Latest / Off The Shelf With Phil and Dave- A Movie Review Podcast / 1992's Glengarry Glen Ross

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1992's Glengarry Glen Ross · Off The Shelf With Phil and Dave- A Movie Review Podcast

• 0:00
  I'm in sales if you didn't know. I've heard.
• 0:02
  You but in the in the game yeah, you split your time basically
• 0:06
  5050 it's sales and drafting for now that's your life right for
• 0:11
  now don't want to up the drafting lower the selling
• 0:14
  always be drafting always be drafting dream I you know I I
• 0:19
  found a new addiction within the drafting.
• 0:22
  Oh no, before it was the draft itself, which is 93 rounds.
• 0:26
  Now it's post draft where you try to make trades afterwards
• 0:29
  and and get the exact players you want.
• 0:31
  OK, so you're trying to wheel and deal 2 for one deals, 3 for
• 0:35
  three deals and you're trying to manipulate the system.
• 0:38
  OK, exploit the trade logic a little bit, which I'm I'm used
• 0:41
  to be a purist. I'm not a purist anymore.
• 0:44
  You've poisoned, you've sullied. I have.
• 0:47
  But just like the sales, I do what it takes.
• 0:50
  I guess that's what it comes down to.
• 0:51
  Yeah, they were. Sweetened the deal there.
• 0:54
  Here's a little accessory for your troubles.
• 0:58
  Absolutely. Now you you got out of the game.
• 1:00
  I was not. You were really in the game for
• 1:02
  this. I left the game because of the
• 1:04
  game. Actually, I left in large part
• 1:05
  because of the game. Yeah.
• 1:07
  You love the movies, That the sales part was not your cup of
• 1:10
  tea. I think you had.
• 1:12
  We had a very small cell phone section.
• 1:14
  Yeah. When we worked together at the
• 1:16
  video store. And you didn't really hang
• 1:18
  around that area. So little time there.
• 1:20
  You did the inventory. Me, I would scan them many, many
• 1:23
  times at the old store. I would.
• 1:25
  We had a sort of like an A store about 6 blocks away.
• 1:29
  And so I would have, oh, it's called an A store.
• 1:31
  Yeah. Now it's gold, silver, bronze.
• 1:33
  We were AC store. Yeah, where I worked, right by
• 1:35
  the beach. I don't doubt it.
• 1:36
  Yeah. And.
• 1:38
  Yeah, often some would be. Hey, do you have any of these?
• 1:41
  No. Go up to Arbutus, Just they'll
• 1:44
  help you. We don't really do that here.
• 1:46
  Yeah. Don't you make Commission?
• 1:48
  Yeah, I don't care. Doesn't matter, just worry about
• 1:50
  it. Just go up there, still handle
• 1:52
  it. Well, since you've left, we and
• 1:54
  this word will come up many times this episode leads.
• 1:58
  Oh yes, we have something called stat flow leads.
• 2:01
  OK. It's a program in which they
• 2:04
  have a database of phone numbers and we message them outbound.
• 2:08
  Wow, we have 3 or 4 messages to choose from.
• 2:11
  Yeah, more or less. Before we even had a name for
• 2:13
  it, you were doing. Exactly. so-called chat starters
• 2:16
  and then the second message if they don't respond we have to
• 2:20
  call them wow. As a store we get about 1000 of
• 2:23
  them a month. Wow, and we have to call in
• 2:26
  theory 50% of them 500 calls in theory, Sure.
• 2:32
  Now I gotta know who listens to this before I get into.
• 2:35
  This right you've given you've. Said manipulates already.
• 2:37
  Yeah, exactly. And yeah, so this is this was
• 2:41
  injured like just a few years ago.
• 2:42
  So we got into the sort of Yikes, cold calling.
• 2:45
  It's enough that having to sell when they come to you totally,
• 2:48
  you know, like you're a customer service you're great at it.
• 2:50
  You did at the the airport. For a decade.
• 2:53
  Decade, Yeah. Yeah, so you're you're no,
• 2:55
  you're no stranger to. That not at all.
• 2:58
  I'm totally fine with that. In final three, an inbound call
• 3:01
  center I worked at pretty briefly briefly and there is
• 3:03
  that feeling of there's something about it's an inbound.
• 3:06
  I don't actually they're calling you.
• 3:08
  I'm not. They're calling me with a
• 3:09
  problem and I'm trying to fix. It and up so.
• 3:11
  I'm sure, but I'm not trying to create the problem.
• 3:14
  Yeah, to fix or whatever. Exactly.
• 3:16
  It's a whole different ball game when it comes to like field
• 3:19
  sales, which Rogers has obviously the door to door which
• 3:23
  this. It's very local ref call me I'm.
• 3:26
  Surprised it still exists because people have such a bad
• 3:28
  sort of association with. My reaction when someone pulled
• 3:31
  into the driveway. Yeah.
• 3:33
  Exactly. Yeah.
• 3:33
  Oh, here we go. Get off my law.
• 3:35
  And it's not. That's Jehovah, am I right?
• 3:37
  Can I say that? I think that.
• 3:39
  We're fine people. I got no, I got no issues, no
• 3:41
  qualms. Sounds like you do.
• 3:43
  No, no, I don't. I don't even understand it.
• 3:46
  I don't give them the time to explain it.
• 3:49
  Hello and welcome to Off the Shelf with Phil and Dave, the
• 3:54
  movie talk show where each week one of us takes a movie off our
• 3:56
  shelf, presents it to the other, and discusses it at length.
• 4:04
  This week we've got Coming Off of My Shelf 1992's Glengarry
• 4:10
  Glen Ross cast of the greatest actors alive.
• 4:15
  I wouldn't go that far, but deep bench.
• 4:17
  Pretty deep bench. Trying to one up me here.
• 4:20
  We've got Jack Lemmon. Of course we've got Al Pacino.
• 4:25
  We've got Ed Harris. Kevin Spacey, can we say that?
• 4:27
  We can say Kevin Spacey, we can't praise him, but we can't
• 4:30
  praise his name. I think terrible performance.
• 4:33
  Exactly. Exactly.
• 4:34
  That, I think is a prerequisite. Yeah, Alec.
• 4:36
  Baldwin. Questionable.
• 4:39
  I think we can still say nice things about him, but it's
• 4:41
  around the line. And Alan Arkin, Yes.
• 4:45
  Just a just a banger. Yeah.
• 4:47
  Directed by James Foley, written by the the great Pulitzer Prize
• 4:50
  winner. He did win.
• 4:52
  David Mamet. He won fair and square, air and
• 4:54
  square. There's a bit of a debate about.
• 4:56
  That. That's right.
• 4:57
  Yeah. Writer of The Untouchables,
• 4:59
  available in the archive. Here we go.
• 5:01
  That name when you. Mention it I recognize it and I
• 5:04
  felt like we did one of his movies like this year so we did
• 5:07
  yeah that was this year that was this year there was that you
• 5:10
  know where he's here ended the lesson and never stop fighting
• 5:14
  till the fight is done. Very kind of mamity, right
• 5:17
  airing style. We've we've pointed out in that
• 5:19
  episode. So I wonder what your thoughts
• 5:23
  are maybe going into this movie. How how that kind of reconciled.
• 5:26
  So, David, welcome back. Thank you.
• 5:29
  Great to be here. Great to be here.
• 5:31
  As always, of course, yes. How are things and what are your
• 5:35
  thoughts in the movie initially? Gut instincts, if you will.
• 5:40
  Philip, I'm doing great. Thank you so much for asking.
• 5:43
  I do want to apologize in advance if I admitting any foot
• 5:46
  odor problem. I've been wearing a pair of
• 5:48
  shoes that I really like. OK.
• 5:50
  But they're they're known to have a bit of a bit of a smell.
• 5:54
  OK. So I hope it's not.
• 5:55
  If they're known, maybe you shouldn't wear them anymore.
• 5:58
  They are comfortable. Let me tell you, they really
• 6:00
  look good on me. OK, But I do suffer from foot
• 6:03
  sweat. OK, I want to come publicly.
• 6:06
  Halitosis of the toes, is that is that what it is?
• 6:09
  OK. I don't know why.
• 6:10
  I don't know what causes it. I mean, I have good foot health.
• 6:13
  I'd like to think so anyways. And also I want to address a
• 6:17
  mistake I had made in our our last live episode.
• 6:20
  OK, gotta go back a few weeks for that.
• 6:23
  And I said a one hit pony. Oh yeah.
• 6:27
  And you didn't correct me on it and I appreciate it.
• 6:29
  As you know, I try not to correct every single mistake.
• 6:31
  You see what I did though? I took one trick pony and mixed
• 6:35
  up with one hit wonder. You did?
• 6:36
  Yeah, I did. So that's that's what happened
• 6:38
  there. But when I listened to it, I'm
• 6:40
  like, whoopsie, Daisy. I am educated.
• 6:46
  It's another Rickyism. But yes, anyways, how are you?
• 6:49
  How are you? You mean on the board?
• 6:52
  Yes. I'm fucked on the board, Dave.
• 6:55
  I can't work under these conditions.
• 6:56
  You know, you know, and you would be, if you work for Rogers
• 6:59
  today, you would be, you'd be last place on that, on that
• 7:02
  board. It's a big thing.
• 7:03
  It's a big thing. We call it the heat map.
• 7:05
  OK, so you're hot and running hot and cool.
• 7:07
  So when my boss, my boss calls me, how you doing?
• 7:10
  I'm like on the heat map or how am I doing?
• 7:12
  Like, is this a personal call? Usually both.
• 7:16
  He's actually really good boss to have.
• 7:18
  I want to come out and say it. He's very sales driven, very
• 7:20
  numbers driven, loves the heat map.
• 7:23
  It's a bunch of categories of sales and you want to be green
• 7:26
  in each one. And then you get points, right?
• 7:28
  And you get more points if you're above national.
• 7:30
  Do you want to be at Target above national?
• 7:33
  Three points. OK, I'm up there a lot of the
• 7:35
  time. No doubt.
• 7:36
  Yeah, you're just you got a salesman mentality.
• 7:39
  I I do, but I take pride on being a pretty honest salesman.
• 7:44
  Yeah, I've seen you walk away from a couple of doozy sales.
• 7:47
  I have to out of pride, and I respect that.
• 7:50
  I need the R.E.M., and I can't get the R.E.M.
• 7:52
  If I don't sleep with a clear conscious.
• 7:54
  Sure. Well, that must be a new thing.
• 7:57
  It's developed in the last last few years.
• 8:00
  I just don't go anywhere or do anything.
• 8:02
  I can stay out of trouble, keep it clean.
• 8:04
  Yeah. But there are still sometimes
• 8:06
  where I'm like, I'm going to do something here, I'm not going to
• 8:08
  be completely clear about it, knowing that I'm somewhat taking
• 8:12
  advantage of a situation. Sure.
• 8:14
  So I do have a little bit of salesmanship, but I really my
• 8:16
  numbers come from being just a genuine people guys.
• 8:20
  Yeah. And it's the personality, right?
• 8:22
  Yeah. So that's really what I
• 8:24
  encourage my staff to do as well.
• 8:26
  But everybody has their strengths.
• 8:27
  Yeah, absolutely. It's funny, you mentioned the
• 8:29
  hot and cold. Before we get too deep into the
• 8:31
  movie, or even the movie at all, I'm not sure if you notice, but
• 8:34
  almost all of the first half of this movie is played with deep
• 8:38
  Reds and deep Blues off one another.
• 8:40
  The opening sequence where Shelley's on the telephone is a
• 8:44
  very red. Yeah, notice red, right.
• 8:47
  And then Moss walks in and it's very blue and they're sort of
• 8:50
  contrasting one another. You pick up on those things,
• 8:53
  you're you're good at that, not going to sales, but you're good
• 8:56
  at that. Certainly and I was definitely
• 8:58
  not good at sales, but there anyway.
• 9:00
  So it's just funny you mentioned the heat map, right?
• 9:02
  Is it is definitely a thing. But as far as on the board,
• 9:05
  that's just a for whatever reason, this movie has had
• 9:08
  innumerable quotes my brother and I would pick up on over the
• 9:12
  last Yeah, this was 30 plus years and Christmas time of
• 9:15
  quotes. Oh my gosh.
• 9:16
  So this was on a black box era. So I just I we just watched this
• 9:20
  on repeat like often. It was so ubiquitous.
• 9:24
  I'm time. Yeah.
• 9:25
  And it was so funny and kind of tragic even then, but but
• 9:29
  particularly funny in 92. I was only 13 years old, but I
• 9:32
  thought this is just great. The dialogue just moving so
• 9:36
  fast, so sharp. But more specifically these like
• 9:38
  kind of lines, right, whether it's brass balls, whether it's
• 9:41
  the board, I'm fucked on the board.
• 9:43
  My brother for years and I you know, how was school OK, but
• 9:48
  what you know about the board anyway, So just it was fun to
• 9:51
  revisit this movie. I haven't seen it.
• 9:53
  Probably five years. Five years did.
• 9:57
  Did we not watch it together? We did.
• 10:00
  That probably was the last time. Yeah, 'cause it feels like it
• 10:02
  would have been around 2018. It would have been prequel
• 10:05
  Vidian years. Yes, that's true.
• 10:06
  So. 20/18/20 I don't know why. 'Cause.
• 10:09
  We we would get together and and play hockey, the video game, not
• 10:13
  the sport. It's been clear about that.
• 10:16
  But we weren't doing this. No, this was just for pleasure.
• 10:19
  We used to watch. Movies.
• 10:19
  Yeah, which is strange because I usually don't watch movies at
• 10:21
  home. Yes, well, I would.
• 10:23
  Bring with a man with a man. Yeah, I'd bring a stack.
• 10:25
  Yeah, that wouldn't have been the last time, Now I think about
• 10:27
  it, because that would have been watching it on a DVD2 disc, DVD
• 10:31
  collector's edition, of course. But since Shout Factory has put
• 10:35
  out a Blu-ray. No 4K upgrade on this yet.
• 10:38
  Haven't seen it. Because you know those Blues and
• 10:40
  Reds, you know, like, yeah, yeah.
• 10:43
  Yeah, so it did get a Blu-ray upgraded within the last few
• 10:46
  years, and I was happy to. Chris looking, Chris.
• 10:48
  Absolutely. It's just such a great movie, it
• 10:50
  doesn't even matter. Yeah, I mean, visually, you
• 10:52
  could close your eyes, Yeah, if you've watched this a few times
• 10:55
  and you can just picture what's happening on the screen because
• 10:58
  it's really dopamine dialogue. Totally mainline.
• 11:01
  You know, that's it. It's great.
• 11:03
  I'm really, I was really impressed.
• 11:04
  I remember watching it five years ago and being really
• 11:07
  impressed with it. Like an action movie, a dialogue
• 11:09
  is I think what I coined it. I didn't steal it.
• 11:12
  I came up with that. Someone stole it from me
• 11:15
  somehow, even though they said it 20 years ago, but that was my
• 11:20
  first time watching it. I remembered a good chunk of it.
• 11:24
  I remembered most of the characters in the movie, if if
• 11:27
  not all. I'm just like Shelley Levine.
• 11:31
  Shelley, the Machine. Levine.
• 11:32
  And Harris, obviously Baldwin, who is not in the play, is that
• 11:35
  correct? Written specifically for him for
• 11:39
  this movie. At his request.
• 11:41
  I think the story is that he was going to be cast as one of the
• 11:45
  actors. Williamson maybe?
• 11:47
  Not sure, OK, but he was supposed to be cast and there
• 11:51
  was some issue. He was filming something else or
• 11:53
  something like that. And basically they were like
• 11:55
  Basic Instinct, we can get you for two days.
• 11:59
  And so Mammoth wrote this character, the play begins and
• 12:06
  the speeches already happened. So there the pressure is on,
• 12:10
  right, OK, that's a specific, but the play starts sort of post
• 12:14
  meeting and they're talking about the do or die top name on
• 12:18
  the sales board, right, All of those things or that's all part
• 12:21
  of it. It's the setting that up as
• 12:24
  being the the stakes, let's say got you that is new to the
• 12:28
  movie. Well, you know, it's a great
• 12:30
  speech. It's a phenomenal speech.
• 12:31
  It's really the if that is your more or less, that's your
• 12:35
  opening right now. People will often confuse this
• 12:38
  and say, I love the opening scene, assuming that that is
• 12:41
  Baldwin, similar to saving Prior Ryan.
• 12:43
  People will say, oh, I love the the opening scene.
• 12:46
  That's the beach. That's the beach, and there's so
• 12:48
  much of that bullshit before in Saving Private Ryan that doesn't
• 12:52
  have anything to do with the beach.
• 12:53
  So these opening scenes are Shelley talking to some random
• 12:57
  person on the phone we don't know who, sales conference, so
• 13:00
  on. Moss comes in hard.
• 13:02
  As he does. As he does a bunch of bullshit
• 13:06
  and then there's this preamble at the Chinese restaurant, yeah,
• 13:10
  And we kind of get a sense of where everybody's at.
• 13:13
  Roma's kind of in the mix, whatever else.
• 13:15
  So then we get to Baldwin. But even as you say that, I
• 13:19
  still I. Open a moment for a moment,
• 13:21
  Baldwin. We talk about 1st 15 right at
• 13:24
  these, like you got to hook the audience, you got to sort of get
• 13:26
  them in there and there's an explosion, there's sparks or
• 13:29
  there's something that happens, an exciting incident, right?
• 13:32
  And in this instance, that speech is basically that.
• 13:35
  It is the action set piece that opens your movie.
• 13:39
  It's the car blowing up. These people are kind of living
• 13:41
  a normal life, they assume, struggling and frustrated, but
• 13:45
  this is the just the job. Real estate buddy.
• 13:48
  And then you get Baldwin coming to blow the whole thing up.
• 13:50
  And it's it's an incredible, incisive way to light the spark
• 13:55
  of this movie. One thing I will see say about
• 14:03
  sales in general, there's always there's that pressure.
• 14:07
  But when you, when you deal with an inbound situation, you don't
• 14:11
  have, you have pressure, you have numbers to hit and all
• 14:14
  that. But going outbound, that's a
• 14:17
  whole other pressure level because you got to go after the
• 14:20
  sale, you got to go after someone who doesn't.
• 14:22
  Well, these they're, we have the.
• 14:23
  Leads. We got the leads.
• 14:25
  We. Got the leads, we got the leads,
• 14:26
  but they're not very. Very paid good money for these.
• 14:28
  Leads, yeah, yeah, but they're not very good leads.
• 14:30
  I've seen this these leads before Patel and but I could get
• 14:36
  that sense like especially during the 90s when the the
• 14:40
  vacuum door, the door salesman sure.
• 14:42
  Dan Connor's father. Yep, Yep.
• 14:44
  You know, you know, we all know what he did.
• 14:46
  For a living. Ned Beatty.
• 14:47
  Ned Beatty. Yeah.
• 14:48
  Too busy on the road not being a father.
• 14:50
  That's right. Some issues there, if you
• 14:52
  recall. But if you're, you know, that
• 14:53
  same death of a salesman, Dustin Hoffman was in the sort of PBS
• 14:57
  version of that movie that came out recently with not recently,
• 15:00
  but in the mid 80s, just mid to late 80s.
• 15:04
  Weeks ago, a couple. Weeks ago with Charles During
• 15:06
  and John Malkovich. And that's another brilliant
• 15:08
  play, Arthur, Arthur Miller. But I remember reading about
• 15:11
  this movie and the joke was, or this play even Pulitzer Prize
• 15:14
  winner came out in 84, I believe.
• 15:16
  And I think one of the quotes was if the other was Death of a
• 15:19
  Salesman, the Arthur Miller play, this would be Death of the
• 15:23
  fucking Salesman because of the amount of foul language.
• 15:27
  Yeah, but it really does paint a picture, as you're saying.
• 15:31
  And the play was written in 84, as I said, and the movie came
• 15:33
  out in 92, so. It's eight years for.
• 15:36
  That's right. And so there's a lot of time in
• 15:39
  between, but the world between 85 and 92 isn't so drastic.
• 15:43
  But when you think about the music.
• 15:45
  Changed a bit. Sure, but in terms of
• 15:47
  technology, the hair, the Internet hadn't yet, the cell
• 15:50
  phone obviously had not yet anywhere near some payphones so
• 15:53
  strong with those quarters. This movie, this play just kind
• 15:56
  of doesn't exist anymore, right? Like your sales, the time
• 16:01
  capsule, you're making phone calls.
• 16:02
  What does that do in the modern age when you're cold calling
• 16:06
  some random how many pickups do you really get?
• 16:08
  Not a lot, which is why I guess the expectation is that 500 out
• 16:12
  of 1000 because 500 of them are going to hang up on you before
• 16:15
  you even get a chance to talk. Yeah, there's not many,
• 16:18
  unluckily, in a management role. I'm in management now.
• 16:21
  I've, you know, sure, though these days with a cutback.
• 16:24
  So I'm also a salesman again as well.
• 16:27
  Darn good. But no, most people don't pick
• 16:29
  up the phone. The ones that do are hesitant,
• 16:33
  obviously, and like, you know, but they're elderly, you know,
• 16:36
  in our area, there are the elderly and the very trusting
• 16:38
  people. Sure.
• 16:39
  And you take. Advantage of them.
• 16:41
  Well, I don't and I don't. I don't contrive to that
• 16:44
  behavior, but some will actually engage.
• 16:48
  But the way I see it and why people don't like it is you spam
• 16:52
  them in messages and we all know that we we think it's a scam,
• 16:56
  right? So they.
• 16:58
  Just ignore it. Everyone's got their suspicions,
• 17:00
  right? Exactly what do you why?
• 17:01
  Why are you here? Or you just annoy them.
• 17:03
  Sure. Like I'm a dinner, I'm doing
• 17:04
  these things. You're sending a message to buy
• 17:06
  a phone. So you might get that one sale
• 17:08
  out of so many. But how many people have you
• 17:10
  irritated? Yeah.
• 17:12
  Or pissed off. That's the problem.
• 17:14
  That's Jerry Graff. What do you do?
• 17:15
  You find a list with a bunch of nurses, right?
• 17:19
  You teach a guy to fish, right? You don't go and deal with that.
• 17:21
  You nurses, They got a steady job.
• 17:23
  Yeah, a couple bucks in their pocket.
• 17:25
  That's what they want to do. Party Graf is that wasn't Jerry.
• 17:28
  Jerry Graf. Whereas your problem is the
• 17:30
  same, right? You've pissed off 10 people,
• 17:32
  they're not going to pick up your call next time.
• 17:33
  No, even when they need the thing, they're maybe going to
• 17:36
  think I'm going to go someplace else.
• 17:38
  Exactly. I don't want to deal with that
• 17:39
  anymore out of spite. Exactly.
• 17:41
  Or I'll just go across the street to the other company and
• 17:44
  see. Across the street to Jerry
• 17:46
  Graff. Exactly.
• 17:47
  Right. So it's it's all like that world
• 17:49
  exists today. It just exists very differently.
• 17:52
  Yeah, it's evolved, but it is still in that sphere, I mean at.
• 17:55
  Its core sales or sales, you know it's getting people to sign
• 17:59
  on the dotted line. That's right, get them to.
• 18:01
  Sign on the line which is dotted that's one of my favorite lines
• 18:04
  in the early part of this movie, and I think it's because it
• 18:07
  reminds me of The Untouchables and Mamet's particular.
• 18:11
  It's not iambic pentameter, but the what the iambic pentameter.
• 18:15
  It's Shakespeare's writing style, or it's like soft heart,
• 18:18
  soft heart. But the storytelling, the way in
• 18:21
  which he turns a phrase and the way he writes and gets his
• 18:23
  actors to perform, there is a lyricism to that.
• 18:27
  And you make the word fuck sound better than it's ever sounded
• 18:31
  right. And and the stream of that.
• 18:33
  And so the rhythm of get them to sign on the line, which is
• 18:38
  dotted, that rhythm is just catchy.
• 18:41
  It it almost doesn't matter what it said.
• 18:43
  But there's three other ways to say that exact same thing at
• 18:46
  least. But this is the most perfect way
• 18:49
  to say it. And that is sort of often how I
• 18:51
  interpret a lot of his dialogue, in particular in this movie
• 18:54
  where people are communicating and there's maybe faster,
• 18:57
  easier, simpler, better ways to actually say the thing.
• 19:01
  But it's written with such panache, if you will, and it's
• 19:04
  performed so brilliantly by this cast that it's just, it is the
• 19:08
  perfect way to say every line of dialogue, I think, in this
• 19:11
  movie. Now, when it comes to speeches,
• 19:20
  which one motivated you more? Alec Baldwins or the Kings?
• 19:25
  King's Speech, I thought, was wonderful.
• 19:27
  I thought it was good. It's interesting you can get the
• 19:29
  speech from say Carney, which I think he's said the same stuff,
• 19:33
  but when it comes to someone with, you know, a little bit of
• 19:35
  elegance, a little bit of would be the Governor General usually
• 19:39
  OK, sure, but basically it's their it's their platform.
• 19:43
  Yep, I want to we. Want to change?
• 19:45
  This we want to do that and we have everything, he said.
• 19:47
  I had heard before, Yep, But coming from him it made me feel
• 19:53
  better. And it's like like the Trump
• 19:55
  speech now that didn't do anything for me, No, but for his
• 19:58
  followers, sure. I can only imagine they were
• 20:01
  amped up like yes this is. Great America is gonna be great.
• 20:04
  Vaccines suck. Yeah.
• 20:05
  So it speaks to an audience. Yes.
• 20:08
  And I think, you know, The King's Speech, I listened to it.
• 20:10
  I'm like, yeah, I mean, I I'm cautiously optimistic, but I'm
• 20:14
  like, yeah, I like this. This gets me, you know, excited
• 20:16
  still is a little a level of gravitas, a little bit of like
• 20:19
  you're saying hopefulness, as it were.
• 20:21
  This speech, Baldwin delivers a little less hopeful.
• 20:25
  Yeah. And I mean, I've been a part of
• 20:27
  a tamer version of it. Like, do better.
• 20:29
  Sure. I mean, I could not work in
• 20:31
  that, that environment. No, it's brutal.
• 20:33
  It's entertaining to watch, Hilarious.
• 20:35
  But. Especially with these actors
• 20:37
  playing the role so wonderfully. But Alec Baldwin, this, this
• 20:40
  56789 minutes. Actually, it it definitely goes
• 20:44
  on. And it's perfect for the
• 20:47
  desperation that follows it. Yeah, right.
• 20:50
  Like he delivers it with such aggression and humiliates
• 20:54
  Shelley, who's just getting a coffee, right.
• 20:56
  Put it. Put that coffee down.
• 20:59
  Right. Coffee's foreclosures.
• 21:00
  You call yourself a salesman, you son of a bitch, right?
• 21:02
  You're like, right away. And Shelley, we have you and I
• 21:06
  as well as the audience at large has a relationship with Jack
• 21:10
  Lemmon, whether it be from Days of 1 and Roses that we've talked
• 21:13
  about. Grumpy old man was right before
• 21:15
  this, right? Like.
• 21:16
  That's all the movies I've seen but.
• 21:18
  But just like kind of older, yeah, everybody knows Jack
• 21:22
  Lemmon. He's had a career for 60 years
• 21:24
  or 50 years and and sort of put him in this position of you
• 21:29
  piece of garbage human being, right?
• 21:32
  You're like, whoa, whoa, whoa. And then what I love is that our
• 21:35
  introduction to Moss at the beginning, bunch of bullshit
• 21:38
  fucking leads all this stuff, right?
• 21:40
  He's he's bitching about it. He gets angry at the customer.
• 21:42
  If you remember in that first call, he's like, well, you
• 21:44
  filled in the form like he's already amped.
• 21:47
  I've done that. Right.
• 21:48
  And he walks in. Oh yeah, And who belongs to the
• 21:51
  right? Baldwin just eviscerates him.
• 21:53
  And there's that great moment. I'm not sure.
• 21:54
  Again, you catch, I've seen this movie like 100 times.
• 21:57
  But there's moments where Moss says, you know, you come in
• 22:01
  here, you're such a big shot, you know, whatever, Who are you?
• 22:03
  And. Who am I?
• 22:05
  He basically says like. Fuck you.
• 22:06
  That's my name. You drive in a Hyundai.
• 22:09
  I drove a $80,000 BMW, right? That's who I am.
• 22:12
  And you're nothing. And he says these things.
• 22:14
  And there's a moment where he says, yeah, why are you coming
• 22:17
  down? Waste your time.
• 22:18
  And he says, I wouldn't, I don't know.
• 22:19
  It's a mission of mercy for Mitch and Murray, Murray,
• 22:21
  because I would have fired your fucking ass, right?
• 22:23
  And he gives this like, look at this watch anyway.
• 22:25
  Just he blows them off Moss. Does he just like can't even
• 22:28
  look at him at that point So he comes in with bluster and ball
• 22:31
  would just fucking takes them out and it's just such a great
• 22:35
  opening and again, by saying that the speech ABC always be
• 22:40
  closing Aida attention, interest, decision and action.
• 22:46
  Very good bro, I was going to test you on that.
• 22:48
  Again. Yeah, I've lived this movie a
• 22:50
  number of times, Yeah. The chalkboard there, they get
• 22:52
  to win the. What was the first prize car,
• 22:55
  right? Yeah.
• 22:56
  First prize is Cadillac, El Dorado, El Dorado, El Camino.
• 22:59
  I'm like, that's not right. That's not right.
• 23:00
  No, you don't want that. You want to see second prize?
• 23:02
  Yeah. Second prize is set as take.
• 23:03
  Nice. Yeah.
• 23:04
  Third place, you're fired. Third prize is you're fired.
• 23:06
  Yeah. There's four of them.
• 23:07
  There's four of them, so I don't have to do the math for you.
• 23:11
  No. You know.
• 23:12
  Wow. And Romo doesn't need to be
• 23:13
  there because he's top name on the board.
• 23:16
  I could really relate to Roma from a sales perspective.
• 23:20
  OK, I don't need to be there. I'm fine.
• 23:22
  Yeah. Yeah, I got this.
• 23:23
  My numbers are fine. What's interesting is right
• 23:25
  after the speech, they all kind of just kind of go back to what
• 23:27
  they were doing more or less, well, maybe a little bit more of
• 23:30
  a sense of urgency. Yeah, I think a sense of urgency
• 23:33
  for sure, but a little. More kind of like what?
• 23:35
  Just happened, Yeah. I mean, George Aronow, played by
• 23:38
  Alan Arkin the great. The great Alan Arkin, He
• 23:42
  basically says they didn't mean it.
• 23:43
  You know they're not going to mean it.
• 23:44
  They're not doing that right. And everyone gets 2 leads.
• 23:48
  And what's great about this scene is after Baldwin leaves,
• 23:51
  Shelley, again, played by Lemon, you just watch him slump.
• 23:54
  He looks at the name and Aaron Oz going around like, they're
• 23:57
  going to pass me out of a job, I'm fucked, I'm going to
• 23:59
  whatever. But you do get the sense after
• 24:01
  that, after that speech, stakes are high.
• 24:04
  Not just the knives, but the actual the actual stakes are
• 24:07
  pretty high. I want to talk about Jack
• 24:10
  Lemmon. Yeah, we'll talk about him a few
• 24:12
  times because he is absolutely amazing in this movie.
• 24:16
  Someone told me I had a good phone voice, My wife actually,
• 24:20
  when we met. I quickly get through on the
• 24:23
  phone. I'm a dry texter.
• 24:25
  They lose interest pretty quick because I'm not very.
• 24:27
  I just like, hi, how are you? I'm good.
• 24:29
  The wit. The wit doesn't come through.
• 24:31
  No, exactly. I just, I'm not there.
• 24:33
  I'm not there. So I get on the phone, boom.
• 24:36
  I think his phone voice and the shit that's coming out of his
• 24:40
  mouth is just pure gold and peaceful.
• 24:43
  Yeah. And how he performs it, I think
• 24:45
  is just like, this is Oscar material.
• 24:48
  I don't know if there's any nominations here, but I think if
• 24:52
  there was a category for phone voice, he would win hands down.
• 24:55
  Yeah. Lack of competition maybe
• 24:57
  because I don't know if there's a lot of phone talking in 92.
• 25:00
  You know, a Few Good Men was mostly in the courts 9393.
• 25:04
  Well, it was listed in the same year.
• 25:05
  I looked it up. They both were on the same list,
• 25:08
  Patriot Games and many more. So I think you're wrong there,
• 25:12
  Phillip, unfortunately, once again, OK.
• 25:16
  Yeah, you're right, 92. You're you're right.
• 25:18
  I misspoke that we want to hear. I mean your world, the.
• 25:22
  Movies if it's if I got the TV, you're wrong of the TV show.
• 25:26
  It'd be a real problem. Yeah, you're right.
• 25:28
  And this is not the only time like this is throughout the
• 25:30
  movie, he's on the phone 3 or 4 times either talking to
• 25:35
  seemingly a family member or a caregiver towards a family
• 25:39
  member, or he's talking to Missus Nygard.
• 25:43
  Nyborg, Nyborg, you. Know whatever and it's just
• 25:48
  gold. My ears are glued to the screen
• 25:51
  if that's possible. It's a great voice.
• 25:55
  He's very charming. I like that he's got the
• 25:58
  shoulder attachment. Back in the days you gotta have
• 26:00
  those. Keep your hands free.
• 26:02
  Even at the very end of his little spiel, of course, a hold
• 26:05
  that quiet thing is just like, yeah, this guy.
• 26:08
  I trust this guy. I want to talk to this guy.
• 26:11
  And we get Aaron out making the same call, except he mixes it
• 26:14
  up. And another name that my brother
• 26:17
  and I again, have quoted a number of times is space.
• 26:20
  In fact, you may or may not know, but on the occasions in
• 26:24
  which someone might say peace out, I say space out.
• 26:27
  This is the origin. And that's been 30 years.
• 26:29
  I've been basically saying space out.
• 26:31
  Absolutely. Never picked up on it.
• 26:33
  You can tell that Aaron, I was not in the smooth way that
• 26:36
  Shelly is presenting. George is definitely not.
• 26:39
  That's why he's struggling. Exactly.
• 26:41
  He's in a culture on the board. He is.
• 26:43
  He tells you maybe he doesn't agree with the strategy, which
• 26:46
  by the way, comes from downtown. Just want to make sure that's
• 26:48
  very true. That's Murray, comes from
• 26:50
  downtown. So at this point, we're kind of
• 26:54
  in a position where the stakes have been set.
• 26:56
  Baldwin's finished and Shelley has tried to reach out.
• 27:00
  George has tried to reach out. Always be closing.
• 27:03
  Always be. Always.
• 27:03
  Be closing. Moss is pissed.
• 27:06
  He's angry. He's angry.
• 27:07
  He's a bunch of bullshit fucking sales conference, blah, blah,
• 27:10
  blah. He decides, he listens to George
• 27:14
  and he says let's go out, we're gonna go out together.
• 27:16
  Next scene, they're in the car. In the car.
• 27:18
  Great car scene. Great car scene.
• 27:19
  Not in the trunk. Not in the trunk, yes.
• 27:23
  So now Moss and Aaron out. What's your immediate take?
• 27:29
  Do you think this is a healthy relationship?
• 27:31
  And then ultimately, what are your thoughts on the way in
• 27:33
  which they kind of banter back and forth around what they just
• 27:36
  experienced, let's say, well. Moss is certainly the stronger
• 27:39
  personality, yes, and he is that type who's just pissed off and
• 27:43
  there's a lot of guys like that in my company who have been
• 27:46
  around for too long. Yeah, we just something new
• 27:48
  comes down like you know, they're they've been doing it
• 27:52
  for too long. Maybe it's time that you should.
• 27:53
  Maybe you know the. Bullshit company mentioned
• 27:55
  Murray downtown, you know. And then you have Alan Arkin, if
• 28:00
  I said that correctly, I was going to say Alda for a second
• 28:02
  there. Different guy for MASH fame, you
• 28:06
  know, and he's more of a listener, yes, more more of a
• 28:10
  agree with kind of guy. And that's what Moss will prey
• 28:13
  on. Course, you know, that's which
• 28:15
  is kind of funny because all the himself is a salesperson.
• 28:19
  So you think you're always on the sort of offense.
• 28:21
  Yeah. But he becomes a little bit of
• 28:23
  the the victims. He's got no confidence, they
• 28:25
  say, right? Yeah.
• 28:25
  They bounce him out of a job with no confidence.
• 28:28
  They've got no cold strength. Yeah.
• 28:31
  Absolutely strength. He's he complaints a lot.
• 28:33
  Like he's things aren't going well for him.
• 28:35
  Sure and Moss are the same. Moss is, you know, just as angry
• 28:38
  and pull, you know, bullshit this and fuck that.
• 28:40
  And even when George is saying it must be me because I look at
• 28:44
  Roma so gifted and talented and Moss is like fuck Roma.
• 28:47
  He's not gifted. He get good luck, the good
• 28:49
  leads. He gets the good leads right?
• 28:51
  Like he. Can't put the leads.
• 28:52
  It can't be success on his own, right?
• 28:54
  I've had friends and people in my life like that, right?
• 28:57
  Where somehow your success is somehow a detriment to my
• 29:01
  success. I can't be happy for my friend
• 29:04
  now. It's a challenge at all times,
• 29:05
  right? So that dynamic is interesting.
• 29:07
  Moss is just like, no, he's a fuck him, he doesn't count.
• 29:10
  I just my favorite thing is is he's driving home the fact that
• 29:15
  the whole thing is the leads. Absolutely.
• 29:17
  Let's just said the word leads in that car scene 712 times and
• 29:23
  I never felt like it was repetitive.
• 29:24
  I every time he said it like I love this.
• 29:27
  It's my new favorite word is leads.
• 29:29
  It's just, it's fantastic. It's a great dialogue.
• 29:32
  It's great dialogue. And again, the performance
• 29:34
  allows for that to happen, the repetition of that.
• 29:37
  I'm typically not a big Harris fan.
• 29:39
  I know you're gonna give me some pushback 'cause, you know,
• 29:42
  nominated, I think, for Truman Show and.
• 29:45
  Yeah, yeah. And what have you.
• 29:46
  And he's, Paul's in the third rock of the Sun.
• 29:49
  He's in the rock. Yeah, yeah, No, yes.
• 29:51
  That's John Lithgow. Sure he was.
• 29:54
  He was an enemy at the at a gate.
• 29:56
  Yes, yes, he did not relocate. He was in.
• 29:59
  Creepshow. Yeah, there he goes.
• 30:00
  So I mean, he's got a a long list of phenomenal movies that
• 30:03
  he's, you know, participated in, but I don't typically gravitate
• 30:08
  towards for him, but I I did really appreciate his
• 30:11
  performance and his demeanor. Yeah, in this movie because
• 30:13
  everybody brings something different and that's what makes
• 30:15
  this movie magic. Now George on the other hand,
• 30:17
  probably you would agree maybe one of the weaker.
• 30:20
  Characters with the script, like what he has to do generally,
• 30:24
  there's a lot of, you know, yeah, I mean, he, he's a weaker
• 30:28
  character. So his his writing is less
• 30:32
  showy, let's say right, because you need to have someone be sort
• 30:35
  of be dominated. He has one of my favorite lines
• 30:38
  at the movie, though, which we'll get to.
• 30:40
  So that award even has small a role or as small diminutive as a
• 30:45
  character he is. He manages to deliver my.
• 30:47
  It's a good moment. Of my favorite lines.
• 30:48
  But yeah, that relationship and again, the way they banter, the
• 30:51
  way Ed Harris is just on his on the Jag about Jerry Graf to
• 30:57
  getting the Nur, you know, getting the nurses, you know,
• 31:00
  the way he says, you know, what is that that's thinking?
• 31:02
  The way in which these lines are delivered is just as good as
• 31:05
  they could possibly be delivered.
• 31:07
  Absolutely. Now.
• 31:14
  Phillip, if I had to choose between scenes between two
• 31:18
  people, yes, because there's a few repeat couple of pairs off.
• 31:20
  Yeah, yeah, yes. There you go.
• 31:22
  It would be a tough call, but I will have to say this one right
• 31:26
  here right now that we're going to talk about Kevin Spacey
• 31:29
  playing Williamson and Shelley the machine, Levine absolutely
• 31:34
  having a little chat, chat in the office.
• 31:36
  And let me tell you again, similar.
• 31:39
  It's heavy on the Shelley side. Williams is more of the
• 31:42
  listener, but I will say what his role is.
• 31:46
  Is perfect for that he's great he doesn't sell he just runs the
• 31:49
  office That's right and man he puts up with a lot of abuse
• 31:52
  which creates this dynamic of right you have the benefit on
• 31:56
  some level where you are as being the manager, but you've
• 31:59
  had your toe in the water you've got the full of feedies right
• 32:02
  years did the things did the things did the things and you'll
• 32:06
  still do the thing on occasion dessert right like.
• 32:08
  More often than I like to admit. Sure.
• 32:10
  So you're still in the world. So there's a level of respect
• 32:13
  perhaps that. Would come lead by example.
• 32:14
  That's what I do, Phillip. Whereas.
• 32:16
  Williamson is just like an office company man, right?
• 32:19
  And so there is this distinction between that's it, fuck you.
• 32:23
  You don't know my job, you don't know my life, you don't know
• 32:25
  anything about this world. You're somebody'd cousin.
• 32:28
  You're. Somebody'd.
• 32:28
  Cousin which we don't, we don't find out if that's.
• 32:31
  True or not? No, but there is that feeling.
• 32:33
  And so Shelley and everybody really treats him as if he's
• 32:36
  garbage because he's not in that world.
• 32:39
  Yeah, suck up to him for brief moments.
• 32:41
  You. Hear the moment.
• 32:42
  Yeah, exactly. Just two guys talking.
• 32:43
  He's still the boss. Just two guys talking.
• 32:45
  Guys talking, guy guys talking. And then that's the original tag
• 32:48
  line for this movie, I think. Just two guys talking, two guys
• 32:50
  talking. What I love about Lemon's
• 32:52
  character is he'll be just two guys talking and then F you, F
• 32:56
  you like 2 seconds later and then 4 seconds later, you know,
• 33:00
  he's back to like, you know, come.
• 33:01
  On yeah, yeah, John, John, John. That's just, you know, yeah,
• 33:04
  it's great. And it really pays off as
• 33:06
  obviously the movie goes on and on.
• 33:08
  You sort of see where there is these different power dynamics
• 33:11
  and structures in place and the wave in which Shelley in
• 33:15
  particular goes on. And you watch these these
• 33:18
  dynamics play out and how they kind of come full circle and
• 33:20
  otherwise. Shelley was 8 months, he was top
• 33:24
  dog, that's it. And now he's getting shit leads.
• 33:26
  He wants the Glengarry leads. It's all about the leads give.
• 33:29
  Me a couple of those leads if you tag tack that on to the
• 33:33
  Baldwin speech and we've kind of got an illusion early of him
• 33:37
  talking to somebody's duty nurse or somebody's in a hospital
• 33:41
  somebody's on the phone there's somebody in danger right so
• 33:43
  there's some level of desperation let's.
• 33:45
  Say he's the money. He needs money, so he's trying
• 33:48
  to work with Williamson and Williamson just has no no time.
• 33:51
  Humors him a little bit and sort of leads him on and he's like,
• 33:54
  no, yeah, you know what I mean? And yeah, basically.
• 33:56
  And he's like, I'm leaving. And then eventually they come up
• 33:59
  with I'll give you 10% of the sales, 20%.
• 34:01
  And then Shelly's got that Gray line, like, you know what a man
• 34:04
  does when he's up, when a man does when he's not.
• 34:06
  I said 10, you said 15. Now we can.
• 34:09
  Yeah. Now you know and.
• 34:11
  Now he wants 50 bucks per lead. Yeah.
• 34:13
  And he doesn't have it. He.
• 34:15
  Doesn't have it. And then he just.
• 34:17
  Completely, you fucking asshole. Yeah, yeah.
• 34:19
  Yeah. And then he's desperate and
• 34:20
  think I really need like, you know, it's just, wow, it's just
• 34:23
  Lemon just kind of flips the switch between desperate and his
• 34:27
  charm. Yep, just like magical.
• 34:30
  It's, it's, it's really a brilliant performance for sure.
• 34:32
  And Shelly gets a great line. Kind of reminded me a little bit
• 34:35
  of Ocean's 11 if you recall that.
• 34:37
  Hope so. It's.
• 34:38
  A funny joke with Saul where he says I saw you, I saw you before
• 34:41
  you woke up this morning. Yeah, right when he says that to
• 34:44
  Brad Pitt. Rusty, here we are in this movie
• 34:47
  and. And Lemon is so desperate and
• 34:51
  he's sort of at this point he's almost cowering, right.
• 34:54
  Oh yeah. Oh, yeah, Sorry.
• 34:55
  Well, you know, cuz he he can't, he doesn't have the money.
• 34:58
  Yeah. We will do that thing though,
• 35:00
  right. You know, kind of thing.
• 35:01
  But he he says there was a time where I would have your job, you
• 35:04
  know, you're you're you're gone before I'm back from lunch.
• 35:07
  Yes. Which is just a great.
• 35:10
  Yeah. An attempt by like kind of an A
• 35:11
  beaten down man to assert some level of remember the time when
• 35:16
  because he says they're too right.
• 35:18
  I was on that board. Remember the I generated the
• 35:21
  sufficient revenue to buy the leads, right?
• 35:24
  Like he's really pitching himself.
• 35:25
  But it's all past tense. Yeah.
• 35:27
  Part of the problem, Phil, and why it's so difficult for these
• 35:30
  gents is they kill the goose. You don't want to kill the.
• 35:33
  Goose. No, you don't want to kill the
• 35:36
  goose. That's what we just chatted
• 35:37
  about that with the card, with the phone calls.
• 35:39
  Right. It's like you're pissed too many
• 35:40
  people off. Yeah.
• 35:41
  What do you do? Yeah, kill the goose.
• 35:43
  You kill the goose? Yeah.
• 35:44
  You know, you don't teach a guy to buy 1.
• 35:46
  You know, to get one fish, buy one car, you buy 15 cars.
• 35:50
  And I want to talk about this for a brief moment because my
• 35:52
  philosophy in my job and where I'm located and what works every
• 35:57
  store is different in my in our business because your clientele
• 35:59
  is different could be. Affluent white men.
• 36:02
  Absolutely. And we can have a very diverse
• 36:04
  area. So it's very different.
• 36:06
  So you got to work to your strengths.
• 36:07
  When I keep telling my bosses I don't have these types of
• 36:10
  opportunities, I have these types of opportunities and I
• 36:13
  cover a big area. Yeah.
• 36:16
  And what's happened in the past is you have too many sharks,
• 36:19
  sales shark, very common term used in the biz.
• 36:22
  Absolutely. If you knew that, sure.
• 36:23
  Shark Tank even. Yeah, yeah.
• 36:25
  So the problem is if you have too many sharks.
• 36:27
  Baby Shark. Don't get me started.
• 36:31
  You start eating the sails, right?
• 36:33
  So if you think about an actual shark in the water, yeah, sure.
• 36:38
  Yeah. Which, if you've watched that
• 36:39
  later, not as a kid, as much scarier than as a cartoon, but
• 36:45
  if you eat all those sails, then there's nothing.
• 36:47
  Left if you eat the babies in the water they don't grow up to
• 36:51
  be Yeah, exactly fish that you can.
• 36:53
  Feed, it's an empty ocean. So what I try to do is you may
• 36:56
  not get necessarily every sail today, but you plant those seeds
• 37:00
  totally and they I'll go see Dave or Rogers.
• 37:03
  Now you're the cell phone guy. You're the guy.
• 37:04
  You're the guy. And you could turn 1 sail into
• 37:07
  10. That's right, I got a guy, had a
• 37:08
  great experience. Here you go.
• 37:10
  Yeah, and I, I think my boss gets it.
• 37:12
  But like a lot of people in his position, sure, now those sales
• 37:15
  now, but, you know, we've turned it around, but maybe it takes,
• 37:18
  you know, six months, a year, but you really see the results.
• 37:21
  So, yeah, play the long game, Phil, Play the long game.
• 37:22
  The key, I mean I suspect in some of those businesses is a
• 37:25
  little of like how? Long is that long game.
• 37:27
  Yeah. Like how long is any of these
• 37:29
  people in that job, Right. Like you've had there for a long
• 37:31
  time, but I'm sure you've had people work with you that are
• 37:33
  there short term. So they make a great impression.
• 37:36
  They're Yeah, they make great sales and then they move on to
• 37:39
  something else. You're like, well, shoot, killed
• 37:40
  the goose. We need that.
• 37:42
  Right and you know from a guy who's been in just customer
• 37:44
  service for many, many years, you, you got to take care of
• 37:47
  your people. They're the ones that you know
• 37:48
  absolutely they're the the bread and butter.
• 37:50
  My dad will fly Air Canada because if I'm experienced from
• 37:52
  1980. Two.
• 37:53
  Yeah. There you go.
• 37:54
  You fucked him. Yeah.
• 37:57
  That was it. 1 experience in 82. Yeah, that's impressive because
• 38:00
  my experience most of the time is I'll never do that again
• 38:03
  until oh wait, it's 50 bucks cheaper than the other one.
• 38:05
  OK, I will right. But I agree, like people, it
• 38:08
  makes a big, big difference. Everything in the in the the
• 38:10
  furnishings, right, like the the carpet we have is because
• 38:13
  somebody said somebody who knew a thing, the electrician was a
• 38:15
  guy that somebody knew had great experience like plumbing, right.
• 38:18
  Like it's just that's how that business and businesses.
• 38:21
  Like that work? We called him a squirrel guy.
• 38:23
  There you go. Something, something's happening
• 38:25
  in the Yeah. Yeah, above the garage.
• 38:26
  And vermin scratching, yeah, could be a raccoon, could be a
• 38:29
  screw. We don't know.
• 38:31
  We go on Google reviews if anything else.
• 38:33
  Sure, but you don't have a guy. But we had a neighbor who's
• 38:35
  like, how do you have it? So we, you know, there you go.
• 38:37
  Bring in Gary. That's it.
• 38:39
  Yeah, Gary's a guy. Yeah, I don't know what happened
• 38:41
  with that. I wasn't home.
• 38:41
  Find out. We'll find out.
• 38:49
  Well, for a little change of scenery, we have Shelly out on a
• 38:52
  call, pouring rain, cats and dogs.
• 38:54
  Not a good omen. But he's not in the office, so
• 38:57
  he knocks on the door. He goes.
• 38:58
  See Larry. Is it Larry?
• 39:00
  Larry. OK, Larry.
• 39:01
  Larry Nyborg. He's never been, No, he's never
• 39:04
  been shy of formalities, Yeah. Can I call you Larry?
• 39:07
  Shelley and so we get we get the version of Shelley salesman
• 39:11
  Shelley, right. We had the the von message, of
• 39:14
  course, all whole we have this sort of telephone vibe.
• 39:17
  How do you think that comports with the in person vibe?
• 39:20
  Because you just said earlier, right, Like I don't text well, I
• 39:23
  call better. I wonder how easy it was to
• 39:28
  communicate to your wife or girlfriend at the time.
• 39:31
  Like upon meeting, right, you go through these three stages,
• 39:34
  here's a text, here's a call. Now we got to do it face to face
• 39:38
  with the dynamics change, right? So in watching Shelley's
• 39:42
  performance, to me it's sort of like we see him on the phone.
• 39:45
  How do you think that relates to his in person mode?
• 39:49
  Well, you don't feel the difference is, is my future wife
• 39:53
  wanted to meet, wanted to see me, was excited to see me.
• 39:57
  Big Mysteriously. Yeah.
• 39:58
  Well, I mean, so she said sure. Yeah.
• 40:01
  She meant to swipe left. Different story.
• 40:03
  Yes. And she's living with that
• 40:05
  regret. But he here, he's not really
• 40:07
  welcome. I don't know if because he
• 40:09
  talked to the guy's wife. Always with the wives.
• 40:12
  Always, always and and some people being whichever spouse it
• 40:15
  is, might be more, you know, susceptible.
• 40:17
  To more. Open to more.
• 40:19
  Open to the idea. I've had people come into the
• 40:21
  store my husband was in and he was, he signed up.
• 40:25
  And, you know, I didn't. We don't want that.
• 40:27
  Yeah, you know, kind of like the link.
• 40:29
  Yeah, yeah, yeah. Which we'll get to.
• 40:31
  For sure that. Same.
• 40:32
  Yeah, Who has the power in the relationship?
• 40:33
  Exactly to make the financial decisions.
• 40:35
  So it's not an open invitation to come in and it's a very
• 40:41
  awkward meeting in my opinion. But he doesn't stop Shelley from
• 40:45
  going into full sales mode. They feel pressured.
• 40:49
  It's not a good feeling, it's not a good feeling.
• 40:51
  It's it's really the praying on one's personality.
• 40:54
  Unfortunately, sales is there's a little Satan in sales.
• 40:58
  That's all I'll I'll say. Totally fair.
• 41:00
  I find this scene very awkward to watch because it is thirsty,
• 41:07
  as the kids might be saying these days.
• 41:10
  It's OK. The desperation is there.
• 41:11
  Yes, right. He's doing all the tricks.
• 41:13
  He's picking up the fraud. Look.
• 41:15
  Oh my God, I'm in the I'm in the process of giving a gift away.
• 41:18
  Right. Like it's so like, see right
• 41:20
  through it, right? Yeah, like it's so transparent
• 41:22
  and it's, it's almost silly. And the performance is pitched
• 41:25
  just perfectly to being desperate.
• 41:28
  Don't let the guy say no, don't. You're right.
• 41:30
  And then it gets so bad where the guy is basically, thank you.
• 41:33
  No, like we have. No, I have no business to
• 41:35
  transact here. Like, just get out of here.
• 41:38
  I'm leaving. Oh, I'll draw up another paper.
• 41:40
  Let's go get the wife I didn't even know.
• 41:42
  Right. Like insinuating yourself into
• 41:44
  that relationship as if your buddies is.
• 41:47
  It's a fine line. Like you're saying Dave's our
• 41:50
  guy. That's one thing.
• 41:51
  But Dave at the house coming in for breakfast and dinner, he's
• 41:54
  not doing that. Yeah, there's a difference.
• 41:56
  I'll go to see Dave. Dave's not coming to me at my
• 41:59
  house. Also with that, though, when you
• 42:00
  become the guy, yeah, is now they'll come to you for stuff
• 42:03
  that doesn't make you any money. Fix my voicemail.
• 42:06
  That's right. I have a problem with this.
• 42:08
  Doesn't work. Can you?
• 42:09
  Yeah. And then they start calling you,
• 42:11
  message you, they get your number and then and you get to
• 42:14
  the point where it wasn't worth the sale, that $26.
• 42:18
  I'm in a relationship now. Yeah.
• 42:21
  And I don't want to be in this anymore.
• 42:22
  It's unhealthy. I've changed stores.
• 42:25
  He's not here, man. They'll track you down.
• 42:27
  Yeah, they and they do. I had one guy, Yep, who followed
• 42:30
  me to every store. Wow, just to pay his bill.
• 42:33
  Wow. And you know what?
• 42:34
  His name was Bill. And he was, he was a.
• 42:37
  Friendly guy to talk to. I didn't.
• 42:38
  I didn't mind Bill. I didn't mind Bill when I was at
• 42:40
  the video store. I loved all part of that because
• 42:43
  it wasn't sales. So I was able to integrate
• 42:46
  myself. Talk movies, made so many
• 42:48
  friends, hung out with so many people.
• 42:50
  That crossing line follow me to different stores talking over
• 42:53
  that was, by the way, well welcomed into my life because I
• 42:56
  was like, this is my people changed the one little word to
• 42:59
  it and it's no longer you're the movie guy, now you're the
• 43:03
  salesman. That dynamic changes completely,
• 43:05
  right? Absolutely.
• 43:06
  And obviously this guy doesn't want any part of it and leaves.
• 43:09
  Shelley can't even look at him as he's leaving the right.
• 43:12
  I noticed that. So he does, but there's that
• 43:15
  hesitation where I can. It's really hard to look at you
• 43:17
  right now. So, so desperate.
• 43:18
  And he's just standing in the rain.
• 43:20
  Just sad it's it's hard to watch because you you empathize.
• 43:24
  What's that What do you call it that third party where you feel
• 43:26
  their sympathy pants. Is that what I know?
• 43:28
  There's something else. There's a new bad, new better
• 43:30
  hip or term. Corey, I know you're old school
• 43:32
  and I respect it, but. You get the gist of it.
• 43:35
  Sure. Yeah, yeah.
• 43:36
  It's it's a great scene. It allows for some great
• 43:39
  performance from Jack Lemmon, which is.
• 43:41
  If nothing else. Exactly.
• 43:42
  And we kind of go back to the Chinese restaurant now.
• 43:45
  We've got George and Moss continuing their conversation
• 43:49
  about lack of confidence, so forth.
• 43:51
  And as we're doing that, we get this great moment of Pacino
• 43:56
  Roma, Roma, grab a couple of drinks, gives a wink to the two
• 44:01
  guys and heads back. And to me, that's the character.
• 44:04
  Like we've already met him going back to the beginning of the
• 44:07
  beginning, Yes. Where he walks into the bar,
• 44:10
  it's Al Pacino, looking like a 92, big suit, Yeah.
• 44:14
  Looking great. Great hair.
• 44:16
  Absolutely. And he says, hot out there
• 44:19
  tonight, Yes. I love his delivery and he
• 44:21
  speaks like that. It's.
• 44:21
  Perfect. Grown men approaching cops on
• 44:26
  the street begging them to shoot.
• 44:28
  Like his staccato delivery of that is incredible.
• 44:32
  And we get the sense that he's sort of speaking in these like
• 44:35
  homilies or something, like don't drink alcohol in it when
• 44:39
  it's so. Hot dehydrates you, Dehydrates
• 44:40
  you. I think that's true.
• 44:41
  It is true, but he says he. Doesn't like water?
• 44:44
  If everyone says one thing, I bet the other way, but.
• 44:46
  Against science, that's always. Good basically probably an anti
• 44:50
  vaxxer and so I I but I just a great character introduction of
• 44:54
  just like you can tell this guy's got a charm.
• 44:57
  Oh, absolutely. And a way of more confident and
• 44:59
  definitely confident. No weakness and we get the the
• 45:03
  next thing we have, which is where we're at here is basically
• 45:05
  his opening line to link basically is all trained
• 45:10
  compartments smell vaguely of shit.
• 45:11
  It gets so that you don't mind it.
• 45:13
  That's the worst thing I can confess is what he says.
• 45:16
  What a great just a great introduction.
• 45:18
  An interesting introduction, yes.
• 45:20
  You're going to get whomever is hearing that I suspect is
• 45:22
  probably going to ask a few questions and like want to
• 45:25
  engage a little bit of what really.
• 45:27
  I don't think so. And I have to say Phil and hot
• 45:31
  take here, but his dialogue, not his delivery of it, but the
• 45:34
  words spoken I enjoyed the least.
• 45:38
  Wow. Yeah.
• 45:39
  I'm like, what the hell are are you talking about?
• 45:42
  Like I'm not understanding what he's saying, what he's meaning.
• 45:45
  And I don't find it charming. I just find it odd.
• 45:48
  OK, weird. Wow.
• 45:50
  And I'm thinking, is it? Is it?
• 45:51
  Yeah, OK. It usually is.
• 45:54
  Usually. Ask the Oscar voters, I guess.
• 45:56
  I mean, you're gonna grab because everyone's bringing
• 45:58
  something a different style to the movie.
• 46:01
  I was really sold on Lemon. Like how?
• 46:04
  Just how he's talking on the phone.
• 46:05
  Of course he's great. And I'm enjoying Moss would be,
• 46:08
  you know, you know, also pretty good.
• 46:10
  Yeah. Yeah.
• 46:11
  But I don't know, it just wasn't my flavour.
• 46:13
  Well, he's definitely playing confident and cocky, right,
• 46:16
  Which can be a turn off to some. Yeah, it's a turn off.
• 46:18
  I just found it so engaging. They were turned on a little
• 46:21
  bit. OK, I have to tell you, you
• 46:22
  know, hearing things like. Things are happening.
• 46:24
  When you're in a position of, you know, he's trying to sell
• 46:26
  this thing, this future property, this investment
• 46:28
  opportunity, you never really know what real estate, Glengarry
• 46:32
  Highlands, everyone's just like fresh out of town, right?
• 46:34
  They all have the stories. I live close to the airport.
• 46:37
  I'm in town just for 24 quick hours here but I can maybe.
• 46:40
  Do something tonight, Yeah. Who has these meetings at 10:00
• 46:43
  at? Night it's crazy, but his
• 46:44
  delivery of the you know, we regret the things we do not do
• 46:49
  talking about how you know, you think one thing then that's
• 46:53
  fine. Be that thing you think you're
• 46:54
  queer. I think you know let me tell you
• 46:56
  something. We're all queer, you know, Be a
• 46:58
  pedophile. Be a pedophile.
• 46:59
  You don't. Quite agree with that one, but
• 47:01
  you know, that's just me. Sure, you know, live with it,
• 47:04
  right? Like you, you get befuddled by a
• 47:06
  morality, you know, then just shut it out, right?
• 47:08
  Be that thing, do that thing, live that thing.
• 47:10
  What he's selling is just let it go, man.
• 47:13
  Just don't worry about it, right?
• 47:14
  He talks about we worry anyway. You know, these things, they
• 47:16
  don't happen. We have famine and, you know,
• 47:18
  hurricanes and mass destruction. What if these things happen?
• 47:22
  Nothing. But we all worry about it
• 47:23
  anyway. So he's pitching to a guy.
• 47:26
  He's probably reading the guy pretty well, that this guy's got
• 47:28
  a lot on his mind. So what do you do to
• 47:30
  counterbalance that? You tell him nothing matters,
• 47:32
  man, that it's all going to be working out here.
• 47:34
  Don't don't worry about the these things.
• 47:36
  That technique, I think, is totally engaging, whether you
• 47:41
  like the dialogue or not. But conceptually, that type of
• 47:44
  character is so different than what Shelley was bringing into
• 47:48
  that house. And that tells me and tells the
• 47:51
  audience. Roma's very good at this,
• 47:55
  picking out who the character is reading the room, whereas
• 47:58
  Shelley, he only knows how to do it the way he's always done it.
• 48:02
  And Roma feels like he's more fluid.
• 48:04
  What do you remember the greatest fox of your life?
• 48:06
  Actually asking I have no interest in.
• 48:08
  You don't want to answer that question for the audience.
• 48:10
  No, it's certainly not, but I just don't find his questions
• 48:14
  interesting. For some reason I just not
• 48:17
  finding his his dialogue engaging even with him being
• 48:21
  such a strong deliverer of of the dialogue.
• 48:24
  I don't know. I just didn't stick with me.
• 48:26
  Anybody that's trying to sell me, trying to live in the moment
• 48:29
  and not worry so much about what could or could not happen,
• 48:32
  That's the take away to me. Everything else doesn't matter.
• 48:34
  And the ways which he's delivering those lines, I'm I'm
• 48:38
  willing to go along with it because the he's a great things
• 48:42
  fade in the memory of the things gain, you know, food.
• 48:45
  It's just it's just food. Like what is it?
• 48:46
  I get it, but I I don't way he's delivering it to me.
• 48:50
  I'm not buying what he's selling.
• 48:52
  So I don't think he's a very good salesman.
• 48:53
  That's what I think. Yeah, you wouldn't buy from him.
• 48:55
  No, he's supposed to be the best salesman in this movie.
• 48:58
  Yeah, so I'm out. Clearly I'm out of this movie.
• 49:00
  I'm done. Like, you tell me this guy's the
• 49:02
  best salesman and this is the shit that's coming out of his
• 49:04
  mouth? Come on.
• 49:05
  I'm shit. I'm buying from Lemon Check.
• 49:08
  I mean, I don't know, I have to double check my notes, but maybe
• 49:11
  magic. Could that be could we attribute
• 49:13
  its abilities to magic? Yeah.
• 49:15
  Ironically, ironically, Lemon, it's probably selling lemons.
• 49:19
  You know, I'm probably selling 2 cars.
• 49:22
  Selling the deadbeats back to George and Moss.
• 49:25
  Oh, yeah, They're gonna. Yeah.
• 49:26
  They're talking about a thing, An idea, right?
• 49:29
  They didn't talk to him about this?
• 49:31
  No, but as an idea, we're speaking about it.
• 49:34
  We're not actually talking about.
• 49:36
  It how do you feel about answering questions with
• 49:39
  questions short, you know, like there are conversations.
• 49:43
  How do you feel about it? Funny guy?
• 49:49
  It's it goes on for a while. Sure.
• 49:52
  Yeah, I enjoy it. I enjoy it, but it gets to the
• 49:54
  point. OK, All right, guys.
• 49:55
  Like there's a couple of scenes that do drag on a little bit for
• 49:59
  me. This is not the scene that I'm
• 50:02
  referring to, but it's kind of pushing the limit.
• 50:04
  It does feel a little bit written when you have like the
• 50:06
  questions on the top of the questions.
• 50:08
  But what are your thoughts? Back to you, Philip.
• 50:10
  Don't put this on me. You know, some people I've
• 50:12
  criticized Mammoth for not writing like humans like that.
• 50:15
  It's too stiff. I don't have that problem.
• 50:18
  I feel like this is all very natural.
• 50:20
  Mostly I would agree with you. Mostly.
• 50:21
  And when it isn't, it's heightened to such a degree that
• 50:24
  I find endlessly entertaining. And Mammoth is big on games.
• 50:27
  You know that he did the House of Games, he did the Spanish
• 50:30
  prisoner heist, these big complicated games.
• 50:34
  Douglas the Game. Yeah, he didn't do that one, but
• 50:36
  but but these con games is really big into his world and a
• 50:39
  little bit of magic actually with Ricky J.
• 50:41
  So when he's doing it, it feels rhythmic, like it feels light on
• 50:45
  its feet so it doesn't feel stiff and it feels fairly
• 50:48
  natural given the circumstances. None of it comes out as being
• 50:50
  like, oh, this is that scene. It feels like it's in line with
• 50:54
  the rest of the movie and watching those two interplay and
• 50:56
  the intercutting between and watching Aaron now get kind of
• 51:02
  annoyed. Did you?
• 51:03
  Did I did you what? Like, you know, what does draft
• 51:05
  pay for? I'll buy them.
• 51:06
  You talk to him. Yeah.
• 51:08
  You know, like it's like this dance between these people.
• 51:10
  Yeah, I, I think it's that I'm feeling, I'm feeling.
• 51:13
  George is, Yeah. Give me a straight answer.
• 51:15
  You're not getting one right. Yeah.
• 51:17
  And I just. I love George.
• 51:18
  George is great in this movie in part because he is so kind of
• 51:22
  obsequious. He plays like he's sort of
• 51:24
  behind the conversation at all times, and it allows for Moss to
• 51:29
  do what he does later. But, you know, there's a scene
• 51:31
  earlier where he talks about, this is my favorite line, Moss
• 51:33
  is going off and you know about Jerry.
• 51:36
  As he does. Right.
• 51:37
  Bullshit that. And, you know, he's like, you
• 51:39
  know, they let us, they let us go with no confidence and, you
• 51:41
  know, shaking in his and says shoes and then he's saying shoes
• 51:46
  as Moss is saying boots and then George's boots.
• 51:50
  Yeah, boots. That's right.
• 51:51
  Like the interplay between the two and his performance is just
• 51:56
  slubby kind of behind the conversation, always playing
• 51:59
  catch up is a great character and he does that really well.
• 52:02
  And this scene in particular. Well, I appreciate you sharing
• 52:04
  your favorite line of the shoes and boots.
• 52:06
  I'm glad they delivered it a little bit better than you.
• 52:08
  Yes, well, it's tough to do it with single handedly, but when
• 52:10
  you watch the movie it's a great little moment and it's a small
• 52:13
  little moment too. Like you might miss it, but just
• 52:15
  something about it. Just boots.
• 52:16
  Yeah, boots. And what allows George to be
• 52:19
  taken, as it were, by Moss throughout this is that he is
• 52:23
  written and his character is the weaker of the of the group.
• 52:26
  And so Moss can he's a go with guy.
• 52:28
  He's a go with guy. And Moss kind of preys on that,
• 52:30
  right? And he's got this great little
• 52:31
  moment exchange as he's talking and he's talking about how he's
• 52:33
  gonna go and get a drink at the Como Inn.
• 52:36
  And are you gonna talk? Are you gonna rap me out,
• 52:38
  George? No.
• 52:38
  Well, then if they come to me or they're gonna come to me, I'll
• 52:42
  have to name names. Why you do?
• 52:44
  Because that's something I have to do, right?
• 52:45
  It's the the banter is so good, but he basically says we're
• 52:49
  going to rob the office. What?
• 52:50
  You're going to rob the office tonight?
• 52:52
  It's got to be tonight. I got to be.
• 52:53
  He's got to rob it. And he says you're going to rob
• 52:55
  it. George has to rob it and it has
• 52:56
  to be tonight because they're going to suspect he's got a big
• 52:59
  mouth. Bullshit company fucking leads.
• 53:01
  Yeah. So he's going to be at the
• 53:02
  movies. He's got an alibi.
• 53:04
  Yep. It's going to be George.
• 53:05
  I mean, he's not wrong. No, that has to be the play.
• 53:07
  It's great. And the way that George gets
• 53:09
  taken into that, he says, you know, I do whatever.
• 53:11
  Why? Because you listened, that's it.
• 53:14
  Just because you're an accessory after the fact or before the
• 53:17
  fact because you heard I was going to do this and you
• 53:20
  listened to me for the last half an hour, hour, whatever.
• 53:23
  That is a great fuck you. Why are you doing this?
• 53:26
  Why are you doing this to? Me.
• 53:27
  Yeah. Moss isn't a very nice guy.
• 53:29
  No. Yeah, he will, you know.
• 53:31
  Do that, he says. You know you 2500, right?
• 53:35
  It's like 7500 bucks. It's like, well, I thought
• 53:37
  you're my end is my business. Your end is 2500, right?
• 53:40
  Like it clearly is. Why?
• 53:40
  Would you even admit that at that point you're like, come on,
• 53:43
  It's not. You're not incentivizing him to
• 53:45
  to no to complete. The the robbery, it's pretty
• 53:47
  great. And that's sort of culminates
• 53:49
  now the the sort of act, the first act of the play ends and
• 53:53
  builds up to Roma doing his final real pitch to James.
• 53:57
  We've watched him pepper him through conversations about
• 54:01
  alcohol and shitty compartments and trains and whatever in his
• 54:05
  last big pitch is, you know, they say you rent it, you don't
• 54:08
  buy it, and he says what? The thing which plays and
• 54:11
  playwrights are fantastic with the use of the thing, which is
• 54:13
  why I love the thing We did. The things doesn't matter.
• 54:16
  Doesn't matter what the things are.
• 54:18
  You don't have to tonight, is The thing, is what Moss just
• 54:20
  says prior to this. And the thing You rent it, you
• 54:23
  don't buy it. I assume he's just referring to
• 54:25
  the food that we eat. All of it, or the beer that we
• 54:28
  drink. All of it is renting it.
• 54:30
  We're all everything. The body we're renting this
• 54:32
  body, We didn't buy it. We're gonna, we're all gonna
• 54:34
  die. We don't own it.
• 54:36
  My question to you Phil, is why is Pacino glad he met James?
• 54:40
  Because he's gonna sell him 18 units of Mountain View.
• 54:43
  I know, we know that, but really?
• 54:46
  He says this line. I'm glad to have met you, James.
• 54:49
  Yep, as James, I'm like, why? I have.
• 54:52
  I've said nothing to you because you've brought nothing to this
• 54:56
  conversation. Here's what we've established
• 54:58
  and what gets paid off later. Anyway, James is the weaker
• 55:02
  person in the relationship. Yeah, he has no power.
• 55:06
  He. Says no pants, no power.
• 55:08
  He's defeated and deflated. It looks like he's sitting in a
• 55:11
  bar alone. Sweaty a little bit at.
• 55:13
  Times, but he's sitting in a bar alone so he's prey by foot odor
• 55:17
  too and so for somebody to say glad I met you if you're a
• 55:20
  broken human being someone being happy that you exist happy that
• 55:25
  you made a conversation made a connection that can elevate and
• 55:29
  I'm certain that that's why this thing.
• 55:31
  I think it's cuz you're seeing it from from the outside like
• 55:35
  you're not. Well, I saw the whole.
• 55:36
  Movie and he I know, but as an audience, you, you see exactly
• 55:40
  what he's doing to him and you're like, dude, what are you
• 55:43
  doing? You know what I mean?
• 55:43
  But put yourself in like shoes and yeah, boots.
• 55:46
  Boots. Yes, yes, my mistake.
• 55:49
  My apologies if someone came to you and said something positive.
• 55:53
  I'm no, I, I ulterior motives. Your guards that up.
• 55:56
  Oh, yeah. You're so far.
• 55:57
  What? Come on, I've been.
• 55:58
  When was the last time you heard something positive?
• 55:59
  I guess. Exactly like this does not no.
• 56:03
  You of this fishy right off the bat.
• 56:04
  You want something from me? Yeah.
• 56:06
  And I think being, you know, in my early 40s, like being in that
• 56:13
  environment and just going through life and I was, I was a
• 56:15
  pretty naive kid, naive people, country.
• 56:18
  Whenever, yeah. People would take advantage of
• 56:22
  me, sure, that's the way it was. So I've kind of hardened and now
• 56:26
  I I'm more aware and then I can I see myself when there is a
• 56:29
  moment when someones. Having, like this strong, you
• 56:32
  know, this, this sort of your radar's up.
• 56:34
  Yeah. And as a salesman yourself, you
• 56:36
  can probably sense it. Yeah, exactly right.
• 56:39
  I know this this game. Yeah.
• 56:40
  So it's possible. Yeah.
• 56:42
  That's my read, though. And I think it's right.
• 56:44
  Yeah. And then pretty much he sort of
• 56:47
  leans in Glengarry Highlands. He shows the photo.
• 56:49
  Yeah. Gorgeous.
• 56:51
  And he says, listen, what I'm gonna tell you now and then
• 56:53
  that's the hard cut. Yeah.
• 56:55
  That's the end of the ACT. That's it.
• 56:56
  And you know, he's going to close the deal because, you
• 56:59
  know, the the next act starts, but we're at the halfway point,
• 57:02
  basically, more or less. And we come out of black and
• 57:06
  we've got daylight. Daylight next morning.
• 57:08
  The following morning. Yeah.
• 57:09
  And Pacino shows up and cop outside.
• 57:13
  Where do you work? Yes, I work.
• 57:15
  I work here. How did you hear about the break
• 57:18
  in the glass everywhere. You got fucking bored up here.
• 57:22
  Like, you know, yes, I could fess I did it.
• 57:25
  Just great. Great.
• 57:26
  Stuff and Pacino wants the. Car.
• 57:29
  Yeah. You close, you close the
• 57:31
  contract, you set the contract down.
• 57:32
  Yeah, there it is. Because this is how we keep
• 57:34
  score, Bobby. Yeah.
• 57:37
  And I was like, you know, any movie as you know.
• 57:39
  Yeah. With a Bobby in it.
• 57:42
  Well. It's already an 8 or 9.
• 57:44
  Yeah, this is the die hard of the absolutely close thus and so
• 57:48
  you get the car just great, great everything about it.
• 57:51
  He wants to make sure the paperwork, they're all worried
• 57:54
  about what's been taken, absolutely.
• 57:56
  I got to close the old shit. What does this mean?
• 57:58
  The contracts, Where are they? Think about this, right?
• 58:01
  You managed to get a guy and you worked with them and you worked
• 58:03
  on them and you got them broken down and you got them to buy the
• 58:05
  thing and you have to go back to it.
• 58:06
  Did you come back to the store? There's a signature missing.
• 58:10
  You're like, you might. Yeah, and I'll sleep like a.
• 58:15
  Baby. Yeah, yeah.
• 58:16
  No problem. But anyway, so like, you can
• 58:18
  feel the weight of that, like fuck, I talked to, you know, I
• 58:20
  had to pitch this guy 10 times or whatever.
• 58:22
  It's obviously we know Pacino's not involved in it, but just the
• 58:24
  way he's reacting like he has nothing to do with this robbery.
• 58:28
  He's pissed off. Basically.
• 58:29
  He's like, angry. And they took the phones?
• 58:31
  Yeah, we took the phones. You.
• 58:33
  Know took the contract. It's the phones.
• 58:35
  As an audience, we think George is involved.
• 58:38
  We assume right? Absolutely.
• 58:40
  I I didn't remember the ending of this movie.
• 58:42
  On the first time, which is nice.
• 58:43
  Totally nice. Absolutely.
• 58:44
  So, yeah, the last conversation, the last conversation that Moss
• 58:48
  and George had was basically implicating George.
• 58:50
  As far as we know, that's what happened.
• 58:52
  So he's the guy. Yeah.
• 58:53
  And then we've got sort of random Roma pacing around.
• 58:57
  What am I gonna do? This month is still the phones.
• 58:59
  What the, You know, his energy is obviously peaked.
• 59:02
  He's doesn't know what the fuck's going on.
• 59:04
  He's looking at his book. He's looking at his phone.
• 59:05
  Like what's he gonna do? Yeah.
• 59:07
  Right. And then he tell Patel he's
• 59:09
  like, you know, Williamson gives him a couple of leads and he's
• 59:12
  like, aren't you going out later with what he gives him the and
• 59:15
  fucking Patel, which we he's been warned about.
• 59:18
  We remember from Moss anyway. And then he gets to just freak
• 59:22
  out and on Williamson, you fucking idiot, you know, you're
• 59:26
  dumb and you know, Vishnu came down from above.
• 59:29
  They got Shiva in the deal, like, you know, sign the deal
• 59:32
  and he wouldn't sign. And he's like, fuck you.
• 59:34
  You're, you know, your business is being an asshole.
• 59:40
  Oh man. And then, of course, who enters
• 59:49
  the scene? Shelley A.
• 59:51
  Lot of energy on this guy. He is.
• 59:53
  Oh, he's feeling great. Re energized.
• 59:56
  Yeah, he closed the the Cyborg or the Nyborg?
• 59:59
  The Nyborg. Harriet and blah blah.
• 1:00:02
  Yeah. And he is just over the moon.
• 1:00:04
  Get him on the board. And what I love mostly about
• 1:00:09
  this is his relationship with Roma.
• 1:00:11
  Yeah, like, Roma isn't a bad guy.
• 1:00:13
  Moss is just all vitriol. Yeah.
• 1:00:16
  And not really a team player. Sure.
• 1:00:18
  And you're not meant to be a team player in this this
• 1:00:20
  atmosphere now and maybe some sales atmospheres.
• 1:00:23
  You want to work together as a team, Sure, works best.
• 1:00:25
  But here it's cutthroat. Yeah, big time.
• 1:00:28
  But Shelley is nicknamed the Machine.
• 1:00:30
  Levine. Yep.
• 1:00:31
  And he's so excited that he closed the Nyborgs 8.
• 1:00:34
  Units. Mountain View.
• 1:00:36
  Yeah, 85,000 Eighty 2082. 1000 There you go.
• 1:00:40
  And in the midst of his elation, that's a good word for that, We
• 1:00:43
  get Moss coming out and he's like, anyone who talks to this
• 1:00:46
  asshole is a fucking asshole. Yeah, there's a lot of things
• 1:00:51
  happening right now in the office.
• 1:00:52
  Everything's peeking, right. You've got Williams popping in
• 1:00:54
  and out. You know, he's got the police.
• 1:00:56
  Yep. And Shelly just wants to brag
• 1:00:59
  about a sale and Moss, again, not having it.
• 1:01:02
  Like, I don't want to hear your fucking war stories or whatever
• 1:01:05
  else, Right. And then Roma calls him out and
• 1:01:07
  you got a big mouth and you get a close, a big one.
• 1:01:09
  And we smell your farts for a week.
• 1:01:11
  Fuck you. Your pal makes a sale and all it
• 1:01:13
  comes out of your mouth is bile. Yeah, yeah.
• 1:01:17
  Fuck you, Yeah, fuck you. Fuck the hell out of you.
• 1:01:19
  Right? Like, is this your farewell to
• 1:01:20
  the troops? Right.
• 1:01:21
  He just kind of fucks with them. Yeah, it's great stuff.
• 1:01:24
  Yeah, it's really good. And after the big blow up and he
• 1:01:27
  kind of leaves, Pacino's got the Gray line where he looks at
• 1:01:30
  Shelly. You were saying like none of it
• 1:01:32
  mattered. Like whatever, he can do his
• 1:01:34
  thing. Up until now, Shelly has gotten
• 1:01:36
  nothing. Yeah, I think he's sitting down
• 1:01:38
  at this point. You're sitting and he's really
• 1:01:40
  getting into details about the sale, like he's really painting
• 1:01:44
  this picture of what's happening in that living room, right?
• 1:01:47
  And. Coffee cake store bought.
• 1:01:49
  Fuck her. It's great though.
• 1:01:52
  It's. Great.
• 1:01:53
  It's his moment. Yeah.
• 1:01:54
  You know, in sales, especially when you're selling a hard
• 1:01:56
  metric. Yeah.
• 1:01:57
  Like for us, it's like the credit card, right?
• 1:02:00
  I don't want a credit card. Like that's like, no, no, no, I
• 1:02:01
  got to know if I'm No, no, no, this ours is the best.
• 1:02:03
  Listen, just listen. Here's the benefits.
• 1:02:05
  Yeah. But when you close that and you
• 1:02:07
  got that of approved because that's you don't get approved,
• 1:02:10
  you don't get paid. If it's not approved, you get
• 1:02:12
  that little bit of dopamine hit. And the way you may tell that
• 1:02:16
  story later. Is with a little sweet sauce on
• 1:02:20
  it, a little extra juice to it, right.
• 1:02:22
  Like, oh God, I had this guy. It was 10/20/30 minutes.
• 1:02:26
  I'm talking to him. He's got to call the, you know,
• 1:02:28
  like you're telling the story. Yeah.
• 1:02:30
  He left, he came back. That's right.
• 1:02:31
  There's a Yeah, yeah. Yeah, there's a fun to that and
• 1:02:34
  Shelly just is bleeding that in the scene.
• 1:02:36
  It's so energetic and exciting for him.
• 1:02:38
  Well, I hope you enjoy it. Enjoys it, why it lasts.
• 1:02:42
  Didn't last too long because we got James Link.
• 1:02:44
  James Link comes back into the fray.
• 1:02:48
  There's nothing worse than the customer coming back and
• 1:02:50
  returning the item. Exactly.
• 1:02:51
  Annoying. Absolutely.
• 1:02:52
  So if you can fit your card for it, if you're in a position
• 1:02:55
  where you could have somebody, maybe even me, show up at the
• 1:02:58
  store and hype up a product that you were trying to sell.
• 1:03:02
  Not the worst thing in the world.
• 1:03:03
  And so this is a guy, he knows the deal.
• 1:03:05
  He knows the the lay of the land.
• 1:03:07
  Shelley, he's on a high from selling.
• 1:03:09
  So he plays along. And AS Roma says later, you know
• 1:03:12
  the shit you were spewing on my guy is so good when he's kind of
• 1:03:16
  doing the Kenilworth. There is a street, by the way,
• 1:03:18
  there is a street in this city called Kenilworth.
• 1:03:21
  And I drive by it every Sunday. I do groceries OK And
• 1:03:26
  instinctively, no frills or I think about just doing this with
• 1:03:30
  my hair. Kenilworth means this.
• 1:03:34
  It's just a great, great scene between the two to sort of set
• 1:03:37
  it up. And what Link does?
• 1:03:39
  James Link, played by Jonathan Pryce.
• 1:03:41
  Again. He breaks it all down and the
• 1:03:44
  the banter again between Roma and Link about the three days
• 1:03:49
  would have elapsed. What, 3 days you don't count?
• 1:03:52
  Tell me the three days you don't count Saturday.
• 1:03:53
  I'm not counting. No, Wednesday, Thursday, Friday.
• 1:03:57
  Did you cash the check? I mean like what day was
• 1:03:59
  Tuesday? How early could I have passed
• 1:04:01
  cast the check? Yeah, I was on the board when we
• 1:04:03
  drafted this. Don't worry about it.
• 1:04:05
  Yeah, You don't count Saturday. It's well written.
• 1:04:07
  It's a good scene. It's gaslighting, too, which
• 1:04:09
  we've talked about in the archives.
• 1:04:10
  But like, you're convincing somebody that.
• 1:04:12
  Exactly. But it's very uncomfortable to
• 1:04:14
  watch if you're coming from the shoes of Mr. Link.
• 1:04:17
  Yeah. You just need it to last three
• 1:04:18
  days because then you can't. It's it's binding.
• 1:04:20
  Right. That's it.
• 1:04:21
  And that's dirty. Like that's like, yeah.
• 1:04:23
  That's John Goodman selling a hot tub.
• 1:04:25
  That's right. That's right.
• 1:04:29
  That's Dan Connor selling a hot. His dad would be proud.
• 1:04:33
  His dad would be proud. I think Jonathan Price obviously
• 1:04:36
  hasn't had a lot to do in this movie thus far.
• 1:04:37
  He plays this scene, I thought very well when he's when he's
• 1:04:42
  desperate to cancel the check, get the deal.
• 1:04:46
  He's very nervous. And he's very anxious.
• 1:04:48
  You can tell he just browbeaten. He's got a whatever is happening
• 1:04:51
  at home is bad and Roma, whether you believe it or not is is an
• 1:04:54
  interesting question. But when he does say things like
• 1:04:58
  the deal is dead, we're not talking about the deal, You have
• 1:05:01
  a problem, let's talk about it. Is it just to kick the can, you
• 1:05:05
  know? Or is there genuine care?
• 1:05:07
  What are your thoughts? No, at that point, it's it's too
• 1:05:10
  far. He's trying to come off as like,
• 1:05:12
  I'm don't forget about the deal. We're not.
• 1:05:14
  Let's just talk. Yeah, it's too far.
• 1:05:16
  Like it's obviously not that so fair.
• 1:05:18
  Yeah, it's it's yeah. I don't like Rome as a
• 1:05:20
  character. I like him as a great
• 1:05:22
  performance. But yeah, that's fair.
• 1:05:24
  We got George coming out. My God, George, I meet Gestapo
• 1:05:28
  tactics. He was so annoying and.
• 1:05:31
  Talked to me it. Was just enough already, dude.
• 1:05:34
  He just he just went on and on. He was such a like a a mosquito
• 1:05:38
  in this scene like just squash this guy.
• 1:05:41
  He just won't shut up. You talk to me this way.
• 1:05:44
  You shouldn't talk to me this way and he kept repeating
• 1:05:46
  himself. I'm trying to listen to this
• 1:05:47
  conversation. I know what's coming up right.
• 1:05:50
  I'm just waiting for this great Spacey and lemon scene like this
• 1:05:54
  is I know gold is around the corner and he's stopping me from
• 1:05:58
  getting to the gold like go away.
• 1:06:00
  Take your lunch. Words of Mr. Williams.
• 1:06:03
  Go to lunch will go to lunch. He just keeps going on you
• 1:06:06
  shouldn't treat like how do bad do they really treat people?
• 1:06:09
  He's pretty upset, right? Moss.
• 1:06:11
  Fucking asshole. You know anyone you know
• 1:06:13
  whatever. Moss.
• 1:06:14
  He's high, strong. Yeah, but clearly it's not
• 1:06:18
  great. Just it was just enough already.
• 1:06:20
  It was just went on a little bit too long.
• 1:06:23
  But what comes after that is absolutely great stuff.
• 1:06:27
  Great stuff. You mean the Roma speech?
• 1:06:29
  The Roma speech? You know what you tell me about
• 1:06:31
  the Roma speech? Cuz I'm really just right.
• 1:06:33
  You're waiting, Just waiting for the Shelley.
• 1:06:35
  This is your problem. Yeah.
• 1:06:37
  We have Williamson Blows. It comes in hot saying your
• 1:06:42
  check's fine. We took care of that.
• 1:06:45
  Just trying to interrupt him like 6 times, right?
• 1:06:48
  I was just, I'll be with you in a while.
• 1:06:50
  He keeps getting interrupted. Williamson blows it.
• 1:06:52
  He says. I was just, I was just taking
• 1:06:54
  care of Mr. John. And basically there's a brief
• 1:06:57
  moment where Link runs off Pacino.
• 1:07:00
  His shoulders dip maybe a millimeter before he turns
• 1:07:05
  around and just unleashes the most mean spirited tear down if
• 1:07:12
  you will, of a character in almost any movie I've ever seen.
• 1:07:15
  It's so beautifully written and performed.
• 1:07:19
  And mean and mean and mean. And like, devastatingly mean
• 1:07:22
  that. Loss is cool.
• 1:07:24
  Loss is cool. It's like poetic almost.
• 1:07:26
  How good that is. I don't want to obviously repeat
• 1:07:29
  too much of that. Please don't we have a rating on
• 1:07:31
  this, but just it's a, it's a kids program.
• 1:07:35
  Yeah, It's a short bunch of lines, a lot of words, a lot of
• 1:07:39
  F words, a lot of C words. Yeah, he did use the C word.
• 1:07:41
  The next thing he hears is you're a fucking idiot.
• 1:07:44
  Now from Shelley, he gets piled on, right.
• 1:07:47
  So Shelley takes. Yeah, this opportunity.
• 1:07:48
  He's on a high. Absolutely.
• 1:07:50
  He's on a sales high. I know what that's like.
• 1:07:52
  He closed the the Nyborgs. Yep, that's right.
• 1:07:54
  He'd harbor it. Harbor it a long while.
• 1:07:56
  Yeah, but there's a problem here.
• 1:07:58
  Shelley slips up, Shelly slips up if.
• 1:08:01
  You're going to make something up.
• 1:08:02
  Yeah. Make sure it helps.
• 1:08:04
  Make sure it helps. That's it's the first rule you'd
• 1:08:07
  know if you ever spent a day in your life.
• 1:08:08
  It's a great line. We find out apparently the
• 1:08:11
  Nyborgs are nuts. They just like to talk to
• 1:08:15
  salespeople. So Williamson knows that lead
• 1:08:18
  was trash, right? And Nyborgs are just going to
• 1:08:21
  not follow through? Yeah, unfortunately, Yeah.
• 1:08:24
  And for the first time in over a year, how long Williamson did
• 1:08:29
  not come back to the office, Right.
• 1:08:30
  Yeah. Did something with his kids.
• 1:08:32
  Great dad, great dad. So how did you know that I
• 1:08:36
  didn't take the contracts down, didn't you?
• 1:08:38
  What? How did you know?
• 1:08:39
  What are we talking about in that, you fucking asshole right
• 1:08:41
  Keeps start throwing it out. Oh yeah, and Lemon in this is
• 1:08:44
  just watching him break from the high that was get the chalk.
• 1:08:50
  I'm Top of the pops. You're a piece of shit,
• 1:08:52
  Williamson. You don't know your trade.
• 1:08:54
  You know you don't know your game right to.
• 1:08:57
  I sold them like the breakdown of that.
• 1:08:59
  And he does that almost in every scene to different levels.
• 1:09:01
  Absolutely. In the car, he's doing it.
• 1:09:03
  Yep. Yeah.
• 1:09:04
  That's why I think he's the absolute bet.
• 1:09:05
  He's the only his moments. His scenes are the only mostly
• 1:09:09
  the ones where I find don't overstay their welcome.
• 1:09:13
  There's somewhere like, OK, let's move on.
• 1:09:15
  The yelling and the screaming that Roma's doing.
• 1:09:17
  OK, I get it. Good point.
• 1:09:18
  Let's move on, George. OK, go to lunch.
• 1:09:22
  Harris with the a few. OK, OK, I get it.
• 1:09:25
  But everything Lemon is doing, give me more.
• 1:09:28
  Give me more. His Epsom flows.
• 1:09:31
  I think it is is highs and lows and how he delivers it with that
• 1:09:34
  voice is just he's amazing. He's great.
• 1:09:37
  Yeah, he's a thief. Yeah, You know, poor decision.
• 1:09:41
  He rats out Moss pretty quick. Of course, that was easy.
• 1:09:44
  As Williamson's says, he's got a big more than I think he's got
• 1:09:47
  more than 2500, by the way. You know he's going right over
• 1:09:50
  to Mardi. Gras or whatever Steve is Jerry.
• 1:09:54
  This however, does Jerry Graf. This is however, my least
• 1:09:58
  favorite line in the whole movie.
• 1:09:59
  Oh, I'm sorry to hear that. But at least it's sad because it
• 1:10:01
  kind of culminates the the Williamson story to a certain
• 1:10:04
  extent. But he says you've got a big
• 1:10:07
  mouth, Shelly, and now I'm going to show you an even bigger one.
• 1:10:10
  It's not as good as anything else in the in the movie.
• 1:10:13
  I think it's the weakest bit of. Dialogue.
• 1:10:15
  But I I do I like the fact that Williamson has just he he's a
• 1:10:19
  sponge. He takes all this F us, F that,
• 1:10:22
  all that from all these guys. For the most part, unaffected
• 1:10:25
  other than maybe Roma. You could probably like.
• 1:10:27
  OK, sorry. Yeah.
• 1:10:29
  But ultimately under all that, he's like, I don't like probably
• 1:10:32
  just any of. You, yeah, but particularly,
• 1:10:34
  especially Shelly, right, where he says like, why?
• 1:10:36
  You know, and it's like my daughter, fuck you.
• 1:10:38
  And what I think is telling and curious about that relationship
• 1:10:43
  is at some point these cards are randomly dealt with, as they say
• 1:10:47
  earlier on, right? You got 2 leads, three leads.
• 1:10:49
  They'll give you whatever. And if Williamson knows, as he
• 1:10:52
  says, you want me to pull the file, Nyborg?
• 1:10:54
  We had them on, blah, blah, blah, blah, blah, blah.
• 1:10:56
  They're nuts. They just like to talk to
• 1:10:58
  salesman. Why is that lead still in the
• 1:11:00
  mix? Yeah.
• 1:11:01
  I think you're setting up. And why are you giving it
• 1:11:04
  specifically to Shelley? Williamson doesn't really say
• 1:11:06
  anything in the movie, right? Like he is the sponge, like
• 1:11:09
  you're saying he is the the not a lot of the whipping boy, as it
• 1:11:12
  were. Everybody beats him up.
• 1:11:14
  It just comes from downtown. He's just the messenger.
• 1:11:16
  Right, so is he more devious? Than than what the than what the
• 1:11:21
  movie kind of lets us see, right.
• 1:11:22
  I kind of think that I get. I picked up on that.
• 1:11:25
  Yeah, I'm good at that. I read people, buddy.
• 1:11:28
  I read people. Yeah.
• 1:11:29
  Check the number. Check the heat map.
• 1:11:30
  So I love it. And then obviously we get this
• 1:11:32
  moment of lemon is broken, so desperate and he sits down and
• 1:11:37
  he's trying to like jot notes. He's trying to Roma, you know,
• 1:11:41
  he starts to hype him up a bit Machine the shit you were giving
• 1:11:45
  my guy and Shelly, that's a man I would work with.
• 1:11:48
  And like I should have told you earlier, but you know, I never
• 1:11:51
  found the time. Come watch me eat at the.
• 1:11:53
  Rest watch, he says. Watch me.
• 1:11:55
  Eat, come, come to the restaurant.
• 1:11:57
  Watch me eat. It's so good.
• 1:11:58
  And watching Lemon again, just not be able to say the words,
• 1:12:03
  you know? Yeah.
• 1:12:04
  And Roma's on the phone and Lemon's just like Ricky.
• 1:12:07
  I would. We'll talk later.
• 1:12:08
  Like, no big deal. Oh man, the thing's unsaid in
• 1:12:13
  that moment. And it actually ends up being
• 1:12:15
  the perfect ending to this movie too.
• 1:12:17
  So this thing happened. Shelly goes back into the office
• 1:12:20
  to and he's like, oh, I just want to talk to Ricky.
• 1:12:22
  Ricky can't help you pal. Brings him in.
• 1:12:24
  And then George comes back from lunch, a quick lunch and ask
• 1:12:29
  Roma, did they find the guy? Roma instinctively says no.
• 1:12:33
  He just looks up to Shelly going into the office, then says, I
• 1:12:37
  don't know, That's like, maybe he knows now that it is.
• 1:12:42
  He's a smart guy. And then in the most perfect
• 1:12:45
  ending to this movie, George sits down, dials a number and
• 1:12:49
  does another cold call and the camera pushes in on him and we
• 1:12:52
  cut the black and we got blue skies by.
• 1:12:54
  Yeah, Al Giroux I I prefer Brent Spiners rendition in Star Trek.
• 1:12:59
  Thought you might. Thought you might.
• 1:13:01
  Yeah, the classic Nemesis. Just a phenomenal ending to what
• 1:13:08
  I think is a phenomenal movie. I am so tickled by this movie.
• 1:13:12
  I could watch it a dozen times back-to-back.
• 1:13:14
  It kind of doesn't exactly do the the usual movie, like what
• 1:13:20
  do you call it? Path.
• 1:13:21
  Yeah, where you have trajectory. Trajectory.
• 1:13:23
  It's just, it's just people talking, people talking and that
• 1:13:27
  this is just. Everyday life, No real happy
• 1:13:29
  ending. It's just.
• 1:13:30
  Yeah. I was wondering, I was going to
• 1:13:31
  ask you about that because there isn't really a good guy in this
• 1:13:34
  movie. I know you struggle with that.
• 1:13:36
  You think Lemon is, but he's a thief.
• 1:13:38
  Exactly. So.
• 1:13:39
  Yeah. Right.
• 1:13:39
  Like, do you lose readability or?
• 1:13:41
  No, I'm just taking it. But this is a movie where you
• 1:13:44
  just got to take it in. Yeah, OK.
• 1:13:46
  It's every It's it's grounded in the fact that this is a a real
• 1:13:49
  environment. There's no magic, generally not
• 1:13:51
  a little bit sales magic. This meal Phillip doesn't call,
• 1:13:55
  this recipe doesn't call for a hero.
• 1:13:57
  OK, right. Yeah, it's just a just a just a
• 1:14:00
  normal dish. Couple guys doing the things
• 1:14:02
  just. A couple grilled cheese
• 1:14:03
  sandwiches and I like grilled cheese sandwiches.
• 1:14:05
  You do? Obviously I don't want to eat a
• 1:14:06
  grilled cheese sandwich every day.
• 1:14:07
  Maybe. Actually, that's a bad example.
• 1:14:11
  My wife let me, but I can't. I can't do that.
• 1:14:13
  Getting older. But she goes away for a week.
• 1:14:15
  There's at least four grilled cheeses in your life, right?
• 1:14:18
  But I think I mean, when you have such a well written film
• 1:14:21
  with great performances, I come on like, you're going to
• 1:14:27
  appreciate it, especially if it's a world that you can kind
• 1:14:30
  of relate to Totally add, add some elements and it's a play,
• 1:14:33
  right? And I think the advantage it has
• 1:14:34
  is because the plays are limited to, you know, what they have to
• 1:14:38
  use as props. So to make a movie out of it
• 1:14:41
  from that perspective is pretty easy.
• 1:14:43
  You don't need to worry about too much, right?
• 1:14:45
  Get just get an office Chinese restaurant.
• 1:14:47
  Get a restaurant sitting in a car, easy peasy.
• 1:14:51
  So I think they just maximize that and just come up with some
• 1:14:54
  great, great, great. Stuff And I think I really think
• 1:14:56
  Lemon just he's just too good not to appreciate that, that
• 1:15:00
  personality, plain and simple. I think that ultimately the cast
• 1:15:05
  is so perfect that I can't really imagine anybody else
• 1:15:10
  doing it. And I know since this movie,
• 1:15:13
  it's revived a couple of times on Broadway.
• 1:15:15
  Yes. And Pacino actually played
• 1:15:18
  Shelly in not this most recent version obviously, but he's
• 1:15:24
  retired by then, but in I think the last revival.
• 1:15:28
  Interesting. David Harbour from Pacino played
• 1:15:31
  Shelly Scare. Yeah.
• 1:15:32
  So as a kind of full circle kind of thing, you know, 15 years
• 1:15:35
  later, Pacino is now older and obviously broken down.
• 1:15:38
  So I never saw that production, but played Shelly.
• 1:15:43
  And now we've got, you know, Mike McKeon and Bill Burr and
• 1:15:47
  Bill Burr Falcon. Which character did Moss?
• 1:15:50
  Yeah, that's perfect. Yeah.
• 1:15:52
  Like I'm a I'm a Bill. I'll I'll say it meets the red
• 1:15:54
  hair. I like Bill Burr.
• 1:15:55
  Sure. He's he's evolved over time.
• 1:15:57
  He's you know, he's a little bit calmer now, but.
• 1:16:00
  But I appreciate his commentary. Sure.
• 1:16:02
  And I can really see him playing the Moss character.
• 1:16:05
  Yeah, specifically. So I'd be, I'd be, I'd be
• 1:16:07
  curious to see that. I was supposed to see it in
• 1:16:10
  April. Unfortunately a.
• 1:16:11
  Some plans fell through, but B Trump is an idiot and I wasn't
• 1:16:16
  going to spend any money in the US.
• 1:16:18
  Well, hopefully they'll they'll bring it up to T.
• 1:16:20
  O maybe, yeah. Not with that cast, no.
• 1:16:23
  No Vancouver, no. That cast is staying on in New
• 1:16:26
  Yorker and. Really.
• 1:16:27
  Yeah, but a great cast would have been great to see it in
• 1:16:31
  April, but you know, didn't take.
• 1:16:32
  I'm sure it's on the Internet somewhere.
• 1:16:34
  I'm sure someone snuck in a smartphone that they may have
• 1:16:37
  bought from you even. Maybe, maybe it's it's it's one
• 1:16:42
  of my favorite movies. I was so happy to to take it off
• 1:16:44
  the shelf and revisit it. The performances, I said so
• 1:16:46
  great. The writing is just pitch
• 1:16:47
  perfect. There's not a complaint I have
• 1:16:49
  really at all. It's in the conversation of
• 1:16:52
  everybody's best performance in any movie.
• 1:16:54
  I think like if you want a great Pacino role, I point to that
• 1:16:58
  one, a great Jack Lemmon role. I would put, you know, it's just
• 1:17:01
  a movie. I would point anybody that's a
• 1:17:03
  fan of any of these actors to because I think everybody is
• 1:17:05
  doing incredible work. I think Pacino was better in the
• 1:17:08
  recruit. You are a crazy person.
• 1:17:11
  Nonetheless. And if this wasn't a family
• 1:17:14
  podcast, I'd call you a stupid fucking.
• 1:17:15
  Something else? Hey, if they're going one way,
• 1:17:18
  I'm going the other way. Yeah, that's right.
• 1:17:20
  Just the other way. Exactly.
• 1:17:21
  All right. Add it.
• 1:17:22
  To which you know they're wrong. Nice work.
• 1:17:24
  We're gonna tie it all together, folks.
• 1:17:26
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• 1:17:29
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• 1:17:31
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• 1:17:34
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• 1:17:55
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• 1:17:57
  All about It's all about the leads.
• 1:17:59
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• 1:18:06
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• 1:18:10
  Next week, good day.