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Transcript

SYSK’s Summer Movie Playlist: Some Movies That Changed Filmmaking · Stuff You Should Know

• 0:01
  Speaker 1: Hey, everybody.
• 0:01
  Speaker 2: Continuing the Stuff You Should Know Summer movie playlist, This
• 0:05
  Speaker 2: episode from February twenty fifteen focuses on some movies that
• 0:09
  Speaker 2: changed filmmaking from the very beginning of the film industry
• 0:12
  Speaker 2: up to Star Wars and beyond. All these movies pushed
• 0:15
  Speaker 2: the whole thing forward that much more and got us
• 0:18
  Speaker 2: to where we are today. And as a bonus, Mystery
• 0:21
  Speaker 2: Science Theater three thousand makes a nice little cameo in here. Enjoy.
• 0:28
  Speaker 1: Welcome to Stuff You Should Know, a production of iHeartRadio.
• 0:38
  Speaker 3: Hey, and welcome to the podcast. I'm Josh Clark. There's
• 0:41
  Speaker 3: Charles w Chuck Bryant aka Siskel, and.
• 0:45
  Speaker 1: Ebert save us the I'll see.
• 0:47
  Speaker 3: And Jerry's over there. I guess she's Gene Shallatt. That's
• 0:53
  Speaker 3: the Stuff you Should Know triumph It.
• 0:57
  Speaker 1: I don't know why that tickled me so much, because
• 0:59
  Speaker 1: Jane's Oh, it's a funny looking I guess, yeah, Jerry's not.
• 1:03
  Speaker 1: I'm just picturing her with a big afro and a
• 1:05
  Speaker 1: mustache and like a tweet jacket and bad opinions about movies.
• 1:09
  Speaker 3: Jean shell It had a look for sure.
• 1:11
  Speaker 1: Still though, he's around right, Oh yeah, I think so. Yeah,
• 1:16
  Speaker 1: rip both Ciskel and Ebert so sad. I know. Have
• 1:20
  Speaker 1: you seen the Roger Ebert documentary?
• 1:22
  Speaker 3: No, I've heard nothing but good things.
• 1:24
  Speaker 1: Really really good, very touching. Yeah. What is it?
• 1:28
  Speaker 3: Something Life, Life like mine, Life with Me, Life on Top,
• 1:34
  Speaker 3: Life Itself, Life with thumbs, Life itself, Life.
• 1:37
  Speaker 1: Itself, Life with thumbs. It was really great. And I
• 1:41
  Speaker 1: watched it and made the mistake of watching on a plane,
• 1:43
  Speaker 1: and I was just like, my allergies were acting up.
• 1:45
  Speaker 1: Oh yeah, oh yeah, I was. I was watering because
• 1:49
  Speaker 1: of your allergies. No, because it was sad. I was crying.
• 1:52
  Speaker 1: Do you want me to say it? Oh? Yeah, crying
• 1:54
  Speaker 1: on a plane.
• 1:55
  Speaker 3: I was confused there for a second.
• 1:57
  Speaker 1: That's better than when I watch other movies that are
• 1:59
  Speaker 1: on my laptop that are like have like bad violence
• 2:03
  Speaker 1: or nudity or something. I'm always just like oh, and
• 2:06
  Speaker 1: I kind of lower the laptop and it's like I
• 2:08
  Speaker 1: didn't realize this was in here. And the lady next
• 2:10
  Speaker 1: to me, he's just like, ugh, you disgust me, Yeah,
• 2:14
  Speaker 1: because I don't. I want to be sensitive to people
• 2:17
  Speaker 1: around me. You know, I'm not one of those jerks
• 2:18
  Speaker 1: just like just lives in my own bubble. It's like
• 2:20
  Speaker 1: watching some sex scene on a plane. You're like elbowing
• 2:23
  Speaker 1: the ladies. So yeah, no, I hate it. That's it
• 2:26
  Speaker 1: was so embarrassed. That happened to me a couple of times.
• 2:28
  Speaker 1: I'm like, I needed to start going PG on movies. Yeah,
• 2:31
  Speaker 1: like airplanes.
• 2:32
  Speaker 3: Judd Apatow huh am, I right, he's unpredictable.
• 2:35
  Speaker 1: Yeah, all right, So Chuck, this is your episode to
• 2:40
  Speaker 1: shine Man, is it? Yes, you're a movie guy too, though.
• 2:43
  Speaker 3: I like movies, but I've I almost consciously don't let
• 2:47
  Speaker 3: myself watch movies on a like.
• 2:50
  Speaker 1: A film aficionado level. Oh right, you pure enjoyment.
• 2:54
  Speaker 3: Yeah, I don't ever want to see the individual shots
• 2:58
  Speaker 3: and just be like, oh well that could have been
• 3:01
  Speaker 3: better whatever, Yeah, and just missed the movie as a whole.
• 3:05
  Speaker 1: Yeah. I fall somewhere in the middle of that. I
• 3:07
  Speaker 1: try to let go. But like our our video producer
• 3:11
  Speaker 1: director Casey is is pretty bad about that, and our
• 3:14
  Speaker 1: buddy Scotty who shot our TV show, Uh oh he's
• 3:16
  Speaker 1: the worst. Yeah, he's just the camera working that lighting
• 3:20
  Speaker 1: in that scene.
• 3:21
  Speaker 3: Scott's awesome. Hey Scott, Hey Casey, they're all.
• 3:25
  Speaker 1: In here with us in spirit, and hey, this is
• 3:27
  Speaker 1: the last show in the studio. Yeah, last episode in
• 3:30
  Speaker 1: the old office. Yep, the murder Room.
• 3:32
  Speaker 3: Couldn't feel more neutral about it.
• 3:35
  Speaker 1: I actually feel less than neutral, less than zero. It's
• 3:39
  Speaker 1: it's weird. That was a good movie. Thank you, great shots. Yeah,
• 3:42
  Speaker 1: I say thank you as if I directed it.
• 3:44
  Speaker 3: A lot, right. I not only directed it, I also
• 3:47
  Speaker 3: played Andrew McCarthy.
• 3:51
  Speaker 1: Uh. Yeah, I'm ready to get the heck out of here, man.
• 3:53
  Speaker 1: I can't wait to get in that new office and
• 3:55
  Speaker 1: that Yeah, it's gonna be good, tiny little dedicated studio.
• 3:58
  Speaker 3: Whole new world.
• 3:59
  Speaker 1: All right, let's do this.
• 4:01
  Speaker 3: Okay, So, Chuck films, you've seen one or two of
• 4:04
  Speaker 3: them in your time? Sure, have you seen any of
• 4:06
  Speaker 3: the ones in this list? I know you've seen a
• 4:08
  Speaker 3: few of them, but have you seen like some of
• 4:09
  Speaker 3: the early ones I've seen.
• 4:11
  Speaker 1: Well, we'll just go piece by piece because I have
• 4:13
  Speaker 1: not seen Battleship Pataken Okay, but I do love Mandy Patankin.
• 4:19
  Speaker 1: It's a little.
• 4:20
  Speaker 3: Different, yes, in spelling pronunciation meaning the whole thing.
• 4:24
  Speaker 1: Uh huh.
• 4:25
  Speaker 3: But it's close, I guess.
• 4:27
  Speaker 1: But we're talking, of course, about films that change filmmaking
• 4:32
  Speaker 1: somewhere or another, and the first one on the list
• 4:35
  Speaker 1: is from nineteen twenty five, Battleship Patamkin. That's hard for
• 4:38
  Speaker 1: me to say.
• 4:39
  Speaker 3: Which is not the first movie, by the way. The
• 4:40
  Speaker 3: first screen movie was Workers Leaving the Lumieer Factory, which
• 4:44
  Speaker 3: is forty seven seconds long and the most boring piece
• 4:46
  Speaker 3: of celluloid anyone's ever put together.
• 4:48
  Speaker 1: But it was the first, that's right.
• 4:50
  Speaker 3: This was many years. That was a full thirty years
• 4:53
  Speaker 3: before Battleship Potempkin. By the time thirty years had passed, like,
• 4:56
  Speaker 3: we were doing like narratives and there was banning and
• 5:00
  Speaker 3: all sorts of great stuff. Yeah, and Battleship Patinkin fell
• 5:03
  Speaker 3: under both of those umbrellas. It was a narrative story.
• 5:07
  Speaker 3: It was a silent movie, that's right. But it told
• 5:09
  Speaker 3: a pretty clear story. And it was a bit of
• 5:11
  Speaker 3: Russian propaganda as well.
• 5:13
  Speaker 1: Yeah, it tells a story of a nineteen oh five
• 5:16
  Speaker 1: uprising in where there were Russian sailors. Basically, there was
• 5:20
  Speaker 1: a mutiny aboard a ship and then the bad guys,
• 5:23
  Speaker 1: the Cossacks, came in looking for revenge.
• 5:27
  Speaker 3: Yeah, nineteen oh five that would have been rising up
• 5:30
  Speaker 3: against tyranny, would have been rising up against the Romanov monarchy.
• 5:35
  Speaker 1: I guess nice.
• 5:37
  Speaker 3: But it was made in nineteen twenty five, so this
• 5:39
  Speaker 3: is a time when you know, Lenin and Trotsky and
• 5:43
  Speaker 3: all those dudes were running around trying to do the
• 5:46
  Speaker 3: great experiment. Yeah, and it ends up it turns out
• 5:50
  Speaker 3: that the Battleship Potemkin was banned in some countries. Some
• 5:54
  Speaker 3: countries are like, we don't want this Rusky propaganda, right,
• 5:57
  Speaker 3: But Russia itself later on banned when Stalin came to
• 6:01
  Speaker 3: power because he was a self aware dictator.
• 6:03
  Speaker 1: Was that the deal? Yeah, Okay, he knew this.
• 6:06
  Speaker 3: Could be a metaphor for rising up against my dictatorship.
• 6:11
  Speaker 3: So I'm going to just ban this, uhh yeah, even
• 6:14
  Speaker 3: though it's Russian propaganda.
• 6:16
  Speaker 1: Well, filmatically, I need to bring the history, by the way.
• 6:20
  Speaker 1: Filmatically speaking, it was a landmark film because of the montage,
• 6:25
  Speaker 1: most notably the Russian or Soviet theory of montage, which
• 6:29
  Speaker 1: is basically that your impact is going to come from
• 6:33
  Speaker 1: juxtaposition of shots and not necessarily a smooth sequence of shots, right,
• 6:39
  Speaker 1: and it should be rhythmic instead of necessarily being tied
• 6:42
  Speaker 1: to the story. It was like a rhythmic series of
• 6:45
  Speaker 1: shots and this one is popular. It was the Odessa
• 6:50
  Speaker 1: step sequence as one of the five acts, and it
• 6:54
  Speaker 1: is huge because it has been aped in mimic and
• 7:00
  Speaker 1: mocked and homaged probably more than about more but a
• 7:05
  Speaker 1: lot of times in film history.
• 7:06
  Speaker 3: Well, yeah, the montage, it's like a go to editing technique, right.
• 7:12
  Speaker 1: Oh yeah, well the montage in general, but specifically the
• 7:14
  Speaker 1: Odessa Steps. Oh. There are two notable parts in that sequence.
• 7:18
  Speaker 1: One is the you know, it's basically a big charge
• 7:21
  Speaker 1: on these these grand steps leading up to a building
• 7:23
  Speaker 1: in a big battle in Odessa, Odessa, Texas. And there's
• 7:28
  Speaker 1: a part of it where there's the old the old
• 7:30
  Speaker 1: baby carriage going down the steps. You know what's going
• 7:33
  Speaker 1: to happen to the baby And it sounds tired because
• 7:36
  Speaker 1: we've seen that in uh, you know, the Untouchables. Yeah,
• 7:40
  Speaker 1: notably that I did not find it tiresome Naked Gun
• 7:44
  Speaker 1: thirty three. And the third everything is Illuminated the Great
• 7:48
  Speaker 1: movie by leav Schreiber. That was from directly from the
• 7:54
  Speaker 1: Odessa Step sequence in Battleship Patinkin. The baby carriage. Yeah,
• 7:58
  Speaker 1: and the old shot through the shot in the eye
• 8:01
  Speaker 1: through the glasses, Oh cool, that comes from this movie too.
• 8:04
  Speaker 1: They were the first ones to do it. Yeah, and
• 8:07
  Speaker 1: you've seen that in Woody Allen's Love and Death and
• 8:09
  Speaker 1: Bananas and of course The Godfather. The great sequence where
• 8:13
  Speaker 1: Moe Green's getting the massage and he looks up and
• 8:15
  Speaker 1: puts on his glasses during a montage. Yeah, that's exactly
• 8:18
  Speaker 1: the whole sequence montage. Yeah, because there was an assassination
• 8:22
  Speaker 1: on the steps as well.
• 8:24
  Speaker 3: Oh yes, that was definitely was a double Who was that?
• 8:27
  Speaker 3: That was Francis Ford Coppola. Oh yeah, he was clearly
• 8:30
  Speaker 3: aware of battleship put tempkin clearly. I was trying to
• 8:33
  Speaker 3: think of other examples of montages and the only thing
• 8:35
  Speaker 3: I could come up with was the a team building something.
• 8:39
  Speaker 3: But that counts as a montage, right, Yeah.
• 8:41
  Speaker 1: Yeah.
• 8:41
  Speaker 3: It's like some related in some way related shots that
• 8:46
  Speaker 3: are kind of put together that a little bit transcend like.
• 8:49
  Speaker 1: A story in itself. Yeah, like Rocky training for a fight. Yeah,
• 8:54
  Speaker 1: that's another good A lot of times to set to music. Yeah,
• 8:57
  Speaker 1: I love that. That's the only one you can think of. Yeah,
• 8:59
  Speaker 1: and the Great movie Brazil Too has the shot through
• 9:01
  Speaker 1: the glasses bit, as I like to call it.
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  Speaker 3: So that's Battleship of Tenkin, doesn't one of the Nazis
• 9:07
  Speaker 3: and Raiders of the Lost dar gets shot through the glasses.
• 9:10
  Speaker 1: Maybe that wouldn't surprise me. It's been it's been off homaged,
• 9:16
  Speaker 1: you know.
• 9:16
  Speaker 3: Yeah, so Battleship to Tempkin was a It made a
• 9:19
  Speaker 3: pretty big splash in nineteen twenty five. In nineteen twenty six,
• 9:22
  Speaker 3: the following year, the next movie on the list. It
• 9:28
  Speaker 3: wasn't his first, but it really solidified I think his
• 9:30
  Speaker 3: stardom buster Keaton stardom.
• 9:33
  Speaker 1: Yeah, the general rightfully so too. Yeah, he was one
• 9:36
  Speaker 1: of the great well some people calm, the greatest stuntman
• 9:40
  Speaker 1: to ever live it.
• 9:42
  Speaker 3: He's done some stuff that I think earns him.
• 9:44
  Speaker 1: That, Yeah, because I mean this is back in the
• 9:46
  Speaker 1: day too, where he was legitimately risking his life, right,
• 9:49
  Speaker 1: you know, like.
• 9:50
  Speaker 3: That the very famously where he's standing on the street
• 9:54
  Speaker 3: in front of a house and then the whole front
• 9:55
  Speaker 3: of the house falls over him and the window just
• 9:58
  Speaker 3: goes right around him.
• 9:59
  Speaker 1: Yeah.
• 10:00
  Speaker 3: I watched that again today. Yeah it is. I can't
• 10:04
  Speaker 3: believe he did that. And there's actually a half of
• 10:07
  Speaker 3: a second where his arm jerks up because he's startled
• 10:10
  Speaker 3: as the house finally makes its way like into his
• 10:13
  Speaker 3: peripheral vision. Yeah, and it has to be one of
• 10:17
  Speaker 3: the most dangerous things that human beings ever done on film.
• 10:19
  Speaker 1: Yeah, I'm sure the whole time before that was like
• 10:23
  Speaker 1: we did the math, right, he did the math. Do
• 10:25
  Speaker 1: the math again, do the math again, Show me the
• 10:27
  Speaker 1: math right, show me the math, because that's all it was.
• 10:30
  Speaker 1: It was math in measurements, right. But yeah, he could
• 10:32
  Speaker 1: have been squashed and killed very easily.
• 10:34
  Speaker 3: And he had a lot of faith in everybody who
• 10:36
  Speaker 3: was pulling off the stunt with him. You know, he
• 10:39
  Speaker 3: had to just stand there. That was his whole thing.
• 10:41
  Speaker 3: He had to just stand there, and his bit was
• 10:43
  Speaker 3: that he was he played it straight constantly. He was
• 10:47
  Speaker 3: a stonefaced actor.
• 10:48
  Speaker 1: Yeah, deadpan. Yeah, he kind of started that whole thing
• 10:50
  Speaker 1: because his big I was about to say rival, but
• 10:53
  Speaker 1: I guess just contemporary Charlie Chaplin, while similar in some ways,
• 10:59
  Speaker 1: was completely different because Chaplin was constantly mugging for the
• 11:03
  Speaker 1: camera and like asking for the audience sympathy, right, raising
• 11:06
  Speaker 1: his eyebrows or yeah, like look, what's happening to me?
• 11:09
  Speaker 1: Come on, come on, whereas Buster Keaton would just he
• 11:11
  Speaker 1: had that dead pan look the whole time.
• 11:12
  Speaker 3: Yeah, he would go from like a house falling around
• 11:16
  Speaker 3: him to jumping on a train or something like that
• 11:19
  Speaker 3: with just the same blank facial expression.
• 11:22
  Speaker 1: Yeah. And the reason this is a highly influential film
• 11:24
  Speaker 1: the generals because it kind of showcases the best of
• 11:27
  Speaker 1: both the amazing stunts that would be mimicked and throughout
• 11:32
  Speaker 1: the years and built upon, and then the deadpan style
• 11:36
  Speaker 1: that influenced everyone from obviously Bill Murray is one of
• 11:40
  Speaker 1: the great deadpan actors of all time. Yeah, Like you
• 11:43
  Speaker 1: can count the number of times Bill Murray even smiles
• 11:46
  Speaker 1: in a movie on like two hands, sure, much less
• 11:49
  Speaker 1: like apes or laughs or anything.
• 11:50
  Speaker 3: Michael Sarah's mentioned in here, and I'm like he, I
• 11:53
  Speaker 3: think he might have Bill Murray beat as far as
• 11:56
  Speaker 3: the dead panpan actor goes.
• 11:57
  Speaker 1: Yeah, well, Zach galafanactis is on the list. He's soon
• 12:00
  Speaker 1: for deadpan, Yeah, Leslie Nielsen, of course, Amy Poehler, I
• 12:04
  Speaker 1: think is Uh is a woman that's a very dead
• 12:07
  Speaker 1: pan has a deadpan style. Jason Swartzman, Yes, but people
• 12:12
  Speaker 1: say this is this all is a direct descendant of
• 12:14
  Speaker 1: Buster Keaton's work.
• 12:15
  Speaker 3: Yeah, And if you think we're overstating this, go watch
• 12:19
  Speaker 3: any Buster Keaton movie. Yeah, you will be thrilled and delighted.
• 12:22
  Speaker 3: And if your attention span has been shredded to ribbons
• 12:25
  Speaker 3: by the Internet, just go onto YouTube and type in
• 12:28
  Speaker 3: Buster Keaton and it'll bring up all sorts of clips
• 12:31
  Speaker 3: of his awesome stunts.
• 12:33
  Speaker 1: Pretty great.
• 12:33
  Speaker 3: He will be thrilled in a mace, I promise.
• 12:35
  Speaker 1: Yeah. And I think I made a note here by
• 12:36
  Speaker 1: the way, that we have a fatty arbuckle retraction to make.
• 12:40
  Speaker 1: Remember when we we called him out as the rapist murderer,
• 12:45
  Speaker 1: I didn't say murder, well, we said rapist at least, right,
• 12:48
  Speaker 1: but we were taking the task by fan he was.
• 12:51
  Speaker 1: He had, he was acquitted of all that stuff and
• 12:53
  Speaker 1: apparently didn't do either act and his career in life
• 12:59
  Speaker 1: and family name were room forever. So he was evidently
• 13:02
  Speaker 1: done a grave miss justice, and we sort of cavalierly
• 13:06
  Speaker 1: just still called him that to day.
• 13:08
  Speaker 3: Yeah, I need to look into it more, all right.
• 13:10
  Speaker 1: So next up we have the Jazz Singer, the nineteen
• 13:13
  Speaker 1: twenty seven edition, not the Neil diamond one. No, And
• 13:16
  Speaker 1: there was one in between two with Danny Thomas. I
• 13:19
  Speaker 1: believe I like Neil Diamonds. It's good.
• 13:24
  Speaker 3: I never saw.
• 13:24
  Speaker 1: Do you ever see it? No, No, it's not bad.
• 13:27
  Speaker 1: But this is the original from Alan Crossland, and it
• 13:30
  Speaker 1: is notable because it was the first feature link movie
• 13:38
  Speaker 1: that was at least twenty five percent spoken dialogue, right,
• 13:44
  Speaker 1: Does that make sense? Yeah, it's totally new. Yeah it was.
• 13:46
  Speaker 1: It wasn't the first talkie because they had short films
• 13:48
  Speaker 1: that were talkies, and there was a movie the next
• 13:51
  Speaker 1: year I'm sorry, Yeah, in nineteen twenty eight called Lights
• 13:53
  Speaker 1: of New York that had one hundred percent full spoken dialogue,
• 13:57
  Speaker 1: but the jazz singer had a mix of of music
• 14:01
  Speaker 1: and spoken dialogue. Right, the first big, big daddy feature
• 14:05
  Speaker 1: length film to do.
• 14:05
  Speaker 3: So right with substantial dialogue, right, Yeah. And they did
• 14:10
  Speaker 3: it in the most roundabout difficult way that you could
• 14:14
  Speaker 3: possibly do it, which is to record the audio and
• 14:18
  Speaker 3: the soundtrack, both the dialogue and the music, onto vinyl
• 14:22
  Speaker 3: records probably wax records really, and then the projectionist had
• 14:27
  Speaker 3: to sync the record up with the film strip so
• 14:30
  Speaker 3: everything was in sync.
• 14:32
  Speaker 1: Yeah. It was a device called a vitaphone that Warner
• 14:34
  Speaker 1: Brothers sunk about half a million into this company called
• 14:38
  Speaker 1: Western Electric who invented it, and it was actually physically
• 14:42
  Speaker 1: connected to the projector's motor, so they did while they
• 14:48
  Speaker 1: did have to sink it. It was a physical connection
• 14:51
  Speaker 1: between the phonograph player and the projection real, I guess.
• 14:56
  Speaker 1: And it went on to gross three and a half
• 14:58
  Speaker 1: million bucks for nineteen twenty seven and then Man, a
• 15:00
  Speaker 1: lot of dough.
• 15:01
  Speaker 3: That's a ton of dough. That's like five six million
• 15:04
  Speaker 3: dollars today at.
• 15:05
  Speaker 1: Least, yeah, at least, but was ineligible for the Best
• 15:11
  Speaker 1: Picture because they were just like, you can't compete with
• 15:14
  Speaker 1: the rest. It's not fair. Oh wow, because everything else
• 15:16
  Speaker 1: is silent and everyone's going to vote for you. Yeah,
• 15:19
  Speaker 1: So that changed the whole game for sure.
• 15:22
  Speaker 3: We will continue on with our awesome and engrossing list
• 15:27
  Speaker 3: right after this, So, Chuck, if you'll notice the first
• 15:50
  Speaker 3: three movies in our list, the first three films that
• 15:54
  Speaker 3: changed everything happened in nineteen twenty five, twenty six, and
• 15:57
  Speaker 3: twenty seven.
• 15:57
  Speaker 1: Things were changing fast, they really were.
• 15:59
  Speaker 3: I mean we by leaps and bounds, sure, but you
• 16:02
  Speaker 3: can also make the case that there was a lot
• 16:04
  Speaker 3: of new ground to cover. So just about anybody who
• 16:08
  Speaker 3: did anything new that was noteworthy of the innovation. Yeah,
• 16:11
  Speaker 3: it was a big innovation yeah, harder to innovate these days,
• 16:15
  Speaker 3: it is, and if you'll notice on the list, So
• 16:19
  Speaker 3: the earliest ones were like technical editing innovations. Now, starting
• 16:24
  Speaker 3: with Citizen Kane from nineteen forty one, we started to
• 16:27
  Speaker 3: get into innovations and storytelling, which is a lot more
• 16:31
  Speaker 3: nuanced than you know, doing your own stunts or using
• 16:36
  Speaker 3: a montage or something. It's figuring out how to tell
• 16:40
  Speaker 3: a story in a much less linear narrative fashion. And
• 16:45
  Speaker 3: Citizen Kme was one of the early ones to pioneer
• 16:48
  Speaker 3: a non linear narrative.
• 16:49
  Speaker 1: Yeah did you you saw this?
• 16:51
  Speaker 3: Yeah?
• 16:51
  Speaker 1: Yeah, I didn't see it untill I mean it was
• 16:55
  Speaker 1: probably like probably about fifteen years ago, but like way
• 17:00
  Speaker 1: later than you would think I would have seen. This
• 17:02
  Speaker 1: is a big film buff.
• 17:02
  Speaker 3: I saw it in college at a in a film class.
• 17:07
  Speaker 1: Yeah. Sure, often. Yeah, if you sign up for a
• 17:11
  Speaker 1: film class, you're going to study. Citizen came exactly pretty.
• 17:13
  Speaker 3: Much, and I finally found out what Rosebud was.
• 17:17
  Speaker 1: Don't ruin it.
• 17:18
  Speaker 3: I won't.
• 17:20
  Speaker 1: But it is a landmark film in every way, and
• 17:22
  Speaker 1: it has often been top of best Films of All
• 17:25
  Speaker 1: Time lists for great reasons, one of which, like you said,
• 17:29
  Speaker 1: the non linear narrative was a really unique thing at
• 17:32
  Speaker 1: the time. Although flashback wasn't brand new, it was the
• 17:37
  Speaker 1: first time it had been this extensive and effective in
• 17:40
  Speaker 1: the story.
• 17:41
  Speaker 3: Yeah, because I mean it's substantial enough that it really
• 17:44
  Speaker 3: cuts up the flow. Oh yeah, you know, it's not
• 17:46
  Speaker 3: like a quick flashback and they come back and the
• 17:48
  Speaker 3: actors like staring off into space to transition back.
• 17:52
  Speaker 1: Into the present again.
• 17:54
  Speaker 3: I mean like it was all over the place.
• 17:55
  Speaker 1: Yeah. Some of the more concrete cinematic landmarks. One was
• 18:03
  Speaker 1: using deep focus. Director of photography Greg Toland legend used
• 18:09
  Speaker 1: he had used deep focus before on a movie called
• 18:12
  Speaker 1: Long Voyage Home, but it's all over the place in
• 18:15
  Speaker 1: Citizen Kane. And that basically means if you see a
• 18:17
  Speaker 1: shot where something very far away is in focus in
• 18:22
  Speaker 1: the shot basically where everything's in focus, or.
• 18:25
  Speaker 3: The background in the foreground or yeah, in focus, so
• 18:27
  Speaker 3: you can press pause and look around exactly like you're
• 18:30
  Speaker 3: sticking your head into a box.
• 18:32
  Speaker 1: Yeah. That's called deep focus, and it was brand new
• 18:35
  Speaker 1: as far as Citizen Kane goes, is how extensive it
• 18:39
  Speaker 1: used it. One of the other things was off center framing.
• 18:43
  Speaker 1: It was a big, you know, pretty common thing to
• 18:46
  Speaker 1: just center whatever the main action was either the character
• 18:50
  Speaker 1: or the object, and Citizen Kane had a lot of
• 18:53
  Speaker 1: things where the main focus of the scene the character,
• 18:56
  Speaker 1: maybe even off screen, which was really weird at the time.
• 19:00
  Speaker 1: People didn't know what to think of it, right, expressionistic lighting,
• 19:05
  Speaker 1: uh back then everything they just lit it. They're like,
• 19:08
  Speaker 1: make sure everything's well lit.
• 19:10
  Speaker 3: But it was an auto premenger also like a big
• 19:12
  Speaker 3: pioneer with that.
• 19:14
  Speaker 1: Yeah, I think so.
• 19:14
  Speaker 3: With Dalin for Murder, I think he directed that.
• 19:19
  Speaker 1: Was that Hitchcock? I think that was Hitchcock? Was it? Okay?
• 19:22
  Speaker 3: Well, auto premature directed stuff like that, though, right, he
• 19:25
  Speaker 3: was very He used moody lighting and.
• 19:26
  Speaker 1: Chats and stuff a lot. I probably messed that up.
• 19:28
  Speaker 1: People are gonna be Dalin for Murder, I think it
• 19:31
  Speaker 1: was premiter okay, but orson Welles of course. I don't
• 19:37
  Speaker 1: think we even mentioned that who wrote, directed, and starred
• 19:40
  Speaker 1: and produced, and I think he even edited a Citizen Kane. Yeah,
• 19:43
  Speaker 1: I just assumed everybody knew that, you know. Yeah, he
• 19:46
  Speaker 1: came from the theater where you create mood with lighting
• 19:51
  Speaker 1: only certain parts of the stage, so he brought that
• 19:53
  Speaker 1: into the movies and it was very evocative and set
• 19:58
  Speaker 1: the mood well, and people like, man, why we lighten
• 20:01
  Speaker 1: everything all bright all the time? Look at Citizen Kane.
• 20:04
  Speaker 1: It really worked. Yeah. A couple of other things, One
• 20:09
  Speaker 1: of which I know you will appreciate, sir, is that
• 20:12
  Speaker 1: he pretty much invented the wipe. Oh the star wipe,
• 20:16
  Speaker 1: not the star wipe, but it followed. Yeah, the star
• 20:19
  Speaker 1: wipe followed, okay, which I know is your favorite transition
• 20:22
  Speaker 1: in cinema. Oh, it's all star.
• 20:24
  Speaker 3: Wis star because it almost makes a sound, you know.
• 20:29
  Speaker 1: Uh.
• 20:30
  Speaker 3: And by the way, I want to say, you're right, dall,
• 20:31
  Speaker 3: I'm for murderer. It was Hitchcock, Oh was it?
• 20:33
  Speaker 1: Yeah? Okay, what was premature? Did you look that up?
• 20:36
  Speaker 3: He did one called Laura the Man with the Golden Arm.
• 20:38
  Speaker 3: It's not who I'm thinking of. I'm thinking of a
• 20:40
  Speaker 3: director named Auto who directed in like the twenties or thirties,
• 20:44
  Speaker 3: and he directed like moody, like like moody movies.
• 20:51
  Speaker 1: Like yeah, murder movies. Yeah, like fil noir, Yes.
• 20:54
  Speaker 3: Film noir. That's exactly what I was going for. And
• 20:57
  Speaker 3: I don't remember who it was.
• 20:59
  Speaker 1: Maybe his name was a film noir He's French. And
• 21:03
  Speaker 1: then one final thing of course you could study Citizen
• 21:06
  Speaker 1: Kane for a week in the film class, so this
• 21:08
  Speaker 1: is an overview. But the low angle shots. People didn't
• 21:13
  Speaker 1: use a lot of lower high angle shots back then.
• 21:15
  Speaker 1: It was kind of just shot from straight on and
• 21:18
  Speaker 1: Orson Wells even dug out cut out the floor a
• 21:20
  Speaker 1: lot of times to get the camera lower. And for
• 21:23
  Speaker 1: the first time we saw ceilings in view in a movie,
• 21:27
  Speaker 1: because quite often things were shot on a sound stage
• 21:29
  Speaker 1: where you don't have ceilings, and he wanted those low
• 21:32
  Speaker 1: angle shots, so they used fabric most times to act
• 21:37
  Speaker 1: as a ceiling, but very effective shots of from below
• 21:40
  Speaker 1: of Orson Wells. As I mean, it wasn't exactly William Randolphurst,
• 21:46
  Speaker 1: but it was an approximation of William Randolphurst, so very
• 21:49
  Speaker 1: effective low angle stuff that now, I mean, we take
• 21:52
  Speaker 1: for granted all these things, but you know, there would
• 21:56
  Speaker 1: be no pulp fiction in that non linear story telling.
• 22:00
  Speaker 1: If there was no well maybe somebody would have done it, but.
• 22:03
  Speaker 3: Maybe eventually, but even first he did the first and
• 22:06
  Speaker 3: that's why it was innovative.
• 22:08
  Speaker 1: Exactly.
• 22:09
  Speaker 3: It's Fritz Lang.
• 22:10
  Speaker 1: Yeah, there you go, Yeah, Fritz Lang Metropolis and am
• 22:15
  Speaker 1: just m that's okay, Yeah, it's all making sense now,
• 22:18
  Speaker 1: I get confused. Yeah, but you were right, You were
• 22:20
  Speaker 1: right there.
• 22:21
  Speaker 3: Fritz and Auto are not close.
• 22:23
  Speaker 1: I mean they're both German, but that's about it. Yeah,
• 22:26
  Speaker 1: but you know the difference between M and dial M
• 22:28
  Speaker 1: just a telephone. What's up next, Chuck Breathless one of
• 22:34
  Speaker 1: my faves.
• 22:35
  Speaker 3: So I am going to rely on you mostly for
• 22:38
  Speaker 3: this one because I looked up what the French New
• 22:41
  Speaker 3: Wave really did, what it accounted for. Yeah, and like
• 22:46
  Speaker 3: all of the essays I found were hard to they
• 22:50
  Speaker 3: were dense. Yeah, and I didn't really understand. I understood
• 22:54
  Speaker 3: that the French New Wave like changed everything, and that
• 22:56
  Speaker 3: a lot of the movies that I know and love
• 22:59
  Speaker 3: today are the offspring of the French New Wave, but
• 23:02
  Speaker 3: I still didn't get exactly specifically what the French New
• 23:07
  Speaker 3: Wave did.
• 23:08
  Speaker 1: And you're gonna allow me to summarize this, yeah, no pressure, No, Well,
• 23:14
  Speaker 1: for me, the French New Wave basically ushered in an
• 23:16
  Speaker 1: era of what now I think most people might associate
• 23:21
  Speaker 1: with indie filmmaking.
• 23:22
  Speaker 3: Okay, okay, like.
• 23:25
  Speaker 1: Handheld camera work and what some people at the time
• 23:28
  Speaker 1: considered amateurish camera work movies where maybe not a lot
• 23:33
  Speaker 1: seemingly happens. You know, nothing grand happens, which was the
• 23:36
  Speaker 1: case in Breathless. A lot of people didn't like it
• 23:38
  Speaker 1: at the time because it was like, you know, not
• 23:42
  Speaker 1: much happens. You know that the two leads in the movie,
• 23:46
  Speaker 1: Jean Paul Belmondo and Geene c Berg, weren't really like,
• 23:50
  Speaker 1: didn't show express a whole lot of deep love, and
• 23:52
  Speaker 1: there weren't these big moments of love and affection and
• 23:56
  Speaker 1: these huge action sequences. And it was described as flat
• 24:00
  Speaker 1: by a lot of people. And I think a lot
• 24:02
  Speaker 1: of indie movies do that, just kind of show life
• 24:04
  Speaker 1: as it happens.
• 24:05
  Speaker 3: Yeah, So without Breathless, who wouldn't have, like Bottle Rocket.
• 24:09
  Speaker 1: Maybe Wes Anderson's definitely a big French New wave guy,
• 24:13
  Speaker 1: Yeah for sure. But uh godar John lu Goodard who
• 24:18
  Speaker 1: directed it, and Trufau and some other French New wave
• 24:23
  Speaker 1: forefathers were film critics at first. Oh yeah, yeah, and
• 24:27
  Speaker 1: they decided as a group, like, we want to look
• 24:29
  Speaker 1: at cinnamon a new way and do something different, So
• 24:33
  Speaker 1: they went and started making their own movies.
• 24:35
  Speaker 3: That's like James Fenimore Cooper, Oh yeah, the guy who
• 24:39
  Speaker 3: wrote Last of the Mohicans. Oh really Yeah. He apparently
• 24:42
  Speaker 3: used to complain that, like nobody wrote good books anymore,
• 24:46
  Speaker 3: and so I think his wife or something said, well,
• 24:48
  Speaker 3: why don't you do it, big shot?
• 24:50
  Speaker 1: And he did.
• 24:51
  Speaker 3: In the books he wrote really weren't so great, but
• 24:53
  Speaker 3: he went and wrote him and he wrote a bunch
• 24:56
  Speaker 3: of them too.
• 24:57
  Speaker 1: One of my favorite foresides ever, is the second to
• 24:59
  Speaker 1: the to the Mohicans. It's just a line of Native Americans.
• 25:04
  Speaker 1: In the second to the last one, they're online facing away.
• 25:06
  Speaker 1: You just sort of turning around and waving a camera
• 25:10
  Speaker 1: I guess the camera at Gary Larson's hand. So Breathless
• 25:14
  Speaker 1: is notable for those reasons. It kind of kicked off
• 25:16
  Speaker 1: the French New Wave. But the use of jump cut editing,
• 25:19
  Speaker 1: which we see so much now, it was the first
• 25:22
  Speaker 1: movie and it was very jarring at the time to
• 25:24
  Speaker 1: see jump cuts in a movie. And that's when you're showing,
• 25:28
  Speaker 1: like I guess the best way to describe it as
• 25:33
  Speaker 1: multiple shots of the same subject or thing from different angles.
• 25:38
  Speaker 3: Right, It's like you indicate the progression of time or
• 25:43
  Speaker 3: movement or something by just cutting quickly rather than focusing
• 25:46
  Speaker 3: on somebody walking down the street for five minutes. Yeah,
• 25:50
  Speaker 3: you cut a couple of times and all of a
• 25:52
  Speaker 3: sudden they're just closer to the camera, then closer and closer,
• 25:54
  Speaker 3: and then they're past the camera.
• 25:55
  Speaker 1: It's a jump cut, yeah, or even as simple, something
• 25:58
  Speaker 1: as simple as like you're going to leave the house,
• 26:00
  Speaker 1: so you go and pick up your keys and you
• 26:01
  Speaker 1: put on your coat. Instead of showing all that you
• 26:04
  Speaker 1: come out of the bedroom, Boom, you're putting on your coat. Boom,
• 26:07
  Speaker 1: you're putting the keys in the door.
• 26:08
  Speaker 3: Right exactly, You're just showing the high highlights of this
• 26:11
  Speaker 3: progression of stuff where that would otherwise be boring to
• 26:13
  Speaker 3: watch the whole thing. But it also is used to
• 26:18
  Speaker 3: create tension too, because it's it's jarring. I guess it's
• 26:23
  Speaker 3: probably why it creates tension. And Scorsese famously used it
• 26:26
  Speaker 3: in Goodfellas. Oh yes, at the end when Henry Hill
• 26:29
  Speaker 3: is like trying to sell some guns to Nero. Yeah's
• 26:33
  Speaker 3: coat to the gills, right, and he's like trying to
• 26:36
  Speaker 3: sell some guns to Nero but they don't fit the silencers,
• 26:39
  Speaker 3: and like he's the helicopter's following them. He's got the
• 26:42
  Speaker 3: sauce going and all this stuff is being represented and
• 26:45
  Speaker 3: compressed in a very short amount of time by the
• 26:49
  Speaker 3: use of jump cuts.
• 26:50
  Speaker 1: Yeah, very effective, and for budding filmmakers, it's a great
• 26:54
  Speaker 1: way to hide mistakes of things you may not have
• 27:00
  Speaker 1: gotten that you thought you got. Jump cutting is a
• 27:03
  Speaker 1: really easy way to just sort of, yeah, to hide
• 27:06
  Speaker 1: your errors. Yeah. I did it a lot. In other words,
• 27:09
  Speaker 1: when I was making.
• 27:09
  Speaker 3: Those shorts, I I was I realized that in my head,
• 27:13
  Speaker 3: I was referencing the shot in Soul Taker. You know,
• 27:18
  Speaker 3: have you ever seen that mystery Sigence three thousand with
• 27:20
  Speaker 3: uh it's his last name is Estevez is Martin Sheen's brother,
• 27:25
  Speaker 3: and he is a soul taker and he's next to
• 27:28
  Speaker 3: this guy who's a soul taker.
• 27:32
  Speaker 1: You just have to see this.
• 27:33
  Speaker 3: But anyway, they're they're walking down the road in this
• 27:35
  Speaker 3: jump cut, like has this progression of them right, It's
• 27:39
  Speaker 3: so unnecessary, but it's like a great use of jump cut.
• 27:42
  Speaker 3: You could tell the director was like, I can't wait
• 27:44
  Speaker 3: to use a jump cut, and that's what she did.
• 27:46
  Speaker 1: She used it on.
• 27:48
  Speaker 3: But go watch the MSc three K it's a good
• 27:51
  Speaker 3: one man.
• 27:52
  Speaker 1: You did you see every single one of those episodes?
• 27:54
  Speaker 3: No, it's still I still run across ones that I
• 27:57
  Speaker 3: haven't seen.
• 27:58
  Speaker 1: Yeah, nice, hey, and then shout out to Bill Corbett,
• 28:03
  Speaker 1: who I know is a listener.
• 28:04
  Speaker 3: Oh yeah, he is, isn't he.
• 28:05
  Speaker 1: I don't know if he's going to hear this one,
• 28:07
  Speaker 1: but the great Bill Corbett, So take here. Next week,
• 28:13
  Speaker 1: are gonna move on to Frederico Fellini's Eight and a half.
• 28:18
  Speaker 1: Have you ever seen this one?
• 28:19
  Speaker 3: No?
• 28:19
  Speaker 1: I haven't.
• 28:20
  Speaker 3: It's good now I understand why it's called that though.
• 28:22
  Speaker 1: Yeah. It was one of the first, although not the first,
• 28:25
  Speaker 1: movies about movie making and starring the great Marcela Masteriania
• 28:30
  Speaker 1: Mastroiani from La Delceavita, a muse of Felini's over the
• 28:37
  Speaker 1: years too. And this one, this one really kicked off
• 28:40
  Speaker 1: the surrealist filmmaking and sort of saying you can play
• 28:44
  Speaker 1: around and shoot a dream sequence where the guy's in
• 28:48
  Speaker 1: traffic and then he leaves his car and floats up
• 28:51
  Speaker 1: in the air and is, you know, being pulled down
• 28:53
  Speaker 1: to the ground on the beach from a rope tied
• 28:55
  Speaker 1: around his ankle, just like go nuts.
• 28:57
  Speaker 3: Yeah, and successive filmmakers did go nuts, like Gondry did
• 29:02
  Speaker 3: Eternal Sun, The Spotless Mind.
• 29:04
  Speaker 1: Oh yeah, he's hugely influenced.
• 29:06
  Speaker 3: Darren Aronofsky did some weird stuff here or.
• 29:09
  Speaker 1: There, Yeah, David Lynch and Terry Gilliam of course. Yeah.
• 29:13
  Speaker 3: Just basically surrealism is what I'm taking Fellini introduced.
• 29:17
  Speaker 1: Into this, Yeah, for real. And besides the surrealism, that
• 29:24
  Speaker 1: opening sequence of Eight and a Half where the director
• 29:27
  Speaker 1: of he's the director in the movie Guido is stuck
• 29:30
  Speaker 1: in traffic. It's really claustrophobic feeling, and that's why he
• 29:34
  Speaker 1: floats away and escapes. You know that, that traffic jam,
• 29:37
  Speaker 1: but that was directly mimicked in like Rams Everybody Hurts video.
• 29:42
  Speaker 1: Oh yeah, and the beginning of the movie Falling Down.
• 29:45
  Speaker 1: Do you remember that huh that started with the traffic jam. Yeah,
• 29:48
  Speaker 1: Michael Douglass just left.
• 29:49
  Speaker 3: He doesn't float, he gets like an oozy.
• 29:52
  Speaker 1: I saw that again the other day. Most of it
• 29:53
  Speaker 1: to hold up. It's weird. It alternately felt way ahead
• 29:58
  Speaker 1: of its time and also very dated. Yeah, because the
• 30:03
  Speaker 1: stuff that Michael Douglas is doing felt way ahead of
• 30:05
  Speaker 1: its time. But then there was I just forgot about
• 30:09
  Speaker 1: that whole weird subplots with Robert Duvall retiring and he
• 30:15
  Speaker 1: had this wife that was Hnpecking them and like this
• 30:18
  Speaker 1: retirement party they were trying to throw them.
• 30:20
  Speaker 3: I forgot about that too.
• 30:21
  Speaker 1: Yeah. It was just so unnecessary and felt really weird
• 30:24
  Speaker 1: and out of place. The other day when I was
• 30:26
  Speaker 1: watching it was.
• 30:27
  Speaker 3: There like a jump cut montage where he's putting on
• 30:29
  Speaker 3: his watch, his gold retirement watch.
• 30:33
  Speaker 1: No, but then too, the Barbara Hershey, you know, is
• 30:36
  Speaker 1: in venice at home with the daughter, and he spends
• 30:39
  Speaker 1: a whole day coming there to grab them, basically, and
• 30:42
  Speaker 1: the whole time she just keeps calling the cops like no,
• 30:44
  Speaker 1: he's coming, and now he's coming. And I was watching
• 30:46
  Speaker 1: the other day it was like freaking leave. Oh, yeah,
• 30:49
  Speaker 1: what are you doing there?
• 30:50
  Speaker 3: Yeah, that's a movie character thing.
• 30:54
  Speaker 1: You know.
• 30:55
  Speaker 3: That's just bad writing, bad directing when you just walk
• 30:58
  Speaker 3: right past the ability to you missed a huge step.
• 31:03
  Speaker 1: Where were we falling down? Yeah? I think that pretty
• 31:06
  Speaker 1: much sums up eight and a half.
• 31:07
  Speaker 3: I think so too, falling down boom, so chuck. We
• 31:10
  Speaker 3: got a little more left, we got more films. Is
• 31:12
  Speaker 3: this making you want to watch films?
• 31:14
  Speaker 1: Yeah? Me too.
• 31:15
  Speaker 3: I feel like eating ice cream watching a film and
• 31:20
  Speaker 3: scratching from Poison ivy.
• 31:21
  Speaker 1: Lately, Yeah, and burning this office down.
• 31:24
  Speaker 3: You know, if that happens now, suspicion is going to
• 31:27
  Speaker 3: fall on you for saying that. That's all right, we'll
• 31:29
  Speaker 3: be right back after that. All right, So we're back
• 31:52
  Speaker 3: with our awesome jingles, which, by the way, we have
• 31:55
  Speaker 3: to thank John began, John begin begin. He even emailed
• 32:02
  Speaker 3: with the pronunciation on his name. But he the original
• 32:05
  Speaker 3: guy who did our jingle, the first jingle ever, Rusty
• 32:08
  Speaker 3: Mattias or Matthias Man, I'm not good with the pronunciation.
• 32:13
  Speaker 3: Uh well, anyway, Rusty who's banned the sheep Dogs are
• 32:16
  Speaker 3: on tour right now.
• 32:17
  Speaker 1: Yeah. Just because his.
• 32:19
  Speaker 3: Work was so original, we contacted him and said, hey,
• 32:22
  Speaker 3: we got this other guy who's done like covers of
• 32:25
  Speaker 3: your work. Can we use these It's like totally mash
• 32:28
  Speaker 3: it up. Yeah, and John's been making awesome like versions
• 32:31
  Speaker 3: of it ever since.
• 32:32
  Speaker 1: Yeah. They're both great and talented.
• 32:34
  Speaker 3: Thanks to you both.
• 32:35
  Speaker 1: And go check out I think that what you say.
• 32:37
  Speaker 1: They're on tour right yeah, the sheep Dogs. Yeah, go
• 32:39
  Speaker 1: check out the sheep Dogs. Yeah, in in town near you. Yeah.
• 32:43
  Speaker 1: All right, let's finish with these two in reverse order. Okay.
• 32:47
  Speaker 3: Toy story was a big one, hugely innovative, huge. And
• 32:52
  Speaker 3: again it's one of those things where now almost everything
• 32:55
  Speaker 3: about it seems pedestrian.
• 32:57
  Speaker 1: Su or what it did. Yeah, you see, it's still a.
• 32:59
  Speaker 3: Great movie, I'm sure. Oh yeah, but the innovations that
• 33:03
  Speaker 3: it undertook are it just seemed pedestrian. But at the
• 33:06
  Speaker 3: time it was totally groundbreaking.
• 33:09
  Speaker 1: Yeah, game changer.
• 33:10
  Speaker 3: It was the first, the first CGI movie, all CGI
• 33:14
  Speaker 3: movie ever. Yeah, that was enormous.
• 33:16
  Speaker 1: Well yeah, and I remember at the time seeing it
• 33:19
  Speaker 1: and just being like, Wow, this is the future of
• 33:23
  Speaker 1: animated films.
• 33:24
  Speaker 3: What's the best all CGI animated film you've ever seen?
• 33:27
  Speaker 1: Visually? Uh, well, I haven't seen a lot of them
• 33:31
  Speaker 1: these days because Emily doesn't like those. So I probably
• 33:34
  Speaker 1: wouldn't be the best person to ask Holly from Stuff
• 33:38
  Speaker 1: Sovius in history class, she'd probably be the one to
• 33:40
  Speaker 1: ask for my money.
• 33:42
  Speaker 3: Have you seen The Adventures of ten Tin?
• 33:44
  Speaker 1: Oh? Yeah, that was amazing, mind blowing. Yeah, I saw
• 33:49
  Speaker 1: that on your recommendation. Really really liked it. Yeah.
• 33:52
  Speaker 3: The story was great, the action was great, the characters
• 33:55
  Speaker 3: were great. But the CGI, the computer animation, is I
• 34:00
  Speaker 3: think possibly the best ever done.
• 34:02
  Speaker 1: Yeah, and that's a bit of a different style than say,
• 34:04
  Speaker 1: like up or The Incredibles. It's not nearly as cartoons.
• 34:08
  Speaker 1: It's like the I. I think it's the motion capture. Yeah,
• 34:11
  Speaker 1: I think that's what they did for that.
• 34:12
  Speaker 3: Oh yeah, with UP, it would strictly be totally just animation.
• 34:15
  Speaker 1: Right, yeah, but I mean they're both animation, right. But yeah, Man, Tintin,
• 34:19
  Speaker 1: that was really good. It was good. I was surprised
• 34:21
  Speaker 1: how much I like that.
• 34:22
  Speaker 3: But UP was good too, and Toy Story was good too.
• 34:24
  Speaker 3: But all of these things came as a result of
• 34:27
  Speaker 3: the ground that Toy Story.
• 34:28
  Speaker 1: Broke absolutely in nineteen ninety five. Like you said, what
• 34:32
  Speaker 1: seems like a common thing today. I mean, you don't
• 34:35
  Speaker 1: see cell animation anymore. It's almost I know, I kind
• 34:38
  Speaker 1: of miss it. I totally miss we Like the new
• 34:41
  Speaker 1: Mickey Mouse is all weird in CG like stuff from
• 34:44
  Speaker 1: our generation should have just been discontinued. Yeah, and then
• 34:47
  Speaker 1: you just come up with all new stuff that's CGI.
• 34:50
  Speaker 1: Strawberry Shortcake not supposed to be CGI. It just all
• 34:53
  Speaker 1: looks weird. Now. Yeah, I wish there would have people
• 34:57
  Speaker 1: would have done a little bit of both still, because
• 35:00
  Speaker 1: I think sell animation, like I think the Iron Giant
• 35:03
  Speaker 1: came out after Toy Story, and they did sell animation
• 35:06
  Speaker 1: and that was great, great movie. I haven't seen that.
• 35:09
  Speaker 1: Oh it's really good. You'd like it, like it's a
• 35:12
  Speaker 1: movie for grown ups. And Toy Story sort of laid
• 35:15
  Speaker 1: the way for that because it was one of the
• 35:18
  Speaker 1: first movies, I guess cartoony kids movies to really have
• 35:22
  Speaker 1: a lot of dialogue that flew over kids heads that
• 35:24
  Speaker 1: adults got a little nod in a wink. What Toy Story. Yeah,
• 35:28
  Speaker 1: not like dirty humor, but it's not like Fritz the Cat,
• 35:30
  Speaker 1: no no, no, but a little entendre here and there
• 35:32
  Speaker 1: that adults might appreciate the kids won't understand. Those are
• 35:35
  Speaker 1: the best.
• 35:36
  Speaker 3: Jokes, right.
• 35:40
  Speaker 1: And now we have you know, best Animated Feature in
• 35:45
  Speaker 1: the Oscars, which definitely came straight out of the original
• 35:49
  Speaker 1: Toy Story. Because movies started being considered before they created
• 35:52
  Speaker 1: its own category. Up and Toy Story three were actually
• 35:55
  Speaker 1: nominated for regular Best Picture, and I think everyone was like, oh,
• 35:59
  Speaker 1: we need to get to their own category, because yeah,
• 36:01
  Speaker 1: you can't have an animated movie when best Picture it came.
• 36:03
  Speaker 3: Well up would have come after the Best Animated Picture
• 36:09
  Speaker 3: category came out. Oh really, So that kind of GHEs
• 36:12
  Speaker 3: as a testament to just how amazing that movie is.
• 36:15
  Speaker 1: Yeah, that's right. That was that.
• 36:16
  Speaker 3: It was still for Best Picture.
• 36:18
  Speaker 1: Oh, it was both.
• 36:19
  Speaker 3: I don't know if it was up for it probably
• 36:21
  Speaker 3: was up for Best Animated as well, but it was
• 36:23
  Speaker 3: definitely also up for Best Picture. Wow, while there was
• 36:26
  Speaker 3: an animated category.
• 36:27
  Speaker 1: Yeah, I never considered that. Bam, that was a good movie.
• 36:31
  Speaker 3: Yeah, I was sweet.
• 36:34
  Speaker 1: So I got nothing else on toy story.
• 36:36
  Speaker 3: Well then what about the last one?
• 36:38
  Speaker 1: Yeah, two thousand and one of Space Odyssey. Man, quite
• 36:42
  Speaker 1: a film.
• 36:43
  Speaker 3: You sent this essay on Criterion I think Criterion dot com,
• 36:48
  Speaker 3: but you know the Criterion collection.
• 36:50
  Speaker 1: Yeah.
• 36:51
  Speaker 3: It was written, I guess in nineteen eighty eight. Even
• 36:54
  Speaker 3: though it says posted in nineteen eighty eight. It's like
• 36:56
  Speaker 3: there wasn't an internet to post it on in nineteen
• 36:58
  Speaker 3: eighty eight.
• 36:59
  Speaker 1: Maybe it means posted like in the mail.
• 37:01
  Speaker 3: Maybe. But I realized, like I can read film essays
• 37:08
  Speaker 3: about Stanley Kubrick's work all day long.
• 37:10
  Speaker 1: Yeah, me too. Like I love that.
• 37:12
  Speaker 3: Documentary Room two to two seven. It was two three seven,
• 37:17
  Speaker 3: two four six, you know, the one about the shining
• 37:22
  Speaker 3: conspiracy theory.
• 37:23
  Speaker 1: Yeah, the number of the room is amazing. I can't remember,
• 37:25
  Speaker 1: though I read a bunch.
• 37:27
  Speaker 3: Of articles is I think two thirty seven. I read
• 37:31
  Speaker 3: a bunch of articles around the release of that documentary,
• 37:34
  Speaker 3: which we're basically like film essays on the shining. I
• 37:38
  Speaker 3: read this one amazing one from several years ago about
• 37:42
  Speaker 3: Eyes Wide Shut about how it's like a masterpiece of sociology,
• 37:47
  Speaker 3: studying sociology.
• 37:48
  Speaker 1: A lot of people hate that movie.
• 37:50
  Speaker 3: Yeah, and then now this like two thousand and one.
• 37:53
  Speaker 3: I'm sure there's tons out there to consume, but I
• 37:56
  Speaker 3: can just read that stuff all day long because that
• 37:57
  Speaker 3: guy was so just amazingly detailed as a director.
• 38:02
  Speaker 1: Yeah, I agree. I can read more about his work
• 38:06
  Speaker 1: critical essays on his work than any other director. Right,
• 38:09
  Speaker 1: it's just unbelievable. It's almost like it's its own genre.
• 38:12
  Speaker 1: It is, you know, Kubrickian. Yeah, it's got a word
• 38:14
  Speaker 1: named after it, and well it should so. Two thousand
• 38:18
  Speaker 1: and one. A Space Odyssey nineteen sixty eight blue minds
• 38:22
  Speaker 1: back then blows minds today one for it's just the
• 38:26
  Speaker 1: amazing look and the technical achievement ages really well. I mean,
• 38:31
  Speaker 1: if you see a movie from nineteen sixty eight about
• 38:34
  Speaker 1: outer space, it still looks like the future. Yeah, he
• 38:36
  Speaker 1: don't expect it to hold up well, but it totally does,
• 38:40
  Speaker 1: so much so that a lot of the you know,
• 38:42
  Speaker 1: George Lucas and Ridley Scott were just like it's done right,
• 38:45
  Speaker 1: Like we might as well give up.
• 38:46
  Speaker 3: Yeah, George Lucas when Star Wars came out, said Star
• 38:49
  Speaker 3: Wars is technically comparable, but for my money, two thousand
• 38:53
  Speaker 3: and one is by far the better movie.
• 38:55
  Speaker 1: Yeah, everyone was sort of intimidated, I think by how
• 38:58
  Speaker 1: talented Kubrick was.
• 38:59
  Speaker 3: Well. Plus all, so you have to take into account
• 39:02
  Speaker 3: that he made this movie at a time when other
• 39:05
  Speaker 3: sci fi movies were just pure shlock. So not only
• 39:10
  Speaker 3: to make the movie in this way this visually amazing
• 39:14
  Speaker 3: and amazing with an audio soundtrack and just totally innovative,
• 39:20
  Speaker 3: it also took like that mindset can just completely go
• 39:23
  Speaker 3: in a different direction that everybody else has as well.
• 39:26
  Speaker 1: Yeah, of course I think about Ridley Scott saying that,
• 39:28
  Speaker 1: and then he goes on to make Alien and Blade
• 39:30
  Speaker 1: Runner after that. So I mean he helped Prometheus. Man.
• 39:35
  Speaker 3: Yeah, people don't like Prometheus.
• 39:37
  Speaker 1: I don't care. It's a cool movie. No, I liked
• 39:39
  Speaker 1: it too, I thought, Okay, one flaw, the big flaw
• 39:44
  Speaker 1: to me was.
• 39:46
  Speaker 3: And I'm sure it's like part of the subtext or
• 39:49
  Speaker 3: the context or one of the texts, but the engineer
• 39:55
  Speaker 3: coming back to life or coming out of hibernation after
• 39:58
  Speaker 3: however long and just immediate, like inflicting violence on these
• 40:02
  Speaker 3: pea brained humans who are showing him no threat whatsoever. Yeah,
• 40:07
  Speaker 3: I just thought it was a little, uh, it wasn't
• 40:12
  Speaker 3: explained well enough, I think for my taste.
• 40:14
  Speaker 1: Yeah, I think i'd agree with you.
• 40:16
  Speaker 3: But when I'm watching a Ridley Scott movie, I just
• 40:18
  Speaker 3: assume if I'm missing something, he has an explanation for it.
• 40:22
  Speaker 1: I'm just not catching it. Yeah, I know what you mean.
• 40:25
  Speaker 1: I'd like I think I read some stuff about how
• 40:28
  Speaker 1: it tied into the alien cannon and realized I need
• 40:33
  Speaker 1: to go see it again with all this knowledge that
• 40:35
  Speaker 1: I wasn't really thinking about. Yeah, and maybe i'd like
• 40:37
  Speaker 1: it more. Yeah, but I haven't done that yet. So
• 40:40
  Speaker 1: back to two thousand and one. Oh Yeah. It was
• 40:42
  Speaker 1: also notable for being bookended basically with thirty minutes of
• 40:47
  Speaker 1: silence on both ends of the movie. The first thirty
• 40:50
  Speaker 1: minutes or and when I say silent, I mean no dialogue, right,
• 40:53
  Speaker 1: and the last thirty minutes have no dialogue. Yeah.
• 40:55
  Speaker 3: The last line comes like a full thirty minutes before
• 40:57
  Speaker 3: the end.
• 40:58
  Speaker 1: Yeah, And over the one hundred and forty six minutes,
• 41:00
  Speaker 1: there are only forty minutes of dialogue and the whole thing.
• 41:03
  Speaker 1: And that's why I just when people compare something like Interstellar,
• 41:09
  Speaker 1: then call it Kubrickan. I just want to smash do
• 41:12
  Speaker 1: you know like Interstellar? Not really?
• 41:15
  Speaker 3: Oh, I liked it.
• 41:16
  Speaker 1: I was super letdown.
• 41:17
  Speaker 3: Despite McConaughey doing Waterson in the future. I still liked it.
• 41:23
  Speaker 3: I even liked him in it.
• 41:24
  Speaker 1: I liked a lot of the parts of it. But
• 41:27
  Speaker 1: to me, it's anti Kubrickian because every ten minutes they're
• 41:32
  Speaker 1: explaining everything that's going on over again. That was a
• 41:35
  Speaker 1: thing just like Inception.
• 41:37
  Speaker 3: Ellen Page's entire character was written in to explain what
• 41:41
  Speaker 3: was going on every ten minutes.
• 41:42
  Speaker 1: Yeah, and I felt like Interstellar was the same way.
• 41:44
  Speaker 1: It's like Christopher Nolan needs to just trust his audience
• 41:47
  Speaker 1: a little bit like kubrick did, and so you figure
• 41:49
  Speaker 1: it out or don't. Yeah, no, I'm not going to
• 41:52
  Speaker 1: stop every ten minutes just to explain everything. Yeah, here's
• 41:55
  Speaker 1: just going on. I remember if you didn't get it right.
• 41:58
  Speaker 1: Here's what's going on again.
• 41:59
  Speaker 3: Well, I think if they are labeling something like Interstellar
• 42:03
  Speaker 3: is Kubrickian, right, one of the ways that you can
• 42:05
  Speaker 3: interpret that is that he was he rooted his two
• 42:10
  Speaker 3: thousand and one in science fact right, So like the
• 42:15
  Speaker 3: stuff that the astronauts are like dealing with and the
• 42:18
  Speaker 3: things that are going on and the conditions of space,
• 42:22
  Speaker 3: it was all factual. Whereas with Interstellar, same thing. They
• 42:26
  Speaker 3: went to really great lengths to do what they could
• 42:29
  Speaker 3: to make everything scientifically factual. Aside from the fact that
• 42:33
  Speaker 3: the idea that you could go into a black hole
• 42:35
  Speaker 3: and then come back out or something like that, Sure,
• 42:38
  Speaker 3: drifting in space that's not gonna happen. But for the
• 42:41
  Speaker 3: most part, Interstellar was scientifically accurate. So maybe that's what
• 42:44
  Speaker 3: they meant when they called it Kubrickian, because you're absolutely right,
• 42:48
  Speaker 3: like they did explain a lot and went to great
• 42:51
  Speaker 3: links to explain a lot, whereas with two thousand and
• 42:54
  Speaker 3: one you just watch it the first five times like
• 42:57
  Speaker 3: what just happened? And apparently Carrie Grant had that same
• 43:00
  Speaker 3: reaction as well.
• 43:02
  Speaker 1: That was Rock Hudson, Rock Hudson, that's right. Yeah, the
• 43:04
  Speaker 1: original screening that Roger Ebert was at in La Rock.
• 43:07
  Speaker 1: Hudson just left and said, can somebody tell me what
• 43:09
  Speaker 1: the hell that was about? Yeah, and it wasn't even
• 43:11
  Speaker 1: over yet. Yeah. Yeah. Well the reason it it has
• 43:18
  Speaker 1: science fact and not science fiction is because Kubrick and
• 43:21
  Speaker 1: Arthur C. Clark, who it wasn't actually a book that
• 43:24
  Speaker 1: was made into a movie. It was a movie or
• 43:26
  Speaker 1: book made after a movie, and they collaborated on both.
• 43:30
  Speaker 1: And they went to Carl Sagan of course of Cosmos
• 43:35
  Speaker 1: and said.
• 43:36
  Speaker 3: He said, you're going to make billions And that was
• 43:40
  Speaker 3: pretty good, was it?
• 43:42
  Speaker 1: Yeah, that sound a lot like them. They went to
• 43:44
  Speaker 1: Carl Sagan said, hey, we want to portray these extraterrestrials.
• 43:50
  Speaker 1: Are they maybe the Star Child is or they turned
• 43:54
  Speaker 1: Dave into the Star Child? Are they humanoids? What are
• 43:56
  Speaker 1: they going to look like? And Sagan was like they
• 43:58
  Speaker 1: were very unlikely to be humanoid. So Kubrick did the
• 44:02
  Speaker 1: smart thing and was just like, well, we just won't
• 44:04
  Speaker 1: show him right at all, instead of making a fool
• 44:07
  Speaker 1: of myself like signs and making some dumb looking out
• 44:10
  Speaker 1: Oh man, man, let me just not show the aliens.
• 44:15
  Speaker 1: Very smart move. Getting back to the story of two
• 44:22
  Speaker 1: thousand and one.
• 44:23
  Speaker 3: Although I think the Village is underrated.
• 44:27
  Speaker 1: Yeah, I can stomach that one. What about well, you
• 44:31
  Speaker 1: like the sixth sense? Right?
• 44:32
  Speaker 3: Everybody like the sixth sense? Sure, I guess that was
• 44:35
  Speaker 3: it for him.
• 44:36
  Speaker 1: I loved Unbreakable.
• 44:37
  Speaker 3: Unbreakable, Yeah, that was one where like, yeah, I think
• 44:40
  Speaker 3: it was maybe even better the second time.
• 44:42
  Speaker 1: Yeah, I still like that movie. But then he also
• 44:45
  Speaker 1: made that Lady in the Water movie and the the
• 44:49
  Speaker 1: one with Marky Mark the people were jumping off.
• 44:52
  Speaker 3: Four brothers, no, three kings? Is it the one in
• 44:58
  Speaker 3: the Elevator?
• 44:59
  Speaker 1: No, he just produced that. Oh I know what you're
• 45:01
  Speaker 1: talking about, the one where people like jumping off of
• 45:03
  Speaker 1: buildings and stuff inexplicably. Yeah, I didn't even I didn't
• 45:07
  Speaker 1: see that. You couldn't get through ten minutes of that movie.
• 45:09
  Speaker 1: So two thousand and one Back to Good Movies had
• 45:13
  Speaker 1: a three acts, three part structure, but not a conventional
• 45:17
  Speaker 1: three act structure that you might be used to in movies,
• 45:20
  Speaker 1: which is why it confounded people like Rock Hudson. The
• 45:24
  Speaker 1: first they call the movements. The first movement was the
• 45:27
  Speaker 1: Dawn of Man sequence with the apes with a Monolith,
• 45:34
  Speaker 1: and he has that great part where he throws his
• 45:37
  Speaker 1: little bone tool up in the air, right, and then
• 45:39
  Speaker 1: it morphs into all lot morphs, but it maybe is
• 45:42
  Speaker 1: a dissolve into the spinning in outer space.
• 45:46
  Speaker 3: It's called the match cut.
• 45:48
  Speaker 1: Yeah, match cut, and of the rotation of what we
• 45:52
  Speaker 1: now know was a nuclear warhead. Because I read that
• 45:55
  Speaker 1: little article twenty Things you Didn't Know about two thousand
• 45:58
  Speaker 1: and one, I didn't know those were nuclear heads necessarily
• 46:00
  Speaker 1: in outer space. They made it a little more vague,
• 46:03
  Speaker 1: and initially it was going to be more explicit and
• 46:06
  Speaker 1: they were going to explode it in outer space, right,
• 46:09
  Speaker 1: but he said, now it's a little too close to
• 46:11
  Speaker 1: the ending of Stranger. Yeah, so let's not do that. Yeah,
• 46:15
  Speaker 1: probably good choice.
• 46:17
  Speaker 3: Yeah, But as a result, some people have taken it
• 46:20
  Speaker 3: to mean that like it was. That match cut was
• 46:23
  Speaker 3: supposed to show how far humans have come from using
• 46:26
  Speaker 3: a bone to murder somebody to satellites in space. But
• 46:31
  Speaker 3: if you know that the satellite is actually loaded down
• 46:33
  Speaker 3: with nuclear warheads, that match cut demonstrates how little humans
• 46:38
  Speaker 3: have changed from using a bone to murder somebody to
• 46:41
  Speaker 3: using satellites to murder somebody. The motif is still the
• 46:44
  Speaker 3: same and it's murder.
• 46:46
  Speaker 1: Yeah, he was going for some deep things. Oh yeah,
• 46:49
  Speaker 1: a lot of metaphor happening. Yeah.
• 46:51
  Speaker 3: I mean supposedly in every single shot, because he started
• 46:53
  Speaker 3: out as a still photographer, right, Yeah, supposedly every frame
• 46:57
  Speaker 3: of a Kubrick movie. You there is nothing that isn't
• 47:01
  Speaker 3: unintentional in placed there by him. He did a lot
• 47:04
  Speaker 3: of his own set decorating.
• 47:06
  Speaker 1: Yeah, Like the pencil holder on the desk in the
• 47:08
  Speaker 1: office of the guy at the Shining Hotel, right was
• 47:11
  Speaker 1: where it's supposed.
• 47:11
  Speaker 3: To be, right, and if like if it has like
• 47:13
  Speaker 3: a picture of a goat head inscribed on it, that
• 47:16
  Speaker 3: means something, right, it's not accidental.
• 47:19
  Speaker 1: Yeah, although we'll say room two thirty seven, which I
• 47:22
  Speaker 1: think may have been the point is a little bit
• 47:25
  Speaker 1: like these people are crazy, not like, oh man, I
• 47:28
  Speaker 1: just see what they're saying in all this, Right, I
• 47:31
  Speaker 1: was just thinking, these people are nuts.
• 47:32
  Speaker 3: Right, It's it was just kind of enjoyable to hear
• 47:35
  Speaker 3: their interpretations of it well, and.
• 47:37
  Speaker 1: I think it had It was a comment on obsession
• 47:39
  Speaker 1: and fandom more so than the Shining.
• 47:42
  Speaker 3: For sure, But there I thought there are some of
• 47:45
  Speaker 3: their ideas were oea interesting, totally. I said, room too
• 47:48
  Speaker 3: two seven, didn't I like one with conspiracy theorists like, may.
• 47:54
  Speaker 1: What in room two two seven? Like a sitcom?
• 47:57
  Speaker 3: Yeah, it was just called two two seven.
• 47:58
  Speaker 1: Okay, yeah, gotcha. I remember it was Jack Kay.
• 48:01
  Speaker 3: She'd be like me, oh, okay, that's what my impression was.
• 48:04
  Speaker 3: What'd you think I was doing? Well?
• 48:06
  Speaker 1: I wasn't sure what she meant being a weirdo. Yeah, yeah, okay.
• 48:10
  Speaker 1: The second movement was, of course the House sequence, the computer,
• 48:14
  Speaker 1: the how was it? The How nine thousand? Yeah, really creepy,
• 48:20
  Speaker 1: and How ended up being a lot of people's favorite character,
• 48:22
  Speaker 1: even though it was just a voice the supercomputer on
• 48:25
  Speaker 1: the Discovery ship. Rememberies like what are you doing today?
• 48:28
  Speaker 1: It's so creepy. I had the Mad Magazine spoof of
• 48:32
  Speaker 1: two thousand and one when I was a kid. It
• 48:33
  Speaker 1: was great. Yeah. And then the third movement is when
• 48:36
  Speaker 1: Dave moves on to the next stage of human development
• 48:41
  Speaker 1: with these extraterrestrials that you only hear, and basically it's
• 48:48
  Speaker 1: when it comes full circle the third movement.
• 48:52
  Speaker 3: And the third movement is the one that has almost well,
• 48:55
  Speaker 3: it's really just the second movement that has a dialogue.
• 48:59
  Speaker 1: Yeah, some of the alternate titles for two thousand and
• 49:02
  Speaker 1: one Journey Beyond the Stars terrible, Universe not bad, Yeah, okay,
• 49:08
  Speaker 1: Tunnel to the Stars so great, Planet Fall that sounds bad.
• 49:13
  Speaker 3: It sounds like a James Bond movie.
• 49:15
  Speaker 1: And then How the Solar System was one as a
• 49:18
  Speaker 1: play on how the West was won.
• 49:20
  Speaker 3: Yeah, which, like movie geeks would find that appealing, but
• 49:24
  Speaker 3: everybody else would say, that's you ruined everything.
• 49:27
  Speaker 1: Yeah, And Kubrick was this is the last thing I have.
• 49:30
  Speaker 1: He was so obsessive with protecting his material that he allegedly,
• 49:36
  Speaker 1: I don't think allegedly. I think he did have all
• 49:38
  Speaker 1: the sets and props and miniatures destroyed after he shot
• 49:42
  Speaker 1: it so they would never be reused, which is a
• 49:44
  Speaker 1: common thing at the time. Yeah, okay, we're doing a
• 49:46
  Speaker 1: space movie. Go get that Go get that space ring
• 49:49
  Speaker 1: from Stanley set. Yeah, let's reuse it for Planet Fall.
• 49:53
  Speaker 3: He also destroyed all of the footage that didn't make
• 49:58
  Speaker 3: it into the original theat release. Yeah, destroyed it's gone.
• 50:02
  Speaker 1: Yeah, so they wouldn't one day after his death recut it,
• 50:05
  Speaker 1: which they invariably probably would have done.
• 50:07
  Speaker 3: Yep, he's a smart man.
• 50:09
  Speaker 1: Yeah, I could. We should just do a podcast on Kubrick.
• 50:13
  Speaker 3: Okay he was I'm down for that challenge.
• 50:16
  Speaker 1: He'd be a dude. Yes, one of my heroes. Yeah. Cinematically,
• 50:22
  Speaker 1: you got anything else? I got nothing else.
• 50:24
  Speaker 3: If you want to know more about movies. If you
• 50:27
  Speaker 3: like this one, you probably also love our exploitation episode
• 50:30
  Speaker 3: Exploitation movie episode fun one. What else have we talked
• 50:32
  Speaker 3: about movies and Cannonball Run?
• 50:35
  Speaker 1: Oh yeah, I had a lot to do with the movie. Yeah.
• 50:38
  Speaker 1: Our James Bond episode. Yeah yeah. We've had a few
• 50:41
  Speaker 1: of these, and people always respond to these real like
• 50:43
  Speaker 1: you guys should have a spin off.
• 50:45
  Speaker 3: Should do an all movie podcast. Sure, maybe one day.
• 50:48
  Speaker 1: Maybe.
• 50:48
  Speaker 3: Remember if you're looking for any of these, press control
• 50:52
  Speaker 3: F or Apple F in your web browser and search
• 50:54
  Speaker 3: that way. On our podcast archive page. You can also
• 50:58
  Speaker 3: search for the article on how Stuff Works by typing
• 51:03
  Speaker 3: movies in and seeing what comes up. And since I
• 51:06
  Speaker 3: said how stuff works, it is time for a listener mail.
• 51:11
  Speaker 1: I'm going to call this Mike coul DuPont really clear
• 51:13
  Speaker 1: something up for us on scientific method. Hey guys, it
• 51:16
  Speaker 1: was a great well, actually, he doesn't say it was great.
• 51:19
  Speaker 1: I think I just made that up. Hey, guys, your
• 51:21
  Speaker 1: scientific method podcast has a consistent misuse of what a
• 51:25
  Speaker 1: scientific law is in relation to the working of the
• 51:28
  Speaker 1: scientific method. It appears that you believe that a law
• 51:31
  Speaker 1: e g. Newton's law of gravity is held in higher
• 51:34
  Speaker 1: esteem than theory, that eventually a theory matures into a law.
• 51:39
  Speaker 1: I think I probably did think that because of politics. Right,
• 51:42
  Speaker 1: you know, bill becomes a law, right exactly, he says,
• 51:45
  Speaker 1: when in fact, theory is considerably more robust than a law.
• 51:48
  Speaker 1: A law is a mathematical model that describes observed behavior,
• 51:52
  Speaker 1: does not answer the why. Theory does answer why something happens.
• 51:57
  Speaker 3: Did we not say that? I thought we did well,
• 52:00
  Speaker 3: Like I knew that. I remember finding that out from
• 52:03
  Speaker 3: the research. I just can't believe it didn't come out
• 52:05
  Speaker 3: of my mouth.
• 52:05
  Speaker 1: He claims. We did not, And I feel like I'm
• 52:08
  Speaker 1: learning this so I definitely did not. Okay, go ahead,
• 52:11
  Speaker 1: but you may have. For example, Newton's law of gravitational
• 52:13
  Speaker 1: attraction describes the action of two bodies that can be
• 52:17
  Speaker 1: used for pretty much everything. It is perfect for describing
• 52:20
  Speaker 1: what happens, but it cannot tell you why the two
• 52:22
  Speaker 1: items are attracted or drilled down to the underlying mechanism.
• 52:25
  Speaker 3: Yeah, A law is like much more succinct.
• 52:27
  Speaker 1: It just is what it is, Nor is the law
• 52:31
  Speaker 1: even universal, and could not be used to explain the
• 52:35
  Speaker 1: Parahelian procession of Mercury's orbit burn. In comparison, Einstein's theory
• 52:42
  Speaker 1: of general relativity was eventually used to solve the mercury issue.
• 52:45
  Speaker 1: Oh yeah, the mercury issue and the standard model, along
• 52:49
  Speaker 1: with the recent discovery of the Higgs boson my cern can
• 52:52
  Speaker 1: answer the why do these two masses attracted to each other?
• 52:56
  Speaker 1: A question? I think what you mean is why are
• 52:59
  Speaker 1: these two mass is attracted to one another? Mike, it's
• 53:02
  Speaker 1: pretty teleological theory is considerably more developed and richer than
• 53:07
  Speaker 1: a scientific law, which is more of a tool that
• 53:09
  Speaker 1: is applicable to a wide range of applications. Keep up
• 53:11
  Speaker 1: the good work that is, Mike DuPont.
• 53:13
  Speaker 3: Thanks Mike, thanks for that of the Valley Forge.
• 53:16
  Speaker 1: DuPonts. I think, so, huh have you seen Fox Catcher?
• 53:21
  Speaker 1: Oh no, I've heard it's good. Is it good? No? Really?
• 53:25
  Speaker 1: I don't think so. No. I've heard it's kind of slow.
• 53:27
  Speaker 3: It's beyond slow.
• 53:29
  Speaker 1: Really?
• 53:29
  Speaker 3: Oh yeah, I can understand why the Academy loved it,
• 53:36
  Speaker 3: or sure a lot of people I'm sure do like it.
• 53:39
  Speaker 3: I was not a fan of Fox.
• 53:41
  Speaker 1: I think people generally seeing like a turn by an
• 53:43
  Speaker 1: actor like Steve Curl doing something really different, they're knocked
• 53:46
  Speaker 1: out by that. No, I still can't believe you didn't
• 53:49
  Speaker 1: like Birdman. No spoiler alert for people who have not
• 53:53
  Speaker 1: seen Birdman. The following conversation is full of spoilers. Yes,
• 53:57
  Speaker 1: what didn't you like about it?
• 54:00
  Speaker 2: So?
• 54:00
  Speaker 1: I thought?
• 54:01
  Speaker 3: I thought Michael Keene was good?
• 54:03
  Speaker 1: Okay? Who plays his daughter Emily Blunt? Is that? Who
• 54:08
  Speaker 1: that is? Emma Stone? Emma Stone? Excellent? Okay?
• 54:12
  Speaker 3: Ed Norton even pretty good?
• 54:13
  Speaker 1: Okay, so the acting was fine? Who is Naomi Watson
• 54:17
  Speaker 1: was in it? Yeah? She did great?
• 54:19
  Speaker 3: Okay, So yes the acting. The acting was fine. Sure
• 54:21
  Speaker 3: that the acting was fine. I thought the photography was amazing.
• 54:26
  Speaker 1: Yeah, the whole seemingly one take thing kind of knocked
• 54:29
  Speaker 1: you out.
• 54:29
  Speaker 3: Probably I didn't even pick up on that, but yes
• 54:32
  Speaker 3: it did. It was more the uh the for me,
• 54:37
  Speaker 3: the juxtaposition of the story, which was pretty boring and
• 54:44
  Speaker 3: realistic in everyday life. Even though it was about a
• 54:46
  Speaker 3: Broadway production, it was still about the everyday.
• 54:48
  Speaker 1: Life of it.
• 54:49
  Speaker 3: Sure, against the surrealism that's like threaded and embedded in
• 54:54
  Speaker 3: it throughout the whole movie. I didn't like that. Okay,
• 54:57
  Speaker 3: it was like choose one or the other man?
• 54:59
  Speaker 1: Gotcha? It irked. And then just so that.
• 55:03
  Speaker 3: One part with the critic where Michael Keaton tells off
• 55:06
  Speaker 3: the critic.
• 55:06
  Speaker 1: I thought Michael Keaton.
• 55:07
  Speaker 3: Did a wonderful job, but just the whole point that
• 55:11
  Speaker 3: it was in there of like the director, you know,
• 55:15
  Speaker 3: using Michael Keaton's character to tell off all the critics he's.
• 55:18
  Speaker 1: Ever wanted to tell off in his movie.
• 55:20
  Speaker 3: Yeah, I just thought it was pretentious and I thought
• 55:23
  Speaker 3: it was kind of clumsy in that sense too, and
• 55:25
  Speaker 3: it was enough that it.
• 55:26
  Speaker 1: It attainted it. Yeah, and then the ending. I did
• 55:31
  Speaker 1: not like the ending at all at all. That'll ruin
• 55:36
  Speaker 1: a good.
• 55:36
  Speaker 3: Movie because it was it completely went contrary to all
• 55:40
  Speaker 3: the other stuff that he went out of his way
• 55:42
  Speaker 3: to point out was fake or fraudulent or not real,
• 55:45
  Speaker 3: and then all of a sudden, it is what Yeah,
• 55:49
  Speaker 3: no choose one or the other. The director refused to
• 55:53
  Speaker 3: make very important decisions, and I think that that ruined
• 55:55
  Speaker 3: the movie.
• 55:56
  Speaker 1: That is a very well thought out the criticism.
• 56:00
  Speaker 3: Thank you, thank you very much. Sure, uh man, that
• 56:04
  Speaker 3: was the end of listener mail even, wasn't it.
• 56:06
  Speaker 1: Yeah, Because now I'm not like Chez Josh is weird
• 56:08
  Speaker 1: he didn't like Birdman. Now I'm like, just didn't like Birdman.
• 56:10
  Speaker 1: He has good reasons. Thank you, Thank you.
• 56:13
  Speaker 3: I like justifying my opinions, don't we all? So if
• 56:18
  Speaker 3: you want to get in touch with Chuck and I
• 56:20
  Speaker 3: or Jerry who I apparently just spoiled Birdman for, you
• 56:25
  Speaker 3: can contact us via Twitter at s ysk podcast. You
• 56:29
  Speaker 3: can join us on Facebook dot com, slash Stuff you
• 56:31
  Speaker 3: Should Know. You can send us an email This Stuff
• 56:33
  Speaker 3: podcast at HowStuffWorks dot com, and as always, joined us
• 56:35
  Speaker 3: at our home on the web. Stuff you Should Know
• 56:37
  Speaker 3: dot com.
• 56:41
  Speaker 1: Stuff you Should Know is a production of iHeartRadio. For
• 56:44
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• 56:48
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