Latest / The Kulturecast / "You need to take it down a notch!"

Transcript

"You need to take it down a notch!" · The Kulturecast

• 0:04
  Speaker 1: We're in wed Ben.
• 0:51
  Speaker 2: It's a I'm really glad you came to dinner.
• 1:03
  Speaker 1: What are you doing?
• 1:05
  Speaker 2: He was taking advantage of meat.
• 1:15
  Speaker 1: Mom. Can I go see a rock fold?
• 1:17
  Speaker 3: What's the group?
• 1:18
  Speaker 1: They're just really cool group.
• 1:19
  Speaker 2: The music is almost educational.
• 1:25
  Speaker 1: That I don't like the sound of this militia music.
• 1:28
  Speaker 3: Rock concerts are bad news.
• 1:38
  Speaker 1: They up to reward. They set yourself with. Some lady
• 1:41
  had to burn her house down.
• 1:45
  Speaker 3: Do you see anyone suspicious? Run around back here?
• 1:51
  Speaker 1: You got someplace around here we can go.
• 1:53
  Speaker 3: I needed to place the hold up.
• 1:55
  Speaker 1: Your house is perfect? No, no, no, my secret. I write
• 1:58
  John Q love letters. The fuck talking about I rate
• 2:01
  him one everything. Where's your fucking bathroom?
• 2:13
  Speaker 2: Walking up?
• 2:14
  Speaker 1: I tr fucking nuts away and coming down.
• 2:22
  Speaker 2: We're doing burning.
• 2:23
  Speaker 1: Brown Boy and baking that on the green around the table.
• 2:30
  Grab me your fucking.
• 2:33
  Speaker 3: Dab bear?
• 2:34
  Speaker 1: Did ben Ada America? Benn? Did being Amada America?
• 2:38
  Speaker 3: Benner?
• 2:38
  Speaker 1: Go down in America?
• 2:41
  Speaker 2: You need to take him down a notch, motherfucker. Do
• 2:45
  you think I'm weird?
• 2:47
  Speaker 1: Oh? Yeah, no, you're fucking weird. Well it's weird cool
• 2:51
  in your case?
• 2:52
  Speaker 3: No?
• 2:53
  Speaker 1: No, okay?
• 2:55
  Speaker 3: Oh the here we go.
• 2:58
  Speaker 2: Geez already with the Dan.
• 3:01
  Speaker 1: So yeah, note one zero point zero seconds. So Jeremy, Jeremy,
• 3:08
  who I have only had the honor of speaking with
• 3:10
  one other time sixteen months ago as our dear friend
• 3:13
  Ryan Verel have disconnected, wanted to point out to me
• 3:16
  who's also here. Jeremy Long has never been heard on
• 3:19
  this podcast before. He is a writer and a comedian,
• 3:23
  and he wears tight pants like nobody else has could is.
• 3:27
  Speaker 3: A specifically tight jeans. My sweatpants are quite loose, be comfy.
• 3:33
  Speaker 1: Whenever, gotta give it room.
• 3:37
  Speaker 2: People just unsubscribed or people subscribing. Take your pack.
• 3:40
  Speaker 3: That's your entire audio.
• 3:42
  Speaker 1: So that have zero subscribers, they're they're all denim pants
• 3:45
  lovers all of a sudden. No, So, Jeremy, you and
• 3:48
  I talked on an episode of Film Foundations we did
• 3:51
  with Ryan. Ryan, I used to host that show at
• 3:54
  a year and some time ago, and to meet you,
• 3:57
  Yeah right, never met you before, But you and Ryan
• 4:00
  are friends in real life. You've hung out in person
• 4:03
  a bunch and all that stuff. Ryan's visited you recently,
• 4:06
  stuff like that. So when I gave Ryan the opportunity
• 4:09
  to program a month for my show, The Culture cast,
• 4:12
  the one that you're listening to now, and Jeremy the
• 4:14
  one that you're part of Welcome Oh Oh. I was like, Hey,
• 4:18
  not only do you get to program the month, you
• 4:20
  also get to if you want. Because if I'm giving
• 4:23
  you carte blanche to pick the movies, I must trust
• 4:26
  you enough within reason. I was like, you can also
• 4:28
  pick the guests. So Ryan decided that you must have
• 4:33
  some reason to want to talk about this movie, a
• 4:35
  movie that I had never seen up until the last
• 4:37
  seventy two hours. So if Ryan is going out of
• 4:40
  his way to suggest you beyond this episode, you now
• 4:45
  have the immense amount of pressure of adding something to
• 4:47
  this episode, more than Ryan and I could have, because
• 4:50
  he asked that you be here intentional, So boy didn't
• 4:52
  see that coming.
• 4:53
  Speaker 3: Digit what's really great is to hear not just the
• 4:56
  backstory of how this all unfolded, but what I'm doing
• 5:00
  here is really great to hear because I was not
• 5:03
  sure and my agent told me that this was another
• 5:05
  Film Foundations episode, and now I'm finding out that that
• 5:08
  show doesn't even exist anymore.
• 5:10
  Speaker 1: If you were to fire your agent, would you also
• 5:12
  be firing yourself.
• 5:13
  Speaker 3: No, I'd be firing my girlfriend. I mean my cat,
• 5:16
  which one's funnier.
• 5:17
  Speaker 1: Hell yeah, as long as those two aren't the same thing,
• 5:20
  we're good. No to speak of this movie.
• 5:25
  Speaker 3: I mean, you know, I don't recall a lot of that,
• 5:29
  but I'm nevertheless happy to be here, and I do
• 5:33
  love both you and Ryan and the film. Are you
• 5:36
  allowed to say yet or are you gonna?
• 5:37
  Speaker 1: Yeah, Well, they clicked on the episode. This isn't like
• 5:40
  a new This isn't like a Thunderbolts thing, where like
• 5:42
  when they click on it, the title is going to
• 5:43
  magically change.
• 5:44
  Speaker 3: Yeah, there's an asterisk.
• 5:46
  Speaker 1: Oh, now I have now film a damn Now, I'm
• 5:50
  going to just for the just for the gag, just
• 5:53
  for the bit, commit to the fucking bit, jere.
• 5:55
  Speaker 2: Me before you. So it should be called Snackscheck and
• 5:57
  then when they click on it, we're actually gonna be
• 5:59
  talking about dinner in America.
• 6:00
  Speaker 1: It should be called should be called the Bunny Game asterisk.
• 6:04
  It should be calling this du Macher's nephew, question Mark
• 6:07
  he was that's low compared to this, to be fair, Really,
• 6:13
  I mean to be in a movie for five fucking
• 6:15
  minutes versus two hours. Yes, is a is A is
• 6:17
  a comparative that is that is hard to make. But Jeremy,
• 6:21
  before we talk about the movie Dinner in America, which
• 6:23
  Ryan picked to talk about, which he wanted you to
• 6:25
  be on this episode specifically, so I'm sure we're gonna
• 6:28
  have a great conversation about it. Uh, tell my audience
• 6:31
  and the people who tuned into this episode a little
• 6:34
  bit about you real quick.
• 6:36
  Speaker 3: Oh that's nice. I am a writer stand up comedian.
• 6:42
  I don't know if I should say stand up comedian
• 6:44
  anymore because it's been a while since I've done a show.
• 6:47
  Uh pandemic.
• 6:49
  Speaker 2: Up.
• 6:49
  Speaker 3: Yeah, No, IL like Sideways, I bring a couch on stage.
• 6:53
  I'm a live Sideway comedian. But no, I mean I
• 6:57
  did do stand up for a better part of fifteen years,
• 6:59
  so I guess we can still use that moniker. But
• 7:03
  primarily a writer. I wrote a horror comedy feature film
• 7:07
  called Clickbait that came out in twenty nineteen, and working
• 7:10
  on a couple of new films at the moment. And
• 7:14
  I also helped produce Ryan's podcast that I'm sure you've
• 7:20
  heard of because he's been on this show more than me,
• 7:22
  called The disc Connected, And speaking of that, I also
• 7:27
  contribute Happily, a monthly column to The Disconnected's magazine, The
• 7:33
  Physical Media Advocate each month that Ryan is holding up
• 7:37
  a copy of that no one can see because of
• 7:39
  his audio only, but just in the real world, if
• 7:41
  you want to, you can purchase it. It's called Q
• 7:44
  and A and J and I write about I go
• 7:48
  to a lot of Q and a's as a filmmaker
• 7:51
  living in Los Angeles, and that's something that a lot
• 7:54
  of people don't get to do in other parts of
• 7:56
  the world and in other industries that they might be
• 7:59
  interested in if they love film and cinema and actors
• 8:03
  and directors, and so I write about some of the
• 8:05
  ones I go to so they can get little fun
• 8:08
  facts and tidbits and behind the scenes as if they
• 8:10
  were actually there at the Q and A.
• 8:12
  Speaker 1: I like to describe you, Jer if I were to
• 8:14
  describe you, and I have to other people that I
• 8:17
  know as Ryan's secret weapon, because Ryan has been able
• 8:21
  to get interviews with people that he would not have
• 8:24
  solely because he has the ability to interface with someone
• 8:26
  who lives in Los Angeles and can go and meet
• 8:29
  with these people in person. And while people listening may
• 8:32
  think that that is oh, no, big deal. It's actually
• 8:34
  a pretty big fucky Like, it's a massive deal because
• 8:37
  if you've ever interacted with agents or publicists, their job
• 8:41
  is to get good and bag that's the intent. And
• 8:45
  I had a conversation with a friend of the show,
• 8:47
  frequent collaborator, Richard Haddam's Paranormal Bookshelves host Richard HadAM, and
• 8:51
  he admitted to us like, yeah, if you had reached
• 8:54
  out to my agent, we probably never would have been friends.
• 8:56
  We may have never known one another, and now we're
• 8:58
  close friends, have been collaborators for you know, seven or
• 9:01
  eight years now, only because he found our podcast in
• 9:04
  the while and reached out to us. But the you know,
• 9:07
  the gatekeeping is there for a reason.
• 9:09
  Speaker 3: Yeah, but it definitely is. It's definitely helpful in a
• 9:12
  lot of ways to the right the wrong people, and
• 9:16
  unhelpful in a lot of ways to the right people.
• 9:18
  Speaker 2: Right.
• 9:19
  Speaker 3: Yeah, I mean, I don't like to take too much credit,
• 9:21
  if I'm being honest, because Ryan started the show and
• 9:25
  built it from the ground up and hosts every episode
• 9:27
  and does all the work. So I love him to
• 9:31
  death and I would never want to hog any unwanted attention.
• 9:36
  But I am happy to be any small part of it,
• 9:40
  and happy to have gotten some great guests for the
• 9:43
  show that turned out to be some really awesome interviews
• 9:46
  and some really awesome episodes that people seem to enjoy
• 9:48
  to listen to such as such as are a big
• 9:53
  reason one that Ryan I know particularly was thrilled about
• 9:57
  the great Brian Usna we had on the show. There's
• 10:02
  another new one coming out that I don't think I
• 10:04
  can mention yet unless this won't be out until after
• 10:07
  that drops question Mark.
• 10:08
  Speaker 1: But you want to do like Hangman, Ryan aides. Two words.
• 10:12
  First word rhymes with ill Smith. Second word rhymes with bife.
• 10:16
  I'm just kidding. He didn't interview Jada Pinkett Smith. That'd
• 10:19
  be weird if he.
• 10:20
  Speaker 2: Oh, but I did interview g I Jane in costume.
• 10:24
  Speaker 1: No, uh, be her name out of your mouth, Ryan,
• 10:27
  that's coming out each twenty three. Everybody weren't supposed to
• 10:30
  announce that one yet.
• 10:32
  Speaker 2: No, you're gonna have the exclusive. I was able to
• 10:34
  sit down with Joe Dante. That's awesome. Joe Dante is
• 10:37
  a fucking hero mine and the movies that he's touched,
• 10:41
  and it played not even just as in the Director's Chair,
• 10:44
  but like been a producer or championed, or spent hours
• 10:49
  talking about in a theater in Los Angeles for genuinely
• 10:53
  make up like half of my life.
• 10:55
  Speaker 1: Indeed the same here.
• 10:57
  Speaker 3: I wore out my VHS tape of Small Soldiers as
• 11:00
  a kid.
• 11:01
  Speaker 1: Grandma's too, motherfuckers, that's where it's at. Listen to hear
• 11:04
  Grimsters cut that out in the VHS version, though, But we.
• 11:08
  Speaker 3: Got another one coming up that will nameless but happens
• 11:11
  to be a part of something that is sitting behind
• 11:14
  Ryan as we speak. But the listeners at home don't
• 11:17
  know what that is.
• 11:18
  Speaker 1: My God, you communed with the soul of Orset Wells.
• 11:23
  Speaker 3: We also, yeah, we got oh, so I mean I'll
• 11:27
  bring out one more. JT. Muelner, who wrote and directed
• 11:30
  Strange Darling, one of Ryan and I's favorite films from
• 11:32
  last year, and now has written an adaptation script of
• 11:37
  one of the best films of this year so far
• 11:40
  that I've seen, The Long Walk. So he's he's crushing
• 11:44
  it and staying super relevant.
• 11:45
  Speaker 1: And we had him on the show last year.
• 11:47
  Speaker 3: So yeah, we got a lot of great guests, a
• 11:49
  lot that I haven't mentioned, a lot coming up.
• 11:51
  Speaker 1: That's true.
• 11:52
  Speaker 3: They might they have already technically been on the show
• 11:54
  in the form of the Shelf Shock Rewind Awards, so
• 11:58
  it's notossible that they would come back to be interviewed
• 12:02
  for perhaps a anniversary or some sort. Anyways, go on, Ryan,
• 12:06
  I see her.
• 12:08
  Speaker 1: Wow, do you go for a Christopher or Tofer? You know,
• 12:11
  there's only one person who could be called Teufer. That's
• 12:13
  Tefer Grace. I don't think any other Christopher could ever
• 12:16
  want to take that abbreviation. I think it's like that's his. Yeah,
• 12:21
  that's true. Te I tried it once. It didn't work
• 12:24
  very well. Ryan. I'm going to give the floor to
• 12:26
  you because we are talking about Dinner in America on
• 12:29
  this episode of the Culture Cast, and this is your month,
• 12:33
  so I will turn the floorward to you as I
• 12:35
  did on the last episode, and as I will for
• 12:37
  the rest of the month. Why oh why is Dinner
• 12:39
  America on the table tonight?
• 12:42
  Speaker 2: Okay, So my big thing, Chris and I have spent
• 12:45
  the last two and a half years getting to know each
• 12:47
  other very very intimately, not that way, just finding out
• 12:51
  what we've loved it as.
• 12:52
  Speaker 1: Far as not biblically but close but not fully biblically.
• 12:55
  Speaker 2: Hey, now, and there are certain ones that are so
• 13:00
  unironically Chris that I when I think of Chris when
• 13:04
  I watch them, or I think that man, he would
• 13:07
  truly love. The parts of this that other people don't
• 13:10
  see is important that I see is important that I
• 13:13
  wanted to make uh special during this month of programming
• 13:17
  for you so that you could look back and say, Damn,
• 13:19
  September was a really good month for movies because somebody
• 13:22
  knew me well and uh Dinner at America. Well everything
• 13:24
  except for the last movie we're watching. I will say
• 13:26
  that because I still think you're gonna hate that one.
• 13:28
  But I truly love that movie, so that one's sharing
• 13:30
  something personal about me.
• 13:31
  Speaker 3: Oh god, I needn't know what the movie is.
• 13:33
  Speaker 2: Now, Well, they didn't click on that to see this,
• 13:36
  so left wait till the end of the month.
• 13:37
  Speaker 1: Oh well, this guy knows what's up. It's Robin Hood,
• 13:40
  King of Thieves, by the way, and I'm.
• 13:42
  Speaker 2: It's actually called Prince of Thieves. That you fucked up
• 13:44
  that title like nineteen times.
• 13:46
  Speaker 1: That's I don't keep fucking it up because I'm not
• 13:49
  excited to fucking watch it, but I'll do it anyways.
• 13:53
  For the fucking plot baby, So there you go.
• 13:56
  Speaker 2: There's a lot more than plot in that movie. So
• 13:58
  Dinner in America is one that I saw because a
• 14:03
  company that I love, Aero Video, released it on Blu
• 14:05
  ray over in the UK in twenty twenty one, I
• 14:09
  think it was, but pretty shortly after it came out
• 14:12
  in festivals and played like a four twenteen minute run
• 14:16
  in theaters in two cities across the country, and I
• 14:19
  saw it and I went, this is suddenly like one
• 14:23
  of my fifty favorite movies of all time. And I
• 14:26
  don't know how everybody isn't talking about this movie, primarily
• 14:30
  because we're gonna spend a lot of time tonight probably
• 14:32
  talking about Kyle Gallner. That is a big reason. But
• 14:35
  also the amount of genuine, organic charm found in this
• 14:41
  movie is palpable. The music is legendary, The relationships and
• 14:47
  chemistry between everybody is so perfectly spot on for an
• 14:50
  indie film that it deserves to be seen by everyone.
• 14:54
  And I just could not fathom a world where Tefer
• 14:57
  had not seen it yet, and I desperately wanted to
• 15:01
  hear your thoughts on it. And there's no one better
• 15:03
  to talk about it with than the man who was
• 15:05
  spent multiple nights over last year hanging out with the
• 15:08
  director and multiple people from the film, mister Jeremy Long,
• 15:11
  who also worships this movie like I do. And that
• 15:14
  is the backstory, right.
• 15:16
  Speaker 1: So on that note, Jeremy, I'll turn the floor over
• 15:19
  to you your backstory with Dinner in America, because again
• 15:22
  Ryan made the choice. He's having a friend for dinner
• 15:25
  and you're the friend. So why, oh why.
• 15:28
  Speaker 3: Well, Ryan made the correct choice. And I know he
• 15:30
  made this choice because we've bonded over this movie and
• 15:33
  talked about it extensively since you know it'd be first
• 15:37
  both the sabered it back in well twenty twenty for me,
• 15:40
  twenty twenty one for him, and it's yeah, I mean,
• 15:46
  I think it's It's one of my favorite movies of
• 15:49
  all time, just like Ryan. I've seen that countless times,
• 15:52
  including countless times in theaters, which we'll get through it
• 15:54
  a second. I first discovered it because, of course, as
• 15:59
  Ryan mentioned, it came out in the Thick of COVID
• 16:02
  in twenty twenty and so this is prior to the
• 16:07
  Aero UK release in twenty twenty one, and everybody was
• 16:12
  thinking about death and all kinds of other crazy thing
• 16:15
  and losing their jobs and not really about movies, but
• 16:22
  because I'm a psychopath, I was still thinking about movies.
• 16:25
  And I discovered this film because John Waters, the great
• 16:31
  legend John Waters put it on his ten Best Films
• 16:34
  of twenty twenty lists towards the end of the year.
• 16:36
  The year wasn't even up yet. I remember that because
• 16:38
  I was able to see it at a local indie theater.
• 16:42
  As Ryan mentioned, it was in theaters for about fourteen minutes,
• 16:47
  and thankfully I believe it was the Lemley in here
• 16:51
  in Encino, OK. I can't quite remember, but someplace was
• 16:54
  still showing at like one showtime after I found this
• 16:57
  John Waters article and I fucking love it obviously immediately,
• 17:01
  and then it became extremely hard to find or watch
• 17:04
  or anything after it had left theaters before Aro Video
• 17:08
  put up the UK Blu ray, which I promptly ordered
• 17:13
  and just showed it to as many people as possible
• 17:16
  because I just love this movie so much. Also, well,
• 17:19
  we'll circle back to somebody who's in the film that's
• 17:22
  not Kyle Gowner in a second. But I showed it
• 17:25
  to so many people who also fell in love with it,
• 17:28
  who were even some people who were a bit apprehensive
• 17:30
  at first, just by like the brief synopsis or whatever.
• 17:33
  But the thing that's best with Dinner America is to
• 17:37
  just go and blind and let us charm wash all
• 17:39
  over you as it unfolds. But then, as many people
• 17:44
  may know, and I'm sure we'll get into this later,
• 17:46
  it had a resurgence when it was dropped on Hulu
• 17:48
  just last year, right mid last year, early last year.
• 17:52
  Speaker 1: And wow, did that thing blow up.
• 17:55
  Speaker 3: So now of course everybody's talking about it, which is
• 17:57
  great because that's what the whole goal was from the start.
• 18:01
  But a friend of mine is in the movie by
• 18:04
  the name of miss Emily Skeggs, who I met through
• 18:07
  a mutual friend of ours named Jill for forever ago,
• 18:12
  and she had done some small roles and things and
• 18:15
  had done a lot of theaters specifically including Anyways. So
• 18:18
  but so I had not really seen her, despite meeting
• 18:22
  her at my friend Jill's party way back, I had
• 18:25
  not seen her in like a like starring role like
• 18:28
  this in anything to my recollection. So it was such
• 18:31
  a treat, and then even more of a treat that
• 18:34
  I fucking loved the movie because it would suck if
• 18:37
  she was in it and I didn't like it, and
• 18:39
  so yeah, I mean, I just I love this film
• 18:43
  in every way, shape or form. I think it's a masterpiece.
• 18:46
  It's a five out of five. It's definitely in my
• 18:48
  top fifty, like Ryan said, maybe even like top twenty five.
• 18:52
  And then after it blew up, we had the great
• 18:55
  you know, by being dropped on Hulu, we had the
• 18:56
  great fortune of them taking it on the road. And
• 19:00
  it was Adam the director who I've come to know
• 19:05
  as well as a friend, the writer, director Kyle gowner
• 19:09
  Emily and the producer Ross Putnam took it on the
• 19:14
  road and they did all kinds of sold out shows
• 19:17
  all across the country and including several here in Los Angeles.
• 19:22
  And basically every chance I had, I went to see
• 19:25
  it out here just because I love it so much,
• 19:26
  and I also wanted to support Emily and support the movie.
• 19:30
  I think during during last year, I ended up seeing
• 19:34
  it a total of four or five times in theaters,
• 19:37
  including one as a double feature with Snackshack, which was great.
• 19:41
  So yeah, the Resurgence is great, you know. They there's
• 19:45
  a particular song in the movie that again I'm sure
• 19:47
  we'll get more in depth on later that has also
• 19:50
  blown up on TikTok and all the music streaming platforms.
• 19:54
  That's an original created just for this movie by Emily
• 20:00
  and the writer director Adamum And it's a fucking bop.
• 20:04
  So couldn't love anymore the film. Couldn't love the attention
• 20:08
  that it's gotten in the recent year, year.
• 20:10
  Speaker 2: And a half.
• 20:11
  Speaker 3: And I'm happy to be here talking about it with
• 20:13
  you guys. And I'm anxious to hear what Chris thought
• 20:15
  of it as somebody who hadn't seen it up until recently,
• 20:18
  and someone that Ryan literally thought of while watching it
• 20:21
  and thought it was made for him. Anxious to hear
• 20:24
  your thoughts.
• 20:24
  Speaker 1: So I enjoyed the film immensely. I think for me,
• 20:29
  the Kyle Gollner Gallner Golner, Gali Gee. I think the
• 20:33
  character that he plays in this movie is the kind
• 20:35
  of is who I wish I could be, at least
• 20:38
  in certain some terms of the like go fuck yourself constantly.
• 20:41
  Uh not that I don't do that, but I don't
• 20:43
  do that to just random people out in public. But
• 20:47
  like so much of the movie just resonated with me
• 20:49
  of just like you know what, like yeah, like fuck everybody,
• 20:52
  else in a lot of ways. Yeah, no, not in
• 20:54
  a lot of ways, like in the only literally in
• 20:57
  the only way, fuck every and like and I think
• 21:00
  for me, like you know, that was one of the
• 21:02
  big takeaways I had with this movie is that I
• 21:04
  think to Ryan's point, I think tonally, this movie has
• 21:07
  the punk spirit that it rarely do movies actually exhibit
• 21:13
  the punk spirit that they are pretending to have, because look,
• 21:16
  at the end of the day, this is a movie
• 21:18
  that is being made, It is a product that is
• 21:20
  being sold that in and of itself is not punk. However,
• 21:24
  this movie is punk as fuck. Everybody involved in the
• 21:26
  movie got the assignment one hundred percent committed to the
• 21:30
  bit completely. And I think I think if you watched
• 21:34
  this movie in the first ten minutes and you stopped,
• 21:37
  you would get one sense of what this movie. However,
• 21:40
  I think that is the benefit of this movie is
• 21:42
  it subverts your expectations intentionally by giving you a reason
• 21:46
  seemingly to dislike the Kyle Gallener character, but then spending
• 21:50
  the rest of the movie. It reminded me of the
• 21:52
  Ted Lasso of it All, where Ted Lasso is talking
• 21:54
  to Roy Kent and Roy Kent just walks away super angry,
• 21:57
  and ted Lass was like, he's gonna hate it even
• 21:59
  more when they me And it's like it's that thing
• 22:01
  where it's like the amount that they dip beneath the
• 22:04
  line with Kyle Gllner comes back up so much higher
• 22:07
  on the other side that it's really earned in a
• 22:10
  way that, like very few films earn, after Son was
• 22:13
  one of those films that earns those moments. It earns
• 22:16
  the This movie earns the moments that it had. And
• 22:18
  there are some moments in this movie that maybe not
• 22:21
  as impactful in a serious way, because I'm not saying
• 22:25
  this isn't a serious movie, but it's a lot less
• 22:28
  serious than After Sun. After Sun had a lot more
• 22:31
  serious moments. This movie still has has serious moments. I
• 22:34
  think this movie still has an incredibly important message, but
• 22:37
  I think that this movie is having more fun in
• 22:40
  a lot of ways. And I think that's also the
• 22:42
  intention of the movie obviously, is because you know, the
• 22:45
  punk spirit at heart is you know, fuck everybody.
• 22:47
  Speaker 3: I mean, it's hard to capture the punk spirit and
• 22:50
  also simultaneously be heartwarming. Af Like that's a weird line
• 22:55
  to balance and somehow pull off. And this movie, like
• 22:58
  is like one of the only ones I can think
• 22:59
  of that like balances both of those tones well.
• 23:03
  Speaker 1: And again, in the first ten minutes of the movie,
• 23:04
  you would be led to believe that this movie is
• 23:06
  not like going to be a fun, uplifting kind of
• 23:10
  heartwarming movie. And you know it has its rough edges obviously,
• 23:14
  and like that's the intention. But yeah, to your point,
• 23:17
  it's like, what a heartwarming story about this guy, this
• 23:20
  fucking guy. But like here's the thing. He he oh man,
• 23:24
  he's so good in this movie. Yeah, right, like like
• 23:28
  unfair preter, naturally good at being an actor. I think
• 23:32
  is probably the term that I would for Kyle Gallener
• 23:34
  is like it's just naturalistic. He reminds me a lot
• 23:37
  of and I think he's a comparative to he's a
• 23:40
  contemporary because I don't want to compare him, because I
• 23:42
  both think they're both very good. He and Jeremy Allen
• 23:45
  White are very similar. They have that naturalistic quality to
• 23:48
  them where it's like this, I don't know if you're
• 23:50
  acting or not because this seems so easy to you,
• 23:53
  and I'm sure it's immensely difficult, But like, bro, what
• 23:56
  the fuck if I could be as good as what
• 23:57
  you're doing this easily in my own life, I'd be
• 24:00
  making dinner in America and be in and you know,
• 24:03
  in the co lead role. Like, that's how good Kyle
• 24:05
  Galliner is. I'm like, I've been a fan of his.
• 24:07
  You guys are gonna laugh. I've been a fan of
• 24:09
  his since Nightmare on Elm Street.
• 24:12
  Speaker 3: Oh, I thought you were guys, say Jennifer's body, But
• 24:14
  that's good too.
• 24:14
  Speaker 2: Wow, or even earlier Red Eye.
• 24:16
  Speaker 3: Yeah.
• 24:17
  Speaker 1: Yeah, but when I think of him, like early on,
• 24:19
  I think of him in that Nightmare on Elm Street
• 24:21
  movie because he played the Johnny Depth characters.
• 24:25
  Speaker 2: Yeah, Sleepy Eye Joe.
• 24:29
  Speaker 1: His name was. Do you remember his character's name from
• 24:31
  the movie? If I had, if I could, if I
• 24:33
  had a million dollars on the line right now, and
• 24:36
  I asked, give me the first or last name of
• 24:37
  his character of that movie a million dollars? Could you
• 24:39
  even hazard a guest? Titus Andronicus Quentin Smith feels not
• 24:46
  that far off.
• 24:47
  Speaker 3: No, The thing is Smith is such a common last
• 24:49
  name that you could have took a stab at it
• 24:51
  and won that bet.
• 24:52
  Speaker 1: Yeah, that's true. But I've been a fan of his
• 24:55
  since that, and then obviously you know, I joked about
• 24:57
  the Stu Macher's nephew of it all because he was
• 24:59
  in Scream. Was that five five?
• 25:02
  Speaker 2: Yes?
• 25:03
  Speaker 1: Scream? He was in Scream though two thousand and two,
• 25:06
  twenty two, Yeah, twenty twenty two. Is that when it
• 25:10
  came out?
• 25:10
  Speaker 2: That's when that one came He was in Scream, the
• 25:13
  second one. No, not Scream two, the second Scream, the.
• 25:16
  Speaker 1: Second movie in the franchise, named the same as the
• 25:19
  first movie in the franchise, but not a sequel to
• 25:22
  the first movie. Technically the fifth movie. I'm having any
• 25:25
  a legacy a sequel, but.
• 25:28
  Speaker 2: Yeah, Scream Off the Rail started Off the Rail.
• 25:39
  Speaker 1: Movie naming conventions drive me nuts. And Scream is Scream
• 25:44
  five Stream two Electric Boogaloo, Electric scream Aloo. But I've
• 25:51
  liked Kyle Gallner a lot in everything I've seen him,
• 25:53
  and so getting to see him as the lead in
• 25:56
  something is a treat, to say the least. And then
• 26:00
  leaning into something like this and playing a very specific
• 26:03
  kind of character who we all know someone like that
• 26:07
  or we are that person possible and it's played perfect
• 26:11
  because yes, the exterior looks one way, but this guy
• 26:15
  is he's hard, but he's not that hard. But he's hard,
• 26:19
  but he's not that hard.
• 26:20
  Speaker 3: Take it down and not you need to take it
• 26:22
  down and not take it down. We find out that
• 26:25
  he's not that hard as the movie progresses.
• 26:29
  Speaker 1: And that's the thing that I loved about the movie
• 26:31
  is that the movie is interested in not only telling
• 26:33
  a compelling story, but also subverting your expectations because yes,
• 26:37
  by the end of the movie, we realize, oh, he
• 26:39
  came from like a very affluent family who just think
• 26:42
  that he's a fuck up and don't listen to him
• 26:44
  because they're the fucking assholes. Oh got it? Okay. It's
• 26:48
  that like those moments are where the movie really excels
• 26:51
  because it's like this, this is taking this idea of
• 26:54
  what this movie can be and pushing it further to
• 26:57
  what the movie could be and should be.
• 26:59
  Speaker 2: Another thing you were confused about Chris brought up after
• 27:02
  so twice because that's what we watched last week, and
• 27:05
  it was.
• 27:05
  Speaker 3: Chris's first It sounds like it sounds like Chris didn't
• 27:07
  enjoy it that much.
• 27:08
  Speaker 1: No, I did. This is just a very different kind
• 27:10
  of movie. That was a very that was a very
• 27:13
  serious movie. This is not as serious. I've enjoyed both
• 27:16
  of these movies immenseally, It's just comparatively, this movie is
• 27:19
  way less serious. This movie isn't about possibly suicide and
• 27:23
  your dad killing himself. This is about like, let's go
• 27:26
  have fun and say fuck a lot and stick up
• 27:29
  for ourselves and be positive like.
• 27:31
  Speaker 3: And stuff that animals. Uh.
• 27:35
  Speaker 1: Then in Hitty BULLIESE pants, Yeah, what a fuck.
• 27:39
  Speaker 3: Holoids of it, which I feel comfortable saying now that
• 27:42
  we're allowed to get spoilers.
• 27:44
  Speaker 1: So I really enjoyed it, but it is not the
• 27:47
  kind of movie I would have sought out exactly.
• 27:49
  Speaker 3: That's why this is so important this episode.
• 27:51
  Speaker 1: Well, and I think for I think Ryan would agree
• 27:54
  with this. A lot of the movies he's picked this month,
• 27:56
  our movies that I have outright said I would not watch.
• 27:59
  I have not watched or have had very little exposure
• 28:02
  to those kinds of movies, so I would have not
• 28:04
  let I don't have any interest. But it's just not
• 28:06
  something I seek out.
• 28:07
  Speaker 3: And then he forced you to by making it, making
• 28:11
  them the movies of this month on this no.
• 28:13
  Speaker 1: Force though, So that's the thing. I don't have to
• 28:15
  be forced. I'm a willing participant in all.
• 28:18
  Speaker 2: Essentially, it's consensual non consent.
• 28:20
  Speaker 1: I said, yes, already, put.
• 28:21
  Speaker 3: That on a T shirt and sell it.
• 28:23
  Speaker 2: Yikes, ladies and gentlemen's your cast where they force you
• 28:27
  to do something you want you.
• 28:30
  Speaker 1: Guys, I hate not to watch the movie first, So Ryan,
• 28:34
  tell me how you identify with the main character in
• 28:37
  Dinner in America.
• 28:38
  Speaker 2: I mean, honestly, it's as simple as before films. What
• 28:43
  really brought me into a sense of existence, and not
• 28:48
  trying to make that more philosophical or anything, but like,
• 28:50
  truly who I was was how deeply entrenched in the
• 28:55
  music scene I was, and this shows so many aspects
• 28:59
  of that world that we don't get in many films
• 29:04
  that I just fell in love with it. I mean
• 29:06
  I used to host shows, I used to promote shows,
• 29:09
  I used to play music. I used to be that
• 29:14
  person that drove around in my car with the CD
• 29:17
  binder with five hundred and twelve CDs, and then when
• 29:20
  that one got full, I got another CD binder that
• 29:22
  I'd always keep behind that seat so that I could
• 29:24
  always have every single car music option that I wanted forever, which,
• 29:29
  holy shit, the early two thousands were weird, But there
• 29:33
  is something inherent, like I said earlier. Inherently charming about
• 29:38
  the chemistry between these two people that is not based
• 29:43
  on the musical talent, but also based on the shared
• 29:47
  passions that is truly just magical about how they can
• 29:52
  convey this in this movie. I for the longest time
• 29:56
  thought I wanted to be a musician. I mean, I
• 29:59
  did arching band, I did like worship band in church.
• 30:04
  I played rock band for like six hours a day
• 30:07
  for like five years straight. I loved everything about music
• 30:10
  and still adore music. It's just not the passion that
• 30:14
  film is for me now, and this is a movie
• 30:17
  that ignited it like few other movies about music can Yeah,
• 30:23
  I love this god dam well.
• 30:25
  Speaker 1: And you know you mentioned the idea of, you know,
• 30:27
  this movie being about music and making music and being
• 30:31
  part of the world of music. But it's almost like
• 30:34
  parts of the movie take a back seat to the music.
• 30:36
  And that's the thing that I appreciate about the movie
• 30:38
  is that the movie does know when to take those
• 30:41
  moments of kind of pause and give the actors a
• 30:46
  time to kind of just be in that moment and breathe.
• 30:49
  And you know, that is such a rare thing in
• 30:52
  movies nowadays, giving the actors the opportunity to actually have
• 30:56
  a moment as their characters sit in that moment, sit
• 31:00
  in that scene with the characters, not you know, we're
• 31:03
  just onto the next thing, and we're onto the next thing,
• 31:04
  and we're on the next thing, Like I don't It's
• 31:06
  not that I don't need that, because I know we're
• 31:08
  gonna get that plenty all the time. There's plenty of
• 31:11
  movies like that, and there's plenty of entertainment like that.
• 31:14
  But I appreciate when you can just have a camera
• 31:16
  on two people and those two people are just having
• 31:19
  an interesting conversation and what they're saying is interesting, and
• 31:21
  the way that they're interacting is interesting, and the characters
• 31:23
  that they're portraying are interesting and compelling. Most of the
• 31:27
  Sopranos is just two people in a room talking, you know,
• 31:31
  most of Goodfellas is just people in rooms talking. Like
• 31:34
  there's not These aren't grand action films. In the vein
• 31:37
  of Captain America, these are character pieces, and this movie
• 31:40
  again kind of cuts cuts to the heart of that,
• 31:42
  because yes, it's a movie about the music, you know,
• 31:44
  the world of music, and yes, Kyle Gallener is a punk,
• 31:47
  but ultimately it's just about two weirdos in the world,
• 31:51
  one who has really high walls and the other one
• 31:53
  who doesn't understand what walls are, and the one with
• 31:56
  the high walls having to lower his walls for the
• 31:59
  one who does understand who walls are. But at the
• 32:02
  same time, they're balancing each other out in a way
• 32:04
  that they can't without one. And that's what makes their
• 32:07
  chemistry so believable, is that, yes, I'm you know, I'm
• 32:11
  sure maybe they knew each other ahead of time, or
• 32:13
  I'm sure they met before they started filming, or what
• 32:16
  have you. But every time they're on screen together, it
• 32:18
  is so believably charismatic and charming and oh h there's
• 32:23
  nothing about the way that they interact that feels forced
• 32:26
  or contrived or or forced even And that is such
• 32:31
  a refreshing piece of cinema to see because most of
• 32:36
  the time you have to get big name directors and
• 32:38
  big name actors involved. You know, the things that I
• 32:40
  think of when I think of movies like this, I
• 32:43
  think of marriage story. I think of revolutionary road like
• 32:46
  things where it's just two actors acting up as at
• 32:48
  one another, and it's a lot of dialogue, and it's
• 32:50
  a lot of serious emotion and communication and two people
• 32:53
  just going back and forth like im not saying those
• 32:55
  movies aren't fun, but those movies aren't concerned with being fun.
• 32:58
  This movie is concerned with being entertaining and also telling
• 33:02
  an interesting, compelling, emotional story, and it's successful in that regard.
• 33:07
  And there are so many movies out there that aren't
• 33:08
  even concerned with telling an emotional story that don't succeed,
• 33:12
  let alone this movie having an intent and a reason,
• 33:14
  and it's succeeding on seemingly and at least in my opinion,
• 33:17
  every front.
• 33:18
  Speaker 3: The message of hang in there, there's actually truly is
• 33:22
  someone for everyone, no matter how fucked up or weird
• 33:25
  you think you are or anything like that is a
• 33:28
  It's kind of a message that a lot of films
• 33:30
  tried to force fully shove down your throat in a
• 33:34
  lot of films, and this one pulls it off so effortlessly.
• 33:37
  And part a lot of that is just the innate
• 33:40
  chemistry between Kyle and Emily when they're on screen together.
• 33:43
  Speaker 2: Their chemistry, I don't even know if it's genuinely like
• 33:46
  they got to meet each other before and they had
• 33:48
  a good couple of days and that was it. I
• 33:50
  almost feel like, based on the production of this movie,
• 33:53
  it's genuinely just because these two people have literally no
• 33:56
  ego whatsoever, and that on screen portraying the characters that
• 34:01
  they are just mesh perfectly, because if either of them
• 34:05
  were trying to control a scene, it would overwhelm the
• 34:08
  other one immediately.
• 34:10
  Speaker 3: They see y It's like they're both just so happy
• 34:13
  to be there and be a part of this, which
• 34:15
  has continued to reflect in the years to follow. I mean,
• 34:18
  they both went on this long tour, as I mentioned
• 34:22
  earlier after it got the big buzz after dropping on Hulu,
• 34:25
  where they stayed after at various venues for up to
• 34:29
  four or five hours, just meeting fans and signing things
• 34:33
  and taking like they just loved this movie. They love
• 34:35
  being a part of it. They both are like the
• 34:37
  nicest ego list people you could meet, especially Kyle. I mean,
• 34:41
  I love that way to death. But Kyle, you know,
• 34:43
  has had so much success in a lot of films
• 34:45
  and continues to and but you know, he's gone on
• 34:49
  record on many occasions saying that this is just the
• 34:52
  thing that he's loved being a part of the most
• 34:54
  and working with Adam, which he now is going to
• 34:57
  be doing a second time with a new film, Carolina
• 35:00
  Caroline that comes out soon, so obviously have a good.
• 35:03
  Speaker 1: I can imagine why you would like with him, given that,
• 35:06
  I mean, this script really suits Kyle Galliner and Emily
• 35:10
  Skeggs is like I think sensibilities as actors clearly wouldn't
• 35:14
  you want to work with someone who I think inherently
• 35:16
  understands how to write.
• 35:17
  Speaker 3: For you, like agreed, and there's so I mean, they're
• 35:20
  so close with him. That's one of the things you
• 35:22
  gathered from like watching even just interviews on YouTube or
• 35:26
  something when the movie first came out, but especially watching
• 35:29
  like the Q and as from that recent tour they did,
• 35:32
  you get the feeling that they're all just such a big,
• 35:34
  happy family. I mean, we've been talking so much about
• 35:37
  about Kyle for obvious reasons because he's so good in
• 35:40
  the movie. But you know, Emily, the one thing that
• 35:42
  I noticed not that I guess I didn't think that
• 35:45
  this could be a thing prior to going to these
• 35:48
  various q and as out here in La last year
• 35:51
  when the movie was blowing up and having its kind
• 35:53
  of second life. But it really became clear to me
• 35:57
  in doing that that you know, Emily did such a
• 36:01
  good job whether you know, I don't think it was
• 36:03
  really that rehearsed. I think it was more innate to
• 36:06
  her and her sensibility of playing this character that's on
• 36:10
  the spectrum that that's something that people really also tapped
• 36:14
  into this movie that I really discovered because every single
• 36:18
  Q and Q and A I went to there was
• 36:21
  specifically young women asking her about how she kind of
• 36:27
  developed the character of Patty and went about, you know,
• 36:31
  just navigating that such a kind of a serious topic,
• 36:36
  especially in today's climate, because so many people continuously mentioned
• 36:40
  about how they saw themselves in that character and felt
• 36:43
  really seen by by that and what a great job
• 36:46
  she did, and it's kind of, you know, it's very
• 36:48
  impressive and something to note about about Emily's performance as
• 36:52
  well as we're talking about her and Kyle's chemistry and
• 36:55
  the performances and such.
• 36:57
  Speaker 1: It doesn't it doesn't, you know, And you know when
• 37:01
  Tropic Thunder is one of my favorite and they say
• 37:03
  retard a fair amount in this movie to the point
• 37:05
  where it feels like I'm early ninety or not really nineties,
• 37:08
  but like early two thousands. Yes, I'm just kidding. Yeah,
• 37:12
  said they who I mean, Look, I'm not the kind
• 37:15
  of person to ask whout being offended by stuff, because
• 37:18
  I'm I'm not the offended type and I'm not the
• 37:20
  kind of person to have an opinion on it, so
• 37:22
  don't ask me. But the use of it here works
• 37:26
  because the way that they're using it is believable. That's
• 37:28
  the believable way that that word is being used. When
• 37:31
  I was in high school, that was the way like that,
• 37:33
  it just makes sense, like believable and relatable to right exactly.
• 37:37
  I hurt this shit all the time, like I heard
• 37:39
  it all the time. Not it wasn't being directed at me,
• 37:41
  thank god, and you know, I wasn't being directed at
• 37:43
  any one person specifically, But I heard that kind of
• 37:45
  shit all the time in high school, like all the.
• 37:48
  Speaker 3: Yeah, it's thankfully not directed. I got a piece of
• 37:50
  shit loser.
• 37:52
  Speaker 1: Yeah, I mean, you know, like you know again, and
• 37:54
  to be fair, like I don't have to hear somebody
• 37:56
  else call me that. I can call myself whatever names.
• 37:58
  I want the privacy of my own home. And it's
• 38:00
  way worse. That's what nobody realizes. That's what the whole
• 38:03
  like dodge of being a teenager is is there's nothing
• 38:05
  someone else can say to you that is as bad
• 38:07
  as what you can say to yourself, especially in the
• 38:09
  privacy of your own home, because once the doors are closed,
• 38:12
  you should theoretically be able to escape. And I know that,
• 38:14
  you know, the digital age has created less of a
• 38:17
  safety net for people than it used to be because
• 38:20
  you used to be able to just close your doors
• 38:21
  and windows and don't worry about it. But now it's
• 38:23
  like all the internet is pervasive and everywhere. But what's
• 38:26
  weird about this movie is this movie almost feels like
• 38:28
  it doesn't exist in the modern day.
• 38:30
  Speaker 3: No, it's almost a timeless movie, Like you're not really sure,
• 38:34
  is some of the manner is set, Yeah, like he's
• 38:37
  using a flip phone, so it's clearly not. But then
• 38:40
  also like some of the mannerisms are more modern day
• 38:44
  stuff or something like the yeah it's it is kind of.
• 38:47
  Speaker 1: Like, well, just the language they're using again, Like I
• 38:50
  would feel like in this day and age, if someone
• 38:52
  was calling someone else a retard in public, someone would
• 38:55
  say some. In this movie, no one says shit about
• 38:58
  it ever at all. No one even bats an eye,
• 39:01
  And like that, in my mind would lead me to
• 39:03
  believe that might inform me that this movie is taking
• 39:06
  place sometime in the two thousand.
• 39:08
  Speaker 3: I think it. Yeah, I mean, I think Adam has
• 39:11
  gone on record saying that he really wanted it to
• 39:13
  be just like Timeless, right, and it feels like it
• 39:16
  would be wherever, like any kind.
• 39:18
  Speaker 1: Of But it doesn't feel like now. No, it feels timeless.
• 39:22
  But now, the times now and the way things are
• 39:24
  now feels too much like this movie. It feels like
• 39:27
  an antidote in a lot of ways how shitty things
• 39:30
  are now, because this movie more or less directly says
• 39:33
  to you, the audience, like things are bad, but just
• 39:35
  because things are bad doesn't mean you can't find good
• 39:37
  things while bad things are happening.
• 39:39
  Speaker 3: Yeah, yeah, you know, you know, and what you said
• 39:41
  a moment ago about even just like the sentiment of
• 39:45
  you know, people sometimes not realizing what you are called
• 39:49
  as a teenager or even as an adult, it can
• 39:52
  it is not any worse than what you can say
• 39:54
  to yourself in the privacy of your own home is
• 39:56
  adequately put as a message of this film. I mean,
• 40:00
  you know, you've got two characters that are being beat
• 40:03
  the shit up, one by his parents and society and like,
• 40:08
  you know that not fitting in and then one just
• 40:11
  for I mean, they're both weirdos in very drastically different
• 40:15
  ways on the other side of the totem pole and this,
• 40:19
  and you know, they are the kind of characters that
• 40:22
  would beat the shit out of themselves in the privacy.
• 40:24
  They're inn a home after being judged so harshly out
• 40:28
  in the world, and it just took them to coming
• 40:31
  together and finding each other to finally realize. You know,
• 40:35
  it's just it's beautiful. And as I said earlier, what
• 40:38
  makes it work so much because so many other films
• 40:40
  tried to capture this same chemistry, this same message, the
• 40:44
  same punk atmosphere is Adam's writing and these two actors,
• 40:51
  and somehow they pull off this balancing act of so
• 40:54
  many different genres really wrapped into one movie that doesn't
• 40:59
  seem for stuff or convoluted in any way. It's just
• 41:03
  is what it is, that it works perfectly somehow. It's
• 41:05
  like this little time capsule that like shouldn't exist and
• 41:08
  should never really have worked, and thankfully we have it.
• 41:11
  Speaker 1: I agree, And I you know, to go back to
• 41:13
  the idea of it being timeless, you know, the idea
• 41:16
  that the I think more than the movie being timeless,
• 41:19
  I think you know, Jeremy, I think you really touched
• 41:22
  upon something even more important, which is the message of
• 41:24
  the movie is timeless, which is you know, and you know,
• 41:27
  I think we are. You know, we, the three of us,
• 41:29
  and so many of the people that we work with
• 41:30
  and associate with and collaborate with, are living proof of
• 41:33
  the fact that, like, you couldn't keep us fucking down
• 41:36
  just by being mean to us. You couldn't stop us
• 41:39
  from doing this, Like you couldn't stop us from making
• 41:42
  music or being ourselves just because you called us fat
• 41:45
  or a faggot or anything else. Like you couldn't stop it.
• 41:48
  And like that's the point of this movie is no
• 41:50
  matter where you are, there you are, and you need
• 41:53
  to be okay with who you are because that's the
• 41:55
  only thing you can control. And I love that scene
• 41:58
  at the end of the movie where he's eating that
• 42:00
  steak and he's like, this is the only place you
• 42:02
  can get a decent meal in America, and it's like,
• 42:05
  you know what, for some people, that's the fucking truth. Yeah.
• 42:08
  For some people, that is the first time they've ever
• 42:10
  had anything consistent in their entire lives. Is when they're incarcerated.
• 42:13
  Like I have a couple of friends who have.
• 42:16
  Speaker 3: Three meals in a bed.
• 42:17
  Speaker 1: Yeah, who have done who have done that, who have
• 42:20
  been there. They don't speak positively or negatively about it,
• 42:23
  but they did tell me like, you know, I knew
• 42:24
  where my food was coming, So you know, I mean
• 42:26
  again now that they were hard up for it. But again,
• 42:29
  there's some of the things when they're taken away from you,
• 42:32
  the things that your decisions that need to be made,
• 42:34
  you kind of can take solace in the fact that
• 42:36
  you don't have to make those decisions anyway. And you know,
• 42:38
  Kyle Gallener's character by the end of the movie, it
• 42:41
  very interestingly seems resigned to where he is, if not
• 42:44
  kind of like he says it, you know, at the end,
• 42:46
  and that closing monologue is like, you know, I'm counting
• 42:49
  the minute, but at the same time, like he's making
• 42:51
  the most of his time in prison. You know, absolutely
• 42:53
  bad times create good content. I mean that's you know,
• 42:56
  he's in prison. He's like, I've written enough songs to
• 42:58
  fill ten albums. Yeah, yeah, yeah, you have.
• 43:01
  Speaker 2: Yeah.
• 43:01
  Speaker 3: It's funny you touched on that, because that's another thing
• 43:04
  that I think is important to point out about this
• 43:06
  movie is that helps make it work so well and
• 43:09
  as beloved as three of us enjoy it is it's
• 43:13
  just real, like it's getting across this message, but it's
• 43:16
  not trying to sugarcoat anything. It's not trying to belittle
• 43:19
  the audience everything. There's no happy I mean it's kind
• 43:22
  of a happy ending because they have each other.
• 43:23
  Speaker 1: It's not a happy ending. It's not a happy end
• 43:26
  happy ending.
• 43:27
  Speaker 3: They they they've still found each other, which is the
• 43:30
  most important part, and they're going to have each other
• 43:32
  when he gets out of there. But it's a realistic ending,
• 43:35
  like it's not like, oh, suddenly he gets away with
• 43:37
  everything and there's and they run off scott free. Everything.
• 43:40
  Every choice in this movie, you know, has a payoff
• 43:44
  and is also real, realistic and believable, not like, oh,
• 43:48
  this is only happening in this fairy tale movie land
• 43:51
  of because it's a film like the whole it just
• 43:53
  it's so it's it's very genuine and wears it's hard
• 43:56
  on his sleeve at the same time, which is I
• 43:58
  think one of the things that makes it work so well.
• 44:00
  Speaker 1: It's not as it's not as elevated of reality as
• 44:04
  I would have thought it was going to be, like
• 44:05
  you said, Jeremy, it's rather grounded in reality. And yeah,
• 44:08
  I don't. I don't think the movie has a happy ending,
• 44:11
  but I think it has a I think it has
• 44:13
  a hopeful ending. I think that's but that's the most
• 44:16
  important thing. I mean, I think that that's the important
• 44:18
  thing about any kind of content like this, because I
• 44:21
  you know, and I've never talked about this on the show,
• 44:23
  but when I was in college, I had a pretty
• 44:26
  serious girlfriend that I was engaged to, and when we
• 44:28
  broke up, I took it really poorly. And one of
• 44:31
  the movies that I really resonated with and gravitated towards
• 44:34
  was Forgetting Sarah Marshall, because that movie is similar to
• 44:36
  this movie, and that, like it's very honest and it's
• 44:39
  very like upfront with what it's trying to talk about
• 44:43
  and what it's trying to talk about. Most of most
• 44:45
  of those kinds of movies, if not all of those
• 44:48
  kinds of movies, have no interest in having it's a
• 44:51
  frank conversation about the kinds of things that can happen
• 44:55
  in a relationship in the way it affects people. And
• 44:57
  I I appreciate forgetting so Marshall for that honesty the
• 45:01
  same way I appreciate this movie for that honesty, because again,
• 45:04
  like that's a you know, that's a big budget Hollywood
• 45:07
  you know, triple a movie, like this is a you know,
• 45:09
  an indie film with you know, obviously very well known actors.
• 45:13
  I mean Lea Thompson is at the beginning of this movie,
• 45:15
  which I don't know who's luckier her, Kyle Gallener, you
• 45:18
  know what I mean. I'm just saying, don't forget about
• 45:22
  the great Pat Heally.
• 45:23
  Speaker 3: We haven't even had Marylyn Rice Cub. We haven't touched
• 45:27
  on the supporting cast.
• 45:28
  Speaker 1: That's no, no, no, no, Pat, good old Pat Heally
• 45:31
  not tearing his teeth out or cutting his fingers off
• 45:34
  in this movie, you know, keeping the self mutilation to
• 45:37
  a minimum. Now, everybody in this movie does a great job.
• 45:41
  I mean, you know, even even the brother, the adopted
• 45:44
  brother character also has a little bit of an arc
• 45:46
  in the movie. You know.
• 45:47
  Speaker 3: Yeah, it's yeah, the supporting cast is incredible. Mary Lynn
• 45:50
  Rice Cub is another friend of mine because we've had
• 45:53
  done a lot of comedy together out here. Pat Pat
• 45:56
  I worked with on a short film so really. I
• 45:59
  mean the first time I watched this, it was like
• 46:01
  a who's who of people that I, you know, if
• 46:04
  not friends with, at least I've worked with or come
• 46:06
  across in various scenarios over the last decade of living
• 46:09
  in Los Angeles, and I was just like, Wow, all
• 46:11
  these great people, all these great character actors are being
• 46:14
  given a shot in this movie, you know, and everybody
• 46:20
  just pulls it off. Yeah, everybody has an arc, like
• 46:22
  you said, Chris, even the minor characters. Everybody kind of
• 46:26
  has their chance to shine. And it just seems like everybody,
• 46:28
  like the term you use towards the beginning of the
• 46:31
  of the episode here, understood the assignment. Everybody coming into
• 46:35
  this was just like, this is what this movie is.
• 46:37
  I totally get it. I love the script. I trust Adam.
• 46:39
  Let's fucking do it.
• 46:41
  Speaker 1: In a lot of ways reminds me of and strikes
• 46:43
  me as the movie that Juno wishes it was in
• 46:47
  terms of ability to be relatable in the long term
• 46:50
  and in the holistic sense, because Juno kind of pigeonholes
• 46:53
  itself so specifically as like a pregnancy team pregnancy movie,
• 46:58
  and like that's such a big part of it. But
• 47:00
  like at the core of it, it is a movie
• 47:02
  about two weirdos who have found each other and making
• 47:04
  that relationship last through you know, trials and tribulations like this.
• 47:09
  This is the movie Juno wishes it was, like genuinely, like,
• 47:12
  this movie hits those notes in a way that doesn't
• 47:15
  feel contrived. Because I've watched, like I loved Juno when
• 47:18
  it came out, like I had, I fucking bought the
• 47:21
  soundtrack on CD. I own the soundtrack on on on iTunes.
• 47:25
  I bought it on iTunes, like purchased it on itune.
• 47:28
  That's like, that's how much I love that movie, Like
• 47:30
  I owned it on iTunes. But this movie just it.
• 47:34
  This movie doesn't have any of that cynicism that Juno has.
• 47:37
  And I'm not saying Diablo Cody is right or wrong
• 47:39
  for having that cynicism, Like I think that's clearly Diablo
• 47:42
  Cody's writing style has is a little bit more cynical
• 47:45
  in that direction. But this movie shows us what a
• 47:48
  real relationship between two weirdos can look like, not what
• 47:51
  a relationship between two people pretending to be weirdos looks like.
• 47:55
  Because that's the thing about Juno is it felt like
• 47:56
  a put on in this movie, none of this feels
• 47:59
  like a put on, and that it's what I like
• 48:00
  about this movie so much. Similarly to Aftersun, it's like
• 48:03
  I'm not sure they're acting. I know they are, but
• 48:06
  it doesn't feel like and when you're able to cross
• 48:09
  that rubicon, as it were, and get over that hump
• 48:12
  of like this is just an organic thing that I
• 48:14
  can do and I'm good at it, I don't know
• 48:16
  for me, Like those are the kinds of movies that
• 48:18
  I want to watch, are the ones where the actors
• 48:20
  are just preternaturally talented at acting and they're making it
• 48:22
  look easy even though I know it's the hardest thing possible.
• 48:25
  Speaker 2: On the put on aspect, one thing that we really
• 48:28
  need to spend at least a few minutes touching on
• 48:30
  is there are two things that could have made this
• 48:32
  movie fail. If the chemistry between the two leads sucked,
• 48:35
  it would have been bad. But the other big thing
• 48:37
  is as an indie film, considering they were making original music. Yeah,
• 48:43
  if the music even remotely was bad, this movie would
• 48:48
  have fallen flat on its face. And we have to
• 48:50
  talk about how every single fucking second music in this
• 48:54
  film is pitch perfect.
• 48:56
  Speaker 3: I was just about to say the same thing, Ryan.
• 48:58
  We were on the same wave length because I was
• 48:59
  about the literally just beel like. We haven't even touched
• 49:02
  on all the original music in this movie from from
• 49:05
  the fake band that I now have a tour t
• 49:08
  shirt for Psyops thanks to super Yachky, and to know
• 49:15
  all their music both performed live in the movie and
• 49:19
  on the cassette tapes that Taddy's character has recorded to
• 49:26
  the big final song, Final Meeting, they recorded towards the
• 49:30
  end of the movie and it plays over the credits
• 49:33
  Watermelon that I I am also lucky enough to have
• 49:36
  a rare thirty five vinyl of before.
• 49:40
  Speaker 1: Those sold out super quick.
• 49:43
  Speaker 3: That took, Like I said earlier when I was introing,
• 49:46
  when I discovered the movie, took the internet by storm.
• 49:51
  Once the movie was rediscovered and had its second life
• 49:54
  on Hulu, people were doing covers, mashups, all these different
• 49:58
  things on TikTok and YouTube. I mean, this song is nuts.
• 50:01
  People love it and it's and it's a testament to
• 50:06
  a how good the song is that particular song is,
• 50:09
  but b how good all the music is in this movie.
• 50:12
  And that comes from Adam being a musician before he
• 50:15
  started directing movies, so he knows both those worlds, which
• 50:19
  is a rare gift for an indie filmmaker and of
• 50:23
  his stature and to be able to that's why the
• 50:26
  punk sensibility of this film works so well, and all
• 50:30
  the music are all fucking bops that are so effective
• 50:33
  because he knows that world just as well as he knows.
• 50:37
  There's three worlds that Adam ray Meyer knows, and it's
• 50:41
  the world of being an outcast, loser, weirdo, the world
• 50:45
  of music, and the world of indie filmmaking. And he
• 50:48
  ties all three of those together in this fucking movie.
• 50:51
  And it just it couldn't It couldn't have been made
• 50:53
  by anybody else.
• 50:54
  Speaker 1: That's the thing. It's a beautiful gift that he gave
• 50:56
  us from his very unique perspective and collect of you know,
• 51:01
  cookie jars that he that he has access to well.
• 51:04
  And I think to your to your point, Jeremy, when
• 51:07
  when you think about what makes this movie successful and
• 51:09
  the fact that it is made by someone who is
• 51:11
  a musician, that ability to translate the punk rock sensibilities
• 51:17
  of music making into filmmaking is not a guarantee, you know,
• 51:21
  Like there are plenty of musicians that have tried their
• 51:24
  hand at filmmaking that are not successful. And then there
• 51:27
  are people like Rob Zombie. And look, say what you
• 51:29
  will about Rob Zombie, say what you will about his films.
• 51:32
  I think his films are perfectly fine. I have no
• 51:34
  problem with them. I actually think if they're your flavor
• 51:37
  of ice cream, and you want to eat ice cream
• 51:38
  that has shards of broken glass in it, my guess. Look,
• 51:42
  there's nothing rob with Rob Zombie. If that's your flavor
• 51:44
  of ice cream, go for it. It's just it's a
• 51:46
  little rough for me. However, he's successful, and it's and
• 51:50
  it plays to his sensibilities exactly, and and it is
• 51:53
  it is the movies that he make makes are a
• 51:56
  reflection of who he is as a musician and a
• 51:59
  filmmaker and as a creative. And with this film, I
• 52:02
  get the same sense that Adam Reimer is the same way,
• 52:05
  like this is who he is, distillate into film form
• 52:09
  and again, write what you know, right? I mean that's
• 52:11
  what they always say, right, what you know?
• 52:13
  Speaker 2: Right?
• 52:13
  Speaker 1: What you know? And like you said, Jeremy, he knows
• 52:15
  how to be an outcast. He knows about music, and
• 52:18
  he knows about film, and this movie is a confluence
• 52:22
  of all three of those things perfect.
• 52:24
  Speaker 2: Yeah.
• 52:25
  Speaker 3: I mean, when you boil it down to it, you know,
• 52:26
  a lot of people think it's his first movie because
• 52:28
  they have never heard of or seen The Bunny Game,
• 52:31
  which if you were to watch that, you would think, what,
• 52:34
  this is the same guy who did Dinner in America
• 52:36
  and Snack Back, you know what I mean. But that's
• 52:38
  a very different movie. It comes also from being co
• 52:42
  written with the star of the movie, which is based
• 52:44
  on a true story that happened in her life. So
• 52:46
  it's a weird amalgamation. But yeah, so arguably this is
• 52:51
  his first movie that's like his passion project that isn't
• 52:54
  co written with a friend that is based on her
• 52:57
  real life experiences. And this is already been you know,
• 53:01
  talked about in various Q and a's but with Adam
• 53:03
  and such. But much like Snackshack, his follow up from
• 53:07
  last year, it's an extremely personal.
• 53:09
  Speaker 1: Movie to him.
• 53:11
  Speaker 3: So yeah, the sentiment of write what you know, Chris
• 53:14
  is absolutely correct, And I think if you write with
• 53:17
  that authenticity, then you know it's what comes out is
• 53:22
  oftentime if you can actually be that raw and honest
• 53:26
  and genuine with your writing from your own personal experiences.
• 53:30
  Often what you get is something that's at least very
• 53:33
  good and in this case just fantastic.
• 53:35
  Speaker 2: I don't know, do you remember last year, Chris, when
• 53:37
  I talked to you about Snackshack. Maybe not because you
• 53:39
  were like in the eye of the hurricane, but it
• 53:41
  was this is the film that he sets it in
• 53:45
  Nebraska and he brings up Runzas and I was like, Oh,
• 53:48
  Chris has to watch this and this.
• 53:50
  Speaker 1: This is my fucking life.
• 53:51
  Speaker 2: Brother. Now you're watching Dinner in America first and you
• 53:55
  get to see him both.
• 53:56
  Speaker 1: And I'm excited to watch that the other film because again,
• 54:00
  like the sensibilities of the director, you know, writer, director
• 54:04
  are ones that I resonate with. You know again, you know,
• 54:07
  I I high school me would be so shocked at
• 54:10
  the person that I am now like compared to the
• 54:13
  person that I was in high school and the person
• 54:15
  that I like perceived more than likely perceived myself to be.
• 54:19
  I think is the way that I would put it.
• 54:21
  And I think that and I think that you know,
• 54:22
  for me, at least someone who was watching this movie
• 54:25
  in their mid thirties, and you know, these characters are
• 54:27
  you know, late mid early twenties, I guess, I mean
• 54:30
  they're you know, just out of college. You know, we're
• 54:31
  being kicked out of college or dropping out of college
• 54:33
  or whatever. So mid twenties, early thirties, I really resonated
• 54:37
  with that feeling of like feeling not feeling part of
• 54:41
  the world, but apart from the world. And that is
• 54:43
  because of who I am and not realizing though. And again,
• 54:47
  like this is the thing that it's hard to see
• 54:50
  when you're in an insular environment like high school, where
• 54:53
  it's you know, the world is very small, and now
• 54:55
  we're out in the world, and like none of us
• 54:57
  are in the same state. I've never even met you
• 55:00
  in person, Jeremy, I've spent all of maybe what ryan
• 55:03
  a day and a half in your presence, like, but
• 55:06
  yet we've worked together, like you know, of a lot
• 55:09
  in the last two and a half years. Like the
• 55:11
  the once you get out of the insular world of
• 55:13
  high school or college, like you can meet anybody and
• 55:16
  do anything and be part of anything, and you will
• 55:19
  gravitate towards people who are like you, weirdos like you,
• 55:22
  or if you're not a weirdo, normal people like you. Congratulations.
• 55:26
  If you're a normal person, or if you perceive yourself as.
• 55:28
  Speaker 2: An am I also fuck you?
• 55:30
  Speaker 1: I mean again, like is anybody really normal? Like also
• 55:34
  again like that's what I mean, Like what you know,
• 55:36
  I think if you were to ask one hundred people,
• 55:39
  are you normal? They would say no, Like ninety percent
• 55:42
  of them would say no. Like I think I think
• 55:44
  normalcy is overrated. I don't think normalcy is even something
• 55:48
  like being normal is such a definitionless thing that it
• 55:52
  meet like it you know, I remember during the pandemic,
• 55:54
  people kept saying like, well, I didn't do anything during
• 55:56
  the pandemic, Like but bit you went on vacation, Like
• 55:58
  that's not nothing, Like normal is a subjective phrase that
• 56:02
  people try to then use objectively, and that's not how
• 56:05
  it works. Like normal means something different to everyone, it
• 56:09
  really does. And these characters in this film, their normal
• 56:12
  looks something very different from what my normal or your
• 56:16
  normal or any of our normals look like. You know,
• 56:18
  Kyle Gallener's character is seemingly okay with committing misdemeanors and felony,
• 56:24
  you know, with wanton Land rhymes just general crymes. But
• 56:27
  like but like again like again, like not with malice though,
• 56:31
  like that's what I don't understand. Because again, like it's
• 56:34
  not that I don't understand it, but like I understand
• 56:36
  that that's what the movie's doing.
• 56:37
  Speaker 3: And so it's like the things that we always want
• 56:40
  to do, but we have restraint exactly. Like, yeah, when
• 56:44
  the when when you're in the house of a bunch
• 56:46
  of fucking you know, Republican assholes at eating dinner and
• 56:50
  they're being dicks to you, you absolutely want to break
• 56:53
  their window and set their head just on fire. But
• 56:56
  most of us just have the self control and not
• 56:58
  do that. And then we go home it's dream into
• 57:00
  our pillow before bed. But Kyle Gower's character just just
• 57:04
  is like, fuck all you guys, I'm gonna do whatever
• 57:06
  the fuck I want.
• 57:07
  Speaker 1: It's what we all wish we could do, right, And
• 57:09
  that's why I said at the top of the episode,
• 57:11
  you know, like this, the character that Kyle Gallaner plays
• 57:14
  in this movie is the person that we all wish
• 57:16
  we could be. You know, me specifically, I wish that
• 57:18
  I could have a little bit more of that. Not
• 57:22
  that I don't have the devil may care fucking attitude
• 57:24
  about things, but like again, like he literally like looks
• 57:27
  at two women in public while he's like making out
• 57:29
  with Patty and he's like, fucking stop, what is your dale?
• 57:33
  Like I would never do that to someone in public,
• 57:36
  like and you know, like he's a punk though, and
• 57:38
  so like it comes with the territory, Like, you know,
• 57:41
  to be a punk, in my mind means never missing
• 57:43
  an opportunity to be yourself. That's what it means to
• 57:46
  be a punk. And when those women are staring at
• 57:48
  him while he's sharing an intimate moment with his girlfriend
• 57:51
  and they're ruining it, at least that's his perception, I'm
• 57:53
  assuming of what's going on. It's his within his mind
• 57:56
  and within his rights to say fuck you, knock it off.
• 57:59
  And I'm not sure I disagree with that sentiment, given that,
• 58:02
  like that's a moment between two people that they're sharing,
• 58:04
  and they those people have no right to impinge upon.
• 58:07
  Speaker 3: Yeah, or the or the lady at the bank asking
• 58:10
  all the second form of ID and being super judgmental.
• 58:14
  It's like, fuck you, lady, just give me my fucking check.
• 58:19
  His character his name is in the film, by the way,
• 58:21
  keep referring to Kyle Gallner's character. I just want to
• 58:24
  say Simon in case anybody wanted to reference Simon and
• 58:27
  Patty John Q. Yeah, spoiler alert, John Q.
• 58:32
  Speaker 1: I was disappointed we didn't get to see whatever the
• 58:34
  nude photo was at the end of the movie, just
• 58:36
  saying Ryan, right, I mean we're gonna take it. I mean,
• 58:40
  why not show it? Like you know whatever? Man, if
• 58:44
  you got good looking people in your movie, why wouldn't
• 58:46
  we want to see them kissing each other? Like, I'm sorry,
• 58:49
  this is again wish fulfillment. This is things that people
• 58:52
  you know, like, I don't know, come on now, you
• 58:55
  know I want it to be believable, and it's believable.
• 58:57
  It doesn't feel forced, it doesn't like they have so
• 59:00
  much chemistry that I don't understand how you can spend
• 59:03
  hundreds of millions of dollars casting big budget movies and
• 59:06
  fail so hard when this movie costs you know, like
• 59:08
  a fucking ham sandwich and two bits down at the
• 59:11
  local bar. Shot have Yeah, it's like three locations.
• 59:15
  Speaker 3: Yeah, it was shot in his hometown, Adam, So they're
• 59:18
  like using a lot of like locations that I think
• 59:21
  he was like friends with and.
• 59:23
  Speaker 1: Yeah, but hey, you know, like Marvel can't figure out
• 59:25
  how to cast a movie with believable Uh, you know,
• 59:28
  chemistry between the leads. There's your little MCU plug Ryan
• 59:31
  for the film Foundation Days. Had to get it in
• 59:33
  there somewhere. You know. It's astounding because like there's a
• 59:37
  level of there's a level of realism here that just
• 59:40
  is hard to tap into with without it just happening.
• 59:43
  You don't, like, rarely does this happen on its own.
• 59:46
  It's intentional. But again, the film is so seamless and
• 59:50
  so real feeling that it doesn't feel contrived, doesn't feel
• 59:54
  like you're nothing, feels like a put on. To your point, Chris,
• 59:57
  I agree with that.
• 59:58
  Speaker 3: It We've been spending so much I'm on this episode
• 1:00:01
  dissecting it, and you know, I don't disagree with anything
• 1:00:03
  we've said about the message and the chemistry and the
• 1:00:06
  writing and the world that Adam Reimer comes from and
• 1:00:09
  then put that on on on pen to paper and
• 1:00:11
  paper to screen. But uh, there's also just kind of
• 1:00:15
  I don't want to sound too like cheesy or hammy
• 1:00:17
  over here, but now you got me hungry with your
• 1:00:19
  your ham sandwich comment. But there is a certain amount
• 1:00:22
  of like magical quality to this where it's just like
• 1:00:26
  it shouldn't It almost shouldn't work, but it does, and
• 1:00:29
  we could dissect it all we want, but there's also
• 1:00:31
  just kind of like this, like, yeah, it was like
• 1:00:33
  lightning in a bottle type of thing, Like they just
• 1:00:35
  happen to get all the right people together at the
• 1:00:37
  right time. And you know, if I'm watching this movie
• 1:00:41
  for the first time and I just have this big
• 1:00:43
  smile plastered on my face because it just feels so
• 1:00:47
  relatable and like a warm blanket at the same time,
• 1:00:52
  and then I watch it.
• 1:00:54
  Speaker 1: I still watch it.
• 1:00:55
  Speaker 3: Five years later when it's back in theaters and getting
• 1:00:58
  a second life, and I'm and I'm having that same
• 1:01:01
  big smile on my face, and I'm hearing people who
• 1:01:07
  haven't seen it this is their first time seeing it
• 1:01:09
  and laughing at all the part, all the appropriate parts,
• 1:01:12
  people who have seen it multiple times, because they kept
• 1:01:15
  asking everybody, you know, how many times have you seen it?
• 1:01:18
  Anybody who's you know?
• 1:01:19
  Speaker 1: And people would raise it, how.
• 1:01:21
  Speaker 3: About more than five times? Keep your hands raised, you know,
• 1:01:23
  And all those people are laughing at all the same parts,
• 1:01:26
  including me, It does feel like this, like, Wow, they
• 1:01:30
  just really captured lightning in a bottle with this movie,
• 1:01:33
  And maybe it's not fully dissectible, even though everything we've
• 1:01:36
  talked about obviously is indeed contributing to its success.
• 1:01:41
  Speaker 1: I think with anything anything worth really watching in something
• 1:01:46
  and things that really resonate with people in a way
• 1:01:49
  that is, you know, like this phone does, like deeply
• 1:01:52
  in in a genuine way, like there is something about
• 1:01:54
  it that is intangible that you can't wrap your arms around,
• 1:01:58
  you can't grab on you And it's I think it's
• 1:02:01
  just I think in my mind, if I were to
• 1:02:04
  explain that away with my head canon, it's that is
• 1:02:07
  what Adam Reimer brings to the film. That's what he
• 1:02:10
  brings to it. That's what Scorsese brings to a film
• 1:02:13
  where even again someone I'm not a particularly a big
• 1:02:15
  fan of, like, people watch Tarantino movies because Quentin Tarantino
• 1:02:19
  fucking writes them and directs them. Because they want to
• 1:02:22
  know what his sensibilities are. Regardless of whether or not
• 1:02:26
  Brad Pitt says fuck or Leonardo DiCaprio is doing whatever
• 1:02:29
  whoever the fuck, they watch his movies because he's the
• 1:02:32
  one who makes them. And that notion that a director
• 1:02:36
  and a writer can be the same person because they're
• 1:02:39
  not always the same, but that they can be the
• 1:02:41
  same person and that they can get a film from
• 1:02:43
  start to finish, all the way through the way that
• 1:02:45
  they want and it's still again, you know, Adam, I
• 1:02:49
  don't you're saying that this film is him in you know,
• 1:02:51
  film form and the person that he is. I believe
• 1:02:54
  you who he is is the intangible quality that this
• 1:02:58
  film lacks without him, that would not allow the film
• 1:03:02
  to succeed without him. That if someone else directed it
• 1:03:05
  or wrote it, it would be something completely different. That's
• 1:03:07
  not to say it wouldn't be successful. I think of
• 1:03:10
  a film like green Room, which feels very real, like
• 1:03:13
  the guy who wrote it is a punk rocker himself.
• 1:03:16
  Speaker 3: Right, Jeremy Also yeah, also Jeremy yeah who well indeed
• 1:03:22
  was in punk bands exactly and yeah, so yeah, sometimes it.
• 1:03:26
  Speaker 1: Is just the person making it is part of the equation.
• 1:03:30
  Speaker 3: No, You're absolutely right, he's.
• 1:03:31
  Speaker 1: And that's hard for people to hear and say because
• 1:03:33
  so many of us, myself included, and I'm sure maybe
• 1:03:37
  both of you or one of you struggles from this.
• 1:03:39
  I don't like admitting that people would want to listen
• 1:03:41
  to something because I'm part of it.
• 1:03:43
  Speaker 3: True, Absolutely, that's a hard.
• 1:03:45
  Speaker 1: Thing to fathom for so many of us like and
• 1:03:47
  then fandom. And I say that now as someone who
• 1:03:49
  I know is as people listening to this episode. But
• 1:03:52
  yet it still like shocks me because again, like the
• 1:03:54
  imposter syndrome is real. But I look at something like
• 1:03:57
  this and I'm like, I'm sure he has imposters in
• 1:04:00
  as we all do, We're all Sue does.
• 1:04:02
  Speaker 3: But thank goodness, he's getting his just desserts because you know,
• 1:04:05
  Dinner in America, as mentioned, was made with a couple
• 1:04:09
  quarters and a ham sandwich and got this second life
• 1:04:13
  even Snackshack, which he was somehow able to also scrape
• 1:04:16
  together the money to make this little second indie follow up,
• 1:04:19
  that's just as good.
• 1:04:21
  Speaker 2: You know.
• 1:04:21
  Speaker 3: I here in Los Angeles. I remember I had the
• 1:04:24
  drive to like fucking Tipanga to see a ten thirty
• 1:04:30
  PM showing because it was like the only one or
• 1:04:31
  something like that, you know, when that was in theaters
• 1:04:34
  for super limited run. So but now now people, I
• 1:04:38
  think with the success of Snackshack post theaters, with the
• 1:04:42
  Second Life of Dinner in America and all the craze
• 1:04:44
  that that got, people are finally starting to recognize him
• 1:04:47
  a little bit in the sense of what a great
• 1:04:50
  writer director he actually is. You know his new film
• 1:04:53
  Carolina Caroline, you got Kyle gallanderback, but you also got
• 1:04:56
  Samorrow Weaving, who's a big star, and some other stars
• 1:04:59
  are in it.
• 1:05:00
  Speaker 1: It just premiered a tiff, So.
• 1:05:02
  Speaker 3: You know, I think he's arguably getting more recognized in
• 1:05:08
  the zeitgeist as of lately after his first two technically
• 1:05:13
  his first three films if you count The Bunny Geam.
• 1:05:16
  Speaker 1: Well whom and who knows what his ceiling is because
• 1:05:19
  you know, John Watts was directing Cop car at one, right, Yeah,
• 1:05:22
  and he fucking went on to direct I like Cop
• 1:05:25
  Card too, but you know what, I also I also
• 1:05:27
  really like his Spider Man movie, and those Spider Man
• 1:05:29
  movies have a similar sensibility that Cop Card. And that's
• 1:05:32
  the thing about a director like Adam Reimer that makes
• 1:05:35
  me excited is his films are a reflection of him.
• 1:05:37
  And that's the kind of filmmakers that I want to
• 1:05:39
  watch now because I bemoaned it so many times with
• 1:05:42
  the early MCU movies that like, oh, you hired Joe
• 1:05:45
  Johnston to make Captain America and it wasn't enough the Rocketeer, like, yeah,
• 1:05:49
  this movie no one could accuse this movie of not
• 1:05:52
  being punk.
• 1:05:52
  Speaker 3: Yeah, you're that's your accusation.
• 1:05:55
  Speaker 1: Movie, You're fucking wrong.
• 1:05:56
  Speaker 3: Like Pere, he'll stay that way forever. I mean, if
• 1:05:58
  you're referencing MCU people specifically look at someone like James Gunn,
• 1:06:02
  who started off with Trauma and then made things like
• 1:06:05
  Slither and his MCU movies he still captures. I mean,
• 1:06:10
  I don't know if you guys have started watching season
• 1:06:12
  two a Peacemaker, but spoiler alert, there's a big orgy
• 1:06:15
  scene in episode one, you know what I mean? Like that, dude,
• 1:06:18
  James gun has not lost his particular sense of humor,
• 1:06:22
  his particular style from the Trauma days till now, working
• 1:06:25
  in both the MCU and DC now both And that's
• 1:06:29
  somebody that you have to at least admire, even if
• 1:06:31
  you don't like his movies, because he's just always been
• 1:06:34
  authentically him and everything he does. And that's the kind
• 1:06:37
  of person I see Adam ray Meyer as is somebody
• 1:06:41
  who no matter what his ceiling is or where he
• 1:06:43
  goes from here, he's always kind of kind of authentically
• 1:06:47
  captured that same essence in everything he touches.
• 1:06:51
  Speaker 1: He's like Ryan Kugler. I mean again, you know, Ryan
• 1:06:53
  Kugler is not someone that I would have jumped out
• 1:06:55
  as be like, oh, direct Black Panther, the GI director
• 1:06:58
  for The Fail Station. What an uplifting film to have
• 1:07:01
  Black Panther be like part of your like, you know,
• 1:07:04
  filmography with But it makes sense because again, like it's
• 1:07:08
  those things that were tapped into makes sense and like,
• 1:07:11
  you know, this film taps into the punk sensibility, the
• 1:07:14
  music world, the feeling like an outcast in ways that yeah,
• 1:07:17
  like so many films struggle with and this movie just goes, yeah, no, no,
• 1:07:20
  I got, we got, It's fine, Like you know, that's
• 1:07:22
  not even that's not even something we're gonna struggle with.
• 1:07:25
  That's just part of the movie. Like the movie just
• 1:07:28
  every everything about this movie seems so effortlessly done, and
• 1:07:31
  everything just seems so real and raw that those emotional
• 1:07:35
  moments between Kyle Gallener and Emily Skegg's just like, I
• 1:07:38
  don't know, you just want to see the two of
• 1:07:40
  them just back and forth because they're both they're both
• 1:07:43
  just so good together. They are. Yeah, I don't think
• 1:07:46
  they should do a sequel obviously, but man.
• 1:07:49
  Speaker 3: You want it almost you want it.
• 1:07:52
  Speaker 1: You want to see their continued journey, like because you
• 1:07:54
  love these characters so much, it's like, what does happen?
• 1:07:57
  Or just too like Bollywood cinema and just cast them
• 1:07:59
  again in another movie. But just that he's one of
• 1:08:02
  the that's different characters, like whatever, you know, just their
• 1:08:04
  chemistry is great, you know, just flip the script a
• 1:08:07
  little bit, do a Mike Flann again, you know, just
• 1:08:09
  I'll just keep casting my wife in things. No, it's whatever,
• 1:08:12
  it's fine.
• 1:08:12
  Speaker 3: Out of all the q and as I've been to
• 1:08:14
  now for this movie, they so frequently. The one of
• 1:08:17
  the questions I think that has asked the most is, uh,
• 1:08:21
  where do you guys see these characters going after the
• 1:08:24
  movie's over? And they all kind of have different you know, Emily, Kyle,
• 1:08:27
  Adam all have different takes on what exactly they think
• 1:08:31
  happens in the in the kind of a fan fiction
• 1:08:33
  kind of way.
• 1:08:34
  Speaker 1: Well, so I think that's as apropos a spot as
• 1:08:38
  any to ask. I'm very curious what is y'all's read
• 1:08:41
  on after.
• 1:08:42
  Speaker 2: Them Ryan start, I'll let Jeremy stride. I don't know.
• 1:08:46
  This isn't no takes these back seats, This isn't really
• 1:08:49
  one that I've ever put a lot of thought into
• 1:08:51
  because I in a way, I kind of don't want
• 1:08:55
  to know. I don't want to break the romanticism of
• 1:08:59
  that last moment. And I mean, the reality is like
• 1:09:04
  if this was real world and not perfect casting, perfect music,
• 1:09:08
  perfect chemistry, everything, they fall apart pretty much immediately, probably.
• 1:09:12
  Speaker 1: Right, they're both very mentally unstable and not getting helped
• 1:09:15
  you Like, I mean, I mean again, not to be
• 1:09:20
  like mister Debbie Downer, but like you know, right, yeah, yeah,
• 1:09:24
  but maybe that's not the case, and maybe I'm wrong,
• 1:09:26
  and maybe that's not what I.
• 1:09:27
  Speaker 3: Like to think. Patty is waiting for him outside of
• 1:09:31
  the jail, outside of the county jail.
• 1:09:33
  Speaker 1: John Q Public.
• 1:09:34
  Speaker 3: Patty is waiting for Simon specifically, not him the football
• 1:09:40
  Jordan Peele movie outside the jail.
• 1:09:43
  Speaker 2: And uh him the feel produced movie by the way,
• 1:09:47
  not him the band.
• 1:09:48
  Speaker 3: In the same truck with the scheme, wearing the ski
• 1:09:51
  mask and with the their tape, their recorded tape cassette
• 1:09:55
  in the cassette player on his release day, as.
• 1:09:59
  Speaker 2: She derives through the all of the jail, right, and.
• 1:10:04
  Speaker 3: This is the honest based on these characters, that's a
• 1:10:07
  more realistic ending or a realistic answer as to what
• 1:10:11
  is she plans and escape for and to break out
• 1:10:15
  of jail and then they go on the run together.
• 1:10:17
  That's actually what happens. I changed my answer, thanks, Ryan.
• 1:10:22
  Speaker 1: Yeah, you know, I feel for the people who watched
• 1:10:26
  the end of The Sopranos and were upset because they were, like,
• 1:10:29
  what happened to the character after the show turned off?
• 1:10:31
  Like I want to know? Like what? It doesn't matter? Yeah,
• 1:10:33
  Like the movie's over, Like it's off and the story
• 1:10:37
  has ended. And I think, to your point, Ryan, like
• 1:10:39
  that's what I'd like to believe, is like, and that's it,
• 1:10:41
  and that's it, and I don't need there's nothing else.
• 1:10:44
  I don't need to think about it or worry about it,
• 1:10:46
  because because we know what the reality is. You know,
• 1:10:50
  I've been married and divorced. At one point, I was
• 1:10:53
  just a kid meeting another kid who was twenty one
• 1:10:56
  and eighteen, and we were just kids meeting each other,
• 1:10:59
  and then we became adults, and then we got married
• 1:11:01
  and then we fell out and it's sad and it sucks,
• 1:11:04
  and you don't want to think about that when you
• 1:11:06
  think about this movie, and that's what the movie is
• 1:11:07
  asking you to not do by the end of the
• 1:11:10
  movie is like, don't think about that, because that's not
• 1:11:12
  what's important. What's important is that they were able to
• 1:11:14
  connect and find you and it's the and they're both
• 1:11:16
  better off for it now, even if they're never able
• 1:11:20
  to be together again, Like even if even if everything
• 1:11:23
  in the world works against them seemingly the way it
• 1:11:26
  already had, you know, they really only get to share
• 1:11:28
  like several really important moments with each other. There's a
• 1:11:31
  possibility that that's it, you know, to go back to
• 1:11:34
  the after sun of it all, Like what if this
• 1:11:36
  movie is her remembering this, you know, two fucking days
• 1:11:39
  with this guy, and you know, in prison he gets
• 1:11:42
  fucking murdered, you know what I mean? Like, I mean again, like,
• 1:11:44
  there are so many directions that could go, but the
• 1:11:47
  direction that ultimately I think the director would prefer us
• 1:11:50
  go is it's over. The movie's over, and there's no
• 1:11:53
  need to ask that question because asking of the questions
• 1:11:56
  is something that we have the benefit or problem of
• 1:12:00
  doing as people, as humans, because it's not you know,
• 1:12:03
  enough is never enough. This is not enough. We need
• 1:12:05
  for some people. Yeah, yeah, we need for us.
• 1:12:07
  Speaker 3: I think we're okay, but for a lot of people,
• 1:12:09
  Like I said, that was like the most frequently asked
• 1:12:11
  question at the Q and as I went to not something,
• 1:12:14
  I necessarily thought of, yeah.
• 1:12:15
  Speaker 1: Because it doesn't you know, like I've seen what the
• 1:12:18
  filmmaker wants me to see and therefore I can live
• 1:12:21
  with that. It's like, you know, Ryan, I think it
• 1:12:23
  was you and I talking about it on the last
• 1:12:24
  episode the whole Is Deckard a replicant? Is MacCready? Like
• 1:12:28
  can I see his breath? Is he the thing? Like
• 1:12:30
  if that's your takeaway from those movies? Like did you
• 1:12:32
  even watch the movie? Like was the was? The point
• 1:12:36
  of the thing was never to ask whether or not
• 1:12:39
  MacCready was the thing or if Deckard was a replicant,
• 1:12:42
  like and frankly the decord was a replicant? Thing was
• 1:12:44
  just footage from legend that Scott Everybody's got added to
• 1:12:48
  Blade Runner for God's sakes. But I can't I get
• 1:12:52
  I guess I can see people asking where did the
• 1:12:54
  characters go after this? But like I feel like the
• 1:12:56
  movie gives you everything you need and the movie is
• 1:12:59
  asking very little you as the audience after the film's over,
• 1:13:02
  Like it ends with that moment of her with the
• 1:13:04
  sche mask on listening to his music, and in a way,
• 1:13:08
  it's like a passing of a torch from him to
• 1:13:10
  her because he unlocked within her the ability to stand
• 1:13:13
  up for herself, and she unlocked with him, within him
• 1:13:16
  the ability to take it down a notch and you know,
• 1:13:20
  not always be so abrasive and aggressive and you know,
• 1:13:23
  thorny and prickly, and you know that's those are positive
• 1:13:28
  messages that people need to hear, and those are positive
• 1:13:31
  things to hear in this day and age. Is that
• 1:13:33
  it's okay to be vulnerable, It's okay to be emotional
• 1:13:37
  man or woman, because I hate the idea that like
• 1:13:40
  only men are emotionless, Like, no, that's a fucking lie.
• 1:13:44
  I can tell you that men and women both need
• 1:13:47
  to be more emotionally willing to meet their partner or
• 1:13:52
  friends or collaborators in an honest and healthy way. And
• 1:13:57
  often that is being honest emotionally with people and you know,
• 1:14:00
  voicing to them your concerns or anxiety and them tempering
• 1:14:04
  it or you know, reinforcing it or pushing back on it.
• 1:14:07
  And those are things that this movie is more interested
• 1:14:10
  in talking about, is what does it take for someone
• 1:14:13
  to change and sometimes it doesn't come from within. Sometimes
• 1:14:17
  it does come exteriorly, and there's nothing problem with change
• 1:14:21
  coming from the exterior. It's just you know, like we
• 1:14:25
  said with the ending of the movie, who knows how
• 1:14:26
  long it lasts, but that's not what the movie's asking.
• 1:14:29
  And again, like that's that's why it's like it kind
• 1:14:31
  of bums me out that, Like that's the takeaway is
• 1:14:33
  like what happened to the characters after the movie, like,
• 1:14:35
  oh man, oh man? Really, like there were so many
• 1:14:39
  other things you can talk about with this movie, so
• 1:14:42
  many other like interesting avenues to go down with the
• 1:14:44
  characters or the things that happen.
• 1:14:47
  Speaker 3: One chance to talk to the filmmakers and the actors,
• 1:14:50
  and you blew it. You blew it.
• 1:14:52
  Speaker 1: Excuse me. I have a question. It's like that fun
• 1:14:56
  if I wanted to be in one of your movies,
• 1:14:58
  likel skit with sh where it's like get a fucking life.
• 1:15:01
  Why don't you like.
• 1:15:03
  Speaker 3: About favorite line from my favorite line from both Jack
• 1:15:05
  Corseman more of a comment than a question.
• 1:15:08
  Speaker 1: Really, I've seen all of William freaking movies.
• 1:15:15
  Speaker 2: And someone currently producing extras for Jade thank you.
• 1:15:19
  Speaker 1: It is just, you know, to your point though, like, yeah,
• 1:15:21
  you had this opportunity to interact with the person who
• 1:15:24
  made something you love and that was the question you asked,
• 1:15:26
  Like the movie is asking so much more of you.
• 1:15:29
  That has nothing to do with that specifically, Like that
• 1:15:33
  is just part that is the obvious conclusion that the
• 1:15:36
  film gets to. It is not the message of the
• 1:15:38
  movie at all, Like the ending of the movies, just
• 1:15:41
  the the logical destination for the two characters. And yeat
• 1:15:44
  to both of your points. I like that the movie
• 1:15:45
  is honest and it doesn't have you know, them running
• 1:15:48
  off into the sunset together, like that's not this story.
• 1:15:51
  And I appreciate that about this movie, Like I don't
• 1:15:53
  need that, like because that's not real. I'm not saying
• 1:15:56
  movies have to reflect reality, but when you're gonna do
• 1:15:58
  a movie like this, I would appreciate it if it
• 1:16:00
  was at least somewhat reflecting reality. It doesn't have to
• 1:16:03
  be like, you know, the most serious upfront marriage story.
• 1:16:06
  I wish you were dead and every time I wake
• 1:16:08
  up in the morning, I hope you're a hole in
• 1:16:11
  the wall.
• 1:16:12
  Speaker 2: I do kind of want to see that ending now, though.
• 1:16:16
  Speaker 1: But no, I really enjoyed this movie. Ryan, This is
• 1:16:19
  a good one. I'm so happy to hear that.
• 1:16:22
  Speaker 2: Also, I feel like this is an outlier in this
• 1:16:24
  month's programming, and so I'm glad that it feels good.
• 1:16:28
  Why because most of the other ones are not comedy.
• 1:16:31
  And I mean, look at what we watched last week.
• 1:16:34
  Suicide Father.
• 1:16:35
  Speaker 1: Yeah, that was the name of that was the alternate
• 1:16:37
  title in Romania. Yeah, they're like, maybe this is a
• 1:16:40
  little too on the nose. I think suicide my favorite
• 1:16:44
  film of twenty twenty four, Suicide Father. Don't you mean
• 1:16:47
  after Son?
• 1:16:48
  Speaker 2: Yeah?
• 1:16:49
  Speaker 1: No, I watched a Romanian dub suicide Father. It's like
• 1:16:53
  we're watching, you know, the film Cops and Roberson's with
• 1:16:56
  Jack Pounds at Chevy Chase and do you know what
• 1:16:59
  the Polish translation to that film is no cops domestic
• 1:17:03
  violence like cops, And it's like the title is like
• 1:17:06
  cops or like policemen and violence in a.
• 1:17:09
  Speaker 2: House like colon hand in hand.
• 1:17:14
  Speaker 1: Yeah, exactly, I'll take things cops can't stop doing for
• 1:17:18
  two hundred dollars domestic violence. But yeah, no, I mean,
• 1:17:22
  I I jest, but yeah, like you know, it's it's
• 1:17:25
  that level of just like okay, so yeah, no, I
• 1:17:28
  get it. Ryan not everything's gonna be fun. Not everything's
• 1:17:30
  gonna be lighthearted. You know we're gonna watch it. Kevin
• 1:17:32
  Gosler movie.
• 1:17:34
  Speaker 2: I know he's the most fun out of all of these.
• 1:17:37
  Thank you.
• 1:17:38
  Speaker 3: As I in closing, I'd like to say that if
• 1:17:41
  this was like twenty twenty to twenty twenty two, I
• 1:17:44
  guess even twenty twenty to twenty twenty one, to narrow
• 1:17:47
  it down, I'd be like begging anybody who's listening, like,
• 1:17:50
  go out watch this movie, which I'm still doing because
• 1:17:53
  I love it and I want everybody else to love it.
• 1:17:56
  But because it had this big resurgence just last year,
• 1:17:59
  it seems like so many more eyes are on it,
• 1:18:02
  and there's like nothing but this outpouring above for it lately,
• 1:18:06
  which just warms my heart. So I just say that
• 1:18:09
  if you somehow still have not seen this movie, and
• 1:18:12
  you happen to be listening to this episode it's still.
• 1:18:14
  Speaker 1: On Hulu, that's where I watched it.
• 1:18:17
  Speaker 3: You can take ninety minutes of your day it's right
• 1:18:20
  after listening to this to go watch it and if
• 1:18:23
  you really like it, and then watch next ad, which
• 1:18:25
  is also on Hulu. I think, but could you.
• 1:18:27
  Speaker 1: Instead just watch ninety tiktoks that are one minute long.
• 1:18:31
  Speaker 3: Ninety tiktoks that are all remashes of the Watermelon song.
• 1:18:38
  Speaker 1: It did get. It did get a lot of notoriety
• 1:18:41
  from that alone this past year or so. Yeah, it
• 1:18:44
  really did, which is to your point from before I
• 1:18:46
  didn't comment on it. You guys were commenting on it.
• 1:18:48
  It is a hell of a bop that really. Yeah,
• 1:18:51
  it's so simplistic because we get the benefit of literally
• 1:18:55
  watching them record it and they're not they're not flubbing
• 1:18:58
  it at all.
• 1:18:58
  Speaker 3: They're doing the parts. But it's a very simplistic song musically,
• 1:19:03
  and yet it's a fucking ba there's a bot.
• 1:19:06
  Speaker 2: What's great, though, too, is all of the music is good,
• 1:19:08
  Like the fake band music is great in this.
• 1:19:11
  Speaker 1: Yeah, And like you said, Ryan, if it wasn't good,
• 1:19:13
  I'd be like what the fuck?
• 1:19:15
  Speaker 2: He right? If everything else that was bad, it would.
• 1:19:19
  Speaker 1: Just be like this is like dot But like green Room,
• 1:19:24
  the person who's making the movie understands the community and
• 1:19:28
  is part is not just understands it is part of it,
• 1:19:30
  part and parcel. So it's like I'm I'm not gonna
• 1:19:33
  be fake because I know that a the community will
• 1:19:35
  hate me being b If I claim to be part
• 1:19:37
  of the community and I'm fake, They're gonna call me out,
• 1:19:40
  so I better just yeah immediately like that. Absolutely, punks
• 1:19:43
  are not known for not letting shit lie like and
• 1:19:46
  and they shouldn't and like they shouldn't be like I
• 1:19:48
  don't know, like in my mind, like you know, to
• 1:19:51
  be a punk is to just like to not take
• 1:19:52
  shit lying down. That's like part of it. Like being
• 1:19:55
  a punk is like and being yourself to you know.
• 1:19:58
  The scene in the movie that really resonates with me
• 1:20:00
  is the scene where his band is in the green
• 1:20:04
  room coincidentally and the you know, the the one scene
• 1:20:07
  to one of two scenes that this asshole is in.
• 1:20:09
  The guy that Dave essentially his band has been working
• 1:20:12
  with so that they can open for this other band.
• 1:20:13
  And this is the guy that I guess now yeah,
• 1:20:16
  and you know he he tells Kyle Gallander tells him me, oh,
• 1:20:21
  fuck you, I'm not playing this, like I'm not doing this.
• 1:20:24
  I refuse, I'm not going to open for them. They're
• 1:20:26
  not punk, Like why the fuck would I do this?
• 1:20:28
  And you know, there will be people who watch this
• 1:20:30
  movie that walk away from that scene going what an idiot,
• 1:20:32
  but I go, okay, yeah, fuck that ship, like because
• 1:20:36
  you once, once that bell's been wrung, you can't unring it.
• 1:20:39
  Once you're associated with something like that, you can't do
• 1:20:40
  any of it. And like, you know, don't sell out.
• 1:20:43
  I mean, sell out if the money's right, but you know, oh.
• 1:20:46
  Speaker 3: Come on, the man's.
• 1:20:50
  Speaker 1: Stand up for the man until you can be the man.
• 1:20:52
  And then when you can be the man, don't be
• 1:20:54
  the man.
• 1:20:54
  Speaker 3: Indeed, you know what I mean, Like, yeah, don't.
• 1:20:57
  Speaker 2: Be the man.
• 1:20:58
  Speaker 1: Take it down a fucking nut man. Geez. Yeah, it's
• 1:21:01
  just doesn't have to be that aggressive. People don't like,
• 1:21:04
  you know, his his his his band members turning him
• 1:21:06
  in at the end of the movie. He's like, you
• 1:21:08
  fucking narks. How not punk of you? Like, how not
• 1:21:10
  punk of you? Indeed? Like yeah, for sure, Like the
• 1:21:13
  least punk thing in the movie is turning your fucking
• 1:21:16
  band member in because he's on the lamb, like you
• 1:21:19
  know they were El Ducha wasn't getting turned in for
• 1:21:22
  killing Kurt Coleman. I'm just saying, Wow, I'm assuming that's food.
• 1:21:26
  I mean, some of this comes from that like la
• 1:21:29
  punk scene and like, you know, fucking l Ducha and
• 1:21:32
  you know shit like that, Like I'm assuming that's what
• 1:21:34
  we're trafficking in here, like the mask, Yeah, sche mask alone.
• 1:21:40
  Speaker 3: Like there had to have been a point where when
• 1:21:43
  Adam was sitting down to write this, which, by the way,
• 1:21:45
  he's mentioned that it kind of is two different scripts
• 1:21:48
  that he was working on right matched together into one.
• 1:21:50
  He was he was working on this script about uh,
• 1:21:54
  about Kyle Gowner's character Simon and like that just that
• 1:21:57
  character living in the world, and it was really like
• 1:22:00
  just a couple of scenes and things. And then he
• 1:22:02
  was working on the Dinner in America script, but it
• 1:22:05
  was more just like Patty's character, and he had written
• 1:22:09
  like some various dinner table scenes because that's the big
• 1:22:12
  tie in in this movie is there's a dinner scene
• 1:22:14
  in each of the acts of the film. And realized
• 1:22:18
  at some point that these characters needed to meet and
• 1:22:21
  these two different ideas needed to needed to match together.
• 1:22:25
  And I thank goodness for that realization because then we
• 1:22:27
  got what we did and he just took off from there.
• 1:22:29
  But to your point, Chris, I feel like there's got
• 1:22:31
  to be a moment where he was like, am I
• 1:22:33
  representing the punk mentality? Am I representing the music authentically. Yes,
• 1:22:39
  it's part of his life in his world. But like
• 1:22:41
  you said, it's like, I don't want to do this
• 1:22:42
  if it's not going to be authentic, or they're going
• 1:22:44
  to come attack me afterwards.
• 1:22:46
  Speaker 1: Yeah, so like they'll know they're they're not gonna let
• 1:22:49
  that shit lie.
• 1:22:49
  Speaker 3: Like he had to have thought about it and been
• 1:22:52
  like and felt confident enough to like fucking go for it,
• 1:22:55
  and that he, you know, aced it well. Because Ryan
• 1:22:58
  and I do a podcast all about physical media and
• 1:23:01
  about physical media, I'd like to say, if you do
• 1:23:04
  love this movie and or you haven't seen it while
• 1:23:08
  you're listening to this, and you take my advice and
• 1:23:09
  you go spend ninety minutes watching it on Hulu after
• 1:23:12
  you're done listening, and you like it, get the Blu
• 1:23:15
  Ray if you as well.
• 1:23:16
  Speaker 1: You have to have a region for your player.
• 1:23:17
  Speaker 3: So I guess, yeah, it's a little bit more.
• 1:23:20
  Speaker 1: It is a tougher of a tougher of a cell.
• 1:23:23
  Speaker 2: Yeah, yeah, yeah, although I do know that that is
• 1:23:26
  being worked on by at least one or two companies.
• 1:23:29
  Speaker 1: Yes, I would have to assume so given the post TikTok.
• 1:23:32
  Speaker 3: Yeah, yeah, crazily and I and I know what Ryan
• 1:23:35
  was talking about too, and I know he can't say anything,
• 1:23:37
  but I'm glad he brought it up, not me, because
• 1:23:40
  I was also going to say, can we say Ryan
• 1:23:42
  that another option is coming soon?
• 1:23:44
  Speaker 2: No, because it's not confribiate, but I know that it's
• 1:23:47
  being worked towards. I think at the moment, Paramount is
• 1:23:51
  standing not necessarily in the way. It's just a step
• 1:23:54
  that has to be completely broken through. And obviously, over
• 1:23:57
  the last eighteen months, Paramount's been going through lots of changes,
• 1:24:00
  so a lot of their stuff, if it wasn't signed beforehand,
• 1:24:03
  is a little difficult to wade through those waters at
• 1:24:06
  the moment.
• 1:24:06
  Speaker 1: Mm hmmmm. Indeed, watch it on Hulu.
• 1:24:09
  Speaker 3: Watch it on Hulu if you have a region, if
• 1:24:11
  you happen to have a region free player, or you'll
• 1:24:13
  listening to this show from overseas, then pick up the
• 1:24:16
  Arrow REGI and b Blu Ray and support physical media.
• 1:24:19
  There's a lot of great bonus features on there.
• 1:24:21
  Speaker 1: Seriously, what about you, Ryan, anything else you want to
• 1:24:23
  say about Dinner and America?
• 1:24:25
  Speaker 2: Play the music. Don't forget that you can you can
• 1:24:28
  play the you know what, I just looked it up.
• 1:24:30
  The Blu rays region free. Not to cut back in there,
• 1:24:32
  but it's not even a real It came out in
• 1:24:35
  the UK, but you can watch it anywhere.
• 1:24:36
  Speaker 1: Correct it in real time.
• 1:24:38
  Speaker 3: All that, I take everything back, no sympathy, buy it.
• 1:24:42
  Speaker 2: Now play the music. You can play the music off
• 1:24:44
  of I believe it's still on every streaming service. But
• 1:24:48
  it is such a I don't know, it's an upper.
• 1:24:51
  It is such a unique soundtrack in the fact that
• 1:24:54
  all of the tracks are so authentic, just like the
• 1:24:57
  rest of the film that I'm so stoked when they
• 1:25:00
  come up and random play lists and shit.
• 1:25:02
  Speaker 1: Yeah no, I'll echo these fine gentlemen, watch the watch
• 1:25:06
  the film, go out of your way to watch it,
• 1:25:08
  similarly to After Sun, go out of your way to
• 1:25:11
  watch it. I know that some listeners reached out last
• 1:25:14
  week after the episode came out, and we're telling you
• 1:25:18
  that After Sun made their list of movies that they're
• 1:25:20
  gonna watch, which I think is a good thing to hear,
• 1:25:22
  because it's a movie worth checking out. As I would
• 1:25:24
  say this one, and I would say even more so,
• 1:25:27
  like this movie might resonate more with you than After
• 1:25:29
  Sun did in a lot of ways, because again After
• 1:25:32
  Sun has like specific things that it will resonate with
• 1:25:34
  and like some of that is going to be completely
• 1:25:37
  lost on some people. And that's I mean, that's also
• 1:25:41
  kind of the intent of the movie with After Sun,
• 1:25:43
  Like I think this movie is attempting to be a
• 1:25:45
  little bit more approachable broadly for a broader audience. But yeah, no,
• 1:25:51
  another another positive suggestion and pick from Ryan Verel bat
• 1:25:56
  and two for two. So there you go, buzzyh.
• 1:25:59
  Speaker 3: Yeah me as they would say, honored to be a
• 1:26:02
  part of this. Thank you for asking me, Ryan, and
• 1:26:05
  thank you Chris for having me on.
• 1:26:07
  Speaker 1: Your well no, and thank you for joining us. I
• 1:26:09
  was gonna say, when when you're not here, where can
• 1:26:11
  people find you and the things that you work on, Well.
• 1:26:13
  Speaker 3: Another sixteen months, I'll be on this show again without
• 1:26:17
  my own knowledge, without my knowledge or recollection.
• 1:26:20
  Speaker 1: What if we just think you up with a microphone
• 1:26:22
  in your bed, Ryan and I just came into your
• 1:26:25
  house and we're like, hey, Jeremy, we're doing a podcast.
• 1:26:27
  By the way, nice to meet you for the first time.
• 1:26:29
  Speaker 3: Like, yeah, I was gonna say that'd be nice because
• 1:26:31
  I always treasure being able to see Ryan in the flush,
• 1:26:34
  and that would be able to meet you for the
• 1:26:35
  first time. Ryan's making a face because I said see
• 1:26:38
  him in the flesh, and I know he's thinking dirty thoughts.
• 1:26:42
  For those listening that can't see us right now, is
• 1:26:45
  always thinking dirty thoughts? Yes, same, I guess I'm honestly
• 1:26:52
  most active on Instagram in terms of social media, which
• 1:26:56
  my user name is thankfully just at.
• 1:26:58
  Speaker 1: Jeremy Long that j E R E M Y l
• 1:27:02
  O n G.
• 1:27:02
  Speaker 3: A lot of people think I'm saying Long lately when
• 1:27:05
  I've had to say my full name, like what I
• 1:27:07
  call like a you know. Anyways, there's an Asian male
• 1:27:14
  porn star named Jeremy Long, but we won't get into
• 1:27:16
  him right now.
• 1:27:17
  Speaker 1: He's getting into somebody all the time and he doesn't
• 1:27:19
  have to be very close to him to do it.
• 1:27:21
  Speaker 2: Right.
• 1:27:22
  Speaker 3: Well, I've actually uh seen him uh and it is
• 1:27:27
  just a name. So uh the uh you the other
• 1:27:32
  not with me? You've seen my you see my tight jeans?
• 1:27:36
  The other uh you handle I'll throw out there here's
• 1:27:40
  my letterbox.
• 1:27:41
  Speaker 1: I talk handles. You're throwing out, bro, come on.
• 1:27:45
  Speaker 3: Social my uh is Instagram. And then, because this is
• 1:27:48
  a podcast about movies and we all love cinema, my
• 1:27:52
  Letterbox I think is also just my name. I guess
• 1:27:55
  I should know that, but uh yeah, if you search
• 1:27:57
  Jeremy Long, you'll find me on letterbox. My top four
• 1:28:00
  is Eternal Center. This spot is mine four times Scott
• 1:28:05
  with all different posters Scott tlcom versus the World, Everything everywhere,
• 1:28:09
  all at once and Punch Drunk Love. If you find that.
• 1:28:12
  If you find that profile, it's me, go ahead and
• 1:28:14
  give me a follow. If follow you back, and we'll
• 1:28:16
  see what each other. I watch and celebrate movies, which
• 1:28:19
  is my favorite thing.
• 1:28:20
  Speaker 1: What about you, Ryan Verel?
• 1:28:22
  Speaker 2: I am everywhere. Well, I'm gonna use one that I
• 1:28:25
  don't normally promote. Go check out Someone's Favorite Productions dot com.
• 1:28:32
  This has all of the magazines that I've helped publish.
• 1:28:34
  This has all the releases that we've been on that
• 1:28:36
  have been announced other than the last like seven because
• 1:28:39
  I'm unable to update it quickly. It also has writings
• 1:28:43
  that my collaborative partner has done, and ways to contact us,
• 1:28:48
  way to follow us on social media, but also links
• 1:28:51
  to twenty five or so different podcasts that have been
• 1:28:54
  on my podcast network. So go check that out. There's
• 1:28:56
  pretty much everything there on Someone's favorite productions, and as.
• 1:29:00
  Speaker 1: For me, Weirdingwaymedia dot com is where you can go
• 1:29:02
  to interact with this show in a I don't know,
• 1:29:07
  personable way. I mean, if you want to go directly
• 1:29:09
  interact with the show Patreon dot com, slash culture cast
• 1:29:12
  right rate the show on iTunes, that would help too. Patreon, though,
• 1:29:16
  if you kick a couple dollars our way, then you
• 1:29:18
  can message me directly and tell me how good or
• 1:29:20
  bad of a job I'm doing. So if that's the
• 1:29:22
  thing you're into, cool, if not cool, I appreciate the feedback,
• 1:29:25
  good and bad, and like, rate and review whatever it
• 1:29:28
  is you interact with. If you're watching or listening to
• 1:29:31
  Ryan's stuff on YouTube or iTunes or episodes of Disconnected
• 1:29:35
  that Jeremy's on, like and rate it wherever you're getting it,
• 1:29:38
  because that helps us out. If you can't help us
• 1:29:40
  out financially, that's the best way to help us out
• 1:29:42
  in the other avenues. Jeremy, thank you so much for
• 1:29:45
  joining us. This was fun.
• 1:29:47
  Speaker 3: Yeah, thank you so much for having me my pleasure.
• 1:29:49
  I forgot to mention my only fans is Jeremy Wang, so.
• 1:29:52
  Speaker 1: I thought it was Jeremy long Wang long Way long,
• 1:29:57
  which is a bunch of g's or a bunch of o's,
• 1:29:59
  er a bunch of n's.
• 1:30:01
  Speaker 2: That was just the same to him falling off a
• 1:30:02
  cliff while saying answer, yeah, he.
• 1:30:04
  Speaker 1: Was looking for a place.
• 1:30:05
  Speaker 2: He was looking for a place to land.
• 1:30:07
  Speaker 3: It was me digging my own grave and jumping into it.
• 1:30:10
  At the end of this podcast, no, man, you should say.
• 1:30:13
  Speaker 1: The shovel he's using. It's very a to shovel.
• 1:30:17
  Speaker 2: It's a it's, isn't it.
• 1:30:20
  Speaker 3: I UH love anytime I get to talk to either
• 1:30:23
  of you. It's It was a real treat and uh
• 1:30:26
  it made me want to rewatch it in America. So
• 1:30:28
  I'll probbly to be doing that this weekend.
• 1:30:30
  Speaker 1: And as always, we'll catch you on the next episode
• 1:30:32
  of the Culture Cast when we're talking about I was
• 1:30:34
  gonna say snow Piercer, but it's not snow Piercer the
• 1:30:36
  Chaser because the House that Jack built is a Patreon
• 1:30:39
  bonus episode. Folks, if you're into that movie, you're already
• 1:30:41
  on a list somewhere, so go put yourself on another
• 1:30:44
  list with my Patreon.
• 1:30:46
  Speaker 4: We'll catch you on the next episode, folks.
• 1:31:01
  Speaker 3: Books Boss completing st bs cots for the books co