks it off.
• 8:07
  Speaker 2: He's the first to go, the first to go, and
• 8:08
  Speaker 2: that's when you it was kind of funny games a
• 8:10
  Speaker 2: little bit like after that scene and once it Diesel dies,
• 8:14
  Speaker 2: we ain't lie. That's why it ain't laughing. They don't
• 8:16
  Speaker 2: laugh no more.
• 8:18
  Speaker 1: It's won by every new mission. People died. That was
• 8:21
  Speaker 1: the first movie that made me absolutely terrified of war.
• 8:24
  Speaker 1: Oh my god.
• 8:25
  Speaker 5: Before that, you know Apocalypse now like two and I
• 8:27
  Speaker 5: was like, I felt I felt like I could survive
• 8:30
  Speaker 5: some of it. Yeah, oh I could live.
• 8:32
  Speaker 1: Saving Private rhyme made me realize the randomness. It's just
• 8:35
  Speaker 1: a chance. I was like, you can get your you
• 8:38
  Speaker 1: get your head blowing off.
• 8:39
  Speaker 2: You have When the dude got shot in the head
• 8:41
  Speaker 2: with the helmet, it was like, oh my god, he
• 8:43
  Speaker 2: takes it off.
• 8:45
  Speaker 3: Oh you know a movie, you know what war movie
• 8:47
  Speaker 3: really just kind of like resonated and was like super
• 8:50
  Speaker 3: haunting to me.
• 8:51
  Speaker 4: Was all quiet on the Western.
• 8:53
  Speaker 1: Oh my god, I love that. First of all, the score,
• 8:57
  Speaker 1: love that movie. They move you with that music.
• 9:02
  Speaker 4: Oh the score is yeah, it came out like years ago.
• 9:06
  Speaker 5: That was the.
• 9:08
  Speaker 1: They're on the German side. Yeah, they take it from
• 9:11
  Speaker 1: the Germans, which you.
• 9:12
  Speaker 5: Never you never care, you don't think about them at all,
• 9:19
  Speaker 5: and Dunkirk you don't even see them.
• 9:22
  Speaker 1: He was like, man, how about nobody even German in here?
• 9:26
  Speaker 2: Yeah, but yeah it was And I was watching that
• 9:29
  Speaker 2: on my phone when I was walking through Pittsburgh. I
• 9:32
  Speaker 2: had to show in Pittsburgh, and I was like, I
• 9:34
  Speaker 2: had a pause. I said, I gotta put this on
• 9:35
  Speaker 2: the big I gotta go laptop for phone. I started
• 9:38
  Speaker 2: on my phone. I just want to see if it
• 9:40
  Speaker 2: was worth you know, and they was so fifteen minutes.
• 9:42
  Speaker 4: I was like, oh no, yeah.
• 9:44
  Speaker 1: I walked back to my hotel and just watched it.
• 9:47
  Speaker 3: Yeah, it's really, it's really because you know, like they've
• 9:49
  Speaker 3: got like four basically like four characters that are you know,
• 9:53
  Speaker 3: throughout the movie, and they're young boys, and the whole
• 9:56
  Speaker 3: idea of signing up for the for the war has
• 10:02
  Speaker 3: been romanticized to them, like they just can't wait exactly,
• 10:07
  Speaker 3: they just can't wait to Germany and for the glory
• 10:11
  Speaker 3: of their country, and you know, and so it follows
• 10:14
  Speaker 3: really one of them throughout the course of the war,
• 10:18
  Speaker 3: you know that he participates in and when you look
• 10:21
  Speaker 3: at him as you know, the character as he starts
• 10:24
  Speaker 3: to where he ends up.
• 10:25
  Speaker 2: I mean, totally different person. Well, I mean this there's
• 10:29
  Speaker 2: grizzled and one dude dies that first day. Wow, yeah,
• 10:33
  Speaker 2: homeboys going for first day.
• 10:35
  Speaker 1: It's like that in nineteen seventeen. Yeah, oh yeah, two guys.
• 10:39
  Speaker 1: You think this is gonna be two guys?
• 10:40
  Speaker 2: Man your dad that scene in nineteen seventeen, that one
• 10:43
  Speaker 2: er where they pulled back when he was running.
• 10:45
  Speaker 1: Yeah, oh my god, Okay, my turn. Cat's get me man.
• 10:48
  Speaker 1: We moving.
• 10:48
  Speaker 5: Christopher Nolan. I knew Christopher Nolan was gonna be for Nolan.
• 10:54
  Speaker 5: Christopher Uh, Memento.
• 10:59
  Speaker 2: I got put onto him on Memento, and that's before
• 11:02
  Speaker 2: I knew he was time time time of Gee. If
• 11:04
  Speaker 2: you haven't seen Memento, uh, is it Guy Richie or
• 11:07
  Speaker 2: Guy Peers Peers period?
• 11:10
  Speaker 4: It starts from the end and then goes to the beginning.
• 11:13
  Speaker 2: He's a guy who has short term memory loss. He
• 11:16
  Speaker 2: takes pictures of stuff and writes down important information on
• 11:19
  Speaker 2: like uh, polaroids and note pads, tattoos. I mean, And
• 11:26
  Speaker 2: I remember in screenwriting books they'll be like, these are
• 11:29
  Speaker 2: the rules to movies except Memento.
• 11:32
  Speaker 1: But you are not Christopher Nolan, so you just follow
• 11:35
  Speaker 1: these rules. That one.
• 11:36
  Speaker 2: He can do that, but I thought it was so dope.
• 11:39
  Speaker 2: That's what put me on to him. Of favorite trilogy
• 11:42
  Speaker 2: of all time, Batman Trilogy. That's your favorite favorite tril
• 11:46
  Speaker 2: all time he went to soft Landing and and Rosa
• 11:50
  Speaker 2: Gohos Daughter's death e yuck, I hate it.
• 11:56
  Speaker 1: He didn't stick the third act. He didn't, but he does.
• 11:58
  Speaker 1: He did a lot.
• 12:00
  Speaker 3: He's oftentimes accused of being like an over intellect, like
• 12:04
  Speaker 3: to the point where it's just like, Okay, your movie
• 12:07
  Speaker 3: just kind of folded in on it because nobody, nobody
• 12:09
  Speaker 3: knows what the what the hell just.
• 12:11
  Speaker 1: I don't know what.
• 12:13
  Speaker 5: He so.
• 12:14
  Speaker 1: I feel like his two best time choices were Inception.
• 12:19
  Speaker 1: He did it the best. It was the most commercially understandable.
• 12:23
  Speaker 1: Everybody could get it.
• 12:25
  Speaker 4: Sh No, it was not commercially understandable.
• 12:29
  Speaker 3: You can find you can grab five people outside and say,
• 12:32
  Speaker 3: explain the understand sorry, explain the ending.
• 12:36
  Speaker 5: Of Inception still debate that part of something debate, But
• 12:40
  Speaker 5: the schematics of the movie the dream world.
• 12:44
  Speaker 2: If you die in the dream you dying real life?
• 12:46
  Speaker 2: Are you wake up in real life until the very end?
• 12:48
  Speaker 2: If you die at this level, that'sguousous.
• 12:52
  Speaker 1: I'll give you that.
• 12:53
  Speaker 2: But then I feel like on Interstellar it was like, okay,
• 12:57
  Speaker 2: I'm with you a little bit, but I had to
• 12:59
  Speaker 2: watch you to video after.
• 13:03
  Speaker 4: I found Interstellars so much more understandable than in some ship.
• 13:08
  Speaker 1: You understood the bookcase.
• 13:10
  Speaker 4: I absolutely understood the book exactly. What makes the movie.
• 13:15
  Speaker 3: So what makes the movie so haunting is the I
• 13:20
  Speaker 3: was for a minute, I was like, what y'all, I
• 13:24
  Speaker 3: do love your choice Christopher Nolan because his protagonists they're there,
• 13:29
  Speaker 3: they are so obsessed with the why of everything, and
• 13:34
  Speaker 3: so they have to go through all of these kinds
• 13:37
  Speaker 3: of like mazy uh, you know, ambiguous kind of environments
• 13:42
  Speaker 3: to try to get to understand the why behind you know,
• 13:49
  Speaker 3: their own their behavior and why they think the way
• 13:51
  Speaker 3: that they do, and oftentimes they're penalized for that, you
• 13:56
  Speaker 3: know what I mean, You get the answer and then
• 13:58
  Speaker 3: you're just.
• 13:58
  Speaker 4: Left with your heart shattered.
• 14:00
  Speaker 3: Absolutely at the end of the day, he's behind the bookcase,
• 14:05
  Speaker 3: yeah he is, but he's he's wanting no, he's watching
• 14:11
  Speaker 3: himself go off.
• 14:13
  Speaker 4: To where he knows.
• 14:16
  Speaker 2: Because because the space time continuing at this level of speed,
• 14:20
  Speaker 2: time folds upon itself like a notebook paper. And then
• 14:24
  Speaker 2: you go, how if you if you went back and
• 14:26
  Speaker 2: if I so, if time is linear like this, and
• 14:29
  Speaker 2: then you go so fast that time begins like this
• 14:32
  Speaker 2: and it folds upon itself and he's right back to
• 14:34
  Speaker 2: the bookcase. But I had to watch a YouTube video
• 14:37
  Speaker 2: to get that now, Tenant, I was like, what the
• 14:41
  Speaker 2: hell going on?
• 14:42
  Speaker 4: Anybody knows what the hell happened?
• 14:44
  Speaker 1: And it was just loud, but that makes sense right there. Yeah,
• 14:48
  Speaker 1: the fold.
• 14:50
  Speaker 4: And that's the other thing that he gets criticized about
• 14:53
  Speaker 4: is practical.
• 14:55
  Speaker 3: That's the other thing that he'll get criticized about is
• 14:57
  Speaker 3: like his use of like sound owned and how a
• 15:01
  Speaker 3: lot of times it like it's so technical, but like
• 15:04
  Speaker 3: it will overpower even dialogue.
• 15:06
  Speaker 1: For sure.
• 15:07
  Speaker 2: He did that with Baines's voice too. People were like, hey, man,
• 15:11
  Speaker 2: we can't really understand.
• 15:12
  Speaker 4: What that bain said. I need to put the subtitles.
• 15:14
  Speaker 2: I can't really hear. Brother, He's sounded like dropping the hunt.
• 15:21
  Speaker 2: Sometimes nobody cared who before I put on them.
• 15:24
  Speaker 5: Man.
• 15:25
  Speaker 2: So, but that Dunkirk was time but boring as crap.
• 15:30
  Speaker 2: These people's minus minutes yours is I think hours. I
• 15:34
  Speaker 2: think was three maybe minutes or it was his was
• 15:37
  Speaker 2: the Whoby was wonder No it was it was it
• 15:40
  Speaker 2: was an hour a day and a week.
• 15:42
  Speaker 1: Okay, So one guy was like an hour.
• 15:46
  Speaker 2: I was so pissed at him I said, Christopher Nolan,
• 15:48
  Speaker 2: you you you don't wasted an hour and a half
• 15:51
  Speaker 2: of my life and I watched by myself. But in
• 15:53
  Speaker 2: Oppenheimer he was right back, I'll give you Dunkirk and
• 15:56
  Speaker 2: now I'm looking forward to Odyssey. Apparently he does terrible
• 16:00
  Speaker 2: with women characters.
• 16:01
  Speaker 1: He do not care.
• 16:03
  Speaker 2: I mean talking to my homegirl about this year's like,
• 16:05
  Speaker 2: you know, Christo Nolan, he don't care about them women.
• 16:07
  Speaker 1: I was like, no, he don't.
• 16:11
  Speaker 2: Yeah, Nolan, like man, I got the time in The
• 16:13
  Speaker 2: White Man going yeah, women, I can't be focused on it.
• 16:16
  Speaker 1: But you're up next, so you can tell us that's
• 16:19
  Speaker 1: your next director.
• 16:21
  Speaker 3: Okay, Well if I'm okay, If I'm going to say
• 16:24
  Speaker 3: a director that really, really really appreciates his female protagonists,
• 16:29
  Speaker 3: that would be Dandy Velaneuve.
• 16:32
  Speaker 1: Oh but that's the only time he did it.
• 16:40
  Speaker 3: I'm going to talk about Arrival just because that is
• 16:43
  Speaker 3: one of my favorite movies and it's also like it's
• 16:47
  Speaker 3: also like a time bending.
• 16:49
  Speaker 4: Kind of movie.
• 16:50
  Speaker 2: It is, But he did Arrival, Sacario, Dune one two, three,
• 16:55
  Speaker 2: Blade Runner twenty forty nine, and.
• 16:56
  Speaker 4: That, see there's another example of.
• 16:58
  Speaker 1: A female and Dune has there did he care about.
• 17:04
  Speaker 3: Because because really the movie follows her, and it follows
• 17:09
  Speaker 3: her and her moral code and her standards of ethics
• 17:12
  Speaker 3: and how she just you know, she's she doesn't want
• 17:17
  Speaker 3: to be compromised, but she also realizes just how much
• 17:21
  Speaker 3: how conflicted she is. You know, she wants to keep
• 17:24
  Speaker 3: fighting the good fight, but then she's starting to see
• 17:26
  Speaker 3: what the fight actually looks like cast the point of
• 17:29
  Speaker 3: which she was ever told by her own government, starting
• 17:33
  Speaker 3: to read a shadow government and behind the curtains. She
• 17:39
  Speaker 3: is so like just blown away by what she's saying,
• 17:43
  Speaker 3: what she's seeing, and now she just it's become like
• 17:46
  Speaker 3: a real, you know, a real morality.
• 17:50
  Speaker 4: Issue for her.
• 17:51
  Speaker 1: Brought her back for the sequel.
• 17:53
  Speaker 5: Me too.
• 17:54
  Speaker 1: I love that that.
• 17:55
  Speaker 2: He I was reading this article. But Benicio del Tora
• 17:58
  Speaker 2: was like, yo, man, my character talking too much. Yeah,
• 18:00
  Speaker 2: he's just about the business, like he don't he don't
• 18:03
  Speaker 2: need to. He said, that scene where he finally catches
• 18:05
  Speaker 2: the guy and kills him, he had like a whole
• 18:07
  Speaker 2: monologue about what what it means to me. He was like, nah, man,
• 18:10
  Speaker 2: he said, I feel like my character is driven by vengeance.
• 18:13
  Speaker 2: Ain't no talking.
• 18:14
  Speaker 1: I'm here to kill. He's killing time he killed his
• 18:17
  Speaker 1: family in front of that man.
• 18:18
  Speaker 4: But here's the thing. But but no, but I love
• 18:22
  Speaker 4: I did love that scene. I love it too.
• 18:24
  Speaker 3: I thought that the dialogue was very, very necessary because
• 18:28
  Speaker 3: it's not enough to just kill, you know, the head
• 18:31
  Speaker 3: of the cartel with his wife and his two children
• 18:34
  Speaker 3: sitting there before they die.
• 18:36
  Speaker 4: He wants them to hear why he's there.
• 18:39
  Speaker 1: Yeah, and that is death.
• 18:41
  Speaker 4: That is another form of.
• 18:42
  Speaker 1: That's the right death at your door.
• 18:45
  Speaker 4: Yea, that is why I like the scene. But Benisio
• 18:48
  Speaker 4: del Toro literally can do absolutely.
• 18:50
  Speaker 1: No one battle.
• 18:54
  Speaker 4: He's good in everything.
• 18:55
  Speaker 2: When he bought more time by doing the death, he's
• 18:59
  Speaker 2: just sometimes I think, and I know he's not, but
• 19:02
  Speaker 2: sometimes he looks like he has been drinking, like as
• 19:06
  Speaker 2: a part of his character. You just he's he's got
• 19:09
  Speaker 2: like a shiftiness about him. But he's he he can't
• 19:12
  Speaker 2: do no wrong.
• 19:13
  Speaker 3: Fantastic, all right, ton No, hold on, sorry, I'm sorry,
• 19:16
  Speaker 3: I'm sorry.
• 19:19
  Speaker 4: Number two for me.
• 19:20
  Speaker 1: Wait, you.
• 19:22
  Speaker 3: Know I was just talking about who was talking about?
• 19:26
  Speaker 3: Who does female protagonist? Yes, I'm a guest here. I
• 19:33
  Speaker 3: could do what I want.
• 19:36
  Speaker 2: I don't think it was gonna get picked if you
• 19:39
  Speaker 2: if you didn't do that, okay, picked I didn't see
• 19:42
  Speaker 2: him getting picked on twelve two.
• 19:45
  Speaker 3: This is this is highly problematic for me because I
• 19:48
  Speaker 3: understand what makes this man problematic.
• 19:51
  Speaker 4: Even though women are.
• 19:53
  Speaker 3: You know, are are portrayed as as as lethal killers
• 19:56
  Speaker 3: in his movies. More oftentimes women are murdered in horrible
• 20:01
  Speaker 3: fashion in his movies.
• 20:02
  Speaker 4: And he is too liberal with the N word.
• 20:05
  Speaker 1: And that's yeah. He does have his flaws.
• 20:08
  Speaker 4: He is, he has a lot of flaws.
• 20:10
  Speaker 3: However, I feel you, however, Quentin Tarantino is in a
• 20:14
  Speaker 3: class all by himself. That's the reason why there is
• 20:17
  Speaker 3: something called the Tarantino effect. There is you know, you
• 20:21
  Speaker 3: can call him a tour No, He's beyond that because
• 20:25
  Speaker 3: even his writing, you know, he wrote natural Born Killers,
• 20:29
  Speaker 3: he wrote True hold on, okay, taking my fucking thunder man,
• 20:36
  Speaker 3: your brothers, this is the this.
• 20:38
  Speaker 2: Is the Black Woman show. Now shut your hell up, man, listen, man,
• 20:43
  Speaker 2: shut up. Blissid for said I'm talking and I can
• 20:46
  Speaker 2: pick a director and then say somebody else, can we just.
• 20:52
  Speaker 3: Talk about True Romance for a second. For all of
• 20:56
  Speaker 3: you who have never seen this movie, I feel ain't
• 20:58
  Speaker 3: seen it.
• 20:59
  Speaker 1: But what.
• 21:07
  Speaker 4: Here's here's kind of the story about Okay, here's you
• 21:11
  Speaker 4: were tenby.
• 21:17
  Speaker 1: He should have seen it.
• 21:22
  Speaker 4: Okay, So here's the wicked part about True Romance.
• 21:25
  Speaker 3: So Quentin Tarantino, he's he's a screenplay writer, but he
• 21:29
  Speaker 3: wants to be a director. But he hasn't really gotten,
• 21:32
  Speaker 3: you know, the full trust of like studios to do
• 21:34
  Speaker 3: a major motion picture. Who does the Scott Brothers And
• 21:39
  Speaker 3: so they hand his script over to Tone. He has
• 21:41
  Speaker 3: said that he likes the way that he directed it.
• 21:45
  Speaker 3: I don't believe him, because it's so different. If you
• 21:47
  Speaker 3: ever want to see a Quentin Tarantino project interpreted by
• 21:51
  Speaker 3: another director, watch fucking True Romance.
• 21:55
  Speaker 4: Because there's there's something that Quentin Tarantino does.
• 21:58
  Speaker 3: He loads up his mood these with the with a
• 22:01
  Speaker 3: list talents and so it's got Gary Oldman, who plays
• 22:05
  Speaker 3: one of the greatest roles ever, Rexel the fucking pimp,
• 22:10
  Speaker 3: who's half of Oh Yeah, Samuel Jackson is in it,
• 22:16
  Speaker 3: Brad Pitt the Stoner, Christian Slater, Patricia Arquette, James Gandal,
• 22:22
  Speaker 3: fucking Feenie, Michael.
• 22:25
  Speaker 1: Yes, Michael Beaches, Michael.
• 22:29
  Speaker 4: Chris Yo.
• 22:33
  Speaker 3: Hold On, Dennis Hopper, and christ Okay, when you get
• 22:38
  Speaker 3: to that scene. That scene was totally ad libbed, totally
• 22:42
  Speaker 3: live okay, Sicilians respawned by niggas, okay, okay. So anyways,
• 22:52
  Speaker 3: it is fascinating to see another director take Quentin Tarantino's
• 22:57
  Speaker 3: very specific writing style and then interpret it his own way.
• 23:02
  Speaker 4: And it's the only time you'll ever really see that
• 23:05
  Speaker 4: done other than Natural Born Killers.
• 23:08
  Speaker 3: Which is Oliverstone, which is something completely wrote natural.
• 23:14
  Speaker 5: They had a lot of issues on the on the
• 23:16
  Speaker 5: writing side though. It was a lot of behind the
• 23:19
  Speaker 5: scenes stuff, so it's not as fluid and smooth as
• 23:22
  Speaker 5: as true Roman. Yeah, you know, because Natural Bow and
• 23:25
  Speaker 5: Killers it was a whole should do Yeah, but then
• 23:28
  Speaker 5: you know true romance though.
• 23:29
  Speaker 2: That's like I was watching Turritaina movies not realizing he
• 23:33
  Speaker 2: was writing them at first, so that the nigga wasn't
• 23:35
  Speaker 2: bothering me.
• 23:36
  Speaker 1: But as I got older, I was like, man, nigga
• 23:39
  Speaker 1: and the Reservoir Dogs.
• 23:42
  Speaker 2: But yes, I haven't seen that one. Reservoir Dogs. You
• 23:46
  Speaker 2: you could tell, I mean, not Restaorot Dogs. I'm sorry,
• 23:48
  Speaker 2: pup fiction. You could tell he wrote it just so
• 23:50
  Speaker 2: he could say it. When Samuel Jackson and John come
• 23:54
  Speaker 2: to his house before Wolf comes over before he calls wolf.
• 23:58
  Speaker 1: You don't remember that scene has a role? His role?
• 24:02
  Speaker 5: Yeah, no, no, no, it's like you just wanted you
• 24:05
  Speaker 5: wrote that so you could say that it didn't feel natural.
• 24:08
  Speaker 1: It didn't feel natural.
• 24:09
  Speaker 4: Correct me if I'm wrong.
• 24:11
  Speaker 3: I don't recall him ever using any other you know,
• 24:15
  Speaker 3: racial or ethnic slur with the how.
• 24:20
  Speaker 4: Liberally he uses the N word. I don't know the
• 24:23
  Speaker 4: same thing about other.
• 24:26
  Speaker 1: I mean the Italian people that I wouldn't say it was. No,
• 24:30
  Speaker 1: I don't think so. I don't think so. I don't
• 24:33
  Speaker 1: think so. What's your favorite Turntino movie? Oh? Yours? Two Tone?
• 24:41
  Speaker 1: I got mine already, I got mine too. I consider it.
• 24:45
  Speaker 4: It's it's really it ain't.
• 24:47
  Speaker 1: One movie, though it is. Kill Bill is one movie.
• 24:53
  Speaker 1: It's two movies. The reasons why it is two.
• 24:55
  Speaker 5: Movies because Harvey Weinstein made him split it into two
• 24:59
  Speaker 5: really one movie.
• 25:00
  Speaker 3: That's another thing that's problematic with him is how long
• 25:03
  Speaker 3: his relationship lasted with Harvey fucking Wines.
• 25:06
  Speaker 1: Take everybody off the goddamn table.
• 25:09
  Speaker 2: I think she's saying he knew even when it was
• 25:11
  Speaker 2: starting to promo, he was still sticking with him. It
• 25:13
  Speaker 2: was like, all right, we ain't talking about when people
• 25:14
  Speaker 2: didn't know you knew and was just like, but this
• 25:17
  Speaker 2: is advantageous for.
• 25:18
  Speaker 1: Me exactly, you know, because he's not the victim. Yeah,
• 25:21
  Speaker 1: I love people though.
• 25:23
  Speaker 3: Yeah, for me, it's it's it's hard to pick what
• 25:26
  Speaker 3: I mean. I'm obsessed with We're getting.
• 25:28
  Speaker 1: On the spaceship. You got one getting on the spaceship man,
• 25:31
  Speaker 1: and you got to take it.
• 25:32
  Speaker 3: Pressures on and glorious bastards loving glorious bastards.
• 25:40
  Speaker 1: Mine is rest war Dogs. I love.
• 25:43
  Speaker 2: That's the first one I ever saw. It means a
• 25:44
  Speaker 2: lot to me. Yeah, I watched it. I didn't know
• 25:48
  Speaker 2: what it was. I don't know why my aunt was
• 25:49
  Speaker 2: letting me watch this stuff.
• 25:52
  Speaker 4: It's a great I liked a great movie.
• 25:54
  Speaker 2: Who's the big black dude slipped back here? Michael Michael Madson.
• 26:00
  Speaker 2: That's black hair, black white dude, black hair. He just
• 26:03
  Speaker 2: did is really good in there. I love restorar docs
• 26:08
  Speaker 2: mm hmmm, I don't say it three times. I love
• 26:14
  Speaker 2: kill Bill. I forgot I'm getting the spaceship. I'm taking
• 26:17
  Speaker 2: restword do.
• 26:19
  Speaker 1: I love him? Glories? What's sure? All you say? Kill Bill?
• 26:22
  Speaker 1: Kill Bill? All right? Your turn? Also tone, Oh all right?
• 26:25
  Speaker 5: I'm going with we got Stephen Off the table, we
• 26:28
  Speaker 5: got Quentin Tarantino table, get Christal Nolan the table.
• 26:31
  Speaker 1: I'm gonna go with it.
• 26:33
  Speaker 5: My personal pick, your personal pick, and that of society
• 26:36
  Speaker 5: and all that. Nah man, forget society my personal picks.
• 26:42
  Speaker 5: I'm going with me myself personally. I'm going with James Cameron. Man,
• 26:48
  Speaker 5: I'll give you that.
• 26:50
  Speaker 1: James Cameron's track record is crazy. He ain't got no
• 26:54
  Speaker 1: fat on the bone now, he's legit.
• 26:56
  Speaker 2: Even though the Avatar movies are like, all right, you
• 26:58
  Speaker 2: make Avatar movies for like fifty twenty years.
• 27:00
  Speaker 1: You should have did one Avatar and call it the day.
• 27:03
  Speaker 1: I don't love the two and three and Avatar and
• 27:06
  Speaker 1: nothing but Fern Gully big.
• 27:12
  Speaker 3: Your choices are kind of cheating, though, Tony, Yeah, because
• 27:18
  Speaker 3: they're just like I'm ready to back up my okay, okay,
• 27:22
  Speaker 3: you know, let me not, let me not say that
• 27:24
  Speaker 3: they're cheat Your choices are cheating, but they're just like
• 27:27
  Speaker 3: they're so big budget.
• 27:28
  Speaker 4: They're like big Costco movies.
• 27:32
  Speaker 1: You know what I mean, Cosco movie.
• 27:34
  Speaker 5: You act like once upon a time in Hollywood wasn't
• 27:37
  Speaker 5: one hundred and forty million dollars.
• 27:40
  Speaker 1: That's that's what we're doing. You think Quin Tarantino's.
• 27:44
  Speaker 4: Cheap, No, I don't think that he's cheap, but I
• 27:46
  Speaker 4: think the.
• 27:46
  Speaker 2: Way they No, I ain't say nothing. I was quiet online.
• 27:50
  Speaker 2: I know Christopher he gonna make the first billion dollar
• 27:53
  Speaker 2: movie budget.
• 27:53
  Speaker 1: It's not even.
• 27:54
  Speaker 4: About the money. What I'm saying. It's what I'm saying
• 27:57
  Speaker 4: is it's uh.
• 27:58
  Speaker 3: Quentin Tarantino's movies, just like David Fincher's movies, can come
• 28:02
  Speaker 3: across like art house film movies.
• 28:05
  Speaker 1: Oh yeah, he loves art house these.
• 28:08
  Speaker 4: This is target you know movies. This is costco this
• 28:12
  Speaker 4: is this is big, huge production, like it's a billion dollars. Yeah,
• 28:16
  Speaker 4: it looks like it, you.
• 28:17
  Speaker 3: Know what I mean.
• 28:18
  Speaker 1: No man chose No Man.
• 28:26
  Speaker 5: DAWs was not a crazy budget. Changed cinema started the blockbuster.
• 28:32
  Speaker 5: That's where it came from. All right, the color purple
• 28:35
  Speaker 5: not a huge budget. The budget, yeah, like forty that's
• 28:40
  Speaker 5: not bad back in the day. Is bigger budget yeah yeah,
• 28:43
  Speaker 5: But when it comes.
• 28:44
  Speaker 4: To these movies, that would be a lot.
• 28:46
  Speaker 5: Right now, these movies are game changers. Though, Night but
• 28:50
  Speaker 5: Terminated to is one of the best action movies ever created.
• 28:53
  Speaker 3: You know, I listen I guess, you know, the way
• 28:55
  Speaker 3: that I look at films. I can watch beige paint
• 28:58
  Speaker 3: dry on the wall. You know what I'm saying. I
• 28:59
  Speaker 3: can extraordinarily dialogue heavy movies where there's not a whole
• 29:05
  Speaker 3: lot of movement, And to me, that is that's the
• 29:10
  Speaker 3: thing that I judged the craft on. You know, is
• 29:14
  Speaker 3: am I being am I being reached? Is my am
• 29:17
  Speaker 3: I feeling connected?
• 29:18
  Speaker 5: You know?
• 29:19
  Speaker 4: Am I seeing the human condition and the human experience?
• 29:23
  Speaker 4: You know?
• 29:23
  Speaker 3: In all of it's it's it's beauty and horror unfolding
• 29:26
  Speaker 3: in front of me. Sometimes not even with not even
• 29:29
  Speaker 3: with dialogue, just with expression. That's where I tend to,
• 29:33
  Speaker 3: you know, judge how good or bad a movie is.
• 29:38
  Speaker 4: So maybe we just have different values, got it?
• 29:43
  Speaker 5: Saying that like these these movies directed is all. They're
• 29:47
  Speaker 5: amazing all like amazing spectacle. They tap into something else too,
• 29:52
  Speaker 5: They tap into some real emotions, more so Steven than
• 29:56
  Speaker 5: James time.
• 29:59
  Speaker 1: James Cameron is big, that's what he do.
• 30:01
  Speaker 5: But I like to feel excitement when I go to
• 30:05
  Speaker 5: the movie theater, like and he gives me that, like
• 30:07
  Speaker 5: if I'm at home watching the Deep pieces, like all right, yeah,
• 30:10
  Speaker 5: the dialogue is cool. But when I go to the
• 30:12
  Speaker 5: movie theater, I want to be blown away. I want
• 30:14
  Speaker 5: my teeth to shatow. I want my nosebleed. I to
• 30:16
  Speaker 5: understand what I watch, and I want to be like, Yo,
• 30:19
  Speaker 5: that ship was amazing and James Cameron has done that
• 30:22
  Speaker 5: for me, and I like the way he does his
• 30:24
  Speaker 5: female character.
• 30:25
  Speaker 1: Yeah, I'm with you.
• 30:26
  Speaker 5: The Gourney Weaver and Aliens, Sarah Conner and Determinated Movies.
• 30:30
  Speaker 5: These are strong, vulnerable women that are just done right.
• 30:33
  Speaker 5: They're not over masculine, you know, they're not soft, dainty,
• 30:37
  Speaker 5: you know, victims. They're a combination of all that within
• 30:41
  Speaker 5: these like crazy situations. Jamie Lee Curtis and True Lives
• 30:45
  Speaker 5: was fantastic. She was like the highlight of the movie. Favorite,
• 30:48
  Speaker 5: Like James Cameron does women right within big that are
• 30:53
  Speaker 5: like supposed to be all man and stuff like these women, though,
• 30:56
  Speaker 5: are still in the show.
• 30:57
  Speaker 1: So I'm sticking with mine. I'm a gold mine.
• 31:02
  Speaker 2: And then y'all might think I'm early on this, and
• 31:04
  Speaker 2: I'm okay, Brian Coogler's early. Man, it's early, it's early,
• 31:09
  Speaker 2: But let me tell you what he had me with
• 31:11
  Speaker 2: fru Val Station. Okay, he had me with Creed. He's undefeated,
• 31:15
  Speaker 2: He's undefeated. Black Panther one changed the game, Billy on
• 31:21
  Speaker 2: the table, Black Panther two cannot rewatch. Nothing do with
• 31:24
  Speaker 2: Ryan Coog That is not your fault. From Heavy film too.
• 31:27
  Speaker 2: It's like a burial of chat with and then me
• 31:29
  Speaker 2: and my family watched that after Jay went on to
• 31:31
  Speaker 2: be with him. So sorry, brother, lift me up, You're done.
• 31:37
  Speaker 2: Never return it. But that scene in Centers where the
• 31:42
  Speaker 2: music that to me, I love a lot of directors,
• 31:45
  Speaker 2: but there's not many that I can say that is something.
• 31:49
  Speaker 2: I see your thumbprint, but like perfect that is a
• 31:54
  Speaker 2: scene and almost cry but not from the emotion of
• 31:56
  Speaker 2: the movie.
• 31:57
  Speaker 1: Is just like the emotion of the movie.
• 31:59
  Speaker 2: But as an as a movie watcher, it had been
• 32:01
  Speaker 2: a long time since I had not seen something done
• 32:04
  Speaker 2: in a movie and that scene and the execution of it,
• 32:08
  Speaker 2: of what he was saying, they set that up early
• 32:10
  Speaker 2: and the music with Rymnick was saying, you know, we
• 32:12
  Speaker 2: just want the music.
• 32:13
  Speaker 1: You know, we're old Irish like and in the way
• 32:16
  Speaker 1: black culture.
• 32:17
  Speaker 2: You know, as a black person, I was like, man,
• 32:20
  Speaker 2: they try to tell us that we're not connected to
• 32:21
  Speaker 2: our ancestry, but you can see the music and the
• 32:24
  Speaker 2: dance connecting and it's piercing the veil. I said, Yo,
• 32:27
  Speaker 2: this is one of the best scenes I've ever seen
• 32:29
  Speaker 2: in a movie period.
• 32:31
  Speaker 1: So powerful.
• 32:31
  Speaker 4: Though I might be early, I don't think early.
• 32:34
  Speaker 5: He five for five prouve vou was low budget, no money,
• 32:41
  Speaker 5: super low budget he and he also gets great performances
• 32:44
  Speaker 5: out of Michael B.
• 32:44
  Speaker 1: Jordan's there that's his, that's his. Yeah.
• 32:50
  Speaker 2: Literally, I was going to say Dicaprios, and then I
• 32:52
  Speaker 2: realized Dan Scorcese got two music man, the white Man
• 32:55
  Speaker 2: be working, but he gets something out of Michael B.
• 32:57
  Speaker 2: Jordan that is like, Yo, that is the best Michael
• 33:01
  Speaker 2: Jordan is is when they work together. Michael Jordan's great.
• 33:04
  Speaker 2: It's not a dig at him, but when they work
• 33:06
  Speaker 2: together they make magic. But like the music, the score,
• 33:10
  Speaker 2: of the acting, the research Mississipi Delta Chinese.
• 33:13
  Speaker 1: Like stores, even the character Grace that made sense to me.
• 33:19
  Speaker 1: That made sense to me too, they give a hard time.
• 33:21
  Speaker 1: I was like that, we don't know everything. They know.
• 33:24
  Speaker 1: She's a parent, you know Kenese, Now you gonna kill
• 33:28
  Speaker 1: my daughter and come on in there like that. Ain't
• 33:32
  Speaker 1: how vampires work. They didn't even know they were vampires.
• 33:36
  Speaker 5: You mean they don't know the biggest argument that people
• 33:39
  Speaker 5: like they said they wasn't going how do you know
• 33:41
  Speaker 5: what the fuck they're gonna do?
• 33:43
  Speaker 1: They were still out there. They weren't gonna get the daughter.
• 33:46
  Speaker 2: How do you know that perfect man as a black person,
• 33:49
  Speaker 2: the way he hand those blackness with the big budget. Yes,
• 33:53
  Speaker 2: with Hollywood, I'm gonnaivehm a litlextra credit because Hollywood was like,
• 33:56
  Speaker 2: we want to push you down.
• 33:57
  Speaker 1: We didn't like you. We didn't like the deal you
• 33:59
  Speaker 1: got before movie came out.
• 34:01
  Speaker 5: They was trying to They was trying to hate before
• 34:03
  Speaker 5: the movie came out, just so you know you can't
• 34:06
  Speaker 5: get those deals no more.
• 34:07
  Speaker 1: I'm just glad we actually showed up for it.
• 34:11
  Speaker 2: And then as a director, I've been watching I Max
• 34:14
  Speaker 2: movies for years, never knew what I was paying for
• 34:16
  Speaker 2: for real. I was just like, man, I like it
• 34:18
  Speaker 2: in Imax when he did, when he explained it, I said,
• 34:21
  Speaker 2: it's been aspect ratiow this whole time.
• 34:24
  Speaker 1: How much he cares about it make me care more. So.
• 34:28
  Speaker 2: I'm going Ryan Coogler, I'm excited to see what he's
• 34:30
  Speaker 2: gonna do with the X Files, and I was scared
• 34:33
  Speaker 2: of him as Files.
• 34:34
  Speaker 1: I didn't like it.
• 34:35
  Speaker 2: Couldn't really watch that show. It was just not scary,
• 34:37
  Speaker 2: but I just would be unsettled. But with him at
• 34:40
  Speaker 2: the Helm, I'm like, I want to see what you're
• 34:41
  Speaker 2: talking about.
• 34:42
  Speaker 5: I'm ry cool because it's a reboot. Yeah, yeah, yeah,
• 34:46
  Speaker 5: you know how you feel, you know. I love Ryan though, Yeah, Ryan,
• 34:49
  Speaker 5: this does good Man just sick of reboots? All right,
• 34:52
  Speaker 5: you're up, Melissa for.
• 34:54
  Speaker 3: That's the thing is, I don't think that he's gonna
• 34:56
  Speaker 3: go a typical with the reboot. I think he's gonna
• 34:59
  Speaker 3: give us some that they're just like that we're not
• 35:01
  Speaker 3: even expecting. Is this gonna come? I think so too,
• 35:05
  Speaker 3: And I'm really excited about that. And I don't think
• 35:07
  Speaker 3: that he's too early on the list.
• 35:10
  Speaker 1: I'm with it.
• 35:10
  Speaker 3: I think it's almost like an artist who's creating, who's
• 35:14
  Speaker 3: created a sound that just literally cannot be duplicated.
• 35:17
  Speaker 1: It's like Kendrick Lamar, it's.
• 35:19
  Speaker 4: Kendrick Lamar, it's Prince, it's Michael Jackson. I was early.
• 35:22
  Speaker 1: Yeah, at that time, you're like, oh, you're just really different.
• 35:25
  Speaker 1: I know you were.
• 35:26
  Speaker 2: It takes X amount of projects for us to be like, oh,
• 35:28
  Speaker 2: we're gonna annoint you. But Kendrick from Section eighty to
• 35:32
  Speaker 2: Good Kid, Mad City, I was like my favorite rapper
• 35:34
  Speaker 2: ball time. It was that quick, Good Kid, Mad City.
• 35:37
  Speaker 2: Not in mind you're told. When I started listening to rap,
• 35:39
  Speaker 2: I ain't got a whole bunch of people to go
• 35:40
  Speaker 2: because that was quick as yeah, I was. I was like,
• 35:44
  Speaker 2: but all he's done is proved me right. That was
• 35:47
  Speaker 2: just Early's done.
• 35:50
  Speaker 1: But that was early.
• 35:51
  Speaker 3: Yeah.
• 35:51
  Speaker 2: I don't what is Ryan directing next? Is there any
• 35:54
  Speaker 2: movie that he's doing? It's the Third Black Panther coming
• 35:58
  Speaker 2: back for that? All right, you're up, Afford, all right,
• 36:03
  Speaker 2: who is next? I stand with you, kef thank you.
• 36:06
  Speaker 3: Paul Thomas Anderson, okay, not bad, And I will tell
• 36:10
  Speaker 3: you the movie that makes me put him on this list.
• 36:14
  Speaker 3: Obviously I really liked, you know, One Battle after Another?
• 36:20
  Speaker 4: That was That was that was interesting? That was that was?
• 36:23
  Speaker 3: That was that.
• 36:24
  Speaker 2: Let me pause you and ask you this real quick
• 36:26
  Speaker 2: as a black woman ship what I'm curious, how did
• 36:31
  Speaker 2: you feel about Tianna Taylor's character in One Battle after Another?
• 36:35
  Speaker 2: Me and Tom we're just talking about this yesterday. But
• 36:36
  Speaker 2: I don't want you to be infiltrated by our thoughts.
• 36:39
  Speaker 1: You are you sure? Are you familiar with that discussion?
• 36:41
  Speaker 2: No discussion is she's only nominated because she played a
• 36:47
  Speaker 2: bad character. She was over overtly sexual, and that's why
• 36:53
  Speaker 2: she was nominated. I'm curious, did you get any of
• 36:56
  Speaker 2: that when you watch it?
• 36:56
  Speaker 3: That's that falls within the whole argument of why Denzel
• 36:59
  Speaker 3: won for training.
• 37:00
  Speaker 2: Exactly one for Monster Boss. Make me feel good, Make
• 37:08
  Speaker 2: me feel good. I was watching that, I was like,
• 37:10
  Speaker 2: make you feel good? It was uncomfortable in the I
• 37:14
  Speaker 2: was watching that at my pastor's house and he was
• 37:16
  Speaker 2: in there.
• 37:17
  Speaker 1: She made me feel good. I was like, you just
• 37:19
  Speaker 1: wait till he goes to bed. I'm gonna make me
• 37:23
  Speaker 1: feel good. They don't worry for Billy Bob didn't even
• 37:27
  Speaker 1: deserve that. He didn't the hell are you doing in that,
• 37:30
  Speaker 1: Billy Bob? She was riding that bigger than teenie.
• 37:33
  Speaker 5: When I was pissed off, she was, man, I was pissed.
• 37:37
  Speaker 5: That's a bigger than penis you ride. But anyway, back
• 37:39
  Speaker 5: to Tianna Taylor, are you.
• 37:42
  Speaker 1: My child? And I hate it when people call her
• 37:44
  Speaker 1: character a prostitute.
• 37:46
  Speaker 5: She was not that.
• 37:47
  Speaker 4: She wasn't who was a prostitute.
• 37:49
  Speaker 1: They tried to say she was a prostitute.
• 37:53
  Speaker 4: And she performed.
• 37:55
  Speaker 1: Where did see where they get that from? They sold
• 37:57
  Speaker 1: her sex, was like she had to be a prostitute
• 37:59
  Speaker 1: to get that. You didn't even see the movie, exactly,
• 38:02
  Speaker 1: you didn't even watch them.
• 38:08
  Speaker 4: I hate that argument too.
• 38:09
  Speaker 3: I just I despise that argument because at the end
• 38:12
  Speaker 3: of the day, Denzel, let's start with Denzel's performance and
• 38:16
  Speaker 3: in Training Days, is it.
• 38:18
  Speaker 4: One of the most memed and and and quote worthy movies. Yes,
• 38:25
  Speaker 4: it is.
• 38:26
  Speaker 3: So it left an indelible imprint on the collective exactly,
• 38:33
  Speaker 3: which is crazy, by the way, exactly, And same can
• 38:36
  Speaker 3: be saved said for halle Berry's character. You guys literally
• 38:39
  Speaker 3: just did the whole depression.
• 38:43
  Speaker 1: Exactly.
• 38:44
  Speaker 3: You know, so regardless of the fact that you know
• 38:47
  Speaker 3: these are considered to be extraordinarily flawed characters, I think
• 38:51
  Speaker 3: that I think there's something to be said for that,
• 38:54
  Speaker 3: Like I really really love to watch high like like
• 38:58
  Speaker 3: really flawed character that find some level of redemption at
• 39:02
  Speaker 3: the end, like halle Berry. But it's a really uncomfortable
• 39:05
  Speaker 3: version of redemption because and she had to give a
• 39:08
  Speaker 3: piece of her soul away in order to find I
• 39:12
  Speaker 3: don't know, some level of like normalcy or or or
• 39:16
  Speaker 3: contentment whatever. That looks like Denzel had to go out
• 39:19
  Speaker 3: in a haze, you know, glory, but that she's beautiful,
• 39:24
  Speaker 3: you know. So with Teana Taylor, I just don't, I
• 39:28
  Speaker 3: just will not participate in the criticism towards her.
• 39:31
  Speaker 4: I cannot. I cannot. I have watched this.
• 39:34
  Speaker 3: Girl from her sweet sixteen on MTV literally to where
• 39:38
  Speaker 3: she is now. I think people need to relax how
• 39:43
  Speaker 3: heavily they want to criticize her and just look at
• 39:46
  Speaker 3: everything that she has achieved in such a short amount
• 39:49
  Speaker 3: of time, Like she has such an incredible, you know,
• 39:53
  Speaker 3: career of being not just an incredibly underrated singer, but
• 39:59
  Speaker 3: she is underrated.
• 40:01
  Speaker 2: Kanye messing her songs up. Kanye was in there tweaking
• 40:06
  Speaker 2: and stuff, tweaking with the stuff, and she was like, Yo,
• 40:08
  Speaker 2: stop doing stop putting space sounds in my music.
• 40:12
  Speaker 4: Yeah, I think.
• 40:13
  Speaker 3: Part I think, I think part of part of the
• 40:17
  Speaker 3: part of accepting a role is to understand how brave
• 40:20
  Speaker 3: you've got to be in order to commit to that role.
• 40:24
  Speaker 4: And I think that that.
• 40:25
  Speaker 3: Goes, you know, gets overlooked when people are just criticizing
• 40:30
  Speaker 3: just on a you know, on a on a on
• 40:32
  Speaker 3: a baseline value, you know.
• 40:34
  Speaker 4: And so I loved Tiana in that movie.
• 40:37
  Speaker 3: And you know what, fuck all y'all who keep criticizing
• 40:40
  Speaker 3: her for you know, the Oscars. She it was her
• 40:43
  Speaker 3: first time at the Oscars, she was nominated. I would
• 40:47
  Speaker 3: be excited.
• 40:47
  Speaker 5: Tone she might never be back.
• 40:56
  Speaker 4: We hope you're going to be back. I hope this
• 40:59
  Speaker 4: is the first you look beautiful, Taylor.
• 41:04
  Speaker 1: I will not.
• 41:05
  Speaker 4: I will not deal with slander. I just won't.
• 41:08
  Speaker 1: I just won't.
• 41:08
  Speaker 3: I like, I just like and love her too much.
• 41:11
  Speaker 3: And I love the role Paul Thomas Anders Thomas Anderson.
• 41:14
  Speaker 3: The reason the movie that put that puts him on
• 41:17
  Speaker 3: my list at this point is There.
• 41:18
  Speaker 4: Will Be Blood.
• 41:21
  Speaker 5: I am.
• 41:22
  Speaker 4: I am such.
• 41:30
  Speaker 5: Off.
• 41:31
  Speaker 3: I am such a huge fan of cinematography. And I
• 41:37
  Speaker 3: also really love when filmmakers have figured out who they
• 41:42
  Speaker 3: love is their cinematographer, and you know that's the only
• 41:46
  Speaker 3: person that they use. I love that because it's a
• 41:48
  Speaker 3: very symbiotic relationship. There Will Be Blood is one of
• 41:53
  Speaker 3: the most beautiful and haunting and terrorizing movies I've ever
• 42:01
  Speaker 3: seen in my life. Daniel day Lewis is so good.
• 42:04
  Speaker 4: No he doesn't even make any sense, like he's an alien.
• 42:08
  Speaker 4: He's really like an alien the way that like he
• 42:12
  Speaker 4: his his scene.
• 42:13
  Speaker 1: Perform I think, I don't know, he's not.
• 42:18
  Speaker 4: He's really normal.
• 42:20
  Speaker 1: I do, he's really really crazy.
• 42:24
  Speaker 3: But like I just his performances are just so seamless,
• 42:28
  Speaker 3: and it's like you do not know where like he
• 42:30
  Speaker 3: just he just becomes invisible into the character.
• 42:33
  Speaker 4: Like I mean, think about.
• 42:36
  Speaker 3: Gangs of New York, you know, I mean just Daniel
• 42:39
  Speaker 3: day Lewis just doesn't even make any sense, and just
• 42:41
  Speaker 3: that role in there will be blood and just and
• 42:43
  Speaker 3: and and and just like all of the you know,
• 42:47
  Speaker 3: the moral you know, uh conflicts within the movie and
• 42:53
  Speaker 3: just it's just stunning.
• 42:54
  Speaker 4: So that's He's that's.
• 43:00
  Speaker 5: It is.
• 43:01
  Speaker 4: It is my favorite one.
• 43:02
  Speaker 1: Yeah, it might be mine.
• 43:05
  Speaker 5: It might be mine too, Paul Thomas Anderson, that's mine.
• 43:08
  Speaker 5: I don't get Boogie Knights like everybody.
• 43:10
  Speaker 1: I don't love Booge Knights the way he will love it.
• 43:12
  Speaker 1: I'll be forcing myself to like it more than actually
• 43:14
  Speaker 1: I'll be like it's cool, but it ain't like I
• 43:15
  Speaker 1: don't want to it like that.
• 43:17
  Speaker 3: I like Boogie Nights because of the characters like anything
• 43:21
  Speaker 3: that Julianne Moore is in, I'm gonna watch.
• 43:24
  Speaker 4: I'm obsessed with Julianne Moore. She can do absolutely no
• 43:27
  Speaker 4: wrong with me.
• 43:28
  Speaker 3: And she's also a very very courageous actress that chooses
• 43:32
  Speaker 3: roles that you wouldn't necessarily think she would choose, like Bookie,
• 43:38
  Speaker 3: you know, like a aging corn.
• 43:39
  Speaker 2: Star, absolutely aging porn stuff. You're Tony Banks up. I'm
• 43:45
  Speaker 2: going with the good Brother Spike Lee. Man, God, dang it, man, man,
• 43:48
  Speaker 2: I'm in your brain and God sang it.
• 43:50
  Speaker 1: I was just what was going to say? Which one?
• 43:52
  Speaker 1: I was.
• 43:54
  Speaker 5: Watch out Spike Lee's run from She's got to have
• 43:59
  Speaker 5: It all way up to I want to say Clockers.
• 44:05
  Speaker 5: It's just yeah, you got She's got to have it.
• 44:08
  Speaker 5: You got school days, you gotta do the right thing.
• 44:10
  Speaker 5: You got more better blues, you got Malcolm X, you
• 44:12
  Speaker 5: got Jungle Fever, you got Crookling, you got Clockers.
• 44:15
  Speaker 1: He could have stopped there and never made another movie
• 44:17
  Speaker 1: ever again. This stuff on the documentary side.
• 44:19
  Speaker 2: Man, man, when the levees broke, yeah, I mean he
• 44:24
  Speaker 2: was in his bag. I was like, no, Spike, and
• 44:28
  Speaker 2: then the Five Bloods.
• 44:30
  Speaker 1: The Five blood was good.
• 44:32
  Speaker 5: Yeah, many type ship his commercials.
• 44:39
  Speaker 1: His Mars Black Men, He directed original.
• 44:42
  Speaker 5: Kings of comedy like what We're talking about Man, Spike
• 44:45
  Speaker 5: Lee directed music video Yes So to Me. Spike Lee
• 44:49
  Speaker 5: made an incredible mark on me personally, and his movies
• 44:52
  Speaker 5: just spoke to a lot of the black experiences that
• 44:56
  Speaker 5: we share in America, the color divide within us in
• 45:00
  Speaker 5: school days and he talks about the racial divide and
• 45:03
  Speaker 5: do the right thing.
• 45:04
  Speaker 1: Malcolm X is just a beautiful movie.
• 45:06
  Speaker 5: That's probably my favorite bio pick probably, And Yeah, I
• 45:12
  Speaker 5: think Spike Lee is just golden.
• 45:14
  Speaker 1: And then his resurgence with Black Clansman, I'm like, yeah,
• 45:19
  Speaker 1: he got some stinkers, he got he got But you
• 45:22
  Speaker 1: know what, ton, I'm okay with stinkers. That's fine.
• 45:25
  Speaker 2: He just got a lot of he I'm okay with
• 45:27
  Speaker 2: a lot. You got to you got to try. You
• 45:29
  Speaker 2: got to make your stuff, for sure. And Spike has
• 45:33
  Speaker 2: a vision. I hated that one returned in Yeah, but
• 45:38
  Speaker 2: you still got all these Yeah, he came out the
• 45:40
  Speaker 2: gates good.
• 45:41
  Speaker 1: I feel like he had his stuff. What's set?
• 45:44
  Speaker 2: So, yeah, you can make a stinker or a seven
• 45:46
  Speaker 2: and he's stunk it up and you're gonna stink it up,
• 45:49
  Speaker 2: doodo loud, you gonna stink it up. I want the
• 45:53
  Speaker 2: door like god dangs Mike, Yeah, that's red Hook summer.
• 45:56
  Speaker 1: Man, you ain't feeling this. I love girl because I
• 46:05
  Speaker 1: was young boy.
• 46:08
  Speaker 3: I mean, she's the kind of woman that will just
• 46:10
  Speaker 3: make your just you know, the TV when it goes
• 46:13
  Speaker 3: on the OX channels, that's what she does, like straight
• 46:15
  Speaker 3: women like.
• 46:16
  Speaker 2: Yeah, on your same tape about black culture and stuff,
• 46:19
  Speaker 2: I got to go John Singleton. I started with Boys
• 46:23
  Speaker 2: in the Hood, and then you just hear the stories
• 46:26
  Speaker 2: people tell about John Singleton and what he means. But
• 46:29
  Speaker 2: boys in the Hood, poetic justice, higher learning. Michael rappaport
• 46:34
  Speaker 2: I hated his character in there, I you my love.
• 46:38
  Speaker 5: I didn't hate his character. I hated I hated. Uh,
• 46:42
  Speaker 5: who's the guy from Yellowstone that was the main skin head? Oh,
• 46:51
  Speaker 5: I can't think of his name of that movie.
• 46:52
  Speaker 1: He was the main thing was.
• 46:53
  Speaker 5: That's what I hated more because you saw Michael Rapperford's
• 46:57
  Speaker 5: transition from like I give you that up to what
• 47:00
  Speaker 5: he was doing, and I feel like he's still never
• 47:02
  Speaker 5: fully understood what he was doing.
• 47:05
  Speaker 1: He was just trying to connect to something.
• 47:07
  Speaker 5: Yes, he connected to the white supremacistra on his for
• 47:11
  Speaker 5: sure insecurity.
• 47:12
  Speaker 1: That's good. I'll give you. I never hatedy he did.
• 47:15
  Speaker 1: I just never hated him.
• 47:16
  Speaker 2: I'll give you that rose Woods Wood, rose Wood. This
• 47:20
  Speaker 2: might be outside of the Boys in the Hood, which
• 47:22
  Speaker 2: is like his man to me Rosewood, because that was
• 47:25
  Speaker 2: also I didn't know that story neither. So I came
• 47:28
  Speaker 2: in like blank Slaine. I was like, I was pissed
• 47:31
  Speaker 2: off after I watched Rosewood. I was like, yeah, yo,
• 47:35
  Speaker 2: how we why we got to live here?
• 47:37
  Speaker 1: Ye? Man? Some ship going his best work? Too fast,
• 47:46
  Speaker 1: too furious? Come on, come on, I.
• 47:51
  Speaker 2: Love how you he quiet, but even all the way
• 47:57
  Speaker 2: to Snowfall, I know he passed away before snowfall was
• 48:00
  Speaker 2: you know, finished, amazing. It was just like man, so
• 48:05
  Speaker 2: John Singleton, man rest in peace because the goat all right,
• 48:09
  Speaker 2: back to you at Maqueta. One more each, we get
• 48:13
  Speaker 2: one one more each? Yeah, all right, please don't take mine,
• 48:18
  Speaker 2: either of y'all. Okay, I got a couple of case
• 48:28
  Speaker 2: you take one.
• 48:29
  Speaker 4: All right.
• 48:30
  Speaker 3: Mine is germodel torokay, all right, okay, okay.
• 48:40
  Speaker 4: And the movie that put him on my map, No,
• 48:44
  Speaker 4: it was not complete Hands Labyrinth.
• 48:48
  Speaker 1: Oh that's amazing. That's an amazing thought about that in
• 48:52
  Speaker 1: a long time. Has Labyrinth was the.
• 49:00
  Speaker 3: Yes, it's just his movies are just so stunningly beautiful
• 49:06
  Speaker 3: and and and just fantastical. Don't even have to be
• 49:10
  Speaker 3: in English. You know which pant Labyrinth isn't. Yeah, exactly exactly.
• 49:17
  Speaker 3: So I really love pans Labyrinth. I really liked Nightmare Alley.
• 49:25
  Speaker 3: It made you feel so yucky inside, especially at the
• 49:27
  Speaker 3: end right.
• 49:30
  Speaker 4: Like you got to watch it to understand what we're
• 49:31
  Speaker 4: talking about.
• 49:33
  Speaker 3: But and then he has this series called Cabinet of Curiosities.
• 49:39
  Speaker 3: I think that's what it's Netflix. So it's an anthology
• 49:43
  Speaker 3: series on Netflix. So every episode is is its own story,
• 49:48
  Speaker 3: and I mean, it's just it's just brilliant.
• 49:50
  Speaker 4: He I was just gonna finish it. It's it's okay.
• 49:57
  Speaker 3: Frankenstein. The movie with Oscar Isaacs just lordy. Yeah, I'm sorry.
• 50:04
  Speaker 3: I had a moment talking about.
• 50:06
  Speaker 1: Oscar Isaac Isaac. Yes, that performance was out of this world.
• 50:10
  Speaker 4: Performance that Oscar Isaac does.
• 50:12
  Speaker 1: He's great. The only thing I didn't like of him,
• 50:15
  Speaker 1: but it's not his faults.
• 50:16
  Speaker 2: When Star Wars, he's the he delivers a line that's
• 50:19
  Speaker 2: like somehow Palpatine has returned, and you can that's what
• 50:22
  Speaker 2: I'm saying. You could tell he was just like, man,
• 50:24
  Speaker 2: this is I know this is a stupid I know
• 50:28
  Speaker 2: y'all gonna hate this man, but I gotta say, you
• 50:30
  Speaker 2: know what, He's really good in Dale's Ex Machina.
• 50:34
  Speaker 4: Oh yeah, that weird, bro. Bro.
• 50:39
  Speaker 2: Yeah, I said, man, you Oscar Isaac be just but
• 50:43
  Speaker 2: in in Frankenstein.
• 50:45
  Speaker 1: Yeah, he was seven almost like a theater level performance
• 50:48
  Speaker 1: in a movie.
• 50:49
  Speaker 3: Actually, if you want to see Oscar Isaac in something
• 50:52
  Speaker 3: completely different, there's a mini series, a limited series on
• 50:56
  Speaker 3: HBO called Show Me a Hero and He Pans. He
• 50:59
  Speaker 3: plays a very young guy who decides to you know,
• 51:02
  Speaker 3: he doesn't agree with the policy of like the current mayor,
• 51:04
  Speaker 3: and you know, he kind of sees just what's happening
• 51:07
  Speaker 3: in his neighborhood and he wants to make it. She
• 51:08
  Speaker 3: wants to be the change that he wants to see.
• 51:10
  Speaker 3: So he goes, no, it's Yonkers. Yeah, So he goes
• 51:16
  Speaker 3: out to be mayor and he wins. You know, he
• 51:19
  Speaker 3: campaigns to be mayor of Yonkers and he wins, and
• 51:22
  Speaker 3: then it just, you know, just it just gets to
• 51:25
  Speaker 3: be too much for him.
• 51:27
  Speaker 4: Yeah, it was.
• 51:30
  Speaker 5: It was.
• 51:31
  Speaker 3: It was quiet, like it didn't have like a whole
• 51:33
  Speaker 3: lot of fanfare, it didn't have like a massive marketing budget.
• 51:35
  Speaker 4: But it's kind of like if you.
• 51:36
  Speaker 3: Know, you know kind of thing, and it's it's really
• 51:39
  Speaker 3: formidable and it's really really really sad true story.
• 51:43
  Speaker 4: And Oscar Isaac is just he's him.
• 51:46
  Speaker 1: Youm watch the movie.
• 51:57
  Speaker 4: Okay, I'm watching this. This is a great performance.
• 51:59
  Speaker 2: And and young and young as well. All right, tone
• 52:03
  Speaker 2: last one, and don't pick what I was gonna say,
• 52:08
  Speaker 2: And don't be scanning through and look at what you
• 52:10
  Speaker 2: think I'm gonna.
• 52:11
  Speaker 1: Pick, just so you can. I'm trying to think it
• 52:15
  Speaker 1: is cav gonna go black. Hm hm.
• 52:19
  Speaker 5: One thing I know about keV, he's gonna pick somebody
• 52:21
  Speaker 5: that's early or he gonna be like caught up in
• 52:23
  Speaker 5: a couple of projects and he's gonna be like, yeah,
• 52:25
  Speaker 5: they the best of all time. To me, that's what
• 52:27
  Speaker 5: he's gonna be doing. He directed Parent Side. I'm just
• 52:30
  Speaker 5: last on right now because he got two good ones.
• 52:34
  Speaker 5: I'll be catalog bait some time with some skin in
• 52:37
  Speaker 5: the game. You know you in my mind because I
• 52:43
  Speaker 5: want to go Martin Scorsese because a lot of his
• 52:45
  Speaker 5: stuff is fire and Good Fellas is one of my
• 52:50
  Speaker 5: favorite movies ever crafted. And Taxi Driver and Raging Bull
• 52:53
  Speaker 5: and like here he had a run that departed. He
• 52:56
  Speaker 5: had a run that was just crazy, and like he
• 52:58
  Speaker 5: got some stinkers too. But we all do, we all
• 53:01
  Speaker 5: do bringing out the dead, you know what I'm saying.
• 53:03
  Speaker 5: But well, ship, they might as well be Martin Scorsese
• 53:08
  Speaker 5: was gonna say the Coin Brothers, but I'm gonna go
• 53:10
  Speaker 5: Martin Scorsese. I told you got my mind, man, Martin Scorsese,
• 53:13
  Speaker 5: for those reasons. I just said, I feel like I
• 53:16
  Speaker 5: love his gritty filmmaking style, the stories that he tells,
• 53:20
  Speaker 5: the way he directs with energy, and he can soften
• 53:23
  Speaker 5: it up if need be, and he gives you so
• 53:25
  Speaker 5: many different, uh variations of style, Like if you look
• 53:29
  Speaker 5: at the Aviator compared to Taxi Driver compared to you know,
• 53:34
  Speaker 5: bringing out the Dead. Even though I didn't like it,
• 53:35
  Speaker 5: it's just like these are different nuances, hugo.
• 53:39
  Speaker 4: Uh can he Wolf of wall Street?
• 53:41
  Speaker 5: He did the Wolf of Wall Street The Irishman, which
• 53:44
  Speaker 5: is the eight Hours Killers of the Flower Moon. I
• 53:48
  Speaker 5: couldn't even tap in on that. Hell, I felt every second.
• 53:57
  Speaker 5: But Martin Scorsese, is that dude?
• 53:59
  Speaker 3: Though, like, yeah, I choose the Cohen Brothers, I don't.
• 54:03
  Speaker 3: I can only think of No Country for Old Men.
• 54:05
  Speaker 1: Oh my god.
• 54:06
  Speaker 5: Raised in Arizona is one of my favorite movie. I
• 54:08
  Speaker 5: love Old brother We're out thou u wo like that
• 54:12
  Speaker 5: movie was fun.
• 54:13
  Speaker 1: I didn't. I didn't think I would like me there,
• 54:16
  Speaker 1: and I like George was like, man, I had a
• 54:20
  Speaker 1: good time.
• 54:20
  Speaker 2: You know what.
• 54:21
  Speaker 5: The pop made Fargo is amazing. Fargo was absolutely amazing.
• 54:25
  Speaker 5: I like Miller's Crossing a lot. The Cohen Brothers, I
• 54:29
  Speaker 5: like them cats. But anyway, Martin Scorsese.
• 54:34
  Speaker 2: Bomb JUNEO. Really I had that thought, though I know
• 54:40
  Speaker 2: you did. Because I love Parasites so much.
• 54:43
  Speaker 4: I was gonna say the only thing I know is Paris.
• 54:46
  Speaker 2: But Parasite is It entered my top fifteen five. Snow Piercer,
• 54:51
  Speaker 2: Oh yeah, yeah, snow Piercers was good, but Mickey seventeen,
• 54:54
  Speaker 2: I said, man, Bong June, oh.
• 54:58
  Speaker 1: Hot, dude, but I hate that movie. And I went
• 55:05
  Speaker 1: in like, boy bank, June, I know you're finna do
• 55:08
  Speaker 1: it again. No you're not. Snow Piercer and Parasite were
• 55:13
  Speaker 1: so up there another. What's that one with that big
• 55:16
  Speaker 1: creature with the city on his back.
• 55:19
  Speaker 2: No, I don't know that one, but I'm gonna go, man,
• 55:28
  Speaker 2: I was gonna go Scorsese. That's the problem what you
• 55:31
  Speaker 2: said about I wasn't gonna go Scorsese. You did, yes,
• 55:34
  Speaker 2: That's why you messed me up. And then you said
• 55:36
  Speaker 2: the thing about Bank Julie, like just because he'd be
• 55:38
  Speaker 2: all on that stuff. I was like, oh damn, I'm
• 55:41
  Speaker 2: kind of predictable. I was gonna go a few ways.
• 55:45
  Speaker 2: But so I'm gonna tell you what I'm thinking. I
• 55:48
  Speaker 2: like Ava du Verne because she's just done such great
• 55:52
  Speaker 2: job with someone. But when they see it was like yes,
• 55:56
  Speaker 2: like heart wrench heavy and it was so good. She
• 56:00
  Speaker 2: black stories are safe with her.
• 56:02
  Speaker 1: You see her last movie.
• 56:03
  Speaker 2: That is a beautiful last That's what I was gonna say.
• 56:07
  Speaker 2: And my girl Angee on New is like, that's what
• 56:12
  Speaker 2: I'm with black characters. And then also the point of
• 56:15
  Speaker 2: Origin that I really liked, and I just thought, all
• 56:17
  Speaker 2: I'm gonna go, i'ma pull up for Angre New.
• 56:19
  Speaker 1: The cast system is not just a uniquely American thing.
• 56:23
  Speaker 2: That same idea happens in Asia and India and Indias
• 56:28
  Speaker 2: almost follows the same format, so I thought. And also
• 56:32
  Speaker 2: just the way she made that movie, I'm gonna go
• 56:33
  Speaker 2: Aba Dub, I'm gonna just stick with Ava, but the
• 56:36
  Speaker 2: way she had to raise money for that and how
• 56:38
  Speaker 2: they promoted that and they.
• 56:39
  Speaker 1: Didn't really get no love. But she's just brilliant.
• 56:43
  Speaker 2: And I also love her story. Like she didn't pick
• 56:45
  Speaker 2: up a camera till she was like thirty two thirty three.
• 56:48
  Speaker 2: She was a publicist for many years. I think she
• 56:50
  Speaker 2: did a short cut. I will follow her, they will
• 56:52
  Speaker 2: follow or something like that. I will follow and then
• 56:56
  Speaker 2: from there on, Like I love stories where people be like, man,
• 56:59
  Speaker 2: this is my life. I got to do what my
• 57:01
  Speaker 2: heart is called to do. And then doing that much
• 57:03
  Speaker 2: stuff in like ten fifteen years. She's great and I
• 57:07
  Speaker 2: just like her as a person. She just seems every
• 57:10
  Speaker 2: time I've seen her, she's very nice.
• 57:11
  Speaker 1: So work with her.
• 57:13
  Speaker 2: So can you imagine Avil doing Tony and Kev's buddy Cop.
• 57:17
  Speaker 2: We're gonna Traine. Your genre ain't no serious stuff.
• 57:21
  Speaker 1: It's Griggs and McGriggs. He's good on the documentary tip
• 57:24
  Speaker 1: with that?
• 57:25
  Speaker 2: Was it the thirteenth and the thirteenth, The thirteenth when
• 57:29
  Speaker 2: I realized, oh my god, that slavery really still exists
• 57:33
  Speaker 2: and it's in I mean, you know, it's in the Constitution,
• 57:36
  Speaker 2: but it feels like an aside, like slavery's outlawed except
• 57:39
  Speaker 2: for you know. And I remember when I was watching that,
• 57:42
  Speaker 2: I was like, man, there's so much money being made
• 57:45
  Speaker 2: off the prisoners, like and then the prison system, like
• 57:50
  Speaker 2: people are investing in the prison industrial complex. Like to
• 57:53
  Speaker 2: be the person that's bringing you new information through film
• 57:56
  Speaker 2: or documentary that raises you a little bit higher. Great,
• 58:00
  Speaker 2: I'm gonna go an big fan friend of the pod.
• 58:04
  Speaker 2: We love Ava all right, since Melissa Ford loves David
• 58:08
  Speaker 2: Fincher so much. As a group, we are tasked with
• 58:12
  Speaker 2: ranking David Fincher films one ten and we got to agree, all.
• 58:22
  Speaker 1: Three of us.
• 58:22
  Speaker 3: Okay, where we are we starting at ten? Can we
• 58:24
  Speaker 3: start at one? Let's start, Let's start one the best
• 58:28
  Speaker 3: and then go down.
• 58:30
  Speaker 2: It's her podcast, by the way, now they the bos
• 58:35
  Speaker 2: Brothers no more. She do whatever she wants to do.
• 58:40
  Speaker 2: Let's turn the microphones upside down. Take your robes off, y'all.
• 58:44
  Speaker 2: I don't know why your teacher said take the robes off.
• 58:47
  Speaker 2: That's from Sister Act too. By the way, Tony, it's
• 58:49
  Speaker 2: a class. That's my favorite movie.
• 58:51
  Speaker 1: All right. Number one, we are going.
• 58:53
  Speaker 4: To start with number one, and that is seven.
• 58:56
  Speaker 1: Okay, I got no dispute.
• 58:57
  Speaker 2: I'm not arguing with you on that, all right. That's
• 59:00
  Speaker 2: my favorite. David Fincher was my favorite as well.
• 59:02
  Speaker 1: Okay, can we argue after this?
• 59:05
  Speaker 4: Now we're probably gonna argue after that.
• 59:07
  Speaker 1: Okay, let's hear what you got to say. Yes, second,
• 59:10
  Speaker 1: Alien three, let's get it cracked. Let's get it crack,
• 59:15
  Speaker 1: and let's get it.
• 59:16
  Speaker 4: Number two The Curious Case of Benjamin Button.
• 59:20
  Speaker 1: Your bugget.
• 59:23
  Speaker 5: Disagree? Absolutely no, man number two in David Fisher's disciography.
• 59:30
  Speaker 5: Absolutely that.
• 59:31
  Speaker 1: Now in fight Club is club?
• 59:34
  Speaker 4: You guys are being such guys right now?
• 59:41
  Speaker 1: Got him?
• 59:42
  Speaker 4: Tyler Darted?
• 59:45
  Speaker 1: Absolutely?
• 59:46
  Speaker 4: You guys wanted to say fight Club is number two.
• 59:48
  Speaker 1: That's why I'm on number two.
• 59:50
  Speaker 5: What is?
• 59:50
  Speaker 1: I can't even go social network for number two?
• 59:52
  Speaker 2: No, I'm not.
• 59:53
  Speaker 1: I'm not going social network.
• 59:55
  Speaker 3: Girl.
• 59:56
  Speaker 1: He loves Gone Girl. We just talked about Gone Girl.
• 59:59
  Speaker 1: Is that we're talking about? Like Zodiac a lot?
• 1:00:03
  Speaker 3: You want to know something? So Zodiac gets panned a lot?
• 1:00:07
  Speaker 3: First of all, it was extremely lengthy. But I think
• 1:00:10
  Speaker 3: that the I think what drives people nuts about the
• 1:00:12
  Speaker 3: movie itself is there's no closure because but it kind
• 1:00:17
  Speaker 3: of does give closure.
• 1:00:19
  Speaker 4: Who they believe, what his name, something, Lee's something, Lee Allen.
• 1:00:29
  Speaker 1: It is like, come down to the basement, I'll show you.
• 1:00:32
  Speaker 1: That's Roger Rabbit. Come down in the basement, I'll show you.
• 1:00:35
  Speaker 4: Oh, you know what, I don't know what the fuck
• 1:00:37
  Speaker 4: he's talking about. Any Who's whatever.
• 1:00:42
  Speaker 3: Don't try and throw me off. But you're right, that's why.
• 1:00:46
  Speaker 3: So there's so much evidence that Carl Lee Allen, whatever
• 1:00:51
  Speaker 3: his name is, that he really was it was, but
• 1:00:57
  Speaker 3: there's there's no closure. So people have a lot of
• 1:00:59
  Speaker 3: difficult with movies that don't offer closes, especially true stories.
• 1:01:03
  Speaker 1: Like you know, you got to make a decision. It's movie.
• 1:01:07
  Speaker 5: Don't leave it up to me. I paid the money
• 1:01:08
  Speaker 5: for you to tell me this is something real, so
• 1:01:10
  Speaker 5: you can't just make it up. And no, man, but
• 1:01:14
  Speaker 5: you're making the movie.
• 1:01:15
  Speaker 1: Make a choice. I agree with you, except that you
• 1:01:17
  Speaker 1: know the Sopranos, that's the only one where I like,
• 1:01:20
  Speaker 1: I don't like. I love that.
• 1:01:22
  Speaker 2: Indeed, it's actually a very clear ending. If you watch
• 1:01:26
  Speaker 2: the show. I mean he told you what happened.
• 1:01:28
  Speaker 4: Wait does to get his brother.
• 1:01:30
  Speaker 2: He gets his brains, Big Bobby Bakalah tells him on
• 1:01:35
  Speaker 2: the boat. Yes, so the richie, the dude who was
• 1:01:38
  Speaker 2: in the camp for twenty years. They tell him, Yo,
• 1:01:40
  Speaker 2: when you get shot from that close, you don't even
• 1:01:42
  Speaker 2: hear the bullet, You just see black. He tells Tony that,
• 1:01:45
  Speaker 2: and they just had killed that dude at the gas station.
• 1:01:48
  Speaker 2: So he's in the boat with Tony. He's like, man,
• 1:01:50
  Speaker 2: you know when they go if you get shot from
• 1:01:51
  Speaker 2: that close, you won't even hear it. He set it up.
• 1:01:54
  Speaker 2: He just didn't say. In the episode where it happened
• 1:01:57
  Speaker 2: and you look, you they almost show you the killer
• 1:02:00
  Speaker 2: with the ring. When the doorbell rings, you look up
• 1:02:03
  Speaker 2: and you're expecting metal. You see the guy with the
• 1:02:05
  Speaker 2: members only jacket and he goes past him and you
• 1:02:09
  Speaker 2: never see him again.
• 1:02:10
  Speaker 1: Is the only person that moves like that? That was
• 1:02:13
  Speaker 1: the choice. It's just not clear show us. I feel
• 1:02:18
  Speaker 1: like it's more better. I said that on purpose.
• 1:02:21
  Speaker 5: Hold on, we're gonna have to go to the bottom
• 1:02:23
  Speaker 5: and work out way back up with the white because
• 1:02:26
  Speaker 5: we're gonna be tussling.
• 1:02:27
  Speaker 2: Over the.
• 1:02:29
  Speaker 1: Curious cases.
• 1:02:30
  Speaker 4: Five.
• 1:02:31
  Speaker 1: Let's men, let's get the bullshit movies out the way.
• 1:02:34
  Speaker 1: Not mad a movie. I'm saying, like men of these.
• 1:02:40
  Speaker 5: Okay, So I just think there's at least three movies
• 1:02:43
  Speaker 5: that I enjoy better than Curious.
• 1:02:45
  Speaker 4: You say Zodiac is number two.
• 1:02:47
  Speaker 1: I'm just saying I could. I could.
• 1:02:49
  Speaker 5: It could be Zodiac, it could be Fight Club, it
• 1:02:51
  Speaker 5: could be the Social Network Club. Melissa, you got to
• 1:02:57
  Speaker 5: learn to work together sometimes Club, Okay, even though that's
• 1:03:02
  Speaker 5: not my person, but we got to work together.
• 1:03:03
  Speaker 1: As we don't work together.
• 1:03:04
  Speaker 4: What are we putting it? We're gonna put at the bottom.
• 1:03:06
  Speaker 4: The bottom is Alien.
• 1:03:07
  Speaker 1: Three, yes, okay, easy work, Alien three. Yes, you don't
• 1:03:12
  Speaker 1: even like that. To make sure you know, I've seen
• 1:03:15
  Speaker 1: Alien three is at the bottom.
• 1:03:17
  Speaker 4: Okay, Alien three is at the bottom.
• 1:03:18
  Speaker 1: I've never seen MANK. I didn't see MANK either. Make
• 1:03:21
  Speaker 1: make that's what Gary Oldman Black and White's put it.
• 1:03:26
  Speaker 4: We're gonna put that.
• 1:03:28
  Speaker 1: So that's what killer. Hold on.
• 1:03:32
  Speaker 3: Just wait a second, okay, killers don't know we're gonna
• 1:03:35
  Speaker 3: put Panic Room.
• 1:03:37
  Speaker 1: No, absolutely not. Oh my god. The Killer is not
• 1:03:41
  Speaker 1: is not better than Panic Room. Jody Foster was great great.
• 1:03:46
  Speaker 4: I'm sorry, I'm just trying to get back up to
• 1:03:47
  Speaker 4: the top.
• 1:03:48
  Speaker 2: Why are you so strong about curious? We need to
• 1:03:51
  Speaker 2: understand why are you strong about curious? And I don't
• 1:03:54
  Speaker 2: dislike cious case. I think bad was great. Taji is great.
• 1:03:57
  Speaker 1: Because it's brad pan is it?
• 1:03:59
  Speaker 4: From?
• 1:03:59
  Speaker 1: What in the Box? Did You fall in love? Was
• 1:04:01
  Speaker 1: a young to yums yum ye? She was an old
• 1:04:05
  Speaker 1: weird baby. Weird baby was middle age.
• 1:04:12
  Speaker 4: You want to know why.
• 1:04:13
  Speaker 3: You want to know why because listen, I love the
• 1:04:17
  Speaker 3: I love the fantastical concept of aging backwards because they
• 1:04:21
  Speaker 3: always say, you know, they say that.
• 1:04:23
  Speaker 4: Youth is wasted on the young.
• 1:04:24
  Speaker 1: It is.
• 1:04:25
  Speaker 4: It is when you create a movie where you age backwards.
• 1:04:29
  Speaker 4: So he's got the wisdom of you know, of us
• 1:04:31
  Speaker 4: at old age, but he's got the beauty of youth.
• 1:04:34
  Speaker 4: But then he also doesn't.
• 1:04:35
  Speaker 3: Even have the same appreciation that we do have for
• 1:04:37
  Speaker 3: our beauty when we are young.
• 1:04:40
  Speaker 1: I just think that that oh that okay. So the
• 1:04:42
  Speaker 1: theme really sat with you.
• 1:04:43
  Speaker 4: I told you I can watch beige paint dry on
• 1:04:46
  Speaker 4: the wall. I'm big into themes and dialogue.
• 1:04:49
  Speaker 1: This Melissa just like yeah, like.
• 1:04:53
  Speaker 5: Job.
• 1:04:57
  Speaker 4: So it was just it was so moving and it
• 1:05:00
  Speaker 4: just was.
• 1:05:01
  Speaker 1: I was just like, man, this old baby look weird, y'all.
• 1:05:04
  Speaker 1: I just did look weird. Movie. I enjoyed it. I
• 1:05:07
  Speaker 1: enjoyed it.
• 1:05:08
  Speaker 4: It was also like beautiful, beautiful movie, beautiful narration.
• 1:05:11
  Speaker 1: It just was a very It was amazing.
• 1:05:14
  Speaker 4: But and how do you go from seven and fight Club?
• 1:05:17
  Speaker 3: Took Curious Case of Benjamin Button, Like you don't even
• 1:05:20
  Speaker 3: think that's the same director, you really don't.
• 1:05:23
  Speaker 1: I did, I did? Did you bullshit?
• 1:05:27
  Speaker 5: I did? I did?
• 1:05:29
  Speaker 1: That's on his Steven Spielberg like, these ain't the same
• 1:05:31
  Speaker 1: as dark. He kept it dark as it usual.
• 1:05:34
  Speaker 4: It was funny. Okay, all right, okay, all right to
• 1:05:36
  Speaker 4: where we are we going backward?
• 1:05:38
  Speaker 1: Killer is better than okay, fine, Panic room is better
• 1:05:41
  Speaker 1: than killing?
• 1:05:42
  Speaker 4: Where are we nine? When mank is number nine? Fine?
• 1:05:47
  Speaker 4: Put the Killer? And I really did like the Killer
• 1:05:49
  Speaker 4: because Michael motherfucking Fastbender.
• 1:05:51
  Speaker 1: Oh yeah, I don't see nothing to him in a minute.
• 1:05:54
  Speaker 1: I didn't see the Killer. Y'all.
• 1:05:55
  Speaker 4: Be quiet, ladies.
• 1:05:56
  Speaker 3: If you want to see a really good movie, you
• 1:05:59
  Speaker 3: gotta watch Shade. Okay, full frontal because.
• 1:06:03
  Speaker 1: Because to check it out, okay said that was impressive.
• 1:06:11
  Speaker 1: I got a fast Bender for you. It's me. He's good.
• 1:06:15
  Speaker 1: Though I like him, I'm not fast Bender.
• 1:06:18
  Speaker 4: I do too.
• 1:06:18
  Speaker 1: So we bring in then the Panic Room.
• 1:06:20
  Speaker 3: Okay, so we're going backwards six panic rooms.
• 1:06:24
  Speaker 1: Okay, I like, I take Panic Room. I'll take that at.
• 1:06:27
  Speaker 4: Six five Zodiac No, no, no, the game, yes, the game.
• 1:06:33
  Speaker 1: Good choice. You see the game, Michael Douglas. Okay.
• 1:06:36
  Speaker 4: And so then social network? No, okay, social.
• 1:06:41
  Speaker 1: Where's the Girl with the Dragon tattoo? You know I
• 1:06:45
  Speaker 1: was gonna say, wait, wait.
• 1:06:46
  Speaker 4: Wait, wait, wait wait wait wait a second, I think I.
• 1:06:49
  Speaker 1: Have probably Oh my god, I just know it's good.
• 1:06:52
  Speaker 4: Hold on the second. Let me just let me just
• 1:06:54
  Speaker 4: tell the audience something. Okay.
• 1:06:55
  Speaker 3: First of all, the Girl with the Dragon Tattoo is
• 1:06:58
  Speaker 3: based on this trilogy. Okay, So it's the Girl with
• 1:07:00
  Speaker 3: the Dragon Tattoo, the Girl who Kicked the Hornet's Nest,
• 1:07:03
  Speaker 3: and the Girl that Played with Fire. These are three movies.
• 1:07:05
  Speaker 3: They are Swedish movies.
• 1:07:07
  Speaker 4: Stars. What's his name of.
• 1:07:10
  Speaker 1: The girl?
• 1:07:12
  Speaker 3: Yeah, her name's the main character. Her name's Elizabeth Solander.
• 1:07:16
  Speaker 3: She's badass. Oh my god, she's one of my favorite
• 1:07:20
  Speaker 3: female characters cinematic history.
• 1:07:22
  Speaker 4: Okay, So, but I think what he did. Okay, it
• 1:07:24
  Speaker 4: doesn't matter.
• 1:07:25
  Speaker 3: Anywho's Girl with the Dragon Tattoo was so amazing. And
• 1:07:29
  Speaker 3: you want to know, another reason why I like David
• 1:07:31
  Speaker 3: Fincher's movies, David Fincher's movies, like especially after like I
• 1:07:35
  Speaker 3: want to say, two thousand and nine twenty ten, is
• 1:07:38
  Speaker 3: because him and Trent Reznor from nine Inch Nails collaboration kind.
• 1:07:43
  Speaker 1: Of like the inception of it was, yeah, patriarch, that's funny.
• 1:07:54
  Speaker 4: So I love that collaboration.
• 1:07:57
  Speaker 3: You know, when when a filmmaker has has a composed
• 1:08:00
  Speaker 3: that they really like because I mean, they're just the
• 1:08:03
  Speaker 3: score to The Girl with the Dragon Tattoo is so
• 1:08:07
  Speaker 3: just ooh, it's so industrial and just really really.
• 1:08:15
  Speaker 5: Yeah.
• 1:08:16
  Speaker 3: But also it's just it's always like the moral conundrum
• 1:08:19
  Speaker 3: that the characters feel, and it's not just Michael Blanquist
• 1:08:22
  Speaker 3: and it's not just Elizabeth Cilander that are like, you know,
• 1:08:25
  Speaker 3: like really complex characters.
• 1:08:27
  Speaker 4: But there's also the.
• 1:08:28
  Speaker 3: Whole story behind it and the old detective like he
• 1:08:32
  Speaker 3: literally gave his soul to the case that he was
• 1:08:34
  Speaker 3: never able to to to solve. And I really love
• 1:08:39
  Speaker 3: when characters just wrestle with with with with the con
• 1:08:43
  Speaker 3: with huge, like you know, thematic life concepts, you know
• 1:08:47
  Speaker 3: that just they struggle with for the duration of their
• 1:08:49
  Speaker 3: entire life, and it's indicated not just through dialogue, but
• 1:08:53
  Speaker 3: it's also indicated through just atmosphere and environment and stuff
• 1:08:57
  Speaker 3: like that. So that's why I put the with the
• 1:09:00
  Speaker 3: movies where I do, because of the hold that they
• 1:09:03
  Speaker 3: have on me, you know, So it's not necessarily just hold.
• 1:09:07
  Speaker 2: Panic Remains had nothing. It was it was really badge
• 1:09:10
  Speaker 2: paint drying the Panic Room didn't hold in the Panic Room.
• 1:09:13
  Speaker 3: I mean, maybe it's also because like I watched these
• 1:09:14
  Speaker 3: other movies, so when I got older and so, like
• 1:09:16
  Speaker 3: I'm more mature and have like.
• 1:09:17
  Speaker 1: A your lenses different lenses different.
• 1:09:21
  Speaker 4: You know, absorb it differently.
• 1:09:22
  Speaker 1: So we on five or six.
• 1:09:24
  Speaker 4: I don't know where we are.
• 1:09:25
  Speaker 5: So so.
• 1:09:30
  Speaker 1: Yeah, ten, we got fourteen movies old I was only twelve.
• 1:09:35
  Speaker 1: All I thought, we're only doing ten movies from the
• 1:09:37
  Speaker 1: list of lists of twelve.
• 1:09:39
  Speaker 2: Oh so we only doing ten. I thought we were
• 1:09:41
  Speaker 2: ordering it in order. It says order, Okay, let's we
• 1:09:44
  Speaker 2: can order. We're just doing best to work, got it? Okay, yeah, okay,
• 1:09:48
  Speaker 2: So Alien three it's a it's fourteen movies though, And
• 1:10:01
  Speaker 2: is it only twelve?
• 1:10:05
  Speaker 1: It's thirteen? Curious Case takes two spaces.
• 1:10:09
  Speaker 4: Uh huh, where are you guys putting Social Network on this?
• 1:10:15
  Speaker 1: It's twelve? Oh it is twelve? Okay, well, my apologies.
• 1:10:18
  Speaker 1: You know what I'm saying. You can do your job.
• 1:10:20
  Speaker 1: I said twelve. You'll be doing your job.
• 1:10:22
  Speaker 2: You know what I'm talking about. I'm just screwing up.
• 1:10:25
  Speaker 2: For me, Social Network will probably be.
• 1:10:29
  Speaker 1: Fourth.
• 1:10:31
  Speaker 4: And so what's it three?
• 1:10:32
  Speaker 1: Set? For me? Personally? Seven's first?
• 1:10:35
  Speaker 2: Yeah, fight Club is second, gone girl, my gongirl for
• 1:10:44
  Speaker 2: me three because I haven't seen some of these, and
• 1:10:46
  Speaker 2: then Social Network is four.
• 1:10:48
  Speaker 4: Yeah. No, I'm putting Act.
• 1:10:50
  Speaker 3: I'm putting a girl with the dragon tattoo and Curious
• 1:10:53
  Speaker 3: Case above Social Network.
• 1:10:56
  Speaker 1: Since you've watched more, I'll lean to your own understanding.
• 1:10:59
  Speaker 1: I'm not leaning.
• 1:11:02
  Speaker 5: I'm not putting Benjamin Buttons in front of Social Network.
• 1:11:08
  Speaker 1: I'm not leading this.
• 1:11:11
  Speaker 4: Hardcore.
• 1:11:11
  Speaker 1: I'm not leaning. Benjamin Buttons is good, but it's the
• 1:11:15
  Speaker 1: Social Net. No ass on that man. Benjamin Buttons is good,
• 1:11:20
  Speaker 1: but I can't.
• 1:11:22
  Speaker 2: I love Social Network. Also, for me, was much better
• 1:11:26
  Speaker 2: than I ever thought that movie was going to be.
• 1:11:29
  Speaker 2: I was like, Okay, this is only as good as
• 1:11:31
  Speaker 2: this can be. And when I watched it, I was like, actually,
• 1:11:33
  Speaker 2: this is really good. Did Aaron Talkin write that? So
• 1:11:37
  Speaker 2: I think Aaron Sorkin's writing I also like. And then
• 1:11:40
  Speaker 2: David Fincher directing was like a great combination. And I
• 1:11:44
  Speaker 2: think Jesse actions Jesse Eisenberg.
• 1:11:47
  Speaker 3: Jesse Eisenberg is, Oh god, he's just like a He's
• 1:11:50
  Speaker 3: just like an exposed nerve.
• 1:11:52
  Speaker 4: He's really He's like the male version of Claire Danes.
• 1:11:56
  Speaker 2: Oh man, there's this girl who does Claire Dane's impressions
• 1:12:00
  Speaker 2: on TikTok. I'd be correct, I'd be like, girl Claire,
• 1:12:04
  Speaker 2: calm down.
• 1:12:06
  Speaker 1: Everything is like just she'd just be stressed out in everything.
• 1:12:14
  Speaker 4: Somebody with some kind of disorder erotic?
• 1:12:16
  Speaker 1: Yeah, uh is it Homeland?
• 1:12:18
  Speaker 4: And then Temple Grand.
• 1:12:20
  Speaker 5: She's perfect though for that in men.
• 1:12:24
  Speaker 1: Homeland is a TV show? Know what's the TV show?
• 1:12:28
  Speaker 1: Is Claire Dane's finest work. She's she's a beast in there.
• 1:12:32
  Speaker 3: But Terminator three, can I please come back and we
• 1:12:37
  Speaker 3: start we talk about actors though, absolutely performance.
• 1:12:40
  Speaker 1: Is your podcast? Can we come back? That's a real question,
• 1:12:44
  Speaker 1: that's a real question. Listening for it show now, y'all. Okay,
• 1:12:50
  Speaker 1: So where are we at, Marquita m QB.
• 1:12:54
  Speaker 4: The Gone Girls number three?
• 1:12:57
  Speaker 1: Yes, I'm with that. I'm with that girls Fire Gone Girl,
• 1:13:00
  Speaker 1: I'm with it.
• 1:13:01
  Speaker 4: Okay. Yes, it's curious case of Benjamin Button.
• 1:13:07
  Speaker 5: Come on.
• 1:13:07
  Speaker 1: Actually probably will put Gone Girl higher, but we're working together.
• 1:13:10
  Speaker 1: I would I would like Going Girl the number two.
• 1:13:12
  Speaker 1: I like it better than Fight.
• 1:13:13
  Speaker 2: Look, I would go Gone Girl number two. I truly
• 1:13:17
  Speaker 2: enjoyed Go Girl. You don't want to have a fighting Yes,
• 1:13:25
  Speaker 2: Rosa mund Pike wins. She wins. You think she's gonna lose,
• 1:13:31
  Speaker 2: She's not gonna lose. I win, and I'm gonna lay
• 1:13:34
  Speaker 2: back down on your chest.
• 1:13:36
  Speaker 1: That was a good ass movie. Man, I'm not playing
• 1:13:38
  Speaker 1: again what I say? I'm here? Do you hear me?
• 1:13:41
  Speaker 1: Kill man.
• 1:13:45
  Speaker 5: To do?
• 1:13:45
  Speaker 3: Like?
• 1:13:45
  Speaker 2: She was raz She was in this Uh she was
• 1:13:49
  Speaker 2: the villain and now you see me? Now you don't three?
• 1:13:53
  Speaker 2: And I was like, man, get her out of here, y'all.
• 1:13:55
  Speaker 4: She was also in that movie. I care a lot.
• 1:13:58
  Speaker 1: Yes, yeah, she was good, crazy.
• 1:14:00
  Speaker 2: I love her, man, She got them cold cold. She
• 1:14:03
  Speaker 2: played a South African daughter of rebellionaire. But she was
• 1:14:06
  Speaker 2: good and crazy.
• 1:14:07
  Speaker 1: And gone, girl. I said, you can you can't. You
• 1:14:09
  Speaker 1: can't be looked like they never blink. Yeah, like you
• 1:14:15
  Speaker 1: get some blinking going man.
• 1:14:17
  Speaker 5: Okay, So since y'all y'all made the concession on going girl,
• 1:14:21
  Speaker 5: I guess we can.
• 1:14:22
  Speaker 2: We can put Benjamin and Tony being malleable. Look at
• 1:14:26
  Speaker 2: Tony changing.
• 1:14:27
  Speaker 1: I'm trying to be a team. He's changing right before
• 1:14:29
  Speaker 1: our eyes, y'all for you that no, no, hell no,
• 1:14:38
  Speaker 1: no no no the five hell no, the game is
• 1:14:40
  Speaker 1: down there.
• 1:14:41
  Speaker 3: Okay, fine, I'm gonna put Social Network at five. Yeah fine,
• 1:14:45
  Speaker 3: number six, No girl with the dragon tattoo, and then
• 1:14:50
  Speaker 3: Zodiac is after that.
• 1:14:51
  Speaker 1: Give me Zodiac man over over dragon tayah man. We
• 1:14:55
  Speaker 1: need you to see this stuff. I'm sorry. I didn't
• 1:14:59
  Speaker 1: know he was going to so many. I thought I
• 1:15:01
  Speaker 1: saw more, Melissa, but is it? I thought we had ten.
• 1:15:08
  Speaker 5: I will.
• 1:15:08
  Speaker 1: I will give the dragon tattoo the edge because we
• 1:15:12
  Speaker 1: got closure.
• 1:15:13
  Speaker 4: Yes, yes, so six is dragon tattoos.
• 1:15:16
  Speaker 1: There we go, y'all. There we go, y'all, And where
• 1:15:19
  Speaker 1: are we now?
• 1:15:19
  Speaker 2: What do we got?
• 1:15:20
  Speaker 1: Where are we now? Uh? Whe's where's the game?
• 1:15:28
  Speaker 4: We pushed it down, put.
• 1:15:29
  Speaker 1: It put it nine.
• 1:15:32
  Speaker 4: And then we're gonna push Panic Room up.
• 1:15:34
  Speaker 1: I like Panic Room better than the game.
• 1:15:36
  Speaker 4: Okay, I ain't. The game is at nine, and where
• 1:15:43
  Speaker 4: we got left?
• 1:15:45
  Speaker 1: What number?
• 1:15:48
  Speaker 4: What's left?
• 1:15:50
  Speaker 1: The Killer?
• 1:15:51
  Speaker 4: We did the Killer in Mank and Alien three.
• 1:15:55
  Speaker 1: Killer, The Killer is number ten.
• 1:15:57
  Speaker 4: The Killer will be above Mank. Okay, so there we go.
• 1:16:01
  Speaker 1: We got it, we got it. Hey, what's the final tally?
• 1:16:03
  Speaker 1: Marquita is number one, number two, Gone.
• 1:16:07
  Speaker 5: Girl, number three, Fight Clubs numberfore but number five Network number.
• 1:16:15
  Speaker 4: Girl Room Game, The Killer.
• 1:16:23
  Speaker 5: Eleven May twelve.
• 1:16:27
  Speaker 4: There we go.
• 1:16:28
  Speaker 1: I feel bad for Mak because I haven't seen.
• 1:16:30
  Speaker 2: It, but y'all the they mad at me because I
• 1:16:33
  Speaker 2: ain't seen these. I've seen eight of twelve David Fincher movies.
• 1:16:37
  Speaker 2: That's that's solid for him not to be my favorite director.
• 1:16:40
  Speaker 2: The only ones I didn't see was Girl the dragont
• 1:16:43
  Speaker 2: Dat too, And I kept meaning.
• 1:16:44
  Speaker 1: To watch that. I don't. I could be like, man,
• 1:16:47
  Speaker 1: I need to watch that. We're the biscuits. I should
• 1:16:50
  Speaker 1: always be like.
• 1:16:52
  Speaker 2: And I know, and then just years keep going by
• 1:16:54
  Speaker 2: and I ain't watched it, and I didn't see Making
• 1:16:56
  Speaker 2: the Killer, and I didn't see the Game, but I
• 1:17:00
  Speaker 2: I saw I saw the other eight.
• 1:17:02
  Speaker 1: That's not too bad for that. It just needed Yeah.
• 1:17:05
  Speaker 1: I was like, bro, I didn't know. I don't even remember.
• 1:17:09
  Speaker 1: Mank it's lid out real quick. And it was like
• 1:17:12
  Speaker 1: Gary Oldman is brilliant as usual. All Right, we got
• 1:17:16
  Speaker 1: some for me.
• 1:17:19
  Speaker 4: This is a surprise. I don't know what's happening.
• 1:17:22
  Speaker 5: Yeah, get your feet together. Okay, this is that Melissa Ford.
• 1:17:29
  Speaker 5: Who you're gonna call?
• 1:17:30
  Speaker 1: This? This is called who you're gonna call? Who are
• 1:17:33
  Speaker 1: you gonna call when you need business advice? Fifty? Or
• 1:17:37
  Speaker 1: Tyler Perry? Who you called fifty? Okay?
• 1:17:46
  Speaker 2: Now, if you need relationship advice, you're gonna call Steve
• 1:17:49
  Speaker 2: Harvey or Devon Franklin.
• 1:17:57
  Speaker 1: Who you called? Who you calling?
• 1:18:02
  Speaker 4: I'm gonna call Steve har There you go, just because
• 1:18:05
  Speaker 4: he got the man.
• 1:18:06
  Speaker 1: Hey're gonna make you laugh that. I love that for
• 1:18:10
  Speaker 1: a brief Okay, need fitness motivation? Who you calling? Dave
• 1:18:18
  Speaker 1: Batista or the Rock? The Rock?
• 1:18:22
  Speaker 4: That's pretty easy, all right.
• 1:18:25
  Speaker 1: This is just Young Young Young. She's CAFC Louisville. We're
• 1:18:30
  Speaker 1: going at the YENG were playing at the Young Center
• 1:18:32
  Speaker 1: over man, John, all right, you need style tips? Are
• 1:18:43
  Speaker 1: you calling? Coleman? Domingo or is in deya I mean
• 1:18:48
  Speaker 1: or law Roach I guess, don't.
• 1:18:52
  Speaker 3: They have a very symbiotic relationship to Yeah, so Zendia
• 1:18:56
  Speaker 3: be she'd be knowing Coleman be free. It's not hard
• 1:19:02
  Speaker 3: because Coleman is a man, you know, Zendea.
• 1:19:05
  Speaker 2: But Coleman is fire comen Domingo. I wish I had
• 1:19:09
  Speaker 2: the confidence in my clothes to wear what he does
• 1:19:14
  Speaker 2: like you do. Nah, I don't. They tried to put
• 1:19:16
  Speaker 2: me in something cool at the na A c P
• 1:19:18
  Speaker 2: and I hated the tide. I never fully felt comfortable.
• 1:19:21
  Speaker 2: Coleman Dimingo could wear this microphone and be like, I'm
• 1:19:24
  Speaker 2: out here.
• 1:19:26
  Speaker 1: I mean again, y'all.
• 1:19:29
  Speaker 2: Just everything he wears when he steps on the red carpet,
• 1:19:32
  Speaker 2: you'd be like, this is the best suit I've ever seen.
• 1:19:34
  Speaker 4: Who was the war a piano on their back to
• 1:19:36
  Speaker 4: the met last year?
• 1:19:38
  Speaker 5: Oh?
• 1:19:38
  Speaker 4: I saw that it was it was It wasn't Coleman,
• 1:19:41
  Speaker 4: it was something another.
• 1:19:44
  Speaker 3: Yeah.
• 1:19:45
  Speaker 4: Fashion choices are yeah, and.
• 1:19:47
  Speaker 1: You gotta be comfortable.
• 1:19:48
  Speaker 2: Yeah, because I want to get invited to the man,
• 1:19:50
  Speaker 2: but you can't if you ain't fashion boy.
• 1:19:52
  Speaker 1: Yeah, I ain't get tony. You can wear hard bottoms
• 1:19:56
  Speaker 1: I'm not calling you. That's the thing. I'm not going.
• 1:20:00
  Speaker 1: All right, here we go need life coaching Oprah Winfrey
• 1:20:08
  Speaker 1: or Barack Obama.
• 1:20:10
  Speaker 4: Life coaching for your life coaching Barack. Okay, yeah, I'm
• 1:20:18
  Speaker 4: telling back, all right, not another yo.
• 1:20:24
  Speaker 2: Great man, ladies and gentlemen. Melissa for Melissa for podcast
• 1:20:35
  Speaker 2: featuring Tony. We've been a great guest on her show.
• 1:20:38
  Speaker 2: Thank you for having us, Melissa. Thank you guys so much.
• 1:20:43
  Speaker 2: We'll see you next week.