Latest / Cage Match: A Roundabout Way of Meeting Nicolas Cage / Kiss of Death vs Leaving Las Vegas

Transcript

Kiss of Death vs Leaving Las Vegas · Cage Match: A Roundabout Way of Meeting Nicolas Cage

• 0:00
  Oh, God. Oh, my God.
• 0:11
  I got to like an area was like, OK, there's like six people at a
• 0:15
  like reception desk and none of them are Nathan.
• 0:17
  And one of them is going to notice that I'm in Carhartt's and I'm filthy.
• 0:24
  So then I like bailed.
• 0:27
  You made it.
• 0:28
  But yeah, I tried to like go and say hey to Nathan.
• 0:31
  Hey, Nathan, Patreon supporter, Nathan. Hello.
• 0:34
  Thank you. Yeah. Support us on Patreon.
• 0:36
  I'll make work visits.
• 0:37
  I might not get past the initial security check, but I'll try.
• 0:41
  It's worth a shot. Yeah.
• 0:43
  I hear that at your work, you get Milanos.
• 0:45
  I do. I know. Fancy fucking bitch ass.
• 0:49
  Yeah. You get Milanos.
• 0:50
  King size bed is great. I know.
• 0:52
  Look at you. You've really come up.
• 0:54
  The only extra research I've done on this is watch the Rugrats episode. Did you?
• 0:58
  Oh, yes. I can't.
• 1:00
  Yeah. Good. I'm so glad you did that.
• 1:02
  Because I know we danced around that the first time.
• 1:06
  The sad lost episode.
• 1:07
  So, yes, we're this is we're officially podcasting.
• 1:10
  Now we lost an episode. We have to record something.
• 1:13
  Things over again.
• 1:14
  This time it's going to be weirder. Yeah.
• 1:17
  I'm sensing we have.
• 1:18
  Yeah, we're bringing in some rich secondary texts into this episode.
• 1:22
  I guess.
• 1:23
  I did some deep dives into YouTube comments on clips from the kiss of death.
• 1:29
  Please. Oh, God. I just I just rewatched both movies today.
• 1:34
  But I have some new thoughts on Kiss of Death, having just got done with it
• 1:38
  half an hour ago.
• 1:39
  News. New thoughts being it wins.
• 1:42
  Sure. Well, here's good.
• 1:45
  Here's a question I have. You guys are in season two still.
• 1:47
  Yeah, yeah. Technically, this is now officially our last episode of the round of 32.
• 1:51
  So we're heading into the 16, then the master eight.
• 1:55
  OK. And final four skin.
• 1:57
  OK, because I was I was going to say adults.
• 2:02
  I mean, one of us has multiple children, so technically we're adults.
• 2:07
  Yeah, kind of. Kind of.
• 2:09
  I just left my kids at home.
• 2:11
  Well, you have an older one now that can watch the younger one.
• 2:14
  That's true. Yeah, she's almost three.
• 2:15
  Yeah, that's why you have first children.
• 2:17
  So you can have a babysitter when you have a better child. Correct. Yeah.
• 2:21
  Cora doesn't listen to this, right? Not yet.
• 2:23
  Well, we should probably get this out of the way.
• 2:25
  Welcome back to Cage Magical and around about way of meeting Nicholas Cage.
• 2:28
  I'm your host, Sean, here with my cohost Nick.
• 2:30
  I'm Nick. Well done.
• 2:32
  And our producer, Peter. Hello.
• 2:34
  And we have back for the third time, though, you're only hearing them
• 2:38
  for the second time. Our guests. Gary on the air.
• 2:41
  And Roxanne.
• 2:42
  Yeah, I love to have you back.
• 2:44
  I guess you're better at our job than us.
• 2:47
  Yeah, but their laptops didn't get stolen.
• 2:49
  We make we make them share a mic to try and bring them down to our level.
• 2:54
  But yeah, welcome back.
• 2:54
  Thank you for tolerating the fact that that entire episode,
• 2:57
  which was actually pretty fucking funny, got lost.
• 2:59
  I'm bummed about that.
• 3:00
  Yeah, me too. No, I do.
• 3:02
  But this was going to be a death march. Yeah.
• 3:05
  I'm tired. Yeah, me too.
• 3:07
  I took a nap. Lucky.
• 3:09
  And then I pre drank
• 3:13
  because it felt like the episode I was just going to bring like
• 3:16
  bottles of liquor and just have bottles on the table.
• 3:21
  I would have made a good Patreon picture, but thank you for not.
• 3:24
  I think I mean, there's a few things left in the bar.
• 3:26
  Yeah, yeah.
• 3:28
  I might get housed.
• 3:29
  We'll see. We'll see what happens later in this episode
• 3:32
  if we really want to bust into the brown liquors.
• 3:35
  Peter will have a real hard time editing continuity into this.
• 3:38
  But he has to just leave it.
• 3:40
  We can only drink liquor if we're able to take shots
• 3:44
  from between your titties, Nick.
• 3:46
  That's fair. That seems reasonable.
• 3:48
  I am the most Elizabeth shoe built human.
• 3:51
  Totally.
• 3:52
  Maybe only on the top like quarter part of my body, but
• 3:56
  still counts.
• 3:57
  That's an important part.
• 3:59
  She's got one of those big old noggin like me.
• 4:03
  So in this show, a little bit, we take we take 64 Nicholas Cage movies,
• 4:06
  bracket them out and figure out what the most catious film is.
• 4:09
  As decided by Nick and me this week, it is the return of Kiss of Death
• 4:14
  and leaving Las Vegas.
• 4:15
  You make it sound like a sequel to Kiss of Death.
• 4:19
  Definitely.
• 4:22
  Yes. All right.
• 4:24
  I'm just sad we don't get more.
• 4:25
  What's his fucking name, Ronnie?
• 4:27
  Oh, fucking Rappaport.
• 4:29
  Yeah. Oh, God, I was trying to remember his name the other day
• 4:31
  and I was on the stairs talking to Josie and we're like, you know,
• 4:34
  and kiss of death. It's got that guy.
• 4:36
  You know, the guy is a hey, ma.
• 4:38
  Yeah, it's that fucking cat again.
• 4:41
  I was thinking about this and I was like, she knew half asleep
• 4:44
  sort of, you know, in between life and death.
• 4:48
  Yeah, pretty much.
• 4:49
  And I was thinking about Michael Rappaport and I was like, you know,
• 4:52
  if you look like that, dude, you never get a shot to be like
• 4:56
  the leading man or the handsome romantic comedy guy.
• 4:59
  Like you are always either going to be like the friendly, weird neighbor
• 5:03
  or a shit bag. That that's it.
• 5:07
  That is sitcom for a minute.
• 5:08
  Was he a shit bag or was he the friendly neighbor?
• 5:11
  He had a he was. Yeah, he was the main guy.
• 5:12
  He was the dad.
• 5:13
  Was he a bad dad? He was a neighbor to someone. Yeah.
• 5:17
  I mean, he was a shit.
• 5:18
  He was a shitty dad, but he was a dad.
• 5:19
  You you. Thank you. Case in point.
• 5:21
  Have you ever wondered what a spin off of home improvement
• 5:24
  would have been like from Wilson's point of view?
• 5:26
  My aunt knows that dude.
• 5:28
  I mean, he's dead now, but she sang in the choir with him.
• 5:31
  Should I see his face?
• 5:31
  That actually kind of brought me down.
• 5:33
  Why do you have to? Sorry.
• 5:36
  Take it back.
• 5:37
  I can't.
• 5:38
  I want to know what the rest of that bit was.
• 5:40
  There was no bit.
• 5:41
  I just kind of wanted to know.
• 5:43
  This is one of my off the cuff questions.
• 5:45
  That's what I'm famous for. Yeah.
• 5:47
  He was into skin flicks.
• 5:49
  Oh, fuck. Yeah. OK.
• 5:51
  Now I'm engaged.
• 5:52
  So they were inquired together and he whacked off a lot.
• 5:55
  Mm hmm. Nice.
• 5:56
  Your kind of guy. He is my kind of guy.
• 5:59
  I don't know how to get some of those.
• 6:01
  Sometimes I just dig a hole.
• 6:03
  Since we're sort of dancing around the fact that we've done this before,
• 6:07
  I think we can just go with kiss of death to start.
• 6:10
  I know, Rox, you've got something definitely that I want to hear about this.
• 6:15
  What the what?
• 6:16
  Well, I can lead with a couple of comments from YouTube.
• 6:22
  So is the whole I just want to know, is the whole movie on YouTube?
• 6:26
  So, yes, it is.
• 6:27
  And that's how Rob and I watched this movie as it was intended.
• 6:31
  Yes. Like you can't stream it.
• 6:33
  It's only available on DVD or through this one YouTube upload.
• 6:39
  I had a Spanish import blu-ray.
• 6:42
  So, yeah, I know exactly what you're talking about.
• 6:45
  He didn't go down that path.
• 6:46
  We went down the path.
• 6:47
  And the vessel of death.
• 6:51
  But yeah, the one that you can watch on YouTube
• 6:54
  PSA for anyone else who is thinking of watching this movie,
• 6:57
  you can watch on YouTube to get it right.
• 6:59
  It should have been you.
• 7:00
  Yeah, you fucked it up.
• 7:03
  But I don't speak Spanish.
• 7:05
  I just have melanin.
• 7:06
  You don't just know Spanish because you have melanin racist.
• 7:08
  Sorry.
• 7:12
  I'm sorry.
• 7:14
  Yeah, sorry.
• 7:15
  And also sorry.
• 7:17
  One of these is my it's my fate to get trod upon because I too am a rapport.
• 7:21
  I don't know if you guys know this.
• 7:22
  It's true.
• 7:24
  Do I need to crack that out?
• 7:26
  No, that's fine. OK.
• 7:29
  I do. I actually have an uncle named Michael Rapaport.
• 7:32
  Is it him? No.
• 7:34
  Damn it.
• 7:35
  Because you got to tell us if it is.
• 7:37
  Yeah, no.
• 7:38
  Those are the rules.
• 7:39
  Fuck, I didn't vary the lead.
• 7:41
  It's not him.
• 7:42
  But OK, so on YouTube, you can watch Kiss of Death.
• 7:45
  However, it is.
• 7:47
  It was like a recording that somebody made of their TV screens.
• 7:50
  The whole thing is flipped.
• 7:51
  It's backwards. Incredible.
• 7:53
  And it's very blurry
• 7:56
  to the point that literally it wasn't until today when I watched some
• 8:01
  like other shorter YouTube videos of just clips from the movie.
• 8:05
  I only then realized that the movie was set in the 1990s
• 8:08
  and not in the 1940s, which I thought it was based on the aesthetic
• 8:13
  of how it looks when it's really blurry and backwards.
• 8:17
  I want to watch this version.
• 8:19
  I've been watching it.
• 8:20
  It was a CRT.
• 8:21
  I've been watching it clean.
• 8:22
  This is I fucked up.
• 8:23
  I mean, you can give it a shot.
• 8:26
  To be honest, I don't think Robin, I made it through the whole thing.
• 8:28
  We watched most of it and then read the Wikipedia summary.
• 8:32
  Because it was hard to handle.
• 8:33
  But I did finish it.
• 8:35
  I watched it before.
• 8:36
  So you did your homework the first time.
• 8:39
  Yeah. Anyway, Gary always goes to completion.
• 8:41
  That's true. OK.
• 8:46
  Can tell us more about that later, Nick.
• 8:49
  OK, so well, here's a good place to start.
• 8:51
  PS5 and stuff here made the comment never heard of it.
• 8:56
  It looks good.
• 8:59
  A response from Planet Hellgate 1278,
• 9:03
  one of the most hardcore movies I ever saw.
• 9:05
  I fucking love this movie.
• 9:07
  I wanted to be like Nicholas Cage after this movie.
• 9:10
  To be fair, I would like to bench press Hope Davis as well.
• 9:14
  Yeah. I mean, 40 times, 40 times.
• 9:17
  Are you dad watching?
• 9:18
  Well, I mean, you want dad to watch.
• 9:20
  Another quick one here at Carl
• 9:24
  Niemiecki says, excellent movie.
• 9:28
  Five stars.
• 9:28
  One of the greatest twists in movie history.
• 9:31
  Nothing is what it seems.
• 9:34
  And I love how the trailer doesn't show you the twist.
• 9:38
  Are these plants?
• 9:39
  What? What was the twist?
• 9:41
  Yeah. Well, I don't know.
• 9:43
  That was exactly the question I asked myself.
• 9:47
  I can't think of a single twist in this entire fucking movie.
• 9:49
  Seems like a great lead in to know a flat straight line.
• 9:53
  Absolutely. Yeah.
• 9:54
  OK, so I'm the only one who hasn't rewatched this recently.
• 9:58
  Surprisingly, so so sum it up for us.
• 10:01
  OK, from memory, I think.
• 10:03
  What was this like almost six months ago that we watched in a while?
• 10:06
  Close to that. Yeah.
• 10:07
  So about six months ago.
• 10:09
  So there's a ginger guy and he
• 10:13
  is living the straight life after prison.
• 10:16
  He gets wrapped up in like some bullshit.
• 10:19
  When Michael Rappaport comes by his place and he's like, Hey, man,
• 10:23
  you got to like drive for me tonight, just tonight.
• 10:26
  Like I'm your boy. I've always been there.
• 10:28
  Oh, like his parents took care of the ginger when he was a lonely child.
• 10:34
  So he's like, fine, I'll do it.
• 10:35
  But I got a baby, so it's got to be cool.
• 10:38
  And Rappaport's like, it's cool.
• 10:40
  So they do this thing and he like has to drive a truck
• 10:45
  full of stolen cars from A to B.
• 10:47
  But they do it the dumb way and then the cops catch on.
• 10:51
  And so the cops pull him over
• 10:54
  and a drunk guy in the cab shoot Samuel L.
• 10:59
  Jackson. And so the ginger gets blamed and he goes.
• 11:04
  OK, here we go.
• 11:05
  He goes on the lam.
• 11:07
  This is now I'm getting sketchy on it.
• 11:12
  Hold on. No, wait, let me let me think about this one more time.
• 11:14
  Yes, circle back. B.A.D. Oh, yeah.
• 11:16
  Oh, he gets pulled in because now he has to be like a mole
• 11:22
  for the shit cops.
• 11:24
  So he goes undercover into this whole crime ring
• 11:30
  that includes Nicolas Cage and cool like cutaway shirts.
• 11:35
  And oh, he's got a goatee, which is is this is only goatee.
• 11:39
  How many goatees have we had Nicolas Cage?
• 11:41
  We have a goatee with a sympathy for the devil.
• 11:43
  Yeah. Yeah. OK.
• 11:46
  But like those are that's you.
• 11:49
  It's nice.
• 11:49
  It's honestly a pretty decent look for him.
• 11:52
  It really changes his face.
• 11:54
  So Ginger Guy gets in decent with Nicolas Cage and
• 12:00
  Nicolas Cage has asthma.
• 12:02
  Oh, yeah.
• 12:04
  And he's got a cool bedazzled inhaler that says B.A.D.,
• 12:08
  which stands for balls, attitude and direction.
• 12:12
  I know that.
• 12:14
  Yeah, that's for life now.
• 12:15
  Yeah. We struggled over it so much in the last six months,
• 12:19
  constantly trying to remind ourselves what it's done for.
• 12:23
  So, yeah, he's got inhaler and they become chums
• 12:26
  and they're doing, I don't know, heckles and stuff together.
• 12:31
  And then Ginger.
• 12:35
  Oh, he did some time, didn't he?
• 12:37
  He did. Yeah.
• 12:37
  OK. So like when he got picked up earlier, he did some time.
• 12:40
  And then his wife was like working for Michael Rappaport.
• 12:45
  And Michael Rappaport was a real scumbag and he tried to sleep with her.
• 12:49
  He did sleep with her.
• 12:50
  Yeah.
• 12:51
  I it's blurry, much like her night that night.
• 12:56
  This is going to be heavily edited at this point.
• 12:59
  Can you just speed it up really fast?
• 13:01
  Yeah. Just three times.
• 13:03
  That's fine.
• 13:04
  And Rappaport died.
• 13:06
  So when Ginger gets out, he manufactures
• 13:11
  the circumstances that gets Rappaport killed.
• 13:14
  He gets beat to death.
• 13:17
  Oh, nice. Oh, yeah, yeah, yeah.
• 13:18
  He does by Nicolas Cage in a poncho.
• 13:21
  Yeah, that was good. OK.
• 13:22
  I remember that.
• 13:22
  Never walk into an office
• 13:24
  where everyone's wearing ponchos and they're laying out plastic.
• 13:26
  Yeah. Just turn around.
• 13:28
  Also, Ving Reims is in this and dies.
• 13:30
  Oh, yeah. Ving Reims. Red.
• 13:32
  Oh, yeah, that's so cool.
• 13:34
  I liked that a lot.
• 13:35
  He wouldn't take the Land Rover.
• 13:37
  It's a bad color.
• 13:37
  Is it a layer over in this movie?
• 13:39
  Has like a stick to the point where it's just like their caricatures.
• 13:44
  Sam Jackson has the leaky eye.
• 13:46
  Being Reims doesn't like the color red.
• 13:49
  The that's the twist, though.
• 13:50
  OK. Ving Reims is the twist because he was a fed.
• 13:53
  He was a fed. Yeah.
• 13:54
  Oh, there it is. Yeah.
• 13:57
  Thanks.
• 13:58
  And then.
• 13:59
  Lover 28.
• 14:01
  And then Nick Cage has too many things.
• 14:03
  You're allowed one thing.
• 14:04
  But Nick Cage has asthma and doesn't like the taste of metal in his mouth.
• 14:08
  Yeah, no.
• 14:09
  So he couldn't get plastic forks in jail.
• 14:12
  He had to use metal forks because somebody had tipped him off.
• 14:16
  Also, Stanley Tucci is in this.
• 14:17
  Oh, yeah. This more to that's good.
• 14:20
  He's like a D.A. or some shit.
• 14:22
  Yeah. Like a dirty D.A.
• 14:24
  Trying to angle for mayor or some shit.
• 14:26
  Classic DDA.
• 14:29
  Caruso. What's what's his name?
• 14:30
  David the ginger Caruso.
• 14:33
  Yeah. Yeah.
• 14:34
  What more do you want from me?
• 14:35
  David Caruso.
• 14:36
  No, I thought that was his character name from from
• 14:40
  whatever cop show he's on forever.
• 14:42
  Yeah. No, I guess I was NYPD Blue.
• 14:45
  NYPD. We talked about this last time.
• 14:47
  And I met David Caruso.
• 14:48
  I mentioned the cultural phenomenon that that it was when he got out of bed
• 14:53
  naked. Right. Yeah, I do.
• 14:55
  Yeah. Yeah.
• 14:56
  And doing research after the fact, because I just spitballed it
• 15:00
  at the time the first time we were on the show.
• 15:02
  But yes, in fact, it was a moment.
• 15:05
  And we were musing about his career and how like tepid it seemed.
• 15:10
  Another thing that I recall from the last time we were on is we were talking
• 15:13
  about Nicolas Cage as villain.
• 15:15
  Why you think he hasn't played more villains in his career?
• 15:19
  Because I didn't think this film was all that great or entertaining.
• 15:24
  However, you know, he he does his damn thing
• 15:28
  and he makes the villain character interesting.
• 15:30
  And you do want to watch him be a villain.
• 15:32
  At least I wanted to continue to watch him do villainous things.
• 15:34
  He doesn't do a lot of villain roles.
• 15:36
  He's changing that a bit more in his later career because somebody for the devil.
• 15:40
  He plays a great psychopath.
• 15:42
  And it looks like long legs.
• 15:44
  He has a very disturbing role.
• 15:46
  Yeah, he's a serial killer on that.
• 15:48
  Yeah. So that's kind of villainous.
• 15:49
  Yeah. It's involved in film.
• 15:51
  And he kind of.
• 15:52
  I don't know. Dexter was a killer.
• 15:54
  My own villainy. What?
• 15:56
  It's like one of the worst kinds.
• 15:57
  Hey, man, I haven't seen it yet.
• 15:59
  I'm not going to prejudge.
• 16:00
  You don't know what I think he just dips his toe in a little bit of evil.
• 16:04
  And maybe he gets out clean.
• 16:07
  It's a redemption story. Yeah.
• 16:09
  Well, he probably had a dad who died of an asthma attack.
• 16:12
  I think they're gaslighting us.
• 16:14
  I think this is actually a romantic comedy, and I'm going to go into it with that vibe
• 16:20
  with lotions and stuff.
• 16:23
  Nick Cage doesn't do a lot of like heels.
• 16:26
  And so it's always interesting to see him.
• 16:29
  Little Junior Brown is just such an odd character.
• 16:32
  He's just got the most character, I feel like, in the story.
• 16:36
  And I think that's fair.
• 16:37
  Initially could have attracted Nicholas Cage because he does look for
• 16:42
  interesting characters.
• 16:43
  And this is also his biggest I think he's ever been in a film.
• 16:46
  He's pretty fucking Jack in his fullness.
• 16:48
  Yeah. I mean, Conair, he was pretty ripped to this was.
• 16:52
  When was this? When did this movie come out? 95.
• 16:54
  When Conor come out?
• 16:55
  Ninety seven.
• 16:57
  So that was kind of his swole era.
• 16:59
  Wait, that's that's wild to me, actually, that this came out in 95
• 17:03
  because didn't leaving Las Vegas come out in 94.
• 17:06
  Yeah, I think we talked about that, that these movies like they were.
• 17:08
  They're very right after.
• 17:10
  His body is totally different in the two movies entirely.
• 17:13
  Yeah. It's like from schlub to.
• 17:17
  How old is he at this point? Rectangle.
• 17:20
  And I think Kiss of Death was probably recorded earlier,
• 17:24
  just languished for a while because it's bad.
• 17:29
  I really I've really turned around on this one
• 17:30
  because I really remembered enjoying it more like the first couple of times
• 17:34
  we watch it because I'm like, this is weird.
• 17:36
  Caruso's bad, but it's got a bunch of good people in it.
• 17:38
  And Nick Cage is weird.
• 17:41
  And I rewatched it today.
• 17:42
  I'm like, nobody cares.
• 17:44
  Nobody's trying. Nick Cage isn't even really trying.
• 17:46
  Hold on. What's the name of the strip club?
• 17:49
  This is important. Baby cakes.
• 17:50
  Oh, fuck. Yeah, baby cakes.
• 17:53
  I'm back on this movie's awesome.
• 17:55
  That place is that place is so well lit.
• 17:58
  Yeah. Totally.
• 17:59
  They've got some cool metallic plants and rotating mirrors.
• 18:03
  But I don't want to see other I don't want to see other like sleazebags.
• 18:06
  No, I don't want to be able to look at their other perverts in the eye.
• 18:10
  That's been my problem with like Washington strip clubs.
• 18:13
  And why I've never gone is like without the filter of alcohol.
• 18:18
  It's just a bunch of sober dudes skis and on chicks like 20 years.
• 18:22
  They're junior. Pretty gross.
• 18:24
  It's hella gross.
• 18:25
  It's like you need alcohol to lubricate the situation and make it social
• 18:30
  and not just like dudes remembering things.
• 18:33
  I think maybe is that the weird part?
• 18:35
  Like you're going to remember it all.
• 18:38
  My friends went to like we were in Portland recently
• 18:41
  and people wanted to go to a strip club and we're like, oh, OK.
• 18:44
  And it's like the first night and we're like, just like
• 18:47
  some of us just dropped our shit off and like had two drinks.
• 18:50
  And it's like strip club time.
• 18:52
  And we're like, walking, I'm like, sitting there, I'm like,
• 18:54
  hold on, something's not right.
• 18:56
  The sun is still up.
• 18:57
  It's like eight thirty in the evening.
• 19:00
  This is the wrong time to hit a strip club.
• 19:02
  I don't care that it's Friday.
• 19:03
  I mean, like at least maybe you're getting the B minus squad then.
• 19:08
  But yeah, a friend of ours also was talking about how strip clubs
• 19:12
  in Portland are full nude.
• 19:13
  Yes, like, you know, what's really weird
• 19:15
  when you just see someone's butthole?
• 19:17
  I don't know that I need that unless you grow up seeing buttholes.
• 19:24
  And then it's weird to go to somewhere where you're like,
• 19:27
  wait, why can't I see your butthole?
• 19:30
  Washington, I have to be sober and I can't even look at a butthole.
• 19:33
  Oh, yeah.
• 19:35
  Virginia, the fucking Commonwealth,
• 19:38
  their strip club laws, no nipple.
• 19:41
  Yeah, Missouri was like that, too.
• 19:43
  Huh? It's like, so what's the point?
• 19:45
  You know what you can see?
• 19:47
  You know what you could see?
• 19:47
  Nipple a fucking like life drawing event.
• 19:51
  Sure enough. Yeah.
• 19:52
  Um, does that rule cross genders like at a male strip club review?
• 19:59
  We call them reviews. OK.
• 20:01
  I mean, I'm not there to critique or anything.
• 20:03
  I'm just. That's a good point.
• 20:05
  I'm not there for the pasties.
• 20:06
  Yeah. Male pasties.
• 20:08
  I mean, I assume they're similar.
• 20:08
  That's fucking hilarious, too.
• 20:11
  Like, I hope so.
• 20:12
  Otherwise, that's unfair.
• 20:13
  What would OK, one quick survey and then back to the movie.
• 20:16
  What would be your pasty choice
• 20:20
  for my sides? Nick Cage's face.
• 20:23
  That's a pretty good. That's a good choice.
• 20:24
  Good one. Yeah. See, that's an option.
• 20:27
  Which one this. OK.
• 20:29
  No more thinking.
• 20:30
  OK, well, you go first then rocks.
• 20:32
  One would say B.A. and the other one would say D.
• 20:36
  Nice. All right.
• 20:38
  My my would be little tiny trash can lids with Oscar the Grouch's face on him.
• 20:43
  Oh, that's good.
• 20:45
  Mine would just be my face going.
• 20:47
  Oh, OK. Yeah, that's fair.
• 20:49
  Mine would be photos of my nipples.
• 20:52
  Smart loophole. Yeah, totally got them.
• 20:56
  Mine gets complicated and.
• 20:58
  Oh, I'm good.
• 21:00
  So I'd probably like, you know, the like flower,
• 21:03
  the seltzer flower that clowns would have in their pocket.
• 21:06
  So I'd get like seltzer flowers.
• 21:10
  I'd probably start taking a lot of estrogen, like beforehand,
• 21:14
  but like for months beforehand, and then I'd force myself to lactate.
• 21:19
  And I would do a show where like maybe I'm dressed like a clown.
• 21:25
  And does your milk come out of the seltzer flowers or is it?
• 21:27
  Yeah, yeah, that's the thing.
• 21:29
  So I'll be dancing, I'll be getting up there on the ladies.
• 21:32
  And then it's like,
• 21:34
  I don't know, do they pull my finger or?
• 21:38
  Oh, here. Here's what it is.
• 21:40
  Yeah, you honk my nose, which is obviously on my G string.
• 21:44
  And then I just milk on your face.
• 21:49
  Hmm. Well, I think you've covered this movie well enough.
• 21:53
  I'm kidding.
• 21:57
  Bye, Sean.
• 21:58
  So we are taking applications for a new host.
• 22:00
  We lost one tonight. I was a life
• 22:05
  drawing model for a spell in college.
• 22:08
  I answered a flyer that I found on a telephone pole in college town.
• 22:13
  That was the number you called was the number of Bill the Magician.
• 22:19
  I called that number.
• 22:21
  What did the flyers say that was so enticing?
• 22:24
  Money. Oh, yeah, that's good.
• 22:26
  Yeah.
• 22:27
  Did OK, this is important only because I had several life
• 22:30
  drawing models that I've experienced in my life, and they all had like a staff
• 22:34
  that they know. Yeah. Yeah.
• 22:36
  The staff. Did you have a staff?
• 22:38
  No. Now I feel like I need to go back there and ask why.
• 22:41
  Every every Demetri that I ever drew had a staff.
• 22:45
  I mean, Demetri said, you don't have any.
• 22:47
  I think we've had this conversation.
• 22:49
  Yeah, they have the staff. What for leaning?
• 22:51
  Yeah. And like, it gets a good angle. Yeah.
• 22:53
  For the angle. Yeah.
• 22:55
  Kiss of Death. What do you guys think?
• 22:57
  It's a made for TV movie that somehow got real stars.
• 23:02
  Yeah, it's wild. Yeah.
• 23:03
  Like, I don't know who thought Caruso could be
• 23:07
  Hollywood leading man, but they were wrong and I hope they lost their job.
• 23:12
  Yeah, this definitely hits that like weekend
• 23:18
  early afternoon syndicated TV.
• 23:23
  It's not great.
• 23:24
  It's not terrible, though.
• 23:25
  I don't think it's like the worst.
• 23:27
  I don't I don't remember thinking to myself
• 23:30
  this movie never should have been made because it's got Michael Rappaport.
• 23:34
  And any time I see him, that's an open invitation to imitate his voice.
• 23:39
  And that's worth something to me. You mean your voice? Yes.
• 23:43
  It's it's worth it for me to use my voice
• 23:47
  in a manner that makes fun of somebody else.
• 23:50
  I don't disagree with Lovey 1980.
• 23:53
  But the 1990s had some of the best innovative and risky films
• 23:58
  that Hollywood has ever produced.
• 24:00
  But I I do not agree that this was one of them.
• 24:03
  Shout out Lovey 1980.
• 24:07
  Yeah, it was very mediocre the whole time.
• 24:10
  Yeah, didn't love it, but really did enjoy watching Cage do villain things
• 24:16
  and would watch him play all sorts of different villains.
• 24:21
  I'm excited to see what he comes up with in these
• 24:24
  these new ventures that it sounds like he's working on.
• 24:27
  And I am a little bemused about the fact that he hasn't done more of this
• 24:32
  because it was great. He was hilarious.
• 24:35
  He was also convincing, like his his inner turmoil and rage
• 24:39
  about being like little, you know, like little junior and not living up to dad
• 24:43
  and like all that shit. Very believable.
• 24:45
  And also, yeah, you could sense his villainy. It worked.
• 24:51
  But yeah, the film didn't.
• 24:53
  I do like watching him like jump up and down, crying while shadowboxing
• 24:57
  like a plant. Oh, yeah.
• 25:00
  And then when he does when he does for a show, he eats the drunk guy.
• 25:03
  Yeah, I was going to say the way he just bug and tossed him
• 25:06
  like bodily above him was pretty rad.
• 25:10
  I would let Nicholas Cage toss me like that. That'd be cool.
• 25:12
  OK, so on the matrix of this whole thing, good movie, good cage, bad movie, bad cage.
• 25:19
  Just real power run this bad movie, not great cage.
• 25:24
  Certainly a bad movie.
• 25:26
  It's an boy having not watched it in six months.
• 25:30
  A great movie. Great cage.
• 25:32
  Perfect. Never a bad cage.
• 25:36
  Bad movie. Good cage.
• 25:37
  Yeah, I agree. He was for sure the highlight.
• 25:40
  Yep. I'm with that, too. Yeah.
• 25:43
  I think it's a fun performance.
• 25:44
  He's weird enough and cage enough in it that it feels kind of special
• 25:49
  in like that early time of his career, too.
• 25:52
  But yeah, the movie sucks. It's bad.
• 25:54
  Maybe it's just sexy to you, though.
• 25:56
  Yeah, it might just be the dialogue for me.
• 25:58
  Just that like he's given nothing great to say.
• 26:01
  Yeah, it's true.
• 26:02
  The campiness of it at this point has just worn off.
• 26:06
  And she's like, this is just bad. Yeah.
• 26:09
  Yeah. Yeah. Balls attitude direction.
• 26:13
  That's what this movie's got.
• 26:16
  Now moving in a new direction.
• 26:17
  Oh, wait. OK.
• 26:19
  Wait, we all had our own fucking ones.
• 26:22
  Oh, yeah. Well, we did.
• 26:23
  I can't remember.
• 26:24
  And I'm not trying to think of mine earlier.
• 26:26
  So I was like, I think I had a really good one.
• 26:28
  It was. They were good.
• 26:29
  They were all they were all good.
• 26:31
  Fuck gone forever. Yeah.
• 26:33
  OK, I've got one right now. Do it.
• 26:35
  Dick. D.I.K.
• 26:37
  dignified, intelligent koala.
• 26:43
  Banger. All right.
• 26:44
  Moving on.
• 26:44
  Yeah. You need a koala tag now, I think.
• 26:49
  Huge ol hog.
• 26:52
  Otherwise, people won't get the reference.
• 26:54
  Right. It's true.
• 26:57
  Got to spell it out.
• 26:59
  Why does that ugly looking bear have a.
• 27:03
  Veiny, aggressive human dick.
• 27:05
  Yeah.
• 27:06
  Oh, because Santa's a lie.
• 27:12
  Leaving Los Angeles.
• 27:15
  Leaving this conversation.
• 27:17
  Still a really good movie.
• 27:19
  Boy, I can't tell you how excited I was to have psyched myself up all week
• 27:25
  to watch a super depressing movie when I was already tired last night.
• 27:30
  It was choice.
• 27:32
  It's a really hard movie to get yourself excited to watch.
• 27:35
  It's not a fun movie.
• 27:37
  No, it's a terrific movie, but it is not like something you look forward to all week.
• 27:42
  Like I'm not sitting here like, oh, man, I wish I could watch kids tonight
• 27:47
  or brick. That sounds like fun.
• 27:51
  So if someone were going, if someone asked you, they're wanting to watch it
• 27:54
  for the first time, what would you recommend?
• 27:56
  How do they set themselves up for success?
• 27:58
  Early morning stiff drinks.
• 28:00
  So total immersion.
• 28:02
  Yeah. Yeah. That's actually pretty good advice.
• 28:04
  It's that like bottle of vodka with a kiss of orange juice.
• 28:07
  Yeah. Don't put it off.
• 28:09
  Just go for it.
• 28:10
  If you know the premise of the film, that cage is going to drink himself to death
• 28:15
  and he's given himself four weeks.
• 28:17
  Just the amount of money he has to get through each and every day in Vegas.
• 28:22
  It's just he's like, I can do like 240, maybe 300 a day in the 90s.
• 28:27
  Inflation.
• 28:28
  Gary read the novel and how much did you say he got as a severance?
• 28:33
  It was like something like five thousand dollars or something.
• 28:36
  After we lost the last episode,
• 28:38
  Gary went and actually got the book and has read it.
• 28:41
  And we've gotten some reading sent to us through the process.
• 28:46
  And really, I want to kind of talk about the nature of adaptation.
• 28:49
  We're not talking about adaptation.
• 28:51
  Ever again. We cut that.
• 28:54
  I meant at adaptation from book to script.
• 28:57
  I know. But we're talking about adaptation again.
• 29:00
  It's great. It is great.
• 29:02
  I love that movie.
• 29:03
  Well, I think it's a great topic because Mike Figgis, the director,
• 29:08
  made some really bold choices with his adaptation of this story.
• 29:14
  And I actually watched an interview, the only one I could find on YouTube
• 29:18
  from the 90s, some very like traditionally looking like Midwestern
• 29:24
  Pentecostal lady with like a round haircut is interviewing him.
• 29:29
  And that's the only one I could find.
• 29:32
  And, you know, he doesn't mention John O'Brien once in his interview,
• 29:36
  which I thought was really fascinating.
• 29:38
  And when you watch the opening credits to the first in the they're not directly
• 29:44
  in this order, it's not like the first one is is based on the book by John O'Brien.
• 29:49
  But it says based on leaving Las Vegas by John O'Brien.
• 29:53
  And then the next thing that you see is screenplay by Mike Figgis, which.
• 29:59
  Is in a way, truth telling, because I do think that his screenplay
• 30:03
  kind of usurps the story in some ways that I find a little unnerving.
• 30:10
  And I didn't necessarily agree with his choices, but then in ways
• 30:14
  that I do think really landed, because.
• 30:16
  It's a great film, you know, so it's hard to argue with what he's created
• 30:20
  as a director, but having read the novel, it falls into that classic trope of,
• 30:26
  oh, boy, the book is just so much better.
• 30:28
  Mm hmm. How is it just as a read?
• 30:30
  Does it read well?
• 30:31
  I mean, because John O'Brien didn't have a lot of work under his belt.
• 30:36
  It looks about as thick as a goosebumps book.
• 30:38
  Yeah. So it's so if that's your if that's your general opinion,
• 30:44
  that's your if that's your general scale on like how much reading you can handle.
• 30:50
  It's it's an absolute joy to read it real read super quickly.
• 30:55
  So some interesting notes in the book, you start.
• 30:59
  So it has an ABC format.
• 31:01
  Part A is Sarah's backstory.
• 31:04
  Part B is Ben's.
• 31:05
  And then they meet on page one hundred and twenty four.
• 31:09
  And the book is only one hundred and eighty nine pages long,
• 31:13
  whereas in the film they meet in the first 20 minutes.
• 31:16
  You get kind of Ben's fall from grace.
• 31:19
  He's in Vegas and he almost runs Sarah over in the middle of the street.
• 31:22
  So huge choice.
• 31:24
  Another huge choice is in the book, Sarah is gang raped in the first like 10 pages.
• 31:31
  And that experience kind of casts a shadow over her whole experience
• 31:36
  of the story, whereas Figgis tucks it at the very, very end of the entire film.
• 31:42
  So I'm curious to hear you guys talk about that.
• 31:46
  But let me first just give you a little bit of the pros.
• 31:51
  This is Ben and Sarah sitting over dinner after they've just met
• 31:56
  talking effortlessly at the restaurant.
• 31:58
  They continue to pursue the tangential conversations that go with new acquaintance.
• 32:04
  This acquaintance, however, is maturing faster than most.
• 32:08
  Both of them feel an unspoken urgency to their friendship.
• 32:11
  Beyond the more obvious time factor that Ben feels,
• 32:14
  this impatience is due to an even more immediate need that they share a vacuum
• 32:20
  long unaddressed in Sarah and always fundamental in Ben is being looked at and considered.
• 32:28
  They are recognizing an opportunity to prevent an emotional tragedy.
• 32:32
  They are struggling with the bewilderment of finding that a long held assumption may not be so.
• 32:37
  They are at once seeing for the first time decisions that they have made
• 32:42
  and unexpected options that they may now have.
• 32:46
  To Ben, these feelings are apart from what he is doing to himself.
• 32:50
  The short term that he is assigned to his own life is having its effect on his mentality
• 32:54
  beyond his day to day conduct change.
• 32:57
  He believes that dying, dying soon is an unalterable fact of his life
• 33:03
  and it's become more deeply rooted in his reality.
• 33:05
  He thinks of it no more than anyone else thinks of their own natural death.
• 33:10
  He's aware of it, but not obsessed with it.
• 33:12
  Subtly though, his actions have taken on added significance to him.
• 33:17
  The governors have all been removed and he now looks for the direct and deliberate,
• 33:21
  embracing the aggressive and shunning the abusive.
• 33:25
  With the specter of the finite looming very near,
• 33:28
  Ben can almost envisage this time as a microcosm of his whole life.
• 33:32
  A narrow but tall area to be played very intensely.
• 33:36
  So a girl is a girlfriend and a girlfriend is everything.
• 33:40
  It's the psychology of a 14 year old who is also disinterested
• 33:44
  in the not so foreseeable future.
• 33:46
  Ben adores Sarah, would like her to be a part of his life,
• 33:50
  but changing his life, extending it is no longer an option that would occur to him.
• 33:55
  She should accept that context in the same way that he has.
• 33:59
  Though it may be wishful, he sees in her the capacity to do this,
• 34:03
  and it is what he considers to be her charm.
• 34:07
  No metaphor in that.
• 34:08
  It's just very clinical.
• 34:10
  Like he feels this way.
• 34:12
  I was going to say it almost reads like the directions for these actors.
• 34:15
  Yeah, I was talking about it seems like the thesis for this entire concept.
• 34:19
  You know, it's like, oh, OK, you read that and it's like, that's a movie.
• 34:22
  Yeah, like I got it.
• 34:23
  Yeah. Yeah, that.
• 34:25
  I was like, oh, OK, I'm going to read that.
• 34:27
  Got it. Yeah. Yeah, that the other shit somewhere else.
• 34:30
  Yeah. That sentence or line about
• 34:34
  the absence of like being looked at and being seen.
• 34:37
  It's like, oh, wow.
• 34:38
  It's so like, I'm sure true amongst people in the sex industry,
• 34:42
  prostitutes and strippers alike where they're they're looked at,
• 34:46
  but they're not like seen and considered.
• 34:49
  One of the readings I sent you off, if you if you recall,
• 34:53
  several months ago was the scene that
• 34:55
  Mike Figgis puts at the beginning of the film where Ben goes to the strip club.
• 35:00
  And in the film, he just absolutely destroys a bottle of hard alcohol.
• 35:04
  And the music's really loud.
• 35:05
  And there's like this old looking pervert sitting next to him.
• 35:08
  But in the book, it's this really deep reflection on this very question
• 35:12
  that you're bringing up, Nick.
• 35:14
  And John O'Brien writes it that what Ben is interested in
• 35:18
  is watching a sex worker turn herself on
• 35:21
  and the relationship between her and her reflection in the mirror.
• 35:24
  Knowing that like she's not getting turned on by any of the weirdos
• 35:28
  that are staring at her.
• 35:30
  What she's getting turned on by is her relationship with herself
• 35:33
  and she's doing her work.
• 35:34
  And that process, Ben observing that that's the thing he's after
• 35:38
  because Ben is really like thinking about it on this deep level.
• 35:42
  And I think the reason that John O'Brien is giving Ben's character
• 35:45
  such such depth is he's kind of writing his own story.
• 35:50
  You know, he drank himself to death.
• 35:52
  He ended up completing suicide with a firearm, but he had been
• 35:57
  killing himself with alcohol for for years.
• 35:59
  Beyond that, he actually found out that this was going to be made
• 36:03
  into a major motion picture, I think two weeks before he ended up dying.
• 36:09
  But yeah, and I think in a lot of ways, this was a world
• 36:12
  John O'Brien was familiar with himself.
• 36:15
  Your assessment of like how or how you read him
• 36:19
  watching the stripper and like turning herself on.
• 36:23
  It reminded me initially just of like him
• 36:27
  when he was in line at the bank or whatever with his recorder.
• 36:31
  And he's just doing that kind of narration
• 36:34
  for the teller or something like that.
• 36:38
  I'm wondering if that was that bank scene in the book or.
• 36:42
  It's really I'm glad you brought that up.
• 36:44
  It's really good that you you you noted that because, yeah,
• 36:47
  that was also a really interesting move on Mike Figgis's part. So.
• 36:53
  In the film, Ben is standing.
• 36:56
  So he goes to the bank.
• 36:57
  He can't sign his check because he's he's too sober and he's shaking so hard.
• 37:01
  DT's. Yeah. Yeah.
• 37:03
  So he he leaves.
• 37:05
  He gets sauced and then he comes back.
• 37:08
  So the second time he's waiting in line and he pulls out a little
• 37:10
  pocket recorder and he he he says this thing about you.
• 37:14
  You would be so much more interesting and desirable if you were covered in bourbon
• 37:18
  and then it gets more and more illicit in the film.
• 37:22
  That's all happening in the bank.
• 37:24
  And he's speaking it into his recorder.
• 37:27
  But in the book, he goes and he signs the check.
• 37:30
  Then he goes to a bar and that's all happens in his head.
• 37:33
  He doesn't do that as like a public shameful act.
• 37:36
  It's like, again, Ben is like a more thoughtful.
• 37:39
  He's less belligerent in the book and the film like.
• 37:42
  I don't know if that was Cage's decision or if that was it seems like it was Mike
• 37:47
  Figgis, his decision to make Ben a little more sloppy, belligerent and less like
• 37:51
  kind of a thoughtful, like artistic drunk, you know, if that makes sense.
• 37:55
  I feel like he is and he isn't in the film.
• 37:57
  We don't have the luxury of having a narrator like a narrator of his mind.
• 38:04
  So we do see a really charming version of him, like when he has a certain amount of
• 38:11
  drink and then he has too much to drink.
• 38:13
  And so we see like those transitions and how far it goes and how dangerous it
• 38:19
  really gets all throughout the film.
• 38:22
  And Sarah makes note of it at one point, too, where I can't remember the exact
• 38:27
  line, but she comes out and says, like, you know, sometimes you open your mouth
• 38:30
  and like gold falls out, basically.
• 38:33
  Like you do have some eloquence, some ability to talk.
• 38:38
  Totally without being a fucking, I don't know, pap smear or something.
• 38:42
  And then later when she says she wants him to see a doctor and he responds with.
• 38:47
  Oh, no, see, doctor.
• 38:53
  One thing that I was curious about, because the only piece of this that I really don't
• 38:56
  give a shit about is the whole Yuri subplot.
• 39:00
  Is that in the book?
• 39:02
  OK, yeah. So this is interesting, too.
• 39:04
  So in the book, his name is Amal Fatih.
• 39:09
  And I gather that he's supposed to be Middle Eastern.
• 39:13
  And in the film, he's turned into a Latvian named Yuri.
• 39:17
  And in the book, you get a pretty significant piece of Sarah's
• 39:22
  backstories wrapped up into her relationship with this guy.
• 39:25
  And they used to work together in Los Angeles.
• 39:29
  They used to be romantically entangled.
• 39:31
  His character has a lot more depth to it.
• 39:34
  I don't know why they tried to squeeze it in.
• 39:36
  They lost a lot of the complexity of it, and it doesn't really make a lot of sense.
• 39:41
  Yeah, this is like, you know, if you had some sort of master cut
• 39:43
  that was three hours long, I'm sure there's more that could be plumbed from that.
• 39:47
  And it just doesn't play in my mind, at least for anything that has value in that.
• 39:52
  He's like a guy.
• 39:54
  He's in charge of her and then he dies.
• 39:56
  And that's it.
• 39:57
  Yeah, he doesn't have a very strong presence in the film.
• 40:01
  And for a film that's, you know, just under two hours, he could probably
• 40:05
  he's a very dismissible, like 10 minutes of it maybe.
• 40:09
  And it wouldn't it wouldn't be that hard to write around the absence of the character.
• 40:14
  I think the the strength of having that character as it shows how little control
• 40:20
  she had over her relationships in her life.
• 40:22
  And then she immediately kind of jumps in this whole thing with Ben,
• 40:25
  which she has no control over.
• 40:27
  But because he's nice to her, she tries to.
• 40:31
  It serves the point of the restructuring of her story in the movie,
• 40:38
  because it's not until Yuri's gone that her relationship with Johns
• 40:45
  takes a more dangerous edge to the point where like when she does have the gang rape scene,
• 40:52
  she's gone from being like three hundred dollars to get in the door,
• 40:55
  five hundred before anything happens to two hundred bucks for an hour
• 41:01
  in a room full of three kind of like frat guys.
• 41:04
  And it really spirals out of hand because she doesn't have any protections now.
• 41:08
  And, you know, obviously not advocating for pimps, but
• 41:14
  I mean, somebody's got to have a strong hand in the relationship, right?
• 41:19
  So, Rox, I'm kind of curious about this.
• 41:20
  Like, did you read the book?
• 41:22
  No, I didn't. OK.
• 41:23
  So you saw the movie and then Gary read the book.
• 41:26
  And then how did it change your experience from watching it another time
• 41:30
  after talking to him and experiencing him knowing more about it?
• 41:34
  Hmm. Well, to be to be fair, I didn't rewatch it today with Rob, actually.
• 41:39
  I did do some research on Sheryl Crow.
• 41:41
  Tell me more. Yeah.
• 41:43
  So if you like me, I do like you.
• 41:48
  It's been really nice. You're great.
• 41:51
  Come back again. Yeah. That really means a lot to me.
• 41:54
  I know all of the rapaports out there.
• 41:56
  No, Michael can't come on. Sorry.
• 41:58
  Oh, yeah. Talk about Cheryl C.
• 42:01
  It's that cat that looks like grandma.
• 42:03
  I'm a fucking weird looking cat again.
• 42:07
  You guys have seen a cow with a human face.
• 42:10
  Terrifying. I have. It's a weird.
• 42:13
  It's like Renaissance paintings. Yeah.
• 42:15
  Sorry, please continue.
• 42:18
  Well, OK.
• 42:19
  So when Rob let me know that we were invited to do this podcast with you guys
• 42:23
  back in last year, I guess.
• 42:26
  My the first thing I said was, is leaving Las Vegas about the Sheryl Crow song?
• 42:33
  Oh, yes. Does it mean that I'm going to get to watch this or listen to the Sheryl Crow song
• 42:38
  was my first question. And we laughed it off.
• 42:41
  And I interpreted that to mean that, no, that you have nothing to do with each other.
• 42:45
  But in fact, I did some research today.
• 42:47
  And there is a connection.
• 42:49
  Sheryl Crow wrote her first her debut album Tuesday Night Music Club,
• 42:55
  which if you haven't given it a listen now or in a while, it's really it's pretty great.
• 43:01
  It's very listenable. It's got some really good stuff on there.
• 43:04
  She debuted that album in 1994 and appeared on David Letterman's show three weeks
• 43:11
  before John O'Brien completed suicide.
• 43:15
  With the song Leaving Las Vegas.
• 43:18
  And the song was written by her and another guy who is a part of a group of musicians in L.A.
• 43:25
  that called themselves the Tuesday Night Music Club.
• 43:28
  The guy that she wrote the song with was actually supposedly a friend or acquaintance
• 43:33
  of John O'Brien.
• 43:35
  And he kind of borrowed from the not really the story, but more like the imagery of the book
• 43:40
  and how in his contributions to that song and just interject, I think that goes to show that
• 43:47
  there's just such a tragedy here in the story of John O'Brien.
• 43:50
  I think he was really, really talented and was starting to make inroads in Hollywood,
• 43:56
  starting to meet people, starting to get in and could have maybe had a break, you know,
• 44:01
  beyond just this novel and the Rugrats episode.
• 44:05
  We will get to.
• 44:06
  Yeah, there was more.
• 44:07
  Unfortunately, there was so much more we could have gotten from this man.
• 44:11
  Yeah.
• 44:12
  So David Bearwald was the guy's name who co-wrote Leaving Las Vegas with Sheryl Crow.
• 44:19
  And I guess there was kind of a moment that happened after.
• 44:23
  So Sheryl Crow was on David Letterman.
• 44:25
  She was interviewed about the song and asked if it was autobiographical.
• 44:28
  And she gave kind of a mixed answer where she said, like, kind of.
• 44:33
  I didn't.
• 44:34
  I had no idea.
• 44:35
  I didn't I have nothing to do with Las Vegas.
• 44:39
  I was sort of writing it about L.A.
• 44:42
  And I guess there was at the at the time after John O'Brien's death, there was some outcry.
• 44:50
  People like rewatch that interview and said, oh, he decided to kill himself because Sheryl
• 44:55
  Crow didn't give him credit.
• 44:56
  He was really pissed off about it.
• 44:58
  And I guess there was some truth to that.
• 44:59
  He was very upset, but it seems pretty clear.
• 45:03
  And his sister has made a statement.
• 45:04
  John O'Brien's sister made a statement about how there's not a direct causal link between
• 45:09
  Sheryl Crow and her brother's death.
• 45:13
  Also this guy, David Bearwell, he kind of sounds like an ass.
• 45:15
  He was he like kind of threw Sheryl Crow under the bus for that, even though he is the one
• 45:20
  who who wrote the title of the song.
• 45:22
  And yeah, it was just really interesting to me because I did.
• 45:25
  I kind of popped in on Rob watching the film again today and just thinking about this connection
• 45:30
  of like the everything the L.A. scene represents, which not that I know anything about that
• 45:36
  personally, mostly just through watching Selling Sunset on Netflix.
• 45:42
  But yeah, just this this like the I get the sense that John O'Brien was it had a really
• 45:48
  ambivalent relationship with success.
• 45:52
  Like he was clearly a really driven artist.
• 45:54
  Like he had a lot in him.
• 45:56
  He wanted to create and get out into the world.
• 46:00
  And he seemed it seems like there's several stories that kind of show the way that he
• 46:04
  was like really upset when things didn't go as he would have wanted in his creative vision.
• 46:10
  It was really like he took it very personally.
• 46:13
  Well, like his one credit is an episode of Rugrats Toys in the Attic, which from what
• 46:19
  I read on the Internet was kind of a gimme job given to him by his sister.
• 46:25
  From what I understand, he was really upset with some of the changes they made to the
• 46:28
  script for what ultimately was an eight minute episode about Tommy Pickles and Angelica spending
• 46:35
  the weekend at Tommy's grandparents house and going into the attic to find some toys
• 46:40
  because deeper than that man like Nazi memorabilia, Angelica convinces Tommy that there's a ghost
• 46:46
  in the attic, so he doesn't want to go.
• 46:47
  But she knows there's toys up there.
• 46:49
  And she's like, I'm the one who told you there were ghost dummy.
• 46:52
  And then the grandpa comes and like a window opens and a sheet blows over the grandpa.
• 46:56
  So they think he's a ghost, but there's like there's no substance to it.
• 47:00
  It's it's Rugrats.
• 47:01
  I would be.
• 47:02
  Yeah.
• 47:03
  I mean, I cannot imagine getting too upset about my writing getting fucked up for a kids
• 47:07
  show.
• 47:08
  But it was all you have in that kids show.
• 47:11
  I mean, so you're saying how, you know, we could have probably got a lot more work from
• 47:14
  this guy if he survived.
• 47:15
  And I don't know that we would have at least in any large scale professional sense, because
• 47:22
  especially when you're working within a studio system, you can't be that precious with your
• 47:26
  own work.
• 47:27
  And to continue to get work, you need the way we talked about in art school is you need
• 47:32
  two of three things.
• 47:33
  You need to be the best, easy to work with or always on time.
• 47:38
  You could be easy to work with and always on time.
• 47:40
  You'll always have a job.
• 47:41
  You could be the best and an asshole, but you always show up.
• 47:45
  You'll always have a job.
• 47:46
  Yeah, I think you're absolutely right.
• 47:47
  And I think he would have been absolutely furious with some of the choices that Mike
• 47:52
  Figgis made with leaving Las Vegas.
• 47:54
  If he was upset about Rugrats.
• 47:56
  And I read a quote that his sister, Erin, said she thought the changes to his writing
• 48:00
  were totally justified, like that, like completely made sense because it's a kid's show.
• 48:07
  Tommy Pickles can't die at the end.
• 48:11
  I kind of want to tie a bow on the Sheryl Crow thing for a minute.
• 48:15
  What I found myself thinking about was the sort of the way that as Sheryl Crow's star
• 48:20
  was rising, John O'Brien's was setting and just the sort of what were the qualities that
• 48:25
  like sort of would set two people like this apart, these two paths that kind of crossed
• 48:30
  and then passed each other in this weird way.
• 48:33
  I mean, I don't know.
• 48:34
  I'm not trying to like I don't know a core reason why, but I think it's interesting
• 48:39
  to look at the way that.
• 48:40
  Yeah, I don't know.
• 48:41
  It feels like inappropriate in some ways to abstract this because John O'Brien, at the
• 48:46
  end of the day, was just he was a human being and he died in a really traumatic way.
• 48:51
  And Sheryl Crow, also a human being doing her thing.
• 48:55
  But if we can kind of like look at them as these two sort of archetypes or kind of see
• 49:01
  them as some things larger than themselves, I think I see John O'Brien as a person who
• 49:06
  yeah, like clearly his whole life, it seems like was just really, really, really in struggle,
• 49:12
  like never was a person who really was not at peace for his whole life and like just
• 49:19
  internalized so much and was just wrestling with so much all the time and created clearly
• 49:25
  some really powerful art out of that place.
• 49:28
  Sheryl Crow, a person who I mean, she got her start as a backup singer for Michael Jackson
• 49:33
  and endured in that setting.
• 49:35
  Like I watched an interview with her today where she talked about sexual abuse or sexual
• 49:40
  harassment that she experienced in, you know, in that kind of life and clearly had like
• 49:46
  she was a person who was able to deal with some pretty shitty life stuff and like find
• 49:52
  a way through it.
• 49:53
  Like she yeah, this is why trauma is trauma.
• 49:55
  It's a it's a perceptual experience.
• 49:58
  It's like what it's not the event itself.
• 50:00
  It's what people make of it, you know, and I think that I'm not trying to compare their
• 50:04
  like backstories at all, but just more this idea of like, yeah, that some people are cut
• 50:10
  out for this L.A. lifestyle thing and other people seem like they are going to struggle
• 50:15
  a lot more.
• 50:16
  And it's really sad.
• 50:17
  That's good, though.
• 50:18
  I had heard some of the Sheryl Crow stuff before, but I didn't get super deep into it.
• 50:26
  It's interesting to hear.
• 50:28
  It's so crazy that this can be a book, a movie and influence a song like that doesn't happen
• 50:34
  too often.
• 50:35
  It's almost egotting itself.
• 50:36
  Yeah.
• 50:37
  So it just needs a Tony Award winning play, right?
• 50:41
  Where Nicholas Cage played by Daniel Radcliffe.
• 50:46
  Oh, that's good.
• 50:47
  Actually, would just drink himself to death with a naked horse.
• 50:51
  Yeah, I think it would translate to this stage in that way, because the dynamic between Ben
• 50:56
  and Sarah is so juicy.
• 50:59
  Like oh, and it's rife with good soliloquies and monologues.
• 51:03
  Absolutely.
• 51:04
  Yeah, for sure.
• 51:05
  What would that what would the big toe tapping single be going for Tony?
• 51:10
  So it's a musical.
• 51:12
  Yeah, it's got to be.
• 51:16
  The hook is definitely like the shopping for all the booze.
• 51:19
  Yeah, yeah.
• 51:21
  It's a see my best kind of a situation.
• 51:23
  Oh, my God.
• 51:24
  No, it's they still use that fucking sting song.
• 51:28
  So I'm glad you brought that up, because I was thinking the funniest thing that I remember
• 51:32
  from that episode that we lost is that we were talking so much about like staying and
• 51:36
  edging.
• 51:37
  Oh, yeah.
• 51:38
  And then I remember anything else other than that.
• 51:42
  Well, I said it's really a shame that Sting and the Edge have the names they have.
• 51:46
  They should switch.
• 51:47
  Definitely switch.
• 51:48
  Maybe they will eventually, but they're keeping us hanging.
• 51:53
  They're edging us on.
• 51:56
  It's a beautiful film.
• 51:57
  It still holds up great.
• 51:59
  The performances are awesome.
• 52:02
  I still think it's weird how the movie ends with like the sitcom style credits where you
• 52:05
  just see Ben like smiling at the camera.
• 52:08
  Yeah, the last minute or so after like first, I was like, oh, my God, she gives killer hand
• 52:13
  jobs.
• 52:14
  And then I was like, oh, wait, no, that joke doesn't work because she fucks him sad.
• 52:19
  And then like, I'm like, OK, well, he died having sex, and that's pretty cool.
• 52:24
  And then he wasn't dead.
• 52:26
  And it was a weird roller coaster for me.
• 52:28
  Just reliving this.
• 52:30
  Yeah.
• 52:31
  And then finally, the credits roll and like I listen to that Sting song one more time.
• 52:36
  And then you came.
• 52:38
  Oh, you do a great Sting impression.
• 52:42
  I never knew you had one in the in the tank there in the chamber.
• 52:45
  Yeah.
• 52:46
  Ready to roll.
• 52:47
  Oh, Sting, always one in the chamber forever.
• 52:51
  One in the chamber.
• 52:52
  All right.
• 52:53
  We got back to where I wanted to be.
• 52:56
  I agree.
• 52:57
  I think it's a incredible movie.
• 52:59
  And like Nicolas Cage's transformation, just even throughout the movie, like ups and downs,
• 53:06
  the physicality of his drunkenness is so incredible.
• 53:11
  Like I never look at the film and think like that's somebody acting drunk, pretending to
• 53:17
  be drunk or putting on a show.
• 53:19
  This is like that's a drunk dude.
• 53:23
  He's drunk in some level.
• 53:27
  And I mean, it's it's both like upsetting to watch in like the hardest moments.
• 53:33
  It's entertaining.
• 53:34
  Well, I think one of the reasons this movie works as well as it does is because of his
• 53:38
  performance and how much you genuinely tend to like Ben, despite what he's doing is horrible.
• 53:45
  You hope that somehow by the end, he'll be brought out of it by Sarah or something like
• 53:51
  you want that for him, even though you know it's not going to happen.
• 53:54
  Yeah, I know.
• 53:55
  I mean, I think it's a good thing that he's standing up for him and be like, well, he's
• 53:58
  not hurting anybody else, but like, obviously, yes, he hurt Sarah a lot throughout the film.
• 54:04
  But ultimately, like he was doing this before she was there, too.
• 54:08
  Yeah.
• 54:09
  So well, something that's coming up for me right now is thinking about the way that I
• 54:13
  think Sarah represents for me, John O'Brien's attempt to question his own motives in because
• 54:24
  it was like kind of a slow motion suicide.
• 54:28
  And then he finally decided he was just going to end the whole thing with a gun rather than
• 54:32
  continuing to do alcohol.
• 54:34
  But Sarah represents this like will to live in spite of it, because you might look at
• 54:40
  Sarah and be like, what does she have to live for?
• 54:44
  She's got this shit bag pimp that beats her and cuts her.
• 54:47
  She hangs out in Las Vegas.
• 54:50
  She gets raped by these piece of shit, teenager football players.
• 54:57
  She even falls in love with a guy who has no will to live.
• 55:00
  Like what does why does Sarah want to continue going on?
• 55:05
  And I think she represents a character that shows resilience in spite of her circumstances.
• 55:13
  Whereas you look at a guy like Ben, he's got everything.
• 55:17
  He's got a fancy life in L.A.
• 55:19
  He's got a wife and a kid.
• 55:21
  He's got a successful career and he just pisses it all away.
• 55:25
  And it just doesn't make sense.
• 55:27
  And I think John O'Brien with the interplay between these two characters is trying to
• 55:33
  ask the question, maybe to your point, Rox, about Sheryl Crow and John O'Brien.
• 55:39
  What allows some people to thrive in spite of the shit that they find themselves in,
• 55:45
  where other people fall into states of depression and addiction and suicidality?
• 55:51
  In a way, Ben is the more likable character.
• 55:56
  There is something about him that you're really rooting for him.
• 55:59
  Where I found myself relating to Sarah with a lot of ambivalence.
• 56:04
  You know what I mean?
• 56:05
  Like I didn't really feel like I was rooting for her to get her life together.
• 56:08
  Like what is she even about?
• 56:10
  Like there's nothing very deliberate about her.
• 56:12
  Like what is she trying to do with her life?
• 56:16
  And in her therapy sessions, those cutaway scenes in therapy, those are some of the more
• 56:21
  revealing passages from the film.
• 56:24
  All she's doing is like talking about Ben, talking about her relationship with Ben.
• 56:28
  Like where is Sarah?
• 56:29
  What is driving Sarah on?
• 56:31
  What is the thing that is why does she want to live?
• 56:34
  What's continuing to drive her on?
• 56:35
  So anyhow, all of those questions land really strongly in the book.
• 56:40
  And I do think they were adapted to film well enough by Mike Figgis and his team that it's
• 56:46
  a very profound film.
• 56:49
  Super glad to have watched it and read this book.
• 56:52
  Well, to that last point that you just made, Rob, I think something that does stand out
• 56:57
  to me is that and I just yeah, as a just to be clear about where I'm coming from when
• 57:03
  I say this is as a person who definitely tends towards like hyper focusing on my own internal
• 57:09
  experience to the point that I can I know that I can get lost and lose out on remembering
• 57:16
  that other people are actually having their own lives and their own experiences and thoughts.
• 57:20
  And I think that's kind of core to the experience of depression and of suicidality is this inability
• 57:28
  to think beyond that.
• 57:29
  It's this tunnel vision that gets created.
• 57:33
  So I think that if there's a question around like what is going on for Sarah, then I see
• 57:38
  that as in a way of representative of that, the mind frame of a character like Ben or
• 57:44
  of perhaps a person like John O'Brien when you're in the real depths of that kind of
• 57:51
  experience of pain to get nerdy for a second.
• 57:57
  Something that I thought a lot about while watching the movie and while talking to you,
• 58:01
  Rob, about the about John O'Brien and the book was kind of thinking about this through
• 58:05
  the lens of a model that's like used a lot in addiction, like substance use treatment
• 58:12
  in terms of in counseling and social work, which is this stages of change model.
• 58:18
  It's the idea that there's they're kind of identifying like five stages that people tend
• 58:23
  to go through and they're not linear.
• 58:25
  It's like you kind of loop back around a lot of times or go back and forth between multiple
• 58:30
  from pre contemplation to contemplation, preparation, action and maintenance.
• 58:37
  And I feel like where this film really lives and the book to presumably is in the contemplation
• 58:42
  phase, which is defined by ambivalence.
• 58:44
  It's the sense of like, OK, I'm conscious that there's something in my life that's not
• 58:48
  working and I can see how things could be different, but I also don't want them to be
• 58:54
  different because change is scary and it's too much.
• 58:58
  And I think that the only I think that to create a work like this represents on some
• 59:05
  level like a will to live like you don't make things unless you are still of the world,
• 59:12
  you know, unless you believe that things are worthy of being made.
• 59:17
  And so and I see that in Ben's relationship with Sarah, that there is a part of him that
• 59:22
  wants this, that wants to be loved, that wants this connection.
• 59:27
  And then there's also a part of him that is very settled in this plan that that's not
• 59:34
  going to happen.
• 59:36
  And so, yeah, I think that's why this is so tragic is like that it really put as the viewer
• 59:43
  or the reader, you're really kind of like in the depths of that ambivalence, which is
• 59:48
  just so painful.
• 59:51
  And to see the way that that can go the direction of like you don't get to the next stage.
• 59:56
  That is where it ends for some people.
• 59:58
  Yeah, that's a tie in Cheryl Crow one last time.
• 1:00:02
  I think it puts a really intense it made me think about I was reading lyrics to the song
• 1:00:08
  leaving Las Vegas, which, like I said, I think we're really kind of inspired more by the
• 1:00:12
  vibes of Las Vegas than the story itself.
• 1:00:16
  Have you ever watched the music video?
• 1:00:18
  No, I haven't.
• 1:00:19
  How would you describe it?
• 1:00:21
  If I remember correctly, it's a lot of like her playing a guitar in the desert and shots
• 1:00:30
  of like the entering Las Vegas sign and things like that.
• 1:00:35
  It wasn't much to speak of.
• 1:00:38
  It's just kind of like a weird music video for the whole subject.
• 1:00:45
  It's really interesting.
• 1:00:46
  It's dawning on me now how interesting it is that Las Vegas is the backdrop for this,
• 1:00:50
  and what you're saying, Roxanne, about the fact that Ben and Sarah both it's like they
• 1:00:56
  they struggle.
• 1:00:57
  They both struggle from a lot of entropy where like they're having a really hard time making
• 1:01:04
  any changes for the good, where that's like the whole draw of Las Vegas.
• 1:01:09
  You go there so you can like get rich quick.
• 1:01:12
  You can make a big positive change for your life quickly and really.
• 1:01:17
  Yeah.
• 1:01:18
  Right.
• 1:01:19
  And then everything happens for yourself.
• 1:01:21
  Or even if you don't get rich, you like have a huge like pleasurable experience.
• 1:01:26
  You go and indulge like it's it's a place of immediacy.
• 1:01:31
  Whereas what you're pointing out is we we meet two characters struggling to move beyond
• 1:01:38
  like their their their stability.
• 1:01:40
  Yeah.
• 1:01:41
  This idea that they're they're kind of two ways to leave Las Vegas.
• 1:01:45
  You're either you're Sheryl Crow and you you know, you're this this the story of you're
• 1:01:50
  leaving in the sense that you are putting it behind you or you're leaving in the John
• 1:01:54
  O'Brien sense.
• 1:01:55
  You know, that's your your final act.
• 1:01:59
  Your exit stage left.
• 1:02:01
  And the line that I keep coming back to in the song is such a muddy line between the
• 1:02:05
  things you want and the things you have to do.
• 1:02:09
  And you know, if you read that through an addiction lens, I think that.
• 1:02:14
  Yeah, it's really powerful to think about the the drive for for pleasure, for escape,
• 1:02:22
  which is really like essential, I think, and healthy.
• 1:02:26
  And then, yeah, that where is the line between when that becomes something that is this self
• 1:02:33
  destructive cycle to a really tragic end?
• 1:02:38
  Still a great film.
• 1:02:39
  Again, a hard film, but a great, powerful film and an amazing performance by Nick Cage.
• 1:02:45
  There's a reason he has an Oscar because of this.
• 1:02:47
  Yeah, very, very much deserve the praise that he got.
• 1:02:51
  Yeah, nothing but love for this all the way around.
• 1:02:54
  Good movie.
• 1:02:55
  Good cage.
• 1:02:56
  Great orange shirt.
• 1:02:57
  It's true.
• 1:02:58
  Is it orange or is it like salmon?
• 1:03:01
  It struck me as salmon.
• 1:03:03
  It's very orange in that picture, which I'm very familiar with because I see what you're
• 1:03:06
  saying.
• 1:03:07
  No, I think that's more of a salmon.
• 1:03:08
  Oh, give us a dick joke, Nick.
• 1:03:10
  Let's bring the party back up.
• 1:03:12
  Oh, bring it up.
• 1:03:13
  Dick jokes on command.
• 1:03:14
  God, this is hard.
• 1:03:15
  Give us another dick acronym.
• 1:03:16
  You know, I'll come up with something that was just added.
• 1:03:18
  Yeah, put it in post.
• 1:03:19
  OK, so what movie goes forward?
• 1:03:20
  Obviously, we already decided this, but let's just put it officially.
• 1:03:21
  Absolutely.
• 1:03:22
  Leaving Las Vegas, man.
• 1:03:23
  This is.
• 1:03:24
  I mean, it's a very, very good movie.
• 1:03:26
  I mean, it's a great movie.
• 1:03:27
  It's a great movie.
• 1:03:28
  It's a great movie.
• 1:03:29
  I mean, it's a very, very good movie.
• 1:03:31
  but let's just put it officially.
• 1:03:33
  Absolutely.
• 1:03:35
  Leaving Las Vegas, man, this is...
• 1:03:40
  I look forward to the day when we watch a movie
• 1:03:44
  that I can just say is more deserving of going on than this
• 1:03:50
  in a head-to-head.
• 1:03:52
  What are you guys doing with new cage movies
• 1:03:54
  that are coming out?
• 1:03:55
  We watch them, we talk about them.
• 1:03:57
  I think at some point we'll discuss them.
• 1:03:59
  We're more enthusiastic about it than Sean makes it sound.
• 1:04:02
  We go there, we go to the theater, we see the films
• 1:04:05
  and we put out an episode.
• 1:04:06
  We try to do it within a week
• 1:04:09
  or within the week of it opening.
• 1:04:11
  I think eventually I wanna do a thing
• 1:04:13
  where we kind of discuss the movies that have come out
• 1:04:15
  or didn't make the bracket and be like,
• 1:04:18
  oh, where do we think this could have fit in?
• 1:04:20
  Yeah, where would it fit in just a general...
• 1:04:21
  The ghost bracket.
• 1:04:23
  Watching all the movies that he's been in.
• 1:04:25
  There's so many movies that just have Nick Cage.
• 1:04:28
  We'll just do some masculine and a tent
• 1:04:30
  and talk about Nicholas Cage, like what could have been, man?
• 1:04:34
  It's like, what deserved a role in this?
• 1:04:37
  You could be 200 hours of audio to edit.
• 1:04:41
  Pass me that wooden duck.
• 1:04:45
  I was thinking about...
• 1:04:45
  But I don't think none of it got recorded
• 1:04:48
  because we were fucking high.
• 1:04:49
  God, again.
• 1:04:52
  I was just thinking about how much time you guys have spent
• 1:04:56
  on this podcast so far and for there still to be a matchup,
• 1:05:01
  this poorly weighted, it's so clearly...
• 1:05:05
  This is only the second round.
• 1:05:06
  Yeah, how are you gonna do?
• 1:05:08
  When is it gonna get interesting?
• 1:05:09
  This is clearly an overmatch, right?
• 1:05:12
  I'm sorry you don't like our podcast.
• 1:05:14
  No, I'm applauding you.
• 1:05:16
  I'm saying you guys are going so slow
• 1:05:18
  and taking your time and really getting into the material
• 1:05:20
  that even this far in, you still have a matchup like this.
• 1:05:23
  What is the test of death go up against first?
• 1:05:25
  Oh, God.
• 1:05:26
  It's something twice as bad.
• 1:05:27
  It's probably like City of Angels or some shit.
• 1:05:31
  Yeah, you guys hated that.
• 1:05:32
  City of Angels was a terrible movie.
• 1:05:34
  That can get fucked.
• 1:05:35
  I told you my ex-wife loved it.
• 1:05:37
  We talked about that in the last episode.
• 1:05:40
  Your ex-wife is wrong.
• 1:05:41
  That might be the reason your laptop got stolen
• 1:05:44
  because that marriage was doomed
• 1:05:45
  and then it just somehow transferred its doom energy
• 1:05:48
  onto your laptop.
• 1:05:49
  I'm sorry.
• 1:05:50
  I owe you money.
• 1:05:51
  Leaving Las Vegas goes up against Joe next time.
• 1:05:54
  Ooh.
• 1:05:54
  That's a good matchup.
• 1:05:55
  That's a good conversation.
• 1:05:57
  That's a depressing weekend.
• 1:05:58
  It's a very depressing weekend.
• 1:06:00
  I don't, mm, I need more alcohol.
• 1:06:04
  What was the other question?
• 1:06:05
  Why did I bring this up?
• 1:06:06
  What did Kiss of Death go up against?
• 1:06:10
  Yeah, how did it make it to City of Angels?
• 1:06:12
  Yeah, okay.
• 1:06:15
  City of Angels is dog shit.
• 1:06:16
  Yeah. It's so bad.
• 1:06:17
  Yeah, this is one that just squeaked by
• 1:06:18
  because the competition was so poor.
• 1:06:20
  Yeah.
• 1:06:21
  Yeah, it was bound to happen once or twice.
• 1:06:23
  The challenge of this fucking concept that we have,
• 1:06:25
  it's like it takes forever
• 1:06:27
  and there's so many bad movies in the mix
• 1:06:30
  and we're whittling it down
• 1:06:31
  and the Slicksteen is way better than the Round of 32.
• 1:06:34
  Wicker Man's still going strong.
• 1:06:36
  Yeah, baby, as it should be.
• 1:06:38
  So is Army of One.
• 1:06:39
  As it should be.
• 1:06:40
  I've come around on that one.
• 1:06:41
  I fucking love Army of One, man.
• 1:06:43
  Man!
• 1:06:46
  I'm amazed you guys didn't blow my fucking levels on that.
• 1:06:49
  Well, I did Chocolate Rain away from the mic.
• 1:06:52
  Yeah, that's true.
• 1:06:53
  Thank you. I appreciate that.
• 1:06:54
  Breathe away.
• 1:06:55
  Yeah.
• 1:06:58
  Can I make a suggestion for a thing you guys can do
• 1:07:00
  for your Patreon to make some money?
• 1:07:02
  Yes.
• 1:07:03
  We love making money.
• 1:07:05
  Well, we love the concept.
• 1:07:06
  We haven't tried it yet.
• 1:07:07
  I have not been able to stop thinking about the moment
• 1:07:10
  in between worlds where
• 1:07:11
  the cage reached out loud from me.
• 1:07:15
  Oh, yeah.
• 1:07:17
  What was that?
• 1:07:17
  The Inuit clapped.
• 1:07:18
  The Inuit clapped.
• 1:07:19
  What would you think about, like, you know, writing our own cage erotica?
• 1:07:25
  Yes. And then like shooting videos of yourselves reading it
• 1:07:29
  and like the same style where you're breaking the wall.
• 1:07:32
  If you guys write us that poetry, we will read it.
• 1:07:35
  Yeah. Yeah.
• 1:07:36
  Well, yeah, let's lay it on the line.
• 1:07:38
  Write us your Nick Cage poetry.
• 1:07:40
  I'll buy a smoking jacket and we'll find a fireplace.
• 1:07:43
  Perfect. We'll make this happen.
• 1:07:45
  Yeah. We'll rotate who wears who reads.
• 1:07:48
  Yeah. It's good.
• 1:07:49
  I like this idea. Only for the patrons.
• 1:07:51
  Sign up for our Patreon.
• 1:07:53
  Thank you to our Sparkle buddies, Josh, Sean, Josie, Rico, Matt, Adam and Bill
• 1:07:58
  and our kids dancers, Ira, John, Freeman, Lance and Nathan.
• 1:08:02
  But thank you guys for being here.
• 1:08:04
  What's that thing you just did?
• 1:08:05
  What a pleasure. A segue.
• 1:08:07
  That was a segue is a let's go home.
• 1:08:10
  I'm tired and have a new baby.
• 1:08:12
  Oh, do you guys have anything you want to promote or just put out there?
• 1:08:16
  Well, I would highly recommend people read the book.
• 1:08:19
  It's a super easy read.
• 1:08:21
  You can make it through and in a weekend.
• 1:08:25
  It's one hundred and eighty nine pages and it's rather profound.
• 1:08:29
  I think John O'Brien is kind of a
• 1:08:33
  a lost treasure of U.S. American literature.
• 1:08:36
  So, yeah, I'll just plug the book. Nice.
• 1:08:38
  And I'll plug asking for help, getting help if you need it.
• 1:08:42
  Very important.
• 1:08:43
  Very important. I'm going to close on
• 1:08:47
  Wang willing and not to gangrenous.
• 1:08:52
  Wow. Bye bye.
• 1:09:06
  It's been a minute since I've said that.
• 1:09:08
  Yeah, it's true. You're right.
• 1:09:09
  It's not an audience time.
• 1:09:11
  No, not they don't know shit.
• 1:09:13
  For as far as they know, we just watched the crudes, too, which was great.
• 1:09:17
  The recruiting, the recruiting.
• 1:09:20
  So I just wanted to make like a louder cruder
• 1:09:26
  joke.
• 1:09:27
  Yeah, that's a bigger cruder.
• 1:09:30
  Crudier. Yeah.
• 1:09:31
  The day.
• 1:09:33
  No.
• 1:09:36
  It was what it was a six hour class.
• 1:09:39
  Dang. That's why you need the staff.
• 1:09:43
  You can fall asleep.
• 1:09:44
  I guess, man, it was a pain to get your rest.
• 1:09:47
  It was a painting class and the long pose was seated, so it really wasn't that bad.
• 1:09:51
  The long pose.
• 1:09:53
  Really being generous with yourself there.
• 1:09:57
  All right. That was pretty good.
• 1:09:58
  I'll put it up. All right.