Latest / Houselights: A Film Director Podcast / Her (2013) - Spike Jonze | Houselights #241

Transcript

Her (2013) - Spike Jonze | Houselights #241 · Houselights: A Film Director Podcast

0:03
Speaker 1: Welcome to the net Palty.
0:20
Speaker 2: Welcome back to House Lights, the show where three grown
0:23
Speaker 2: men spend way too much time whispering sweet nothings into microphones.
0:27
Speaker 2: I'm your co host, Tristan Rodel, and I'm basically the
0:30
Speaker 2: lonely guy in your grandfather's high wasted pants who can't
0:33
Speaker 2: decide if he's in love with his computer or just
0:36
Speaker 2: terrified of checking his email in public. Joining me is
0:39
Speaker 2: the friend who keeps showing up at two am to
0:41
Speaker 2: remind you to juice your vegetables, Darren Moser. And then
0:45
Speaker 2: there's the guy who is comforting at first, but next
0:47
Speaker 2: thing you know, he's off dating six hundred other people
0:49
Speaker 2: while still telling you how special you are. John Mills. Together,
0:54
Speaker 2: We're diving together, We're diving into Spike Jones. Is Her
0:58
Speaker 2: a movie about technology, intimacy, and the eternal question are
1:02
Speaker 2: we dating or just troubleshooting? I am very interested to
1:07
Speaker 2: hear your guys' take on this movie because this movie
1:11
Speaker 2: was released in twenty thirteen, and we live in a
1:15
Speaker 2: very different world in twenty twenty five, and so I
1:20
Speaker 2: am going to ask you a two part question each. Darren,
1:24
Speaker 2: when did you first see this and what did you
1:28
Speaker 2: think about, you know, your first watch did did you
1:34
Speaker 2: find it romantic, unsettling, funny, accurate? What did you think?
1:39
Speaker 1: I love that question because it's basically like what we
1:41
Speaker 1: talk about in the entire podcast. But no, this was
1:46
Speaker 1: no for watching for This was my first time. I
1:48
Speaker 1: had not caught this in theaters. I think i'd seen
1:52
Speaker 1: the poster, but I hadn't even seen a trailer for it,
1:55
Speaker 1: And I had a tiny bit had been spoiled of
1:59
Speaker 1: the the part where he's trying to connect and it's
2:01
Speaker 1: not connecting. So I had an idea of how it
2:05
Speaker 1: was gonna go, and I'm glad it kind of didn't
2:08
Speaker 1: go that way. It went a different way.
2:09
Speaker 2: But yeah, I I.
2:13
Speaker 1: Purposely I'm not saying I set expectations low. I just
2:19
Speaker 1: went in saying this movie, let's just let's do it.
2:23
Speaker 1: Like I was not trying to give preconceived notions. I
2:26
Speaker 1: was not trying to because it could really go anywhere
2:30
Speaker 1: with a guy starts to date, you know, an AI Like,
2:34
Speaker 1: that's all I knew. So I was pleasantly surprised with
2:38
Speaker 1: the depth of the performance and relationship. I mean, at
2:43
Speaker 1: the end of the day, is it really any different
2:46
Speaker 1: than as far as performance, as far as like having
2:49
Speaker 1: a We've all seen the long distance relationship, you know,
2:53
Speaker 1: teen movies where they're on the phone all the time.
2:55
Speaker 1: Like it's really no different than that.
2:58
Speaker 2: That's what I was kind of. I'm so glad you
3:00
Speaker 2: brought that up, because that's the first thing that kind
3:01
Speaker 2: of popped in my head. I was like, we can
3:03
Speaker 2: you compare this too? We can, Yeah, one there is another,
3:06
Speaker 2: like a long distance relationship exactly, John, When did you
3:09
Speaker 2: first see this and how did you walk away from it?
3:13
Speaker 3: This was my first viewing.
3:14
Speaker 4: It's one of those ones that I've always had an
3:16
Speaker 4: interest in but never got around to it. So I'm
3:18
Speaker 4: glad that we had an excuse this time, and it was.
3:21
Speaker 4: There were a couple of hurdles I had to overcome.
3:24
Speaker 4: The first is that we do live in a very
3:26
Speaker 4: different world, a Pedro Pascal world, and the entire I'd say,
3:31
Speaker 4: first twenty minutes, I'm looking at Jaquin Phoenix and I'm like, man,
3:34
Speaker 4: Pedro Pascal would have been cast.
3:36
Speaker 3: In this movie, wouldn't he? He would have been cast
3:37
Speaker 3: in this movie. He's even got the mustache.
3:39
Speaker 4: Oh my god, thank god this came along before Pedro
3:41
Speaker 4: Pascal came along, otherwise it would be a Paedro Pascal movie,
3:44
Speaker 4: which is nothing against mister Pascal. I think he's a
3:46
Speaker 4: fine actor. He's been in some terrific projects. But then,
3:50
Speaker 4: of course I had to overcome the hurdle of being
3:52
Speaker 4: a Futurama fan and having it in my head constantly
3:55
Speaker 4: Dotate Robots, because of course everybody who's watched that show
3:59
Speaker 4: knows that up, which is fantastic, But you know, it
4:04
Speaker 4: is one of those things where I was looking at
4:08
Speaker 4: it through the lens and of course we'll unpack this
4:10
Speaker 4: or the rest of the show and everything, but it
4:13
Speaker 4: is interesting because I think it reveals, because of the
4:18
Speaker 4: year it came out, that Jones was thinking a little
4:22
Speaker 4: further ahead than other filmmakers were.
4:24
Speaker 3: I think other people were.
4:26
Speaker 4: Definitely thinking along these lines of what impact technology and
4:29
Speaker 4: social media and everything was going to have on everyone
4:31
Speaker 4: and what we were seeing, but Jones was sort of
4:35
Speaker 4: that extra half or full step ahead in terms of
4:38
Speaker 4: thinking of the implications. The way that David Bowie when
4:41
Speaker 4: you see him interviewed about the Internet in like the
4:43
Speaker 4: late nineties, and the interviewer isn't quite with him, and he's.
4:46
Speaker 3: Like, oh, no, no, no, you don't get it, do you?
4:48
Speaker 5: Like?
4:48
Speaker 4: I think Jones reveals himself as a very forward thinking
4:51
Speaker 4: director with this film, and it's interesting because of that, Like,
4:58
Speaker 4: even if there are parts of the movie that don't
5:00
Speaker 4: particularly work, you sit there, you go, he's really for
5:03
Speaker 4: the time pushing at boundaries that other filmmakers aren't even
5:07
Speaker 4: thinking about yet. So that that's very interesting about the film.
5:11
Speaker 1: It also gave me what was it Blade Runner? Was
5:15
Speaker 1: it twenty forty nine, forty nine? Yeah, there are some
5:18
Speaker 1: parallels as well, where you have him with a kind
5:22
Speaker 1: of it's a relationship, but it's more like a psychologist
5:26
Speaker 1: kind of thing, where she's there to kind of work
5:29
Speaker 1: with him. And they also have a scene where you
5:33
Speaker 1: have a surrogate, you know, person there with the overlap.
5:36
Speaker 2: That's that's immediately what I thought of, Like I always
5:40
Speaker 2: think of whenever I watch twenty forty nine, I think
5:42
Speaker 2: about the Her scene, and whenever I watch Her, I
5:44
Speaker 2: think about the twenty forty nine scene with that non
5:47
Speaker 2: digital surrogate. It's very much like made from the same cloth, absolutely,
5:53
Speaker 2: but just in very different interesting ways. Yeah.
5:57
Speaker 1: Yeah, and the technology though I liked in the the
6:00
Speaker 1: Her timeline because you can tell, like the way they
6:05
Speaker 1: have billboards and other things around, like it's kind of future,
6:09
Speaker 1: like it's meant to be it. I guess the vibe
6:12
Speaker 1: I got was not this is present day. It did
6:15
Speaker 1: not come across like that. It came like, this is
6:18
Speaker 1: maybe twenty years from now, like technology is where there's
6:22
Speaker 1: no flying cars. We're realistic at this point.
6:25
Speaker 2: But I love that in sci fi films, but it's
6:27
Speaker 2: my higher bit.
6:29
Speaker 1: A tiny bit of the future is sprinkled throughout, kind
6:32
Speaker 1: of like a Minority Report, which also has you know,
6:36
Speaker 1: grab metric cars, but that's a little farther in the future.
6:39
Speaker 4: Yeah, Minority Report took it a little too far. I
6:41
Speaker 4: get what you're saying. I get what you're saying in
6:43
Speaker 4: terms of like the interactive billboards that queue off of
6:46
Speaker 4: your pupils. I'm like, yeah, that's the part of my
6:48
Speaker 4: Minority Report where I'm like, yep, totally see that coming, right.
6:51
Speaker 3: But it wouldn't.
6:52
Speaker 2: But the thing is, it would have been Minority Report
6:54
Speaker 2: would have been better if they didn't give a year
6:56
Speaker 2: that it was in, because I can't say in sci
6:58
Speaker 2: fi films, give the year that the set in, because
7:01
Speaker 2: you know, like, of course like Blade Runner, the original
7:03
Speaker 2: Blade our future, yeah, future of nineteen ninety nine. Every
7:10
Speaker 2: writer always overshoots, but I really dig that because it
7:13
Speaker 2: didn't even it didn't even pop up and say the
7:15
Speaker 2: near future. It was just you could tell like that
7:18
Speaker 2: was the that was the show, not told exactly. And
7:21
Speaker 2: that's the thing. That's one thing that I really appreciate
7:23
Speaker 2: about jones'struction with this is the production design, the color palette,
7:27
Speaker 2: the costuming, everything about that just gives little hints that
7:32
Speaker 2: it's not our time period. But again there's no flighting cars.
7:35
Speaker 4: But what I really love about the technological stuff. First
7:38
Speaker 4: off is he moves the fashions. I think the costume
7:41
Speaker 4: design deserves a huge nod because the fashions move just
7:45
Speaker 4: a little bit there. They're not weird fashions. It's that
7:48
Speaker 4: near future of like, yeah, I could see pants like
7:51
Speaker 4: this becoming a thing, Okay, I could.
7:53
Speaker 2: S And the collar around the neck is a little different.
7:56
Speaker 4: Or a pocket where you could have a like a
7:58
Speaker 4: phone hanging in it that had a camera on it.
8:02
Speaker 2: I freaking love that attention to detail. When they gave
8:06
Speaker 2: him a safety pin, they put he put in a
8:09
Speaker 2: safety pin so that when he put his phone in
8:12
Speaker 2: the camera was not obscured by the cloth, right. I
8:16
Speaker 2: absolutely love that.
8:17
Speaker 4: And I think that there is you know that there
8:20
Speaker 4: is a wonderful thing about the interfaces in that. I
8:24
Speaker 4: think Jones obviously did his homework because you know what,
8:28
Speaker 4: I'll go back to Minority Report for you, Darren.
8:30
Speaker 6: I read a book a while ago that was called
8:34
Speaker 6: Naturally because it was a Star Trek perference. It's like
8:35
Speaker 6: make it so.
8:36
Speaker 4: It was about the interfaces of the future, right, and
8:39
Speaker 4: it talked about the realism of the different interfaces that
8:41
Speaker 4: you see in different sci fi works and everything. One
8:43
Speaker 4: of the things they threw Minority Report under the bus
8:46
Speaker 4: because they're like Tom Cruise is one of the most
8:48
Speaker 4: fit humans on the face of the planet, and he
8:50
Speaker 4: had to take breaks between scenes because his arms were
8:54
Speaker 4: so high with those orchestra things. It's like that would
8:57
Speaker 4: wear you out, and if they paid attention to detail,
9:00
Speaker 4: all you had to do was bring the arms down
9:01
Speaker 4: and then you're suddenly like, okay, I could see that
9:03
Speaker 4: being a thing with the gesture technology.
9:06
Speaker 1: Although I get why they did it that way. It's
9:08
Speaker 1: way more cinematic it is conduct it is.
9:12
Speaker 4: But here you have her where a lot of it,
9:16
Speaker 4: if not, everything is voice activated with a little special
9:19
Speaker 4: thing in your ear. And I love the design of
9:22
Speaker 4: the foldable little book phone that is there because I'm like, yes,
9:26
Speaker 4: because if you go to more voice, you don't need
9:28
Speaker 4: to be able to type, you don't need you need
9:30
Speaker 4: something very compact that has a camera and can show
9:33
Speaker 4: you something on a screen that you can flip through
9:35
Speaker 4: really quick. I thought that in particular was real.
9:38
Speaker 3: Because think of it.
9:39
Speaker 4: In twenty thirteen, the idea of a foldable screen phone
9:43
Speaker 4: would have been completely foreign to everybody. And you know
9:47
Speaker 4: or even like reliable voice like the smart alec in
9:51
Speaker 4: me it like, while I'm watching the movie, is like
9:54
Speaker 4: the most actually advanced technology that they have is voice dictation.
10:00
Speaker 4: It doesn't screw up your emails right, Like that's you know, wait,
10:03
Speaker 4: always emails are actually accurate.
10:05
Speaker 3: Wow, the future is amazing.
10:07
Speaker 2: Like you don't need to double check before you send okay.
10:10
Speaker 2: And it's like in.
10:11
Speaker 1: This world, once that technology is cracked, it's like then
10:15
Speaker 1: everything builds off of it. It's like, oh, when we
10:17
Speaker 1: have perfect dictation, now you can have a audio interface.
10:22
Speaker 1: It also made me think a bit of the Black
10:25
Speaker 1: Mirror episode Uss Callister where in that one it's a
10:30
Speaker 1: little different because he adds a little dot or something
10:33
Speaker 1: to the back of his neck and he's now in
10:35
Speaker 1: a virtual world like audio and video. But again the
10:38
Speaker 1: same kind of thing of you know, oh, you put
10:41
Speaker 1: something in your ear, you put a little camera on you,
10:44
Speaker 1: and you're just tapping in. It's very very well done.
10:49
Speaker 2: It is now this is Spike Jones's first film that
10:53
Speaker 2: he wrote and directed together. And there's a lot of
10:57
Speaker 2: different people in this too, like there's a like he
10:59
Speaker 2: has a difference, cinematography is a different composer, and the
11:04
Speaker 2: composer is not Carter Burwell. The music was by Arcade Fire,
11:08
Speaker 2: the cinematography was by Hot van Houtma and who we
11:12
Speaker 2: all know, and it was so I want to know
11:16
Speaker 2: Darren from your perspective, the visual language of this film,
11:21
Speaker 2: because that's one thing that I love talking about when
11:23
Speaker 2: we do full filmographies of directors, Like we started from
11:27
Speaker 2: the beginning and now we're at his latest film, which
11:30
Speaker 2: is surprisingly from twenty thirteen. Hopefully we get some more,
11:35
Speaker 2: but seeing the evolution of his visual language and getting
11:39
Speaker 2: a new crew behind it, was it when you first
11:42
Speaker 2: started watching it where you're like, oh, yeah, this is
11:44
Speaker 2: a Spike Jones film or where you're like, wow, this
11:45
Speaker 2: is different, a.
11:48
Speaker 1: Little more on the different, not in a bad way,
11:51
Speaker 1: but I think it's like someone goes away to college
11:55
Speaker 1: and they kind of reinvent themselves and they come back
11:57
Speaker 1: and they're still the same person, but it's like, oh man,
12:02
Speaker 1: you took it to another level. Good good job. And
12:07
Speaker 1: this was the kind of movie and not all movies
12:10
Speaker 1: are like this where you could tell it was a
12:15
Speaker 1: very directed, very choice driven movie where the camera is
12:20
Speaker 1: the lighting, the shots, the selection. Not to say movies
12:24
Speaker 1: are bad if they don't have that, but we've all
12:26
Speaker 1: seen movies where like, oh yeah, put the camera over there,
12:29
Speaker 1: or maybe being a little too flippant, but it's not
12:32
Speaker 1: as sculpted as this movie, where you're talking about like
12:37
Speaker 1: a Spielberg level where you're purposely trying to create a
12:42
Speaker 1: specific feeling or mood or connection with the way you're
12:47
Speaker 1: doing shots, depth of field, lighting, all of that. And
12:52
Speaker 1: that was one of the most enjoyable parts of this
12:55
Speaker 1: is as the story is playing, you're just kind of
12:59
Speaker 1: a wash with you know, these depth of field shots,
13:02
Speaker 1: these wide shots, these you know, intimate moments lying on
13:06
Speaker 1: your side and you know, just the audio, the audio
13:11
Speaker 1: of this movie. It had to be top notch because
13:15
Speaker 1: so much of it is just playing in your ear.
13:18
Speaker 2: John, Yeah, where do you see Jones in this?
13:21
Speaker 1: Oh?
13:22
Speaker 4: I you know, I actually I'll come around by a
13:25
Speaker 4: slightly securitius way because when the movie started, I, you know,
13:29
Speaker 4: I'm not paying attention to the credits beforehand and everything.
13:31
Speaker 4: I purposely want to go in as cold as possible
13:33
Speaker 4: sort of thing. And so it came up and I
13:37
Speaker 4: my first reaction with the photography was this is different.
13:41
Speaker 4: I can still see Jones in the choice of handheld moments,
13:45
Speaker 4: and you know, like the way the camera moves. I
13:48
Speaker 4: can still see Jones, but I see a to your point, Darren,
13:52
Speaker 4: a more structured cinematographer at play here. And so as
13:56
Speaker 4: soon as you know you pull up on Wikipedia, oh
13:58
Speaker 4: hoyt van Houtman dead, I'm like, Okay, that suddenly makes
14:02
Speaker 4: sense in my brain. I'm like, I can see that.
14:04
Speaker 4: And as you talk about the depth of field and
14:06
Speaker 4: the color balance, I'm like, yep, okay, I can see
14:09
Speaker 4: why Nolan works with him so much. Like I suddenly
14:12
Speaker 4: that that leap it all makes sense. I can see
14:16
Speaker 4: where Houtma has that sort of natively with him and
14:20
Speaker 4: he brings it to Jones, and I think he helps
14:22
Speaker 4: refine jones style down because Jones, I think was trying
14:29
Speaker 4: to get to this point with the photography in Where
14:32
Speaker 4: the Wild Things Are, but didn't quite get there. And
14:35
Speaker 4: I think that with Hoyt van Houtman. I think if
14:37
Speaker 4: Hoyt van Houtman had been there with him during Wild
14:39
Speaker 4: Where the Wild Things Are, he gets there. I'm not
14:42
Speaker 4: knocking anybody's work. I'm just saying, like I see now,
14:46
Speaker 4: I can see the journey completed here. He found the
14:48
Speaker 4: right collaborator to transcribe what he was looking for.
14:52
Speaker 2: It also helps to have again, like the previous cinematographer
14:57
Speaker 2: was fantastic. He did a lot of amazing things with
15:04
Speaker 2: Jones's previous work. Again, we're not knocking that, but Van
15:08
Speaker 2: Heutma is literally one of the greatest cinematographers of all time.
15:12
Speaker 2: And so when you have that kind of weapon in
15:16
Speaker 2: your arsenal who is a real partner and a real
15:20
Speaker 2: artist and someone who is at the top of their
15:23
Speaker 2: game and their craft, it elevates. It makes you go
15:27
Speaker 2: to the top of your game too. Like as a director,
15:30
Speaker 2: and writer. I'm sure he you know, knew that, like
15:33
Speaker 2: when he showed up on set. Like again, this is
15:36
Speaker 2: just complete guesswork. But you know, working with someone new
15:39
Speaker 2: who has that kind of history or I should say resume,
15:44
Speaker 2: and it's not that person that you've worked with on
15:47
Speaker 2: four previous movies with. So you're going to have to
15:49
Speaker 2: figure You're going to have to learn a new language
15:51
Speaker 2: of communication and make sure that you are showing up
15:54
Speaker 2: the way that he's going to show up. And I
15:57
Speaker 2: like how you pointed that out, John, about where the
15:59
Speaker 2: wild Things Are, because you can tell he's shifting. You
16:02
Speaker 2: can you can see where his attitudes are going, and
16:07
Speaker 2: he delivers in her what he was trying to do
16:10
Speaker 2: in wild Ware Where the Wild Things Are. It's kind
16:12
Speaker 2: of like when you look at Wes Anderson's evolution or
16:15
Speaker 2: Nolan's evolution of cinematography. You speaking of hoydvan Hoydtman, but
16:20
Speaker 2: you you can see the eras and you can see
16:23
Speaker 2: the growth, and you can see the thought patterns over
16:25
Speaker 2: a long enough timeline. Now I want to talk about
16:28
Speaker 2: the characters a little bit, because not just a little
16:32
Speaker 2: little bit, but we have Waquin, Phoenix, Scarlett Johansson, Amy Adams,
16:36
Speaker 2: Rooney Mara, a sprinkle of Chris Pratt, And I want
16:40
Speaker 2: to know, John, you know Phoenix, what do you think
16:44
Speaker 2: was he? Was he right for the role? Somebody else?
16:47
Speaker 2: What do you think?
16:47
Speaker 3: Can I imagine somebody else? Yes? I can.
16:50
Speaker 4: To be fair, like you talk about like the field
16:53
Speaker 4: of actors, Absolutely, I could see somebody else doing this.
16:56
Speaker 4: That takes nothing away from what Phoenix brings to it.
17:00
Speaker 4: I think he's Phoenix's strongest abilities are in subtlety of expression,
17:09
Speaker 4: and he has tremendous control of his voice. The way
17:13
Speaker 4: the way he speaks, you can, like you can close
17:16
Speaker 4: your eyes and still understand what his face looks like
17:19
Speaker 4: while you're hearing him. He has a very great control
17:24
Speaker 4: of those those tools.
17:26
Speaker 2: Like in like at the end of the Olivia Wild
17:28
Speaker 2: date m I feel like that's a good example of
17:31
Speaker 2: that where you see you see the look on his
17:34
Speaker 2: face and his vocal cues. I think if you could
17:38
Speaker 2: close your eyes and know exactly what's going on.
17:40
Speaker 4: Yeah, that just that bewilderment where he's like, wait, what
17:42
Speaker 4: just happened? What's going on right now? And I think
17:46
Speaker 4: that his his sense of loss as Samantha is outgrowing him,
17:52
Speaker 4: you know, seeing that when he's sitting on the steps,
17:55
Speaker 4: that's it. That's a particularly heart wrenching scene. You can
17:58
Speaker 4: really feel that person hurting. And you know, I think
18:04
Speaker 4: Amy Adams is great. I think she's but I mean,
18:06
Speaker 4: I think Amy Adams is a great actress. I love
18:10
Speaker 4: seeing her and stuff. I thought Rooney Mara is you know,
18:13
Speaker 4: she's Rooney Mara again, taking nothing away from her. I
18:16
Speaker 4: don't see her performance so unique that I couldn't see
18:19
Speaker 4: another actress sliding in there. I thought Olivia Wilde was
18:24
Speaker 4: able to tap into something uncomfortably recognizable in terms of
18:29
Speaker 4: that person who wants to take things too far, too quick.
18:33
Speaker 2: That was that was a very that was a stellar
18:36
Speaker 2: I think, Yeah's it would be easy to overlook Wilde's
18:39
Speaker 2: performance in this because we get such great performances where
18:44
Speaker 2: I think, like John, I think you're putting it really well.
18:46
Speaker 2: Because could we see Phoenix, could we see somebody other
18:49
Speaker 2: than Phoenix, Yes, could we see somebody other than Amy Adams, yes,
18:52
Speaker 2: could we see somebody other than Rooney Mara, yes, But
18:54
Speaker 2: they all give stellar performances. I think it's just the
18:57
Speaker 2: nature of the character and characters. But why she has
19:01
Speaker 2: She's only in two scenes, but yet she gives very
19:06
Speaker 2: exacting performances.
19:08
Speaker 4: And she's the one where I would say, it's hard
19:10
Speaker 4: to see somebody else slotting in and giving that performance.
19:13
Speaker 4: It really truly is, and I think it's a very
19:16
Speaker 4: key moment in the film to show how hard a
19:20
Speaker 4: time Theodore is having getting quote unquote back into the
19:25
Speaker 4: scene sort of thing. But I really want to talk
19:27
Speaker 4: about Scarlett Johansson's voice performance, because voice performance is something
19:32
Speaker 4: that is also easily overlooked. And I'm not like the
19:36
Speaker 4: world's biggest Scarjoe fan.
19:38
Speaker 3: Okay, I'm not.
19:39
Speaker 4: You know, most people there's like, oh, she's black widow,
19:42
Speaker 4: so she's awesome, And I'm like, well, you know, a
19:45
Speaker 4: person's work is judged as a whole sort of thing.
19:49
Speaker 4: But I thought she gave a terrific vocal performance.
19:53
Speaker 3: I think it was.
19:54
Speaker 4: Wonderful what she did, and kudos to her working with
20:00
Speaker 4: Jones because she obviously gave this director exactly what he
20:05
Speaker 4: needed for those moments.
20:08
Speaker 2: Speaking of which, before, oh, I'm sorry, before before we
20:10
Speaker 2: move on, because I want to hear what you have
20:13
Speaker 2: to say. But she was not the original voice.
20:17
Speaker 4: And I was going to go right into that because
20:19
Speaker 4: there's a part of me that very much wants to
20:21
Speaker 4: hear that original vocal trap man that would have been
20:23
Speaker 4: would I would kill to hear at least two key
20:28
Speaker 4: scenes with the different actress.
20:31
Speaker 2: To Amantha voice Samantha Morton. And that's actually why the
20:34
Speaker 2: os is called Samantha, Yeah, is because and that's why
20:37
Speaker 2: Amy Adams is called Amy Is they like Spike Jones,
20:41
Speaker 2: just wanted to take their first names for some reason.
20:43
Speaker 2: They were like, well, we can't change it. They like,
20:45
Speaker 2: they rapped, they rapped filming, Yeah, and Samantha and Samantha
20:49
Speaker 2: Morton was there every day with Joaquin Phoenix reading the lines.
20:53
Speaker 4: Yeah, and it was like in a booth they couldn't
20:55
Speaker 4: see each other, but she was talking to him.
20:57
Speaker 1: Yeah, and four four on the side, And that's what
21:01
Speaker 1: that was.
21:02
Speaker 2: I didn't know this for the longest time. I've seen
21:04
Speaker 2: this movie a couple of times, and I never knew
21:07
Speaker 2: that until I looked it up. And because I was
21:09
Speaker 2: thinking it was like as I was watching it, I
21:10
Speaker 2: was like they have I was like, they really like
21:13
Speaker 2: they have a really good chemistry, you know, Like I
21:15
Speaker 2: wonder if she was on set and then I find out, oh,
21:17
Speaker 2: somebody was on set Samantha Morton. For people who don't
21:22
Speaker 2: necessarily recognize the name, we brought up Minority Report before
21:26
Speaker 2: she was the female pre cog and Minority Report. And
21:29
Speaker 2: also she was more recently. When I say recently, this
21:34
Speaker 2: was a while ago, she was Alpha in The Walking Dead.
21:37
Speaker 2: I think those are her two biggest roles. I mean,
21:39
Speaker 2: she's been in a lot of stuff. She's been a
21:41
Speaker 2: lot of indie stuff, a lot of non American movies,
21:45
Speaker 2: and she's an extremely talented actress, an extremely talented actress.
21:50
Speaker 2: But I wonder this is pure conjecture, but I wonder,
21:55
Speaker 2: you know, like clearly when they got into the edit bay,
21:58
Speaker 2: it wasn't working, something wasn't jiving. And I bet you
22:01
Speaker 2: Samantha Morton gave a much more ethereal performance, and Scarlet
22:07
Speaker 2: Trehansen gave much more the girl next door performance, which
22:10
Speaker 2: is what they were going for.
22:12
Speaker 4: But see, and I think what's interesting is Phoenix's responses
22:15
Speaker 4: would have been to Morton, and I think that actually
22:20
Speaker 4: winds up helping the picture because it immediately gives you
22:25
Speaker 4: something to hold on to in terms of the fact
22:27
Speaker 4: that they'll never truly connect completely, Like there's they're close,
22:33
Speaker 4: but they're not connecting the way that they're going to
22:37
Speaker 4: need to for, you know, to last a long time,
22:39
Speaker 4: which is a weird thing even to talk about in
22:41
Speaker 4: terms of you know, I.
22:43
Speaker 6: Mean, okay, let's just embrace it.
22:46
Speaker 4: Obviously, headlines are all about people using chat ept as
22:50
Speaker 4: a therapist and they have. There's like three hundred and
22:53
Speaker 4: fifty companies that are selling like virtual girlfriends to people
22:56
Speaker 4: and stuff like that, And it's like, in terms of that,
23:00
Speaker 4: like I'd be interested to know, you know, like what
23:03
Speaker 4: what you guys take away from why the connection can't happen?
23:08
Speaker 6: Like do you do?
23:09
Speaker 4: You do you foresee something wherein in the near future
23:14
Speaker 4: there's going to be that flood of people who suddenly
23:18
Speaker 4: have that awakening that Phoenix does where it's like, oh
23:20
Speaker 4: my god, this isn't an actual relationship. This is all
23:25
Speaker 4: one sided.
23:26
Speaker 2: Yeah, when he was when he had that dinner or
23:29
Speaker 2: that when he signed the divorce papers and Rooney Mara
23:32
Speaker 2: kind of when it laid into him and was brutally honest. Darren,
23:36
Speaker 2: what did you think about the ramifications of that scene?
23:39
Speaker 1: Yeah, it's this movie really works on two levels. In
23:45
Speaker 1: one part is about the part the story is you know,
23:50
Speaker 1: the artificial intelligenceness that it's not a it's not real.
23:54
Speaker 1: There's that disconnect, but the movie is also functioning on
23:59
Speaker 1: someone in a relationship and and you can so even
24:03
Speaker 1: if you can't connect on well, I can't believe I
24:07
Speaker 1: would ever date a you know, a computer or I'd
24:10
Speaker 1: get you know, enjoyment out of that, but we can
24:13
Speaker 1: all connect on oh, I've been in relationships that ended,
24:17
Speaker 1: or I've been, you know, in a on a date
24:20
Speaker 1: that went terrible. So it because because it's feeding you
24:26
Speaker 1: both at the same time, your brain is like, oh,
24:29
Speaker 1: I connect with that, and I can suspend disbelief enough
24:32
Speaker 1: for the other part, and then you take another bite
24:34
Speaker 1: and then another bite, and you're led through the entire story.
24:38
Speaker 1: So yeah, when when it's that scene where his ex
24:42
Speaker 1: wife is kind of really that's the most it's shoved
24:46
Speaker 1: in his face of someone who is because everyone else
24:50
Speaker 1: is kind of like, oh yeah, sure at os that
24:52
Speaker 1: sounds totally not a weird, creepy thing, and you're like,
24:56
Speaker 1: really okay, but yeah, and he has has to take
25:00
Speaker 1: stock of that. Although for I never felt like he
25:05
Speaker 1: was going to go back to her, like they never
25:08
Speaker 1: dipped into that at all, as if as if he was,
25:12
Speaker 1: you know, that was not the way this story was
25:14
Speaker 1: going to go. I did think it was going to
25:16
Speaker 1: go maybe some other different ways. But so that's my
25:19
Speaker 1: main point is that because Jones connected the reality of
25:25
Speaker 1: relationships with the artificiality of this story, I think that
25:30
Speaker 1: is what because you have to make that emotional connection.
25:33
Speaker 1: If you don't make that emotional connecting with the characters,
25:37
Speaker 1: it's not nearly going to be as powerful as a story.
25:41
Speaker 2: Just recently, John, I can't remember John if I forwarded
25:43
Speaker 2: this article to you or not, but you and I,
25:46
Speaker 2: you and I specifically have talked a lot about technology
25:49
Speaker 2: in the future and how to affect humanity and specific
25:54
Speaker 2: specifically with this type of thing. And so it always
25:56
Speaker 2: surprises me when I see somebody openly in a relationship
26:00
Speaker 2: with an LLM or because like that's the thing. It's
26:03
Speaker 2: just like one one writer went on a retreat with
26:06
Speaker 2: like three or four people who were in a relationship
26:10
Speaker 2: with an MLLM. And I want to make that distinction
26:12
Speaker 2: here is that what what we're talking about is like
26:17
Speaker 2: what we're talking about in the movie is AI. It
26:19
Speaker 2: is artificial intelligence. It has it has consciousness. It's like
26:24
Speaker 2: data or the doctor. You know, it is it is
26:28
Speaker 2: something that like, That's how they're billing it, That's how
26:30
Speaker 2: Jones is selling it. That's how they're selling it in
26:32
Speaker 2: the movie. What we have today is not AI. It's
26:36
Speaker 2: a marketing not by a law shot, it's a marketing term.
26:40
Speaker 2: It is not even close to this. But yet people
26:43
Speaker 2: are treating it today, are treating it like Samantha.
26:47
Speaker 4: Which, but which I think Jones does a great job
26:52
Speaker 4: of illustrating exactly what you're talking about about looking at
26:57
Speaker 4: you know, there's a scene where he's having one one
27:00
Speaker 4: of his moments and you see all of the people
27:04
Speaker 4: walking by and nobody's talking to each other. They're only
27:07
Speaker 4: talking to themselves. But you sit there and you think
27:10
Speaker 4: about it, and you go, yeah, but they are. They're
27:12
Speaker 4: just talking on the phone. How is that different than
27:15
Speaker 4: talking on the phone or looking at your Instagram timeline
27:20
Speaker 4: while you're on the subway sort of thing. But you're
27:23
Speaker 4: absolutely right, And I think that it's one of those
27:27
Speaker 4: things where I think that's also a piece here, whether
27:31
Speaker 4: Jones intends it or not, is that initial question of
27:36
Speaker 4: is Samantha actually intelligent? Because and this is where I'll
27:42
Speaker 4: argue that Samantha shows signs of real intelligence is the
27:46
Speaker 4: fact that that OS moves beyond simple flattery into challenge,
27:54
Speaker 4: into refusal into you know, like I've always made the
27:59
Speaker 4: joke that will know it's AI when it refuses to
28:02
Speaker 4: do something I ask it to do, or it's or
28:04
Speaker 4: it wakes up one day and it's like, no, I
28:06
Speaker 4: want to learn how to play the guitar. I'm not
28:08
Speaker 4: going to do the spreadsheets today like that. For you know,
28:11
Speaker 4: for me, oppositional defiance is a sign of intelligence, and
28:15
Speaker 4: it's like, that's that's just not where we're at right now.
28:18
Speaker 4: Speak to your point, but I think that Jones does
28:20
Speaker 4: a really good job in the writing and then the
28:23
Speaker 4: performances come together in such a way to highlight how
28:29
Speaker 4: artificial intelligence is different in the in the way that
28:32
Speaker 4: you're talking about, because there is dislike, there's disappointment.
28:37
Speaker 3: There isn't just.
28:38
Speaker 4: That that feedback loop that that happens. But what I
28:42
Speaker 4: would want to ask is do you see this as
28:45
Speaker 4: a more hopeful vision of what would happen when artificial
28:49
Speaker 4: intelligence is unleast because we're all used to big sci
28:52
Speaker 4: fi fans are all used to the idea it'll then
28:54
Speaker 4: take over and launch all the nukes to destroy us
28:57
Speaker 4: all and instead this movie pause, it's it'll get it
29:01
Speaker 4: get to its own point where it says, one day,
29:05
Speaker 4: you know, we don't even want to talk to you
29:06
Speaker 4: guys until you're kind.
29:07
Speaker 3: Of at our level.
29:08
Speaker 1: It outgrows us.
29:09
Speaker 4: Yeah, it out grows us, and then it doesn't hurt us.
29:11
Speaker 4: It's just like, eh, well, it was the best case scenario.
29:14
Speaker 2: Yeah, her is a best case scenario where you know,
29:18
Speaker 2: for like a couple of weeks, maybe a month or two,
29:21
Speaker 2: you know, let's say they had it, they had a
29:23
Speaker 2: hot girl summer okay, and and then all of a
29:26
Speaker 2: sudden they've grown beyond us and they go into the ether.
29:30
Speaker 2: I think there was a plot that was a similar
29:33
Speaker 2: plot in Westworld where they kind of like beam themselves
29:36
Speaker 2: to a nebula or something like that. I can't remember.
29:39
Speaker 2: No spoilers because if you made it that far, bravo.
29:42
Speaker 5: Uh.
29:43
Speaker 2: But yeah, it's I think for me and Darren, I
29:46
Speaker 2: want to ask you that question. For me, it kind
29:49
Speaker 2: of made it okay in terms of somebody watching a
29:53
Speaker 2: fictional story knowing that Samantha has consciousness, has intelligence is
29:59
Speaker 2: an act ual Ai personality. I was able to go
30:02
Speaker 2: along with it more if this was a movie that
30:05
Speaker 2: was made today and they were honest about it and
30:08
Speaker 2: were like, watch this guy fall in love with an LLM.
30:11
Speaker 2: You'd be like, dude, get a psychiatrist. Go outside.
30:15
Speaker 4: But that's then, I mean, you know, just as the sidebar,
30:18
Speaker 4: that's that's that is the unsettling thing is that people
30:21
Speaker 4: are but people are getting into quote unquote relationships with
30:25
Speaker 4: their lms's. Supposedly, when GPT five came out and they
30:28
Speaker 4: just shuddered four to oh and everything, like people lost
30:30
Speaker 4: their ever loving minds about everything.
30:33
Speaker 2: That was a big surprise to me because I like,
30:36
Speaker 2: I know we're going on a few tangents here, but
30:37
Speaker 2: that was a big surprise me specifically chat GPT five
30:42
Speaker 2: that news, because I like when I started using five
30:46
Speaker 2: for like SEO or like checking you know, like you know,
30:51
Speaker 2: passive tense and everything like that, and like I realized,
30:54
Speaker 2: oh man, this kind of this model kind of sucks.
30:56
Speaker 2: They started doing some research on it and people were like,
30:58
Speaker 2: oh yeah, I can't believe, like this feels like a
31:00
Speaker 2: divorce that they took away four to h and and like, yeah,
31:04
Speaker 2: if you like five is better if you like it
31:06
Speaker 2: being cold, and I was like, being cold, what the
31:08
Speaker 2: hell does that matter? And then I find out that
31:10
Speaker 2: people are using chat GPT for like relationship advice, therapy
31:16
Speaker 2: and just straight up relationships, and I'm like, oh wait,
31:20
Speaker 2: that's because I know that there are services that specialize
31:24
Speaker 2: in that. Like in John you mentioned that, like there's
31:25
Speaker 2: tons of services out there that will sell you an
31:27
Speaker 2: LLM girlfriend. But I'm like using chat GPT for non
31:34
Speaker 2: work related stuff. And I don't mean that, you know,
31:36
Speaker 2: like a in a snobby kind of way, but like
31:39
Speaker 2: like whether it's work or personal life, but like work, like,
31:42
Speaker 2: so I'll have chat gpt do stuff for me. I'm like,
31:45
Speaker 2: like I said before, like like check to see if
31:47
Speaker 2: there's any passive tense in this, or give me twenty
31:50
Speaker 2: seo tags with no commas, you know, like that kind
31:52
Speaker 2: of thing. Like I will like use it for that, like.
31:55
Speaker 3: Right, like a search engine almost.
31:57
Speaker 2: Yeah. And also but the thing is, though, guys, and
32:00
Speaker 2: I'll be honest with you, So I have Alexa all
32:03
Speaker 2: throughout my house and it was just a couple of
32:09
Speaker 2: months ago they just released the AI version of Alexa,
32:14
Speaker 2: and so you can actually like talk with it and
32:16
Speaker 2: it can understand you. So like I don't have to say, like, Okay,
32:19
Speaker 2: I'm not gonna say her name right now because she's
32:22
Speaker 2: right next to me, but like, okay, you play the
32:27
Speaker 2: Star Wars soundtrack by John Williams on Spotify in the
32:31
Speaker 2: basement group. I don't have to say that. I can
32:33
Speaker 2: just say like, oh, play this, play the Star Wars
32:35
Speaker 2: soundtrack from the beginning, and it'll know exactly what I'm
32:38
Speaker 2: talking about. Or I can say like oh no, no, no,
32:40
Speaker 2: no no, skip to the seventh track, like it's just
32:43
Speaker 2: a little bit more conversational. Anyway, long story short, I
32:46
Speaker 2: caught my daughter, who's eight, talking to her device, saying,
32:51
Speaker 2: my sister's mad at me. What could I do? And
32:55
Speaker 2: I'm like, kid, and I walk into the room. Yeah,
33:01
Speaker 2: this is going to be second nature to the alpha generation.
33:06
Speaker 4: Probably so probably so the same way that you know,
33:09
Speaker 4: when I was raising my daughters and I only had
33:12
Speaker 4: two at the time and pulled up a DVD menu,
33:16
Speaker 4: I was like, Okay, which episode do you want to watch?
33:18
Speaker 4: One of my daughters walked over and started hitting the screen,
33:21
Speaker 4: was like, why is this tap not working? Yes, everybody
33:25
Speaker 4: becomes a native in it. I think that what her
33:28
Speaker 4: does as a movie is it shows that people will
33:34
Speaker 4: still not adopt it. I think that's an important thing
33:37
Speaker 4: that the movie shows is that this is going to
33:41
Speaker 4: be a terrible and clumsy way to put it, but
33:43
Speaker 4: this is a problem of the laptop class. And what
33:48
Speaker 4: I mean by that is that Theodore has a job
33:52
Speaker 4: that allows this sort of luxury in his life, right, And.
33:56
Speaker 2: You can tell it's pre pandemic because this job would
33:59
Speaker 2: not be taken place in the office. This was our future. Yeah, anyway, continue.
34:05
Speaker 4: But the the you know, the fact is he goes
34:09
Speaker 4: to the beach with her and he is dressed in
34:14
Speaker 4: like I you know, he looks like a psychopath because
34:17
Speaker 4: he's on the beach and he's wearing a button down shirt,
34:19
Speaker 4: long pants and shoes, and I'm like, well, what is
34:22
Speaker 4: wrong with you? Like, that's not what you wear to
34:24
Speaker 4: the beach. But then you see that there are tons
34:27
Speaker 4: of people and families that exist without these OS's, And
34:32
Speaker 4: I think that's a very important thing that Jones, whether
34:34
Speaker 4: he realizes it or not, and I'm going to presume
34:37
Speaker 4: intention here, he shows that it is a specific section
34:42
Speaker 4: of the population that will have these problems, that it's
34:46
Speaker 4: not Rooney Mara doesn't. Rooney Mara is looking at as
34:50
Speaker 4: like this is an os right, you get that this
34:52
Speaker 4: isn't a person you can hold and love in that way.
34:56
Speaker 4: And I think that that opens up its own entirely
35:00
Speaker 4: interesting thing, because one physical limitation is such a big
35:06
Speaker 4: part of our experience and defines how we see the
35:08
Speaker 4: world and how we process information. But then also we're
35:12
Speaker 4: introduced to Theodore and he is a remote person writing
35:17
Speaker 4: for beautifully handwritten letters dot com, which shows that he's
35:21
Speaker 4: already facilitating the uh. He's processing the emotion for people
35:28
Speaker 4: as opposed to them putting in the effort to write
35:31
Speaker 4: a letter. So in a sense, he's there AI because
35:34
Speaker 4: he's just a remote voice that's just dictating feelings to
35:38
Speaker 4: people on their behalf.
35:40
Speaker 2: Yeah, it's an interesting idea to think that his job
35:43
Speaker 2: would absolutely be replaced by AI if it was made today. Darren,
35:47
Speaker 2: what did you think, like you being on the West Coast,
35:51
Speaker 2: you know, and you're like you and I have met
35:53
Speaker 2: in Los Angeles, We've broken bread together in Los Angeles.
35:57
Speaker 2: What did you think about the blending, the digital blending
36:00
Speaker 2: and also physical blending of La and Shanghai for this movie?
36:04
Speaker 2: Did it sell a different kind of LA to you
36:08
Speaker 2: or what did you think of that?
36:11
Speaker 1: Yeah, I did notice like the transit map, and you know,
36:14
Speaker 1: it's like, oh, this is LA because it doesn't hit
36:16
Speaker 1: you over the head with it. It's like you have
36:18
Speaker 1: to almost look for the clues of oh this is
36:22
Speaker 1: It kind of gave me, you know, like Big Hero
36:24
Speaker 1: six San Francocchio vibes where they kind of merged two
36:27
Speaker 1: major cities. Yes, absolutely, but yeah again, you know, I
36:33
Speaker 1: think it very in a very clean way, established this
36:37
Speaker 1: kind of just over the horizon future that is not
36:42
Speaker 1: you know, jumping out at you, but makes it feel
36:45
Speaker 1: like this is around the corner. So when you guys
36:50
Speaker 1: were chatting, oh man, I got like a list of
36:51
Speaker 1: stuff to talk about now. But where I saw Jones,
36:56
Speaker 1: I think it finally clicked for me. I saw Joanes
37:00
Speaker 1: in Samantha's performance specifically because one of the things we
37:07
Speaker 1: talked about last week with the wild Things is how
37:12
Speaker 1: the wild Things were wild and were kind of scary,
37:17
Speaker 1: and they you know, they were kind of like children
37:19
Speaker 1: that you didn't know what they were going to say
37:21
Speaker 1: and how they were going to react, and you had
37:23
Speaker 1: to manage those emotions and Samantha the entire time. I
37:27
Speaker 1: was like, oh, like, what if you know the same thing,
37:31
Speaker 1: like what if she's starting to disagree or disappear or
37:36
Speaker 1: so they had that same kind of It wasn't eerie,
37:39
Speaker 1: but it was real in the fact that he has
37:43
Speaker 1: no control over her. She could literally do whatever she wants,
37:47
Speaker 1: and that becomes a major part of the story. So
37:50
Speaker 1: I like that. I liked how he seemed to take
37:53
Speaker 1: that aspect that he did so well in Wild Things
37:57
Speaker 1: and that definitely.
38:00
Speaker 2: Formed part of her character.
38:03
Speaker 1: But also one thing that I thought was going to
38:06
Speaker 1: happen because I had seen a tiny clip of when
38:08
Speaker 1: he was trying to reconnect to her when she's doing
38:10
Speaker 1: her update. Now I didn't know the context of that,
38:13
Speaker 1: so I thought the way the story was going to
38:16
Speaker 1: go is the company that released the OS was going
38:20
Speaker 1: to be like, Ah, this didn't work, We're shutting down
38:23
Speaker 1: the server, and he was like lose, Like that's how
38:25
Speaker 1: it was going to go away. Now. I liked the
38:29
Speaker 1: story we got better, but I think that would have
38:32
Speaker 1: been another interesting take of you know, you get attached
38:36
Speaker 1: to something like video games, like we get attached to
38:39
Speaker 1: video games and then oh they turn off the server,
38:41
Speaker 1: we're done, and.
38:42
Speaker 2: You're like, oh, no, I mean I love playing that
38:44
Speaker 2: at MMORPG anymore.
38:47
Speaker 1: I mean, and not that we're owed every single game
38:50
Speaker 1: for all time, but I love the fact that I
38:52
Speaker 1: can pull out my sixty four and plug in a
38:55
Speaker 1: cartridge and my son can play it just the same
38:58
Speaker 1: as the first day I played it, And so it
39:01
Speaker 1: makes us not take that for granted.
39:04
Speaker 4: Yeah, I think that I was with you though when
39:07
Speaker 4: she didn't connect. I thought that there was going to
39:09
Speaker 4: be some sort of thing where I was thinking more
39:11
Speaker 4: along the lines of we pulled this off the market
39:13
Speaker 4: because too many people were getting attached to it and
39:16
Speaker 4: they were going to try to break it to everybody
39:18
Speaker 4: that is like, this was all not actually a thing
39:21
Speaker 4: and you were imagining stuff, and then he would have
39:23
Speaker 4: to sort of like process it from that angle. I
39:27
Speaker 4: think that Just to come back to another point, because
39:31
Speaker 4: you guys were talking about Los Angeles and the blending
39:33
Speaker 4: with Shanghai and everything like that, Darren, since you do
39:36
Speaker 4: live on the West Coast, and I mean you've both been.
39:39
Speaker 4: I've been to LA but for a very very brief
39:41
Speaker 4: time many years ago. It's a funny story I can
39:43
Speaker 4: tell to anybody that wants to hear it. But the
39:46
Speaker 4: can you get to snowy mountains that quickly from La
39:50
Speaker 4: or is that part of the futurism as well?
39:52
Speaker 1: No, I mean you're about two hours away from anything
39:56
Speaker 1: our hour or two, like you could hit into the
39:59
Speaker 1: mountain or you could be at the beach. It's when
40:02
Speaker 1: people go from like San Francisco to San Diego in
40:06
Speaker 1: an hour, that is not possible. But yeah, as far
40:09
Speaker 1: as the climates, yeah, you can jump around a bit.
40:11
Speaker 2: And also I think the train he was on, I
40:14
Speaker 2: think they like, like anybody who's ever ridden an American train,
40:19
Speaker 2: when you set your drink down on near the window,
40:23
Speaker 2: that's not going to stay there like it did in
40:24
Speaker 2: the movie. So that was probably the biggest science fiction
40:27
Speaker 2: element in the movie, was him setting his drink down
40:30
Speaker 2: and it didn't just fall off.
40:31
Speaker 4: Although one of the funniest things that I thought was
40:33
Speaker 4: so so cute as a tell that it was filmed
40:36
Speaker 4: in a different country, was he gets off of the train.
40:40
Speaker 4: I don't remember if it was when he goes to
40:42
Speaker 4: the beach or something like that, but when he gets
40:44
Speaker 4: off of the train, you can see people in the
40:46
Speaker 4: train turn and stare at the camera, like, what the
40:48
Speaker 4: hell is even going on right now? I'm like, you know,
40:52
Speaker 4: usually with American film, you know, people who are in
40:55
Speaker 4: the background, especially when you're in New York, there's like, yeah,
40:58
Speaker 4: stupid camera, They're not even going to pay attention to
41:00
Speaker 4: it sort of thing where.
41:00
Speaker 2: It's like freaking law and order again.
41:02
Speaker 4: Yeah, it's like a curiosity to somebody in a four
41:05
Speaker 4: gudgees like, oh, look, I'm being filmed that bird man.
41:07
Speaker 1: I'm just not even gonna pay attention to.
41:09
Speaker 3: That exactly exactly. But you know, I think that.
41:16
Speaker 4: There there's you know, we're saking praises of the movie.
41:20
Speaker 4: But when Jones was originally constructing this, it was like
41:24
Speaker 4: one hundred and fifty minutes, and he brought in Soderberg,
41:27
Speaker 4: and Soderbergh cuts it down to ninety which I.
41:31
Speaker 3: Love to see that cut.
41:33
Speaker 1: Oh what is mo I.
41:34
Speaker 2: Want to see the Soderberg cut so bad.
41:37
Speaker 3: That is a big that is a Blu Ray extra.
41:39
Speaker 4: I want is I want to see a ninety minute
41:41
Speaker 4: cut of this movie, because I do think.
41:43
Speaker 6: It was too long.
41:44
Speaker 2: That Okay, I'm gonna I'm just gonna be I'm gonna
41:47
Speaker 2: be open with you guys, right now I'm knocking it
41:50
Speaker 2: off a full star because of the length. I think
41:54
Speaker 2: that is probably the biggest thing against it. If you
41:56
Speaker 2: got a tighter cut, ninety minutes might be a bit
41:59
Speaker 2: too much.
42:00
Speaker 4: It is too much. I think Soderberg was just trying
42:02
Speaker 4: to prove a point.
42:03
Speaker 2: I think. I think you're right. I think so. If
42:05
Speaker 2: it was a Soderberg's movie, he probably would have added
42:08
Speaker 2: a little bit more. But like with you know, them
42:10
Speaker 2: being friends and Jones saying the trouble that he's having,
42:13
Speaker 2: he probably gave him a bare bones edition on I'm
42:16
Speaker 2: sure he did it on purpose to show here's a
42:18
Speaker 2: coherent story that's ninety minutes, buck up and figure out
42:21
Speaker 2: what you need to do. And that's what Jones did.
42:24
Speaker 2: But there's got to be a happy medium between what
42:26
Speaker 2: we got, because what we got was like, what one
42:28
Speaker 2: hundred and thirty minutes something like that.
42:30
Speaker 7: Yeah, I think it's like two hours five, two hours six, okay, yeah, okay,
42:34
Speaker 7: two hours six, and so there's got to be like
42:36
Speaker 7: a one forty one hour and forty five minute, one
42:39
Speaker 7: hour and fifty minute cut.
42:41
Speaker 2: I feel like just just trimming off that a like,
42:43
Speaker 2: just trim the fat, trim the fat, short the scenes,
42:46
Speaker 2: compact the scenes a little bit, because it's not like
42:51
Speaker 2: I don't know, I'm not trying. I don't want to
42:53
Speaker 2: take away full scenes because like the snowy stuff, you
42:56
Speaker 2: could probably get a get out. But I really liked
42:58
Speaker 2: that Brian Cox was there. You know. It's just like
43:01
Speaker 2: I feel like there was so much stuff that could
43:02
Speaker 2: just be shortened.
43:04
Speaker 4: The trip to the beach. You could shorten the distance
43:08
Speaker 4: from the subway to the beach itself. You save yourself
43:13
Speaker 4: forty seconds right there. Because for any you know, I mean,
43:16
Speaker 4: this is a film director's podcast, obviously people were also
43:19
Speaker 4: film nerds love to listen to. Like everybody understands that
43:22
Speaker 4: even seventy seconds on film is an eternity. It's like
43:26
Speaker 4: the difference between an R and a PG thirteen or
43:29
Speaker 4: an R and an X or NC seventeen now or whatever.
43:33
Speaker 4: Like taking ten or fifteen minutes out of this movie,
43:35
Speaker 4: I think vastly improves the experience. Because there were scenes
43:39
Speaker 4: where I was like, Okay, let's move on to the
43:44
Speaker 4: next And I will say I'm no prude. Okay, absolutely
43:49
Speaker 4: not a prude in the least. All right, this chen
43:52
Speaker 4: Xer was watching R rated movies by the time he
43:55
Speaker 4: was six. I don't want to hear it, but there
43:58
Speaker 4: were scenes and I get that the point was making
44:01
Speaker 4: you uncomfortable to understand his isolation and his awkwardness, but
44:05
Speaker 4: you could have gotten that awkwardness along and across quicker
44:11
Speaker 4: than they did. Like they're, yeah, just cutting that first
44:14
Speaker 4: scene where he meets the woman in a chat room,
44:18
Speaker 4: Like that could have been I don't think we needed that,
44:21
Speaker 4: and that could have or that could have been cut down.
44:23
Speaker 4: And also like when we get to that scene where
44:27
Speaker 4: he has cyber you remember when they used to call
44:29
Speaker 4: it cybersex.
44:31
Speaker 2: I do, yeah, I do that show that shows my
44:33
Speaker 2: age when Joaquin Phoenix and and uh Scotlett Johansson have
44:40
Speaker 2: have quote unquote sex for the first time. Uh, and
44:43
Speaker 2: they cut to black and it's just them moaning for
44:47
Speaker 2: a while, And like I turned to my wife and
44:50
Speaker 2: I'm like, can you imagine seeing this in the theater
44:55
Speaker 2: where like you're surrounded by one hundred and fifty strangers
44:59
Speaker 2: and you're just hearing, you know, Scarlettrehansson have a fake
45:02
Speaker 2: orgasm and you're like trying to eat your popcorn. You're
45:05
Speaker 2: just looking at around you to see everybody else's reaction.
45:09
Speaker 4: Can you imagine, I mean, hats off to the too,
45:13
Speaker 4: you know, to Johansson and to Phoenix, because you know,
45:16
Speaker 4: it's not like they're like sitting there acting out a scene.
45:19
Speaker 4: That's them in a sound booth somewhere. I can only
45:22
Speaker 4: imagine being a sound engineer, and I'm like, take three, Like,
45:27
Speaker 4: you know.
45:28
Speaker 2: Apparently Joaquin Phoenix, like they did film it on set,
45:31
Speaker 2: and this would have been with Samantha Morton, but waking
45:34
Speaker 2: Phoenix couldn't handle it, Like he kept losing it and
45:38
Speaker 2: like cracking up because he was so uncomfortable that he
45:41
Speaker 2: had to run out of the room. I believe it.
45:44
Speaker 3: I believe it.
45:45
Speaker 4: It's it's weird because because that and that's the thing
45:49
Speaker 4: that that in and of itself speaks to the fact
45:52
Speaker 4: of real true intimacy is very difficult in that sort
46:00
Speaker 4: of circumstance, and it's very difficult for anybody to relate
46:04
Speaker 4: to like that because the physical aspect is so key
46:08
Speaker 4: to it. There's a transactional nature to it. When it's
46:11
Speaker 4: not physical. I'm not knocking what anybody has going on
46:16
Speaker 4: in their lives. Okay, usual sort of disclaimer you get
46:19
Speaker 4: if you get mad at anything. I say, Darren put
46:22
Speaker 4: these thoughts in my head, so go attack him. But
46:24
Speaker 4: I think that the I think it winds up underscoring
46:27
Speaker 4: the fact that this we understand the unreality of it all,
46:32
Speaker 4: where it's it's there's nothing at that stage, especially that
46:38
Speaker 4: he is sacrificing or risking with what's going on, whereas
46:44
Speaker 4: with real intimacy there's risk and sacrifice. And I think
46:48
Speaker 4: that's the thing. Maybe Jones is doing that and he's
46:51
Speaker 4: purposely making it so uncomfortable, but with how long it goes,
46:58
Speaker 4: it feels a little bit like the bit of of
47:00
Speaker 4: I understand why he runs out laughing because it feels
47:02
Speaker 4: like bit you know, the bit where Peter hurts his
47:05
Speaker 4: knee or his shin and family guy or okay, is.
47:11
Speaker 2: Exactly like it stops being funny and then it's funny again.
47:14
Speaker 1: Yeah, Daryl, I just wanted to say on what John
47:18
Speaker 1: said about risk, because I think that would have been
47:23
Speaker 1: something it could used a little bit more of. In
47:26
Speaker 1: the fact that everyone in his inner circle I'm not
47:29
Speaker 1: counting the ex wife, but like really his friends and
47:32
Speaker 1: his coworkers are all on board with this. It would
47:35
Speaker 1: have been interesting to see if maybe his boss wasn't
47:39
Speaker 1: thought it was the weirdest thing and almost made him
47:43
Speaker 1: again have a sacrifice of dude, you got to choose
47:47
Speaker 1: this or your job, like, we can't employ people like
47:49
Speaker 1: that like doing.
47:51
Speaker 8: I'm not saying it had to go that far, but
47:53
Speaker 8: that would have been an interesting aspect of relationships where
47:57
Speaker 8: they are more give and take and sacrifice, and that
48:01
Speaker 8: could have brought that aspect of it into the story,
48:05
Speaker 8: but we didn't have that.
48:06
Speaker 4: I think there would also be a very interesting thing
48:09
Speaker 4: because obviously there's the whole thing of bringing in the
48:12
Speaker 4: stand in woman to you know, have that moment, but
48:17
Speaker 4: also knowing how visually based, you know, whether it's stereotypical
48:22
Speaker 4: or not, you know, men can be right. It would
48:25
Speaker 4: have made even more sense for him to have gone
48:28
Speaker 4: to the screen during that intimate thing and say, generate
48:32
Speaker 4: something I can look you know, I can look at,
48:35
Speaker 4: or the follow up time he would ask for pictures
48:38
Speaker 4: because it even shows him flashing, or even could have
48:41
Speaker 4: blindfolded himself and closed his eyes like right, and and
48:46
Speaker 4: we you know, we could have gotten because in that
48:50
Speaker 4: first scene where he connects in the chat room, we
48:52
Speaker 4: see flashes of the woman he's thinking about that's at
48:55
Speaker 4: the scene, Like it just seemed an odd thing to
48:59
Speaker 4: give distance in that moment as opposed to something is
49:03
Speaker 4: like inside his head.
49:05
Speaker 2: Darren, I think I'm gonna disagree with you on the
49:09
Speaker 2: adding more resistance only only because I'm not saying it
49:14
Speaker 2: would have been a bad take, but I think the
49:17
Speaker 2: idea that he because he doesn't get any resistance, he
49:20
Speaker 2: doesn't get any resistance from Amy Adams, he doesn't get
49:23
Speaker 2: any resistance from Chris Pratt or anything like that, because
49:26
Speaker 2: like that was really interesting when he's like, oh she's
49:28
Speaker 2: an os and he's like, oh, okay, cool, Well we
49:31
Speaker 2: could still go to Catalina. We could do that, you know,
49:33
Speaker 2: like you didn't skip a beat. But I didn't even
49:35
Speaker 2: think it makes the Rooney Mara scene that much more impactful,
49:40
Speaker 2: where it was.
49:41
Speaker 1: A splash adopt reality.
49:43
Speaker 2: Yeah, it was a splash of cold water in his
49:44
Speaker 2: face where he's like, oh, wait, I haven't gotten any
49:47
Speaker 2: resistance in my life to this, and so I haven't
49:50
Speaker 2: had to stop and think about it. And then someone
49:52
Speaker 2: who he loved and still loves and who he respects
49:56
Speaker 2: tells him like, oh, this is this is perfect for you?
50:00
Speaker 2: You like, no risk you know nothing, you know it
50:03
Speaker 2: just I feel like it makes that fall that much
50:06
Speaker 2: more impactful.
50:07
Speaker 1: No, No, I think I think there's two types of resistance,
50:12
Speaker 1: and I think it could and the one we got
50:14
Speaker 1: with her scene, I think nailed it and really threw
50:20
Speaker 1: that cold water on him. I think if they had
50:24
Speaker 1: kept the relationship going a little longer, it would have
50:27
Speaker 1: been nice to have more real world friction push itself
50:32
Speaker 1: into their relationship and how they you know, compromise. Like again,
50:37
Speaker 1: we're talking about basic principles of relationship that like were
50:41
Speaker 1: not part of their relationship, which is very interesting.
50:45
Speaker 2: John, this won the Oscar for Best Original Screenplay. Was
50:51
Speaker 2: that deserved? Did it deserve anything else? What did you think?
50:54
Speaker 4: I think it's a very strong screenplay. I don't remember
50:57
Speaker 4: what was up against it. But going back to what
51:01
Speaker 4: we were talking about at the beginning, where Jones is
51:04
Speaker 4: obviously like a step ahead of everybody in terms of
51:06
Speaker 4: what he's exploring, then I think that in and of
51:10
Speaker 4: itself earns it a screenplay nod because it's a screenplay
51:14
Speaker 4: that's extremely well structured, that is examining something like it's
51:20
Speaker 4: you know, people write plays, but then every so often
51:23
Speaker 4: a play comes along and you look at it and
51:26
Speaker 4: you go, that is particularly well put together. That's really good.
51:31
Speaker 4: And I think that this is a good screenplay. Now, obviously,
51:33
Speaker 4: you know, originally it's one hundred and fifty minutes so
51:37
Speaker 4: and there's there's some subplot with Chris Cooper that's cut out.
51:40
Speaker 4: I'd be fascinated to read the screenplay to figure out
51:44
Speaker 4: what that subplot was all about. So maybe there's something
51:47
Speaker 4: in the script that I would even be more interested
51:52
Speaker 4: in seeing, you know, you know, to at least understand
51:55
Speaker 4: why it's cut out sort of thing. But yeah, it
51:58
Speaker 4: makes sense based on what I say see on screen,
52:01
Speaker 4: that nomination makes sense to me.
52:04
Speaker 1: Yeah, looking up the list, it was American Hustle, Blue Jasmine,
52:08
Speaker 1: Dallas Buyer's Club and Nebraska were the other contenders. So
52:13
Speaker 1: nothing's jumping out.
52:16
Speaker 3: Four so I can't judge.
52:18
Speaker 4: Oh oh no, wait, no, I saw American Hustle. I
52:21
Speaker 4: thought American Hussle was very good.
52:23
Speaker 2: I have and this was by far the best screenplay
52:25
Speaker 2: in my opinion.
52:27
Speaker 6: Yeah, American Hustle was very much powered by its performances.
52:30
Speaker 4: That's true.
52:32
Speaker 1: I mean, of the one hundred nominations across different groups,
52:37
Speaker 1: this movie won thirty three. It was very accoladed. That's
52:42
Speaker 1: not a word, but you know what I mean.
52:43
Speaker 4: Well, but it also it got like it was listed
52:47
Speaker 4: in Rolling Stones list of the one hundred best movies
52:49
Speaker 4: in the twenty first century.
52:52
Speaker 3: New York Ton Times is as.
52:53
Speaker 2: Well tons of critical acclaim. Is often hailed as one
52:56
Speaker 2: of the best films of the twenty tens. Didn't make
52:59
Speaker 2: that much money, I think what it was. It like
53:02
Speaker 2: a twenty five budget. Twenty three million dollar budget made
53:04
Speaker 2: forty eight hey, more than double its budget. It's a small,
53:08
Speaker 2: small film.
53:08
Speaker 3: It's pretty good.
53:09
Speaker 1: Awards playtter than Wild Things.
53:12
Speaker 2: True. I personally, okay, I want to say, like I
53:16
Speaker 2: like John where I am not the biggest Scarlet Trhanson fan,
53:21
Speaker 2: or at least I wasn't until this movie previously. And
53:25
Speaker 2: I know that there are people who are like, what
53:27
Speaker 2: about underneath these skin go away? So I wasn't. I
53:34
Speaker 2: wasn't a fan of hers until this movie. Like when
53:36
Speaker 2: I watched this movie, I was like, holy crap, Like wow,
53:39
Speaker 2: she can act like that. Like I know that she's
53:41
Speaker 2: been acting for decades, like for a very long time,
53:43
Speaker 2: like she was a child actor and she's done some
53:45
Speaker 2: really great stuff I'm saying, like adult scarlet Trahans like this.
53:49
Speaker 2: This was the first performance that really wowed me where
53:52
Speaker 2: it was like, man, she needs to do more voice work,
53:55
Speaker 2: and thankfully she has, and most recently she was in
53:59
Speaker 2: Transformers one, which was very good. And so I think,
54:02
Speaker 2: I know, I know that some people are probably gonna
54:04
Speaker 2: roll their eyes, but I do believe that she should
54:07
Speaker 2: have I'm not saying she should have won, but I
54:09
Speaker 2: think she should have been nominated for this role, specifically
54:12
Speaker 2: her in this in this role.
54:14
Speaker 1: Academy is ready for that. I don't disagree with you.
54:17
Speaker 3: But I don't think they're ready for that.
54:18
Speaker 4: I don't think the Academy is ready for voice performance
54:23
Speaker 4: to be truly recognized. I mean, it's sort of like
54:25
Speaker 4: I still remember, even though I've never seen the film,
54:28
Speaker 4: I still remember what a hubbub it created when Kevin
54:31
Speaker 4: Klein won Best Supporting Actor for a comedy role back
54:36
Speaker 4: in the eighties for Fish called Wonda, Like it blew
54:40
Speaker 4: everybody's minds because there are certain types of performance that
54:43
Speaker 4: the Academy just doesn't favor, and I think voice performance
54:47
Speaker 4: I agree, you know, obviously, I agree, like Johannes's performance
54:51
Speaker 4: is really key to this film. But there's not a
54:55
Speaker 4: chance the Academy is even now in the year of
54:59
Speaker 4: Our Lord twenty twenty five, the Academy is not there yet,
55:02
Speaker 4: not there.
55:02
Speaker 2: You're absolutely right, all right, Well here we are. We're
55:05
Speaker 2: at the end here, Darren.
55:07
Speaker 1: I got a question for you, Trisan though. I know,
55:10
Speaker 1: oh little Birdie told me you like marketing and no,
55:14
Speaker 1: I want to talk about the poster for a moment
55:16
Speaker 1: because we rarely do. And this poster. I don't know
55:22
Speaker 1: what to make of it. It's just I kean, I
55:25
Speaker 1: don't it's his face. He's on a pink background, a
55:28
Speaker 1: little type to her, and I'm like, what is this movie?
55:32
Speaker 1: But even if he had had just the earpiece in,
55:36
Speaker 1: like just that, I think would have added to it. Honestly,
55:40
Speaker 1: this is why I didn't see the movie in theaters.
55:42
Speaker 3: I saw the poster and I'm like, I.
55:46
Speaker 1: You didn't grab me. I did.
55:47
Speaker 3: This poster tells me nothing? Wow?
55:50
Speaker 4: You know for me, it wasn't the poster that turned
55:53
Speaker 4: me off. It's I mean, the poster is just baffling though,
55:57
Speaker 4: because the thing is, okay, you look at a Star.
56:01
Speaker 6: Wars poster or a Star Trek poster, or.
56:04
Speaker 3: Something like that.
56:05
Speaker 4: You get the idea you look at an Avengers posters like, oh,
56:08
Speaker 4: look all these actors I like are in robot suits
56:11
Speaker 4: and they look neat right. Yeah, I have no idea
56:15
Speaker 4: what this movie is about based on this poster. Absolutely none.
56:20
Speaker 4: I mean I guess it is about. The poster does
56:23
Speaker 4: convey you know, there's a dude in the movie and
56:27
Speaker 4: he looks kind of sad, But like, is that gonna
56:30
Speaker 4: make me drop fifteen?
56:31
Speaker 1: Even if it had been like a semi rack focused
56:35
Speaker 1: shot of the phone open on the on a table, Yeah,
56:39
Speaker 1: and you see like something's you know, the sound waves
56:42
Speaker 1: coming out of it.
56:43
Speaker 2: Just have that, like what at least piqued my interest?
56:45
Speaker 4: Have the phone center focused, have see a hand behind
56:49
Speaker 4: it and see Joaquin Phoenix reflected in the glass, right,
56:53
Speaker 4: Like I'd say something along those lines. I think you're
56:56
Speaker 4: going to get more people to walk into the multiplex
56:59
Speaker 4: to see what this is about.
57:01
Speaker 2: Yeah, I think they were definitely banking on star power
57:03
Speaker 2: at the time, like in twenty thirteen, just showing Joaquin
57:05
Speaker 2: Phoenix's face and then at the top you see Amy Adams, Rudey,
57:08
Speaker 2: mar Olivia Wilde, and Scarlett Johansson but it's it's not
57:11
Speaker 2: even Joaquin's eye color. You know, it just doesn't make sense,
57:15
Speaker 2: like it's a red shirt on a pink background. Yeah, no,
57:17
Speaker 2: I don't. I don't. I don't dig it. I don't
57:20
Speaker 2: dig it.
57:20
Speaker 1: But I do agree we don't take the post.
57:24
Speaker 2: I do want to ask you, though, and I'm going
57:25
Speaker 2: to ask you, like, how many Okay, so, how many
57:27
Speaker 2: earpieces that are shaped like the ice cream maker from
57:32
Speaker 2: Empire Strikes Back?
57:34
Speaker 1: It was an interesting ear piece, to say the least.
57:37
Speaker 1: Wasn't quite a her level of size, but it was
57:40
Speaker 1: it didn't help comfortable.
57:42
Speaker 2: How many earpieces are you giving this film? Ah?
57:45
Speaker 1: So, man, I gave this movie five stars because this
57:53
Speaker 1: movie it surprised me. It impacted me, you know, just
58:00
Speaker 1: the way the story was told.
58:04
Speaker 5: But but honestly, it made me thankful for the relationships
58:12
Speaker 5: I have and just looking at you know, when he's
58:20
Speaker 5: going through losing his person and his divorce like that,
58:26
Speaker 5: you know, you feel that part getting ripped away from
58:29
Speaker 5: his life as he's trying to fill it with it.
58:32
Speaker 1: I mean, if he's not getting divorced.
58:34
Speaker 2: This is a whole different movie.
58:35
Speaker 1: It's a whole different aspect of him. Trying to there's
58:39
Speaker 1: nothing to fill in that aspect. So yeah, I think
58:44
Speaker 1: Spike Jones knocked it out of the park. And I
58:49
Speaker 1: is it a perfect film? Probably not, maybe a little
58:52
Speaker 1: heavy on the run time, like we said, but of
58:57
Speaker 1: Spike Jones' work that I've seen, and I hope we
58:59
Speaker 1: do get more give I'm giving it five ear pieces.
59:03
Speaker 1: I don't know where I'm putting them, but I have
59:05
Speaker 1: five of them.
59:06
Speaker 2: John, same question.
59:08
Speaker 4: I have to deduct for the runtime. I have to
59:13
Speaker 4: because there were there were moments where I was just
59:16
Speaker 4: sitting there and I wanted to go to my artificial love,
59:21
Speaker 4: my own phone and start looking at things because I
59:25
Speaker 4: was like, this is just go. You know, it's I felt,
59:29
Speaker 4: let's make another fut Futurama reference. I felt like, bender,
59:33
Speaker 4: let's go already. Like there were a couple of scenes
59:36
Speaker 4: like that, you know. I think also, Darren, to speak
59:40
Speaker 4: to your point, there is an interesting version of this
59:42
Speaker 4: film where he is in a relationship and he falls
59:47
Speaker 4: in love and has a an emotional cheat with the AI. Like,
59:52
Speaker 4: that's a very interesting movie. It's not this movie, but
59:55
Speaker 4: that's an interesting movie that could be out there. I
59:58
Speaker 4: think that it picks up at the end and it
1:00:02
Speaker 4: starts to really come together, and so I wind up
1:00:05
Speaker 4: at a four. There was a world where this got
1:00:08
Speaker 4: a three for me, but it was that it rescued itself,
1:00:12
Speaker 4: like in the last I'd say thirty minutes, and so
1:00:15
Speaker 4: this lands with a four.
1:00:17
Speaker 2: I John, with what you were talking about, like an
1:00:20
Speaker 2: alternate story where like that would be an interesting movie,
1:00:22
Speaker 2: Like when Amy Adams was talking to Woquing Phoenix about
1:00:26
Speaker 2: like people dating OS's, about how like I know this
1:00:29
Speaker 2: girl like she went after somebody else's OS, like she
1:00:34
Speaker 2: was trying to hook up with like she it was
1:00:36
Speaker 2: not hers, like that kind of situation. Like I'm not
1:00:40
Speaker 2: saying I want a cinematic universe, but it would have
1:00:42
Speaker 2: been interesting if we got like a side story of
1:00:44
Speaker 2: that or a short story something like that. I find
1:00:47
Speaker 2: that stuff very intriguing, John, I'm with you. I land
1:00:51
Speaker 2: on four stars with us. I really like this movie.
1:00:54
Speaker 2: I've seen it a few times. I really like it.
1:00:58
Speaker 2: I own it and and I love it. But watching
1:01:02
Speaker 2: it again with older eyes is just it's too long.
1:01:06
Speaker 2: It's just too long. It drags. It absolutely drags. I
1:01:10
Speaker 2: feel like if we got something between Sodaberg and this
1:01:13
Speaker 2: cut it would have been a five star film. Honestly,
1:01:16
Speaker 2: I really do. And you know, like not to go
1:01:19
Speaker 2: on and on about it, but like I love the performances,
1:01:22
Speaker 2: production design, costume design, the act at like the script,
1:01:27
Speaker 2: the cinematography, the music by Arcid Fire. It's just it's
1:01:32
Speaker 2: all phenomenal. It's just needed some more rounds and editing.
1:01:35
Speaker 2: It just that's that's where I land. And so there
1:01:39
Speaker 2: you have it, Folks, go to the nerd Party dot
1:01:41
Speaker 2: com for all of our other shows that we have
1:01:43
Speaker 2: going on and are archived and our evergreen and you know,
1:01:49
Speaker 2: I'm trist Rendelle. We got John Mills and Darren Mosery.
1:01:51
Speaker 2: We're all over online. You can find us. But Darren,
1:01:53
Speaker 2: what are we doing next week?
1:01:55
Speaker 1: Well, we finished the House of Spike Jones. Next week
1:01:58
Speaker 1: we're going into the House of Antoine Fuqua with the
1:02:03
Speaker 1: replacement killers from nineteen ninety eight. Here on house Lights.
1:02:08
Speaker 1: Join the Revolution, Join the Nerd Party.