Latest / Movie Meltdown / Attack of the 2015 Oscar Nominees!

Transcript

Attack of the 2015 Oscar Nominees! · Movie Meltdown

• 0:00
  Speaker 1: Guess who?
• 0:02
  Speaker 2: It's 10 o'clock. Do you care where your parents are?
• 0:04
  Speaker 3: The following feature has been rated R by the Motion
• 0:06
  Speaker 3: Picture Association of America.
• 0:08
  Speaker 4: It is intended for mature audiences and parental discretion is advised.
• 0:22
  Speaker 5: The Coast Guard.
• 0:37
  Speaker 6: And the Navy have been alerted and are standing by
• 0:39
  Speaker 6: on the Eastern Sea.
• 0:41
  Speaker 2: And it continues to burn out of control. It has
• 0:44
  Speaker 2: been regular.
• 0:44
  Speaker 1: Every five to ten minutes there has been another convoy
• 0:47
  Speaker 1: of units, fire companies, paramedics.
• 0:50
  Speaker 2: A citywide emergency has been declared.
• 0:52
  Speaker 7: Police officers are still on tactical full alert.
• 0:56
  Speaker 8: 2,000 National Guardsmen are standing by.
• 0:58
  Speaker 9: Air defense warning read. It's time for Movie Meltdown's Attack
• 1:06
  Speaker 9: of the Killers soundtrack.
• 1:08
  Speaker 10: The live transmission has begun, and we're into the final.
• 1:12
  Speaker 2: Hour of hell.
• 1:33
  Speaker 1: What's up and welcome to Moving Up Down's Attack of
• 1:35
  Speaker 1: the Killers soundtrack. I'm Brian.
• 1:37
  Speaker 11: I'm Lucy.
• 1:37
  Speaker 3: I'm Michael.
• 1:38
  Speaker 2: And I'm Philip.
• 1:39
  Speaker 1: And we're coming to you live via digital recording from
• 1:42
  Speaker 1: the recording studios of Higgins Memorial Coliseum. Is that right? Yes.
• 1:48
  Speaker 1: I mean, is that not what.
• 1:49
  Speaker 8: I had to remember what my own nickname for my
• 1:52
  Speaker 8: own goddamn house was, but yes.
• 1:53
  Speaker 1: It's sad that you didn't... We're in your studio, and
• 1:57
  Speaker 1: you forgot what it was nicknamed. Yeah. And worse, that
• 1:59
  Speaker 1: I remembered it. I didn't even have to Google that
• 2:02
  Speaker 1: or anything, because I think we have mentioned it many
• 2:04
  Speaker 1: a time on previous episodes, but.
• 2:07
  Speaker 8: I said it earlier today at least once, as a
• 2:09
  Speaker 8: matter of fact, so.
• 2:10
  Speaker 1: That's extra sad.
• 2:13
  Speaker 11: Who was the Higgins that we're memorializing?
• 2:16
  Speaker 1: Higgins.
• 2:17
  Speaker 8: Higgins is a fictional character, and it came from a
• 2:21
  Speaker 8: joke where I had a friend who worked at a
• 2:25
  Speaker 8: cocksmokers outlet in town, and when he worked there, he
• 2:29
  Speaker 8: said that there was a guy that came in there,
• 2:32
  Speaker 8: one of his regulars, would come in and call everybody Higgins.
• 2:35
  Speaker 1: He'd be like, hey, what's going on, Higgins?
• 2:37
  Speaker 12: Hey!
• 2:38
  Speaker 8: I guess because he didn't know anybody's name.
• 2:40
  Speaker 11: That's amazing.
• 2:41
  Speaker 8: So he just referred to everybody as Higgins, and when
• 2:43
  Speaker 8: I was coming up with the fake name for my...
• 2:46
  Speaker 8: this room in my apartment, I'm, I decided, you know,
• 2:49
  Speaker 8: Higgins is pretty good. And there it was.
• 2:52
  Speaker 2: Was Higgins the sidekick on Magnum P.I.? Correct.
• 2:55
  Speaker 9: Okay.
• 2:56
  Speaker 1: What's sad is I have like two variations of that similar.
• 3:00
  Speaker 8: Do you, do you want to know a spoiler? Yes,
• 3:03
  Speaker 8: I do. Higgins was in fact the guy on Magnum P.I.
• 3:06
  Speaker 8: He was the Robin Masters, the invisible, um, The invisible
• 3:11
  Speaker 8: main character that Thomas Magnum worked for, it was Higgins
• 3:14
  Speaker 8: the whole time.
• 3:15
  Speaker 1: He's the Charlie on the speaker?
• 3:16
  Speaker 11: I thought it was Orson Welles. I'm confused.
• 3:19
  Speaker 8: I think they revealed in the final episode that Higgins was,
• 3:23
  Speaker 8: in fact.
• 3:24
  Speaker 3: The dude.
• 3:24
  Speaker 2: Orson Welles?
• 3:25
  Speaker 12: Wow.
• 3:25
  Speaker 8: Yeah, maybe.
• 3:27
  Speaker 1: Spoiler alert.
• 3:28
  Speaker 8: Am I remembering that right?
• 3:30
  Speaker 1: No, that sounds.
• 3:31
  Speaker 11: I mean, I didn't make it that far in the series.
• 3:34
  Speaker 8: That is a good one. My parents were really into
• 3:36
  Speaker 8: Magnum B.I. when I was a kid, so.
• 3:38
  Speaker 2: They made me go to bed before it came out.
• 3:41
  Speaker 1: That's really early.
• 3:42
  Speaker 8: They didn't want you to get any ideas by the
• 3:44
  Speaker 8: hot mustache Hawaiian shirt and super short shorts situation. Little
• 3:49
  Speaker 8: kid walking.
• 3:49
  Speaker 1: Around wearing those shirts, wondering why he's not picking up chicks.
• 3:55
  Speaker 1: Totally drawing on the mustache. Give me a Mark Slott. See,
• 3:58
  Speaker 1: I went with the dated Mark Slott. I didn't say Sharpie.
• 4:00
  Speaker 2: Well done.
• 4:01
  Speaker 1: Authenticity.
• 4:02
  Speaker 8: Excellent work.
• 4:05
  Speaker 1: You know, nobody refers to him as that.
• 4:06
  Speaker 12: No.
• 4:07
  Speaker 1: Even further back, you get Magic Marka.
• 4:10
  Speaker 8: Yeah, but Sir Mix-a-Lot probably killed the Marks-a-Lot brand.
• 4:15
  Speaker 1: I suppose. I thought it was still out there.
• 4:18
  Speaker 8: Yeah, I mean, it probably is.
• 4:20
  Speaker 13: That's it. That's our sponsor right there.
• 4:21
  Speaker 8: People don't reference it because they're too busy thinking about,
• 4:25
  Speaker 8: you know, the posse being on Broadway and other such
• 4:28
  Speaker 8: Sir Mix-a-Lot hits that I will not name.
• 4:31
  Speaker 13: Future episode.
• 4:32
  Speaker 8: Future episode.
• 4:34
  Speaker 1: All right. So once again, we've decided to put together
• 4:37
  Speaker 1: what podcast? maybe is unusual a functional episode it's not
• 4:42
  Speaker 1: just us rambling on about a specific song it's a
• 4:45
  Speaker 1: reason that you could listen to it and come out
• 4:47
  Speaker 1: ahead in the long run uh i thought this a
• 4:50
  Speaker 1: couple of years ago and then we threw this version
• 4:53
  Speaker 1: together for last year's nominees and i thought it was
• 4:56
  Speaker 1: as predicted kind of functional because much like when they
• 4:59
  Speaker 1: do those like short film festivals and they show you
• 5:01
  Speaker 1: all the nominees in one run like you can come
• 5:04
  Speaker 1: out of this and have Knowledge of every original song,
• 5:08
  Speaker 1: a sample of every original score, and you can go
• 5:11
  Speaker 1: into Oscar.
• 5:11
  Speaker 13: Night ready to go, oh, that should know one.
• 5:15
  Speaker 1: So you're always going to be disappointed no matter what
• 5:17
  Speaker 1: on Oscar night, more than likely. But this way, you'll
• 5:20
  Speaker 1: at least go in with some sort of knowledge behind it.
• 5:22
  Speaker 1: You can impress your friends and be like, I've heard
• 5:25
  Speaker 1: all of these before. And they'll be like, shut up,
• 5:27
  Speaker 1: you pretentious jerk. But you can go in with some
• 5:30
  Speaker 1: sort of knowledge. So functional.
• 5:32
  Speaker 11: Yeah, educative.
• 5:34
  Speaker 14: Mm-hmm.
• 5:34
  Speaker 1: That's saying a lot for us.
• 5:38
  Speaker 8: It's only functional because we had the therapy session, though,
• 5:41
  Speaker 8: before we started recording.
• 5:43
  Speaker 1: That's why we were laying down. I thought we were
• 5:45
  Speaker 1: just taking a nap.
• 5:46
  Speaker 8: Well, I mean, that wasn't even why. I did go
• 5:49
  Speaker 8: to sleep at that point.
• 5:51
  Speaker 2: You do look refreshed. Yeah.
• 5:54
  Speaker 1: Naps are good for that. I cash in a lot
• 5:56
  Speaker 1: as much as I can. On that note, let's get
• 5:59
  Speaker 1: into the first one.
• 6:00
  Speaker 11: Which one's that?
• 6:01
  Speaker 1: As mature as possible. I thought we'd just kick it
• 6:03
  Speaker 1: off with the fanfare, the most recognizable theme ever, the
• 6:08
  Speaker 1: most recognizable composer in history. Let's just kick it off
• 6:12
  Speaker 1: with John Williams.
• 6:14
  Speaker 8: Chewie, we're home.
• 6:17
  Speaker 15: We're home.
• 8:13
  Speaker 12: Thank you.
• 9:09
  Speaker 15: So here's my question. At this point, the challenge of
• 9:17
  Speaker 15: being John Williams.
• 9:38
  Speaker 1: How the hell do you come up with an original score?
• 9:41
  Speaker 1: Like how? Like if you write 10 or 12 songs
• 9:44
  Speaker 1: after a while, don't you? And we have songwriters here.
• 9:46
  Speaker 1: Don't you kind of start to go, oh, I've kind
• 9:48
  Speaker 1: of already done something like that before. But when you've
• 9:50
  Speaker 1: written hundreds and hundreds of songs, how can you go
• 9:55
  Speaker 1: in and be like, this is an original concept. I'm
• 9:57
  Speaker 1: going to do this.
• 9:59
  Speaker 6: Do you?
• 9:59
  Speaker 1: I don't know.
• 10:01
  Speaker 8: Yeah, that's what I was wondering. See, I might... Go ahead.
• 10:03
  Speaker 2: I was going to say, I think it depends on
• 10:04
  Speaker 2: how much the filmmaker's paying you.
• 10:06
  Speaker 13: Probably.
• 10:07
  Speaker 6: Because if you're making a decent paycheck, you're probably... Gonna
• 10:09
  Speaker 6: try a little bit harder and then otherwise you're like,
• 10:12
  Speaker 6: I'm just gonna crap this out. And then you win
• 10:14
  Speaker 6: the Oscar anyway.
• 10:15
  Speaker 8: Yeah, at some point when you're John Williams, you're being
• 10:18
  Speaker 8: hired because of your name and not because of your content.
• 10:23
  Speaker 1: And he has a specific sound. Even when it's drastically different,
• 10:27
  Speaker 1: which it can be, it is a specific sound that
• 10:30
  Speaker 1: you can usually, if you're a movie geek, you can
• 10:32
  Speaker 1: be like, obviously this is John Williams. I guess at
• 10:36
  Speaker 1: this point, or the last 30 years of his career...
• 10:39
  Speaker 1: People know what they're getting when they hire John Williams.
• 10:41
  Speaker 1: But I was just like, from his perspective, I'm like,
• 10:44
  Speaker 1: when you get midway in, how are you not just doing,
• 10:46
  Speaker 1: especially in something like the Star Wars saga, which he's
• 10:49
  Speaker 1: done definitely the first three in their entirety. He did
• 10:53
  Speaker 1: a lot. I know for Phantom Menace, I think he
• 10:55
  Speaker 1: came back and did stuff for all of the six.
• 10:57
  Speaker 1: So I'm like, how do you approach this seventh movie
• 11:00
  Speaker 1: in the series and be like, okay, how do I
• 11:03
  Speaker 1: not just do these same themes I've done before? for
• 11:06
  Speaker 1: like i don't know i was like that's uh gotta
• 11:08
  Speaker 1: be a challenge i think that's more interesting was listening
• 11:11
  Speaker 1: to it trying to find something that was distinctively different
• 11:14
  Speaker 1: than what he'd done before.
• 11:16
  Speaker 11: They kind of weaved in and out with the old
• 11:18
  Speaker 11: stuff and then the new stuff and the new character
• 11:21
  Speaker 11: songs and.
• 11:22
  Speaker 1: Which leads me to my other big question on this
• 11:25
  Speaker 1: episode is the weird criteria that the oscars has for oh,
• 11:30
  Speaker 1: it has to be originally written for this project. It
• 11:33
  Speaker 1: can only be this many writers, sometimes one. They're really
• 11:36
  Speaker 1: weird about some of that stuff. But I'm like, what
• 11:39
  Speaker 1: happens when it's a recurring theme? There's some sort of
• 11:42
  Speaker 1: weird extra line in the paperwork that's like, it's okay
• 11:46
  Speaker 1: if you use those main titles again, like you do
• 11:49
  Speaker 1: every one of these, which you have to. It's the
• 11:51
  Speaker 1: series of movies, I understand. But how is it that
• 11:53
  Speaker 1: then he's still okayed? How do they just block out
• 11:57
  Speaker 1: that little part and go, okay, this part doesn't count?
• 11:59
  Speaker 1: But from here on it's totally original. Oh wait there's
• 12:02
  Speaker 1: that theme I heard again.
• 12:04
  Speaker 11: Maybe it's like a 5149 kind of thing.
• 12:05
  Speaker 9: I guess.
• 12:06
  Speaker 8: You don't think the way that he approaches using the
• 12:10
  Speaker 8: familiar themes might be they're like alright I see what
• 12:12
  Speaker 8: you did there.
• 12:13
  Speaker 11: Alright.
• 12:13
  Speaker 1: That was good. Way to work that in.
• 12:15
  Speaker 13: Alright.
• 12:16
  Speaker 16: Clever.
• 12:17
  Speaker 17: Right.
• 12:18
  Speaker 1: Because I had a few that like I remember when
• 12:21
  Speaker 1: I specifically have tried to hit a few Oscar movies
• 12:24
  Speaker 1: this year one of which was The Revenant and like
• 12:29
  Speaker 1: I'm listening to it going, this soundtrack is amazing. Like
• 12:31
  Speaker 1: this score is great. And then I got home and looked,
• 12:34
  Speaker 1: I'm like, no, it's not on there.
• 12:35
  Speaker 9: No.
• 12:35
  Speaker 1: And it specifically got thrown out because it's using previously,
• 12:40
  Speaker 1: it's using sort of older traditional. And again, it works
• 12:43
  Speaker 1: in a lot of really early music and kind of
• 12:45
  Speaker 1: weaves them into this score. And obviously that was enough
• 12:49
  Speaker 1: that it got it disqualified. And from what I see,
• 12:51
  Speaker 1: the director's not happy about it. And, um, Fox was
• 12:54
  Speaker 1: appealing the ruling and a lot of, but again, there's
• 12:57
  Speaker 1: a lot of like legality that goes into whether or
• 12:59
  Speaker 1: not you're eligible. So that just seems like such a
• 13:03
  Speaker 1: fine line that like the Revenant's thrown out, but John Williams,
• 13:06
  Speaker 1: who's done six of these other similar, really similar scores,
• 13:11
  Speaker 1: it's okay.
• 13:12
  Speaker 11: Maybe it's just okay if you're cannibalizing yourself and not others.
• 13:15
  Speaker 14: I guess.
• 13:16
  Speaker 18: Maybe.
• 13:16
  Speaker 2: I don't know.
• 13:18
  Speaker 8: I will say that of the score stuff that I
• 13:22
  Speaker 8: listened to, It sounded the least like something that I
• 13:25
  Speaker 8: thought in my head. Because I probably discussed this on
• 13:28
  Speaker 8: the last Oscar Music episode. But in my head, there's
• 13:32
  Speaker 8: a genre of music called Oscar Music. And it all
• 13:34
  Speaker 8: has to hit certain notes.
• 13:36
  Speaker 9: I agree.
• 13:36
  Speaker 8: And this year, it all hit all those notes that
• 13:39
  Speaker 8: I expected it to hit, except for this one. And
• 13:41
  Speaker 8: I don't know if that's because I can't separate myself
• 13:44
  Speaker 8: from what Star Wars is.
• 13:45
  Speaker 1: Yeah.
• 13:46
  Speaker 8: Or if it's just because it didn't sound like, you know,
• 13:49
  Speaker 8: it didn't have the weird dissonance in the right places.
• 13:53
  Speaker 8: And the swelling beautiful volume in the right places because
• 13:55
  Speaker 8: that was replaced by little hints of the Darth Vader
• 13:59
  Speaker 8: theme or whatever. You know what I'm saying? I can't
• 14:01
  Speaker 8: tell how much of that is what I brought to
• 14:04
  Speaker 8: it and how much of that is something else. But
• 14:07
  Speaker 8: it just didn't sound like I was like, I mean,
• 14:10
  Speaker 8: this is fine Star Wars music, but I'm not looking
• 14:16
  Speaker 8: at this with a tux on. I'm ready to give
• 14:17
  Speaker 8: it an award because it's Star Wars music.
• 14:20
  Speaker 1: Yeah, I feel like it's got both ends. On the one,
• 14:22
  Speaker 1: he's the biggest name in composing. He's always getting... Every
• 14:26
  Speaker 1: year it's like, and John Williams, sometimes competing against himself.
• 14:30
  Speaker 11: It's like the Meryl Streep slot.
• 14:31
  Speaker 1: Yeah, so it seems like it's an easy, oh yeah,
• 14:34
  Speaker 1: he's going to get in. But at the same time,
• 14:35
  Speaker 1: from the other end, especially this year, it's like, oh,
• 14:38
  Speaker 1: Star Wars. Again, if it were the latest Spielberg movie,
• 14:42
  Speaker 1: obviously he's got his foot in the door already. But
• 14:45
  Speaker 1: Star Wars usually gets kind of played down as being
• 14:47
  Speaker 1: for the masses. So the fact that Oscars came up,
• 14:50
  Speaker 1: granted it's not up for Best Picture, obviously. Not in
• 14:53
  Speaker 1: the last five, but, you know, I don't know. Again,
• 14:58
  Speaker 1: I think it's that Oscar music thing. There's also an
• 15:01
  Speaker 1: Oscar film category, and they all fall in their own
• 15:04
  Speaker 1: little special category.
• 15:06
  Speaker 11: Yeah, when I saw his name in the list, I
• 15:08
  Speaker 11: was kind of nonplussed by it. And then I started
• 15:11
  Speaker 11: listening to the music and I listened to the March
• 15:13
  Speaker 11: of the Resistance piece and I remembered watching the movie.
• 15:16
  Speaker 11: And I will say this, among top embarrassing moments of
• 15:19
  Speaker 11: my life was watching this film and bursting into tears
• 15:23
  Speaker 11: when the X-Wings came on. Like in that scene.
• 15:26
  Speaker 1: There is no shame in that one scene. Not really.
• 15:28
  Speaker 11: Entirely, I assume, the music, right? Yeah. That's a big
• 15:32
  Speaker 11: part of it?
• 15:33
  Speaker 2: As soon as the Star Wars... title card popped up
• 15:35
  Speaker 2: and you hear the trumpets. Well, I was like, I'm
• 15:38
  Speaker 2: going to cry. I don't care who's.
• 15:40
  Speaker 15: Yeah.
• 15:41
  Speaker 1: I mean, I won't call you out. I did get
• 15:44
  Speaker 1: to that point, but it wasn't even music. Like mine
• 15:46
  Speaker 1: was story based. And I was just like, Oh fuck. Like,
• 15:50
  Speaker 1: I was like, that was fucking a powerful moment. And like, again,
• 15:54
  Speaker 1: it won't get credit for that kind of stuff. Cause
• 15:56
  Speaker 1: it's star Wars, but like several moments. I was like,
• 15:59
  Speaker 1: you know, that was a strong point for this character
• 16:01
  Speaker 1: and it, it'll get overlooked because it's star Wars.
• 16:04
  Speaker 7: Hmm.
• 16:04
  Speaker 8: Yeah, and again, you know, like I was saying a
• 16:08
  Speaker 8: minute ago, one of the things that, one of the
• 16:10
  Speaker 8: reasons that stuff is so effective is because what you're
• 16:12
  Speaker 8: bringing to it, like your own history, your own relationship
• 16:15
  Speaker 8: with it.
• 16:15
  Speaker 11: But also its ability to like conjure that and to
• 16:18
  Speaker 11: take you back to that moment and do it in
• 16:19
  Speaker 11: a way that still feels new, but the same, but different.
• 16:24
  Speaker 14: Yeah.
• 16:25
  Speaker 1: So that one was The Falcon, which I felt was
• 16:27
  Speaker 1: actually a little more, it was kind of both. It
• 16:30
  Speaker 1: was like, it was kind of a different take. and
• 16:33
  Speaker 1: a little different than the other stuff. Didn't seem as familiar,
• 16:36
  Speaker 1: but it really kind of brought the spirit of the
• 16:38
  Speaker 1: old stuff. Like, cause some of them are like exactly
• 16:41
  Speaker 1: what you expect, but this one was a little more entertaining,
• 16:44
  Speaker 1: I felt like. It did have more of a feel of,
• 16:47
  Speaker 1: you know, Empire Strikes Back flying through the asteroid field
• 16:50
  Speaker 1: kind of thing, but it didn't really sound.
• 16:52
  Speaker 19: Like any of that.
• 16:53
  Speaker 1: It kind of had a different spin on it. So
• 16:54
  Speaker 1: that was one of the ones I liked better. I
• 16:58
  Speaker 1: also wanted to throw in a little Raze theme. because, again,
• 17:01
  Speaker 1: I think Rey is such an amazing character. I feel
• 17:04
  Speaker 1: like it's a light theme, though. It's not the catchiest.
• 17:08
  Speaker 1: I kind of wish she had more of a hook
• 17:10
  Speaker 1: in her theme so that it becomes something that kind
• 17:13
  Speaker 1: of brings those emotions with it every time. I actually
• 17:16
  Speaker 1: get a little Harry Potter vibe from it.
• 17:18
  Speaker 12: Oh, dear.
• 17:18
  Speaker 1: As we've referred to previous stuff, and those are amazing scores,
• 17:22
  Speaker 1: but they're very distinctive, and I get little twinges.
• 17:25
  Speaker 9: Of that as I'm listening. I don't know.
• 17:28
  Speaker 1: Maybe that was just.
• 17:29
  Speaker 6: Well, that could be going back to your original question.
• 17:31
  Speaker 2: Maybe he's just like, I'm just going to take some air.
• 17:33
  Speaker 13: Or maybe it's unknowing.
• 17:34
  Speaker 1: Like, at what point do you like, yeah, this is
• 17:36
  Speaker 1: totally original. And people are like, dude, you know, like
• 17:38
  Speaker 1: half of that's ripped off of your other song from
• 17:40
  Speaker 1: 13 years ago. Oh, yeah, I forgot about that. So,
• 17:44
  Speaker 1: could be both. Who knows? A little from each category.
• 17:50
  Speaker 13: All right.
• 17:51
  Speaker 1: Is that all our Tom Williams talk?
• 17:52
  Speaker 11: That's all I can do.
• 17:55
  Speaker 9: Yeah.
• 17:56
  Speaker 20: All right.
• 17:56
  Speaker 1: Let's move on. So this one I wanted to get
• 17:59
  Speaker 1: out of the way early because you definitely don't want
• 18:02
  Speaker 1: to finish on this one just because it's so depressing.
• 18:07
  Speaker 1: And not just the song, but the horrible reality of
• 18:11
  Speaker 1: the situation, the movie, the world. This is Till It
• 18:14
  Speaker 1: Happens to You by Lady Gaga.
• 18:18
  Speaker 15: ¶ ¶.
• 18:36
  Speaker 16: You tell me it gets better, it gets better in
• 18:42
  Speaker 16: time You say I pull myself together, pull it together, you'll.
• 18:50
  Speaker 14: Be fine Tell me what the hell do you know,
• 18:56
  Speaker 14: what do you know.
• 19:01
  Speaker 18: Tell me how the hell could you know?
• 19:04
  Speaker 15: How could you know?
• 19:08
  Speaker 18: Till it happens.
• 19:09
  Speaker 15: To you You don't know.
• 19:12
  Speaker 18: How it feels.
• 19:16
  Speaker 1: How it feels.
• 19:20
  Speaker 3: Till it happens to you You won't know.
• 19:24
  Speaker 7: It won't be real.
• 19:28
  Speaker 18: No, it won't be real Won't know how it feels.
• 19:40
  Speaker 14: You tell me hold your head up hold your head
• 19:45
  Speaker 14: up and be strong Cause when you fall, you gotta
• 19:51
  Speaker 14: get up, you gotta get up.
• 19:54
  Speaker 15: And move on.
• 19:57
  Speaker 14: Tell me, how the hell could you talk?
• 20:00
  Speaker 18: How could you talk?
• 20:24
  Speaker 15: Until it happens to.
• 20:27
  Speaker 2: You, you won't know.
• 20:28
  Speaker 3: It won't be real.
• 20:31
  Speaker 15: I'll let you know.
• 20:33
  Speaker 3: No, it won't be real.
• 20:36
  Speaker 15: I'll let you know.
• 20:38
  Speaker 3: You'll know how I feel.
• 20:42
  Speaker 15: Until your world burns and crashes. Until you're at.
• 20:52
  Speaker 18: The end of.
• 20:53
  Speaker 3: The My shoes, I don't wanna get nothing from you,
• 21:08
  Speaker 3: from you, from you Cause you don't.
• 21:14
  Speaker 18: Know Till it happens to you.
• 21:21
  Speaker 15: You don't know How I feel.
• 21:27
  Speaker 1: How I feel.
• 21:34
  Speaker 15: Till it happens to you You won't know It won't
• 21:35
  Speaker 15: be real No, it won't be real Won't know how
• 21:36
  Speaker 15: it feels Till it happens to you Happens to.
• 21:38
  Speaker 17: You Happens to you.
• 22:06
  Speaker 15: Happens to you Happens to you I'm running.
• 22:15
  Speaker 21: Out Till it happens to you You all know How
• 22:21
  Speaker 21: I feel Oof.
• 22:23
  Speaker 1: Yeah.
• 22:24
  Speaker 6: Musically, I thought the song was kind of boring and repetitive.
• 22:28
  Speaker 6: The film that went along with it was very powerful.
• 22:32
  Speaker 1: I kept trying to section.
• 22:33
  Speaker 2: And it made me feel guilty for things I didn't
• 22:34
  Speaker 2: even do.
• 22:35
  Speaker 14: Yeah.
• 22:36
  Speaker 1: Well it's true it's like I hate humanity in general
• 22:40
  Speaker 1: but being a dude is not a good thing like
• 22:43
  Speaker 1: people are horrible overall that's what I take from that's
• 22:45
  Speaker 1: why I like have to space out my documentary sometimes
• 22:48
  Speaker 1: because some of them get really heavy and dark and
• 22:51
  Speaker 1: by the end of it I'm like.
• 22:52
  Speaker 22: People are horrible and specifically college guys are fucking horrible
• 22:57
  Speaker 22: I'm like so by the end of again I was
• 22:59
  Speaker 22: trying not because initially I was watching the video that
• 23:03
  Speaker 22: goes with it too and I was just like well,
• 23:05
  Speaker 22: I have problems with this video, really.
• 23:07
  Speaker 1: It's like, it's weird and heavy handed and it's delivery
• 23:10
  Speaker 1: of everything. And yet, right. So I don't know, like
• 23:13
  Speaker 1: everything was weird. So I was like, all right, we're
• 23:15
  Speaker 1: supposed to be just dealing with the song anyway. So
• 23:17
  Speaker 1: then I tried to just listen to it. And like,
• 23:20
  Speaker 1: even that first time, like listening, I got a couple
• 23:23
  Speaker 1: of like lines in and I'm like, this is really bad, right?
• 23:27
  Speaker 13: It's just, Like, bad as in not a good song? Yeah,
• 23:31
  Speaker 13: just as a song.
• 23:32
  Speaker 1: I was like, and that's why it's hard to criticize it,
• 23:35
  Speaker 1: because I'm like, the message is, like, fucking important.
• 23:38
  Speaker 8: But it sounds like an Aerosmith song. It's kind of...
• 23:41
  Speaker 8: That was my thought.
• 23:42
  Speaker 1: By the end, I'm kind of like, okay, the chorus
• 23:45
  Speaker 1: kind of does its point. Like, it does make the
• 23:48
  Speaker 1: point it's trying to make. It is sort of effective.
• 23:52
  Speaker 1: The lyrics in between, I feel like, are really clunky.
• 23:55
  Speaker 2: Yes.
• 23:56
  Speaker 1: As a song.
• 23:57
  Speaker 2: I am not... what you would call a Lady Gaga fan.
• 24:01
  Speaker 2: But when I saw it on the list, I thought, okay.
• 24:04
  Speaker 6: She's well-known as a songwriter. She's written hits for not
• 24:08
  Speaker 6: only herself, but a lot of other people. So I thought, okay,
• 24:10
  Speaker 6: we're going to get something good here. But it was
• 24:11
  Speaker 6: just so repetitive and just didn't move me like the
• 24:18
  Speaker 6: accompanying video did.
• 24:20
  Speaker 1: And that's the thing. I was like, especially when you
• 24:22
  Speaker 1: get to a subject like this, I'm like, it's already...
• 24:26
  Speaker 1: trouble like trying to write a song about it and
• 24:29
  Speaker 1: i've had like i've seen other artists try to do
• 24:33
  Speaker 1: that kind of thing and i'm like it usually doesn't
• 24:34
  Speaker 1: work because it's hard to make it work as a
• 24:37
  Speaker 1: song and then not belittle the issue that you're dealing
• 24:41
  Speaker 1: with yeah.
• 24:44
  Speaker 11: Well, we needed it to be nominated because she's not nominated.
• 24:48
  Speaker 11: There's no, there's no TV category.
• 24:50
  Speaker 1: I was hoping we were going to get to that too.
• 24:52
  Speaker 11: We clearly have to have a moment of healing between
• 24:56
  Speaker 11: her and Leonardo DiCaprio.
• 24:57
  Speaker 3: What?
• 24:58
  Speaker 1: No, I just assumed every award show now has to
• 25:02
  Speaker 1: have Lady Gaga on it. You know, like, All the
• 25:04
  Speaker 1: other important actors that are involved in American Horror Story. Yeah,
• 25:09
  Speaker 1: all the other important actors that are involved in American
• 25:11
  Speaker 1: Horror Story, none of them get nominated for anything because
• 25:14
  Speaker 1: why would you nominate a horror show? But it's okay
• 25:17
  Speaker 1: when it's a guest star and it's Lady Gaga because
• 25:19
  Speaker 1: then she'll come to the show, she'll boost your ratings.
• 25:22
  Speaker 1: I feel like that in every award show is a
• 25:24
  Speaker 1: weird little game that gets played anyway. So then, coincidentally, oh,
• 25:28
  Speaker 1: she also gets nominated for a song this year for Oscars.
• 25:32
  Speaker 11: So for the people on the other side of the
• 25:34
  Speaker 11: table who don't know what happened at the Golden Globes,
• 25:37
  Speaker 11: there was potentially... I mean, we acted, the nation, collectively,
• 25:41
  Speaker 11: like it was some sort of tremendous scandal.
• 25:44
  Speaker 1: I think I quit paying attention. And usually I.
• 25:47
  Speaker 11: She was walking up to the.
• 25:48
  Speaker 2: Was she snubbed?
• 25:49
  Speaker 11: Yeah, she was walking up to the podium. I guess
• 25:52
  Speaker 11: she knocked into Leo, and he gave her quite a
• 25:55
  Speaker 11: look that was then replayed many times in slow motion.
• 25:57
  Speaker 1: She was probably drunk, right? I mean, isn't that what
• 25:59
  Speaker 1: you do? Especially at the Golden Globes.
• 26:02
  Speaker 11: It's hard to tell, despite the many times that I've
• 26:04
  Speaker 11: seen it replayed in slow motion. It's hard to tell
• 26:07
  Speaker 11: who was the aggressor in that situation. But I'm sure
• 26:10
  Speaker 11: that there's going to be some sort of healing moment
• 26:12
  Speaker 11: sort of thing.
• 26:13
  Speaker 1: Are they going to pair them up to do a...
• 26:14
  Speaker 1: There's going to be a joke.
• 26:15
  Speaker 11: There's going to be a pairing.
• 26:16
  Speaker 1: They're going to have to do a stupid joke on
• 26:18
  Speaker 1: the podium. That's what I was going to say. They're
• 26:20
  Speaker 1: going to be on the podium together.
• 26:22
  Speaker 15: Oh, God.
• 26:24
  Speaker 1: I'm of the opinion who gives a shit.
• 26:27
  Speaker 11: I second that opinion.
• 26:29
  Speaker 1: But, yeah, I thought that was a weird little tie-in, too. Like,
• 26:31
  Speaker 1: of course Lady Gaga is going to be there that night.
• 26:34
  Speaker 1: Of course she is.
• 26:36
  Speaker 12: Um.
• 26:37
  Speaker 1: Lyrically, I guess, what was your take, Lucy?
• 26:41
  Speaker 11: I mean, it's not a good song.
• 26:43
  Speaker 1: Okay.
• 26:44
  Speaker 11: I wanted, I was like, I was- If you need
• 26:45
  Speaker 11: me to validate that as a woman.
• 26:47
  Speaker 1: Well, from that aspect, but actually more than that, then
• 26:50
  Speaker 1: I looked at who the songwriter was and I went,
• 26:53
  Speaker 1: oh yeah, didn't Lucy hate that song last year? The
• 26:55
  Speaker 1: other co-writer is Diane Warren.
• 26:59
  Speaker 18: Ah.
• 27:00
  Speaker 8: Which one?
• 27:00
  Speaker 1: From last year's Grateful.
• 27:03
  Speaker 11: Diane Warren, also the Meryl Streep of music.
• 27:05
  Speaker 6: Mm-hmm.
• 27:06
  Speaker 1: So I was like, didn't we just talk smack about
• 27:08
  Speaker 1: her last year? And then I looked and went, yep,
• 27:09
  Speaker 1: that was her. So actually more of that, but it,
• 27:12
  Speaker 1: I guess, would be nice to have a woman's opinion
• 27:14
  Speaker 1: on this song.
• 27:16
  Speaker 11: Yeah, no, don't worry.
• 27:16
  Speaker 13: Don't worry, fellas.
• 27:18
  Speaker 1: No good. Guys are still horrible. We understand that, but
• 27:20
  Speaker 1: the song also.
• 27:21
  Speaker 11: Kind of bad. The message is still on point, but
• 27:23
  Speaker 11: a better messenger would have been appreciated.
• 27:25
  Speaker 1: Yeah, kind of.
• 27:26
  Speaker 8: So is this another one of those situations where the
• 27:30
  Speaker 8: nomination really feels like a thing because of what it's
• 27:33
  Speaker 8: tied to that has so much to do with.
• 27:35
  Speaker 11: I'd say so. It's a message song, and it's a
• 27:38
  Speaker 11: pop star.
• 27:38
  Speaker 1: I mean, it's hard to.
• 27:42
  Speaker 1: Come down... Again, it's hard to throw that out because
• 27:45
  Speaker 1: that thing that comes up at the end is more
• 27:47
  Speaker 1: traumatizing than anything else going on in this cheesy video.
• 27:50
  Speaker 1: The fact that one in five college women will be
• 27:53
  Speaker 1: sexually assaulted this year is fucking heartbreaking. So, like, you
• 27:59
  Speaker 1: can't throw that part of it out and be like,
• 28:00
  Speaker 1: this song sucks, but kind of, like... If.
• 28:04
  Speaker 6: We had a catchy anti-rape song followed by that message,
• 28:08
  Speaker 6: wouldn't it have a bigger impact?
• 28:10
  Speaker 12: See, it's hard.
• 28:11
  Speaker 8: I'm glad you brought that up because in my head,
• 28:15
  Speaker 8: I was really conflicted because I was going through this
• 28:17
  Speaker 8: stuff last night. I was listening to all the songs
• 28:19
  Speaker 8: and watching the accompanying videos or whatever. And I saw
• 28:22
  Speaker 8: the Fifty Shades of Grey video. Oh, my Lord.
• 28:26
  Speaker 1: Did you guys watch the video?
• 28:29
  Speaker 8: The girls with the X's on their butt cheeks?
• 28:30
  Speaker 11: With the faceless women.
• 28:32
  Speaker 8: And then I saw Amoeba's. or like the manta ray
• 28:37
  Speaker 8: situation and then i saw the rape video and i'm
• 28:40
  Speaker 8: like my brain is i'm not mature enough to handle
• 28:44
  Speaker 8: the mixed messages i'm receiving by.
• 28:46
  Speaker 1: Youtube yeah it's really really strange that those songs are
• 28:49
  Speaker 1: on the same bill like they're both on the same
• 28:52
  Speaker 1: nomination i'm like.
• 28:53
  Speaker 6: That's a disturbing situation you know you've got tie a
• 28:57
  Speaker 6: woman up and beat her followed by.
• 28:59
  Speaker 1: Will lean well it's only okay if she's into it
• 29:03
  Speaker 1: have a safe word people at So, yeah, it was
• 29:07
  Speaker 1: odd that those were both going on at the same time.
• 29:10
  Speaker 11: But it's interesting, too. I thought that there are the two,
• 29:13
  Speaker 11: speaking of the Manta Rays, there are the two documentary songs.
• 29:16
  Speaker 11: And I guess there's only been six documentary songs nominated
• 29:18
  Speaker 11: ever until this year.
• 29:19
  Speaker 13: And mostly recently.
• 29:21
  Speaker 1: Yeah.
• 29:21
  Speaker 11: And I guess it's becoming that because, you know, there's
• 29:24
  Speaker 11: no more song and dance films that give you, like,
• 29:27
  Speaker 11: a great original song.
• 29:28
  Speaker 6: I think until very recently, most documentaries just used, you know,
• 29:32
  Speaker 6: stock music.
• 29:33
  Speaker 11: Yeah.
• 29:33
  Speaker 2: That had always been there.
• 29:34
  Speaker 6: I think it's a new thing that people are actually
• 29:37
  Speaker 6: writing songs for documentaries.
• 29:39
  Speaker 1: And people are finally taking documentaries serious as their own
• 29:43
  Speaker 1: separate art form. So now they also, oh, and we
• 29:45
  Speaker 1: can actually have a real soundtrack too. So there's, yeah,
• 29:49
  Speaker 1: several that have come out that have a specific, well
• 29:52
  Speaker 1: put together soundtrack to accompany this that I think Montage
• 29:56
  Speaker 1: of Heck, they pulled out tons of footage, audio footage
• 30:00
  Speaker 1: that had never been used before and assembled this original
• 30:04
  Speaker 1: soundtrack that is only made to go in conjunction with
• 30:07
  Speaker 1: the documentary. So I'm like, again, for a movie geek
• 30:10
  Speaker 1: and a soundtrack person, I'm like, that's kind of cool
• 30:14
  Speaker 1: that they're putting together stuff like that for documentaries now
• 30:17
  Speaker 1: where they would have never really bothered with that. They
• 30:19
  Speaker 1: just would have done a box set and used it
• 30:21
  Speaker 1: to make money, which they're still probably making a killing
• 30:23
  Speaker 1: off of.
• 30:24
  Speaker 7: Yeah.
• 30:24
  Speaker 1: As long as Courtney doesn't get any.
• 30:26
  Speaker 13: Anyway, should we move on? Who's Courtney?
• 30:29
  Speaker 7: Okay.
• 30:30
  Speaker 1: Never murder her. If only.
• 30:33
  Speaker 8: I have a few of those myself. Let's move on.
• 30:35
  Speaker 1: Oscar nominated Courtney. Okay.
• 30:39
  Speaker 12: Yeah.
• 30:40
  Speaker 1: So next up, probably the most traditional. So that's the
• 30:47
  Speaker 1: thing I was going to say in response to yours, Michael.
• 30:49
  Speaker 1: There were several that I felt like, yeah, these are
• 30:51
  Speaker 1: very Oscar-y. There are a couple that didn't when we
• 30:54
  Speaker 1: get to the score stuff. This one does. But yeah,
• 30:57
  Speaker 1: there's a few that I feel like are kind.
• 30:59
  Speaker 13: Of outside the box.
• 31:01
  Speaker 1: This one is maybe the opposite more than all. Bridge
• 31:05
  Speaker 1: of Spies. This is composed by Thomas Newman. This is
• 31:10
  Speaker 1: sunlit silence. And yeah, it's the most moving and patriotic song.
• 31:16
  Speaker 15: You'll ever hear. Thank you. © transcript Emily Beynon ©
• 33:09
  Speaker 15: BF-WATCH TV 2021.
• 35:04
  Speaker 1: So I should just go to America.
• 35:05
  Speaker 8: Oh, yeah. I wrote, I keep expecting this to turn
• 35:08
  Speaker 8: into America by Neil Diamond, and then it turns into
• 35:10
  Speaker 8: Oscar music. Those were my notes for that.
• 35:13
  Speaker 11: I think I actually didn't even bother listening.
• 35:14
  Speaker 1: To that one.
• 35:15
  Speaker 2: Yeah, I think that was one of the ones I didn't.
• 35:17
  Speaker 11: Because I haven't seen the movie yet.
• 35:19
  Speaker 8: Have you seen The Jazz Singer? It's way better.
• 35:22
  Speaker 1: It's effective. I mean, that's the thing. You listen to
• 35:25
  Speaker 1: the stuff, and it does remind you, oh, yeah, this
• 35:28
  Speaker 1: is still way better than most of what's out there.
• 35:30
  Speaker 1: So you get these high-end people, and yeah, they do
• 35:33
  Speaker 1: things that are kind of familiar, but they're also professionals.
• 35:37
  Speaker 1: They're good at what they do. So I'm listening to this,
• 35:40
  Speaker 1: and I'm like, this thing hits exactly the groove it
• 35:43
  Speaker 1: needs to hit. It's like, it's super, like almost to
• 35:47
  Speaker 1: the point of like dress military ceremonial when you get
• 35:50
  Speaker 1: those horns at the beginning. And then it's just like,
• 35:53
  Speaker 1: it gets kind of, this is what I said, that patriotic,
• 35:56
  Speaker 1: it gets a weird patriotic thing. And I'm like, I
• 36:00
  Speaker 1: don't even know how you do that when you're not
• 36:02
  Speaker 1: referencing a song that's already established as something America, uh,
• 36:07
  Speaker 1: How is it that it draws you in with that?
• 36:10
  Speaker 1: Why do you get that weird response? I don't know. Obviously,
• 36:16
  Speaker 1: it wasn't just me because you wrote America.
• 36:18
  Speaker 8: Well, to answer your question, it has to do with
• 36:20
  Speaker 8: the dynamics of the songwriting. There's a certain place where
• 36:24
  Speaker 8: that has to lower down. And then get up again
• 36:28
  Speaker 8: really big. It has to do that at just the
• 36:32
  Speaker 8: right time. And then you're like, fucking the flag, man.
• 36:35
  Speaker 8: God damn, dude.
• 36:37
  Speaker 14: Hello.
• 36:37
  Speaker 1: That's what it should say on all our paper monies.
• 36:40
  Speaker 13: You have to do just the.
• 36:42
  Speaker 3: Right amount of.
• 36:42
  Speaker 8: Set into happy America. And then, you know.
• 36:47
  Speaker 1: You're kind of winning me over now.
• 36:49
  Speaker 8: I mean.
• 36:50
  Speaker 11: Have you thought about writing for a film, Michael?
• 36:53
  Speaker 13: Yeah.
• 36:55
  Speaker 8: But you have to get a piece of graph paper
• 36:57
  Speaker 8: and you've got to write America on the side and
• 36:59
  Speaker 8: you have to write the proper chord for each of
• 37:02
  Speaker 8: the letters of America. And like this note, I have
• 37:04
  Speaker 8: to hit this note.
• 37:05
  Speaker 1: This is just a math problem now.
• 37:07
  Speaker 8: That's all music is. That's all music is, is a
• 37:10
  Speaker 8: giant math problem. That's you can boil down any song
• 37:13
  Speaker 8: ever written to a big math problem or a small
• 37:15
  Speaker 8: math problem if it's punk.
• 37:17
  Speaker 1: Probably true. But I try not to do that because
• 37:19
  Speaker 1: it involves math.
• 37:20
  Speaker 11: Yeah.
• 37:21
  Speaker 8: There's a reason, you know, my English teacher in high school,
• 37:25
  Speaker 8: my senior English teacher, told me that she was really
• 37:28
  Speaker 8: surprised that I was such a good writer because musicians
• 37:30
  Speaker 8: were good at math. And I thought, that's a weird
• 37:33
  Speaker 8: thing to say to a kid.
• 37:35
  Speaker 1: Was that backhanded in the way that you're terrible at math? Yeah.
• 37:40
  Speaker 8: But she said it just like that where it was
• 37:42
  Speaker 8: like damned with faint praise or whatever. It was like,
• 37:45
  Speaker 8: are you insulting me but also I feel good? Like,
• 37:47
  Speaker 8: I don't know.
• 37:48
  Speaker 1: I hit it really well.
• 37:49
  Speaker 8: You won't even notice.
• 37:51
  Speaker 1: Till later.
• 37:52
  Speaker 8: How did she know I was so bad at math?
• 37:53
  Speaker 8: I never figured it out.
• 37:54
  Speaker 1: She talks. She was watching me. Teacher's lounge, man. It
• 37:58
  Speaker 1: gets around. All right. So this one is a on
• 38:04
  Speaker 1: the song category. This is a different sort of entry
• 38:07
  Speaker 1: for me, at least. This is a simple song number
• 38:11
  Speaker 1: three by David Lang and Sumi Jo.
• 38:15
  Speaker 16: And yeah.
• 38:17
  Speaker 1: From you.
• 38:19
  Speaker 7: I feel complete.
• 38:26
  Speaker 23: I lose all control. I lose all control. I I respond.
• 38:47
  Speaker 7: I feel chains I break I know from those lonely nights.
• 39:07
  Speaker 18: I know On those lonely nights I know everything.
• 39:22
  Speaker 15: I lose all.
• 39:24
  Speaker 18: Control I get a chance.
• 39:35
  Speaker 15: I know I die I hear all that is left
• 39:36
  Speaker 15: to be.
• 39:36
  Speaker 18: Heard I wish you would never stop.
• 39:59
  Speaker 15: I've got a feeling.
• 40:01
  Speaker 18: I believe, I believe, I believe it.
• 40:22
  Speaker 15: I love you.
• 40:23
  Speaker 2: I love you.
• 40:23
  Speaker 15: © BF-WATCH TV 2021 When you whisper my name When
• 41:21
  Speaker 15: you whisper my name When you whisper my name Whisper
• 41:26
  Speaker 15: my name When you whisper my name, I'm lost.
• 41:48
  Speaker 12: I'm lost.
• 42:13
  Speaker 15: When you need me. Yeah, I don't know what to do.
• 43:23
  Speaker 11: With this one.
• 43:25
  Speaker 1: It doesn't feel... This is one of the few song
• 43:28
  Speaker 1: categories that doesn't feel like an Oscar song. It feels
• 43:32
  Speaker 1: like a show tune, like a big-budget stage production kind
• 43:37
  Speaker 1: of a play, like, to the, like, Andrew Lloyd Webber
• 43:41
  Speaker 1: level of production. Like, it's that, which I'm not bad-mouthing.
• 43:45
  Speaker 1: I'm a sucker for that kind of stuff. In the right,
• 43:48
  Speaker 1: he's got his modes, some of which don't work for me,
• 43:50
  Speaker 1: and some really work well. So, again, it's one of those,
• 43:53
  Speaker 1: if you know how to work that stuff right, it's great.
• 43:57
  Speaker 1: It feels like it works here, but it's so out
• 44:00
  Speaker 1: of context that I don't know what to do with it. Like,
• 44:02
  Speaker 1: I am just kind of like, listening to all this
• 44:04
  Speaker 1: other stuff. And then that kicked in. I was just like, wait, what?
• 44:07
  Speaker 1: Like I have to change modes several times to get
• 44:10
  Speaker 1: over to where they are. And then I'm like, well,
• 44:12
  Speaker 1: it's really well done. Like I can't imagine it winning
• 44:16
  Speaker 1: in this setting, but like it, it, it's well put together.
• 44:20
  Speaker 2: I honestly had a hard time listening to it all.
• 44:22
  Speaker 12: The way through.
• 44:22
  Speaker 11: Yeah. I didn't make it.
• 44:23
  Speaker 1: I get that.
• 44:25
  Speaker 2: I had to skim through it and I don't think
• 44:27
  Speaker 2: I even finished it. And again, it's not that it
• 44:30
  Speaker 2: was poorly written. It, I don't know. It just didn't
• 44:33
  Speaker 2: really seem to go anywhere.
• 44:35
  Speaker 1: It's very different.
• 44:37
  Speaker 8: This was the only song that I listened to that
• 44:39
  Speaker 8: made me actually take physical action.
• 44:42
  Speaker 13: What the hell did you do?
• 44:44
  Speaker 8: About four minutes in, it's one song, right? And then
• 44:47
  Speaker 8: about halfway through, what you heard before, which was completely
• 44:51
  Speaker 8: forgettable and ordinary, stops and then there's a solo violin
• 44:54
  Speaker 8: that comes in and it's doing all these... Like this
• 44:56
  Speaker 8: really crazy fast.
• 45:01
  Speaker 8: Whatever, I don't play violin, but you know what I'm
• 45:03
  Speaker 8: talking about with the bow and you're playing the notes?
• 45:06
  Speaker 8: And I paused the song and I got my guitar
• 45:08
  Speaker 8: and I was trying to play what the violin player
• 45:10
  Speaker 8: was playing on my guitar.
• 45:11
  Speaker 16: Mimic.
• 45:12
  Speaker 8: And I could not do it because you can't do
• 45:14
  Speaker 8: that with a guitar pick.
• 45:17
  Speaker 1: You don't have a bow laying around here?
• 45:19
  Speaker 8: I mean, I sold my bow.
• 45:21
  Speaker 1: What the hell?
• 45:22
  Speaker 8: Rough times, but you can't do that with a guitar pick.
• 45:25
  Speaker 8: That's what I learned. Or I can't because my wrist
• 45:28
  Speaker 8: is not.
• 45:30
  Speaker 8: Acclimated to playing that quickly.
• 45:32
  Speaker 7: Okay.
• 45:33
  Speaker 1: First of all, I say cyborg wrist. Let's see if
• 45:36
  Speaker 1: we can get that other one taken care of.
• 45:38
  Speaker 8: That would solve so many other problems in my life.
• 45:40
  Speaker 9: I mean, yeah.
• 45:41
  Speaker 1: There's a lot of potential there.
• 45:42
  Speaker 11: Sponsor?
• 45:43
  Speaker 1: And cybernetics of some sort.
• 45:46
  Speaker 8: Any cyborg wrist makers out there? I'll take it with
• 45:49
  Speaker 8: an F.
• 45:49
  Speaker 1: I mean, we are in the city where they do
• 45:50
  Speaker 1: hand transplants all the time. I think if anybody could
• 45:53
  Speaker 1: piece this together, we could do it. Just for fun,
• 45:55
  Speaker 1: we're gonna give you a robot hand.
• 45:57
  Speaker 12: And then.
• 45:58
  Speaker 8: I'll take that just for fun. For funsies.
• 46:01
  Speaker 1: And then, just for fun, we'll make you use a bow.
• 46:03
  Speaker 1: Damn it, this negates the whole thing! I got this just.
• 46:07
  Speaker 8: For the pic.
• 46:08
  Speaker 1: Never mind.
• 46:08
  Speaker 12: Bow hand.
• 46:10
  Speaker 24: Ooh, there we go.
• 46:11
  Speaker 8: Attachments! Yeah!
• 46:12
  Speaker 1: Got a bow attachment that locks in. This is awesome.
• 46:18
  Speaker 1: Speaking of awesome, let's move on to the most old-school
• 46:21
  Speaker 1: version of any of these. The Hateful Eight. This one
• 46:25
  Speaker 1: is the last stagecoach to Red Rock.
• 46:29
  Speaker 25: ¶ ¶.
• 46:55
  Speaker 12: Thank you.
• 47:12
  Speaker 3: Thank you.
• 47:29
  Speaker 15: Thank you. This was a known quantity. I knew I
• 48:37
  Speaker 15: was going to enjoy this when I went into.
• 48:40
  Speaker 7: It, so.
• 49:05
  Speaker 8: It basically sounded like what I wanted it to sound like.
• 49:08
  Speaker 8: And I was like, all right, good.
• 49:09
  Speaker 11: Only good thing about the movie.
• 49:11
  Speaker 8: Really? I haven't seen the movie.
• 49:12
  Speaker 11: Is the movie not very good?
• 49:14
  Speaker 1: Yeah, I hated the movie.
• 49:15
  Speaker 11: But I love the music.
• 49:16
  Speaker 1: I've heard very opposite. Yeah, I feel like it's not
• 49:19
  Speaker 1: a whole.
• 49:19
  Speaker 14: Lot of music.
• 49:20
  Speaker 1: Nothing there's ever really middle ground on Tarantino movies anyway
• 49:23
  Speaker 1: but where.
• 49:23
  Speaker 8: Does it fall on the spectrum I don't think I've seen.
• 49:26
  Speaker 11: All dead and last for me I think it's the
• 49:28
  Speaker 11: worst one.
• 49:29
  Speaker 8: Really yeah which is the one right hands down What
• 49:32
  Speaker 8: was the worst one before this one?
• 49:35
  Speaker 11: Well, this is probably going to invalidate my opinion because
• 49:37
  Speaker 11: I think that this is a contentious choice, but I'm
• 49:39
  Speaker 11: just not a Kill Bill fan.
• 49:40
  Speaker 8: I didn't like Kill Bill either. I didn't like either
• 49:42
  Speaker 8: one of them.
• 49:42
  Speaker 2: I liked the first one. The second one was talky.
• 49:48
  Speaker 1: Which this yeah if you have a problem with talkie
• 49:50
  Speaker 1: you're not on board with this.
• 49:52
  Speaker 8: Movie where does it fall next to say jackie brown
• 49:55
  Speaker 8: because that's my personal favorite.
• 49:57
  Speaker 11: I need to revisit jackie brown because i haven't seen
• 49:58
  Speaker 11: it since it came out and jackie brown's really good
• 50:00
  Speaker 11: and i've heard that it's a lot better than i remember.
• 50:02
  Speaker 8: It being it was a lot see that i had
• 50:04
  Speaker 8: to re-watch it because i when i saw it in
• 50:06
  Speaker 8: the theater i was like nope this movie sucks but
• 50:09
  Speaker 8: then i watched it again five or six years later
• 50:10
  Speaker 8: and it was the best tarantino.
• 50:12
  Speaker 11: Movie oh wow yeah i definitely need to revisit um
• 50:15
  Speaker 11: i mean for me the problem with hateful eight was
• 50:16
  Speaker 11: that it was so talky but not it wasn't the
• 50:19
  Speaker 11: dialogue that we expect from quentin tarantino it wasn't snappy
• 50:21
  Speaker 11: or smart or funny it wasn't it was just a
• 50:23
  Speaker 11: lot of exposition.
• 50:25
  Speaker 6: Volume two of kill bill and you know i some
• 50:29
  Speaker 6: of his talking moments are great like reservoir dogs is
• 50:32
  Speaker 6: nothing but talking.
• 50:33
  Speaker 1: That's my favorite i love that movie it's pretty good
• 50:36
  Speaker 1: yeah i see i had that with um Death Proof.
• 50:39
  Speaker 1: I feel like Death Proof is all the references he
• 50:42
  Speaker 1: normally makes, but it doesn't work. Somehow, none of that
• 50:47
  Speaker 1: clicks like the rest of his stuff.
• 50:48
  Speaker 2: Well, it's almost like he's trying to talk like Quentin Tarantino.
• 50:51
  Speaker 26: Yeah.
• 50:51
  Speaker 11: And that's how this movie felt to me, too. And
• 50:53
  Speaker 11: it felt like he usually borrows from so many other sources,
• 50:56
  Speaker 11: and this time he was just referencing his other movies, and...
• 50:59
  Speaker 11: Which was weird. I mean, to the point of, like,
• 51:01
  Speaker 11: Tim Roth is doing a Christoph Waltz impersonation.
• 51:03
  Speaker 12: The whole time.
• 51:03
  Speaker 1: It's just bizarre.
• 51:05
  Speaker 11: But yeah. But anyway, I know we're not here to
• 51:07
  Speaker 11: talk about the Haplate.
• 51:08
  Speaker 1: We're here to talk about a new Marconi. Other than
• 51:10
  Speaker 1: this amazing score.
• 51:11
  Speaker 11: Which is fantastic. And which made it, and I even,
• 51:14
  Speaker 11: and expectation might have something to do with it, but
• 51:16
  Speaker 11: I drove down to Knoxville to see it in 70 millimeter.
• 51:18
  Speaker 11: Which is awesome. And the exteriors in 70 millimeter were fantastic.
• 51:23
  Speaker 11: In the cabin, less so.
• 51:25
  Speaker 1: I mean, even then, he had a, again, he's always
• 51:28
  Speaker 1: got a plan. Like, he's always got his crazies. I mean,
• 51:31
  Speaker 1: it's for a reason in his mind.
• 51:33
  Speaker 11: Sure. You're in the room.
• 51:34
  Speaker 13: Yeah.
• 51:35
  Speaker 1: And you're never out of frame, which I thought was
• 51:37
  Speaker 1: an interesting, because it's such a whodunit, more or less, that, like,
• 51:41
  Speaker 1: you can always see.
• 51:42
  Speaker 8: What's... So wait, does the whole movie take place inside
• 51:45
  Speaker 8: a cabin?
• 51:46
  Speaker 11: Yes.
• 51:47
  Speaker 1: It's a bottle episode. With the exception of a lead up,
• 51:49
  Speaker 1: which is, again, the intro is a good 45 minutes
• 51:53
  Speaker 1: of talking in a carriage.
• 51:55
  Speaker 11: And then there's like 12 extra minutes that they put
• 51:57
  Speaker 11: for the 70 millimeter, which is just horses and snow,
• 52:00
  Speaker 11: which was beautiful.
• 52:01
  Speaker 1: All right. Yeah.
• 52:02
  Speaker 8: See, this doesn't actually sound that bad to me. The
• 52:05
  Speaker 8: way you're describing it, I'm like.
• 52:06
  Speaker 12: I would watch that.
• 52:07
  Speaker 1: I still think it's worth watching, especially if you like
• 52:09
  Speaker 1: Tarantino at all.
• 52:09
  Speaker 11: Yeah, I mean, you've got to be a completionist.
• 52:10
  Speaker 1: It's worth seeing.
• 52:11
  Speaker 8: I still haven't seen the last one that everybody... Unanimously loved.
• 52:15
  Speaker 8: And I don't even remember the name of it now.
• 52:17
  Speaker 11: Is that Django Unchained?
• 52:18
  Speaker 25: Yes.
• 52:18
  Speaker 1: Django's good.
• 52:19
  Speaker 11: I love that one.
• 52:20
  Speaker 1: I like Django. But this one, the things that I've
• 52:22
  Speaker 1: heard about it is how, but I mean, it's in
• 52:25
  Speaker 1: the title, is how hateful it is. It is.
• 52:28
  Speaker 11: There's not the heart that's usually in French.
• 52:30
  Speaker 1: Yeah, it's just everybody is so mean-spirited about everything they're
• 52:35
  Speaker 1: doing to the point that you're kind of like, why
• 52:37
  Speaker 1: do i want to watch any of these people so
• 52:39
  Speaker 1: it is like i can't tell if he's making a
• 52:42
  Speaker 1: point or if he's just getting older now and that's
• 52:44
  Speaker 1: he's a cranky old man so everybody else is going
• 52:46
  Speaker 1: to be cranky too very cranky so yeah i can't decide.
• 52:50
  Speaker 6: Stand to watch him in interviews anymore because he's so.
• 52:53
  Speaker 11: Cranky yeah it's heartbreaking it's his own he'll come back
• 52:56
  Speaker 11: i believe in him so is.
• 52:58
  Speaker 2: He just doing westerns now is that his.
• 53:00
  Speaker 1: Plan as of the last two movies yes but he's
• 53:03
  Speaker 1: only up to eight, right? So it's a huge amount
• 53:06
  Speaker 1: on the pie there.
• 53:07
  Speaker 8: Did any of the rest of you have the reaction
• 53:09
  Speaker 8: that I had in like 1999 when like, it was like, well,
• 53:13
  Speaker 8: we haven't heard anything from Quentin Tarantino for a while.
• 53:14
  Speaker 8: I wonder what he's up to. And the rumor was
• 53:17
  Speaker 8: he's working on a World War II movie. And everybody
• 53:20
  Speaker 8: was like, what? World War II? Do you guys, did
• 53:23
  Speaker 8: you guys do that at all?
• 53:24
  Speaker 1: I think everybody kind of does that. Each new thing
• 53:27
  Speaker 1: that he's, because I remember when they said a Western,
• 53:30
  Speaker 1: but sort of Southern-ish. And I'm like, well, hell is
• 53:32
  Speaker 1: he doing now? And now that's what he wants to
• 53:34
  Speaker 1: do is Western. Every move he makes seems like a
• 53:38
  Speaker 1: weird move, but he's a weird guy.
• 53:41
  Speaker 11: So does anybody know the Morricone backstory with this? Because
• 53:45
  Speaker 11: I read some stuff, but I don't know how much
• 53:46
  Speaker 11: of it is true or not true.
• 53:48
  Speaker 1: Let's throw it out there. It could all be fake
• 53:50
  Speaker 1: and tell us the story.
• 53:51
  Speaker 11: Well, my understanding was that he had done, did he
• 53:53
  Speaker 11: do a song for Was it Inglourious Bastards? Which film
• 53:57
  Speaker 11: was it that he did a song for?
• 53:58
  Speaker 1: I think so. I thought he was trying to get
• 53:59
  Speaker 1: him to come back.
• 54:00
  Speaker 11: Yeah.
• 54:01
  Speaker 1: I mean, he's been trying to get him to come
• 54:02
  Speaker 1: back for years.
• 54:02
  Speaker 11: And then Morricone said, I will never do another song
• 54:05
  Speaker 11: for you. Like, he said that he didn't understand the
• 54:08
  Speaker 11: way he put the song in the movie. He was
• 54:10
  Speaker 11: upset by it. He felt that it was incoherent use
• 54:13
  Speaker 11: of his material. And I'm never going to work with
• 54:15
  Speaker 11: you again, ever, ever, ever. And then I guess he,
• 54:18
  Speaker 11: for this film, like, wouldn't work with Tarantino, but said
• 54:22
  Speaker 11: he would read the script... and then based on reading
• 54:24
  Speaker 11: the script would produce some music, and then he could
• 54:27
  Speaker 11: just fucking use whatever he wanted from that.
• 54:29
  Speaker 1: So he learned his lesson.
• 54:30
  Speaker 19: Yeah.
• 54:31
  Speaker 1: You're going to screw me over anyway. I'm just going
• 54:33
  Speaker 1: to plan for it.
• 54:34
  Speaker 11: And so then I guess what I'd heard, and obviously,
• 54:37
  Speaker 11: I mean, if you saw Tarantino at the Oscars, like,
• 54:40
  Speaker 11: talking about Morricone, I mean, he looked like... There's an
• 54:44
  Speaker 11: expression for this, and I can't think of what it
• 54:46
  Speaker 11: is right now, but he looked like he was about
• 54:49
  Speaker 11: to burst with pride at just being mentioned in the
• 54:52
  Speaker 11: same phrase as Marconi.
• 54:54
  Speaker 1: And he's gotten up and done speeches since the movie
• 54:57
  Speaker 1: came out, and he is just showering praise on him. Again,
• 55:02
  Speaker 1: because he kind of, I would say he's his hero,
• 55:04
  Speaker 1: but he kind of is.
• 55:05
  Speaker 11: Yeah, but I'd read that he didn't like what Morricone
• 55:08
  Speaker 11: gave to him, which doesn't really make sense to me.
• 55:10
  Speaker 11: I can't imagine that, because it's brilliant.
• 55:12
  Speaker 1: And it's him. It's through and through, Morricone. How can
• 55:16
  Speaker 1: you expect anything other than what we just heard?
• 55:18
  Speaker 11: But Morricone thinks that this is different than anything he's
• 55:20
  Speaker 11: done in the past, which is adorable.
• 55:23
  Speaker 5: Well, he can do.
• 55:24
  Speaker 1: That goes back to the John Williams thing. But he
• 55:26
  Speaker 1: can do drastically different. But this is, I mean, it
• 55:30
  Speaker 1: seems like the whole thing is a nod to his
• 55:32
  Speaker 1: older stuff. So it should be sort of like his
• 55:35
  Speaker 1: older stuff or the stuff that he's most well known for.
• 55:38
  Speaker 1: But yeah, that was one thing like going into that,
• 55:40
  Speaker 1: regardless of how it ends up turning out. I'm like,
• 55:43
  Speaker 1: Doesn't this feel like this should be a Lifetime Achievement
• 55:47
  Speaker 1: Award win for him? I mean, looking at it, they
• 55:50
  Speaker 1: said he's scored between 450 and 500 films. They don't
• 55:56
  Speaker 1: even know how many it's so huge a number. Like
• 55:59
  Speaker 1: even he's like, I don't remember.
• 56:00
  Speaker 11: Hasn't he actually gotten a lifetime achievement Oscar?
• 56:03
  Speaker 1: Should have, but I mean, he's never won for, so
• 56:06
  Speaker 1: I mean, I feel like this seems like if anybody's like, okay,
• 56:09
  Speaker 1: cause they, I mean, it's the Oscars. It's all kind
• 56:11
  Speaker 1: of political anyway. They usually do the, you've been doing
• 56:14
  Speaker 1: this a while. You haven't won one. We need to
• 56:16
  Speaker 1: give you one. But sometimes it is really earned. Like
• 56:19
  Speaker 1: you look at some of the stuff that he's done
• 56:21
  Speaker 1: and like, what he started doing with those early, especially
• 56:24
  Speaker 1: the ones that started crossing over into America, it's like
• 56:26
  Speaker 1: he was using things, I won't even say instruments, because
• 56:30
  Speaker 1: it's just noises and sounds, and was doing things so
• 56:34
  Speaker 1: innovative that nobody even had heard anything like that before,
• 56:38
  Speaker 1: let alone compose music with it.
• 56:40
  Speaker 11: Yeah, he did actually, and I've just remembered this, and
• 56:42
  Speaker 11: then I was making sure that I had remembered it correctly.
• 56:45
  Speaker 11: He won a Lifetime Achievement Oscar in 2009, and And
• 56:49
  Speaker 11: I remember at that time, everybody was like, wait, he's
• 56:51
  Speaker 11: still alive?
• 56:51
  Speaker 12: He can accept it?
• 56:53
  Speaker 11: And now it's like... Wasn't that Inglourious Bastards?
• 56:59
  Speaker 1: I mean, wasn't that the year? Because that's when I
• 57:00
  Speaker 1: remember when they talked about him trying to bring him
• 57:03
  Speaker 1: out to do a song, I remember going, oh yeah,
• 57:05
  Speaker 1: he's still around, making songs? That's awesome. I remember thinking
• 57:08
  Speaker 1: it was cool, but yeah, since then.
• 57:11
  Speaker 11: Yeah, it seems impossible that he would be still alive,
• 57:13
  Speaker 11: and yet, two years younger than Harry Dean Stanton.
• 57:17
  Speaker 13: Who is immortal.
• 57:18
  Speaker 14: Yeah.
• 57:20
  Speaker 1: But yeah, just for all the weird, innovative stuff that
• 57:23
  Speaker 1: he did and how much he changed the way to
• 57:27
  Speaker 1: score a film, I'm like, yeah, he has to win, right?
• 57:30
  Speaker 11: But he's going to win.
• 57:31
  Speaker 1: Not necessarily.
• 57:33
  Speaker 11: But he's going to win.
• 57:34
  Speaker 13: He's probably going to win.
• 57:35
  Speaker 11: I'm pretty sure we know who's winning both of these categories,
• 57:38
  Speaker 11: by the way.
• 57:38
  Speaker 8: Any composer that's probably won an Oscar in the last
• 57:41
  Speaker 8: 30 years probably listened to those movies, the soundtracks that
• 57:47
  Speaker 8: he did for the movies he scored and was like,
• 57:48
  Speaker 8: I gotta do something like that.
• 57:50
  Speaker 1: Yeah, definitely.
• 57:51
  Speaker 8: He's one of those guys.
• 57:52
  Speaker 7: Yeah.
• 57:53
  Speaker 1: So Williams is just not even gonna show up this year.
• 57:56
  Speaker 1: He's like, oh, I don't even have a shot. I
• 57:57
  Speaker 1: have 500 nominations and this guy's up for it too. No,
• 58:00
  Speaker 1: this ain't happening.
• 58:01
  Speaker 11: I think he's like one of those Oscars you're like
• 58:04
  Speaker 11: embarrassed to win if Marconi doesn't win.
• 58:07
  Speaker 1: Which there have been some of those when they get
• 58:08
  Speaker 1: up there and go, oh, what am I doing up here?
• 58:10
  Speaker 11: You're like, you just misread the card, didn't you?
• 58:14
  Speaker 1: Pull the Steve Harvey. Well, I love the movies.
• 58:18
  Speaker 5: Welcome to the biggest movie event of the year.
• 58:21
  Speaker 7: We're going to have a great night, ladies and gentlemen.
• 58:24
  Speaker 12: And the Oscar goes to.
• 58:25
  Speaker 18: And the Oscar goes to.
• 58:28
  Speaker 12: Nick Ledger.
• 58:29
  Speaker 18: Thank you so much.
• 58:32
  Speaker 9: Ladies and gentlemen, prepare yourselves. It's time for the Movie
• 58:37
  Speaker 9: Meltdown Oscar Mayer Party. With all the glitz, glamour, poor products,
• 58:42
  Speaker 9: and vicious commentary you've come to know and love, The
• 58:46
  Speaker 9: Academy Awards will never be the same.
• 58:50
  Speaker 1: Bacon tastes good.
• 58:51
  Speaker 2: Paw chops taste good.
• 58:52
  Speaker 9: Coming soon to this feed. Don't miss it. Oscar Meltdown.
• 59:00
  Speaker 9: It's going to be artery, clock, and gun.
• 59:06
  Speaker 24: This episode is brought to you by Crosley Turntables. Starting
• 59:09
  Speaker 24: back in 1970, 1920, the Crosley company produced the first
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• 59:41
  Speaker 27: This is John Spencer, and you're listening to Movie Meltdown.
• 59:59
  Speaker 1: Manta Ray. Speaking of the cheery amoebas and whatnot, yes,
• 1:00:04
  Speaker 1: Manta Ray by J. Ralph and Anthony? Anthony? Anthony?
• 1:00:09
  Speaker 8: From Anthony and the Johnsons?
• 1:00:11
  Speaker 1: Anthony and the J.
• 1:00:12
  Speaker 9: Ralphs.
• 1:00:25
  Speaker 12: In the tree of.
• 1:00:31
  Speaker 12: Between the leaves.
• 1:00:33
  Speaker 15: Or the growing That.
• 1:00:37
  Speaker 25: We did Or the loving And separating.
• 1:01:00
  Speaker 12: Overcoming To face each other I divide In the skies
• 1:01:33
  Speaker 12: In the seams.
• 1:01:36
  Speaker 25: Between the beams Oh, the loving And.
• 1:01:48
  Speaker 17: Separating Oh, the turning To face each other Without biodiversity
• 1:02:12
  Speaker 17: And nothing means.
• 1:02:15
  Speaker 18: Life I never.
• 1:02:33
  Speaker 4: Without my hope With no reflection I cease to exist
• 1:02:51
  Speaker 4: And my children.
• 1:03:02
  Speaker 12: Are dying now inside me, my children. Are dying now
• 1:03:20
  Speaker 12: inside me, my children.
• 1:03:30
  Speaker 2: All I love.
• 1:03:34
  Speaker 18: All I know All I've known.
• 1:03:42
  Speaker 12: I am dying now Inside me My children.
• 1:04:04
  Speaker 11: I would say that of these songs, this is the
• 1:04:08
  Speaker 11: only one I actually liked. And I didn't love it,
• 1:04:10
  Speaker 11: but it seemed fine.
• 1:04:11
  Speaker 6: I thought it fit well with the weird little microcosm world,
• 1:04:16
  Speaker 6: but I think on its own, I don't know.
• 1:04:18
  Speaker 1: That was my thing. I was going to say it works.
• 1:04:21
  Speaker 8: Would I be listening to it otherwise?
• 1:04:23
  Speaker 1: Probably not.
• 1:04:24
  Speaker 11: Yeah, wouldn't we be listening to any of this shit now?
• 1:04:27
  Speaker 1: Yeah, and I will get to that in a minute.
• 1:04:29
  Speaker 1: But this one is not it.
• 1:04:30
  Speaker 13: So, I don't know.
• 1:04:32
  Speaker 1: I feel like this is another one of those that,
• 1:04:34
  Speaker 1: because it's an important thing. Once again, there's a statement of,
• 1:04:39
  Speaker 1: in 100 years, we can lose 50% of all species
• 1:04:41
  Speaker 1: on Earth. I'm like, shit, that's kind of heavy. This
• 1:04:44
  Speaker 1: is why I don't watch documentaries constantly. I gotta mix
• 1:04:46
  Speaker 1: them up with dumb horror movies and I.
• 1:04:49
  Speaker 2: Love how that and the no rape film, you know,
• 1:04:54
  Speaker 2: they save that information until.
• 1:04:55
  Speaker 1: The very end.
• 1:04:57
  Speaker 6: Because the photography in that was just absolutely beautiful.
• 1:05:02
  Speaker 8: Yeah, it was amazing.
• 1:05:02
  Speaker 2: And then it's like, oh, we're all going to die.
• 1:05:06
  Speaker 1: By the way, did we mention, we didn't want to
• 1:05:08
  Speaker 1: leave with that, but.
• 1:05:09
  Speaker 9: Shh, we're all going.
• 1:05:13
  Speaker 1: All right.
• 1:05:14
  Speaker 13: I don't know that there's much else to say. No,
• 1:05:16
  Speaker 13: there really isn't. It is what it is.
• 1:05:19
  Speaker 8: I could tell a story that's only barely linked to
• 1:05:21
  Speaker 8: this song. I'll try to make it short, but about
• 1:05:26
  Speaker 8: 10 years ago, I found a CD at Ear Ecstasy
• 1:05:30
  Speaker 8: by a band I'd never heard of called Coco Rosie.
• 1:05:33
  Speaker 8: Have you guys ever listened to Coco Rosie?
• 1:05:35
  Speaker 1: Have not. The name sounds familiar, but.
• 1:05:38
  Speaker 8: I do not think I've listened to it. I would
• 1:05:40
  Speaker 8: go get it if I had the energy. There's this
• 1:05:43
  Speaker 8: schizophrenic image of this unicorn that's vomiting rainbows. The kind
• 1:05:48
  Speaker 8: of shit that I'm into.
• 1:05:49
  Speaker 1: Ah, yes.
• 1:05:50
  Speaker 8: If you look at my guitar right there that's covered
• 1:05:52
  Speaker 8: in unicorns and rainbows, then you'll clearly see that I'm
• 1:05:56
  Speaker 8: not messing around. I saw this at Erexia. I was like,
• 1:05:59
  Speaker 8: this looks like the kind of dumb thing I'd be into,
• 1:06:01
  Speaker 8: and I got it. You know, Coco and Rosie is
• 1:06:04
  Speaker 8: the schizophrenic. It's two sisters and they make this just
• 1:06:07
  Speaker 8: weird fucking strain.
• 1:06:08
  Speaker 2: Is one Coco and one Rosie?
• 1:06:10
  Speaker 8: I think their names are actually like Angela and Christina
• 1:06:14
  Speaker 8: or something. But you know how music goes, right?
• 1:06:17
  Speaker 1: They assume the identities of Coco and Rosie.
• 1:06:20
  Speaker 8: But the music is totally fine if you're into that
• 1:06:22
  Speaker 8: kind of thing. And I liked it. A lot of
• 1:06:24
  Speaker 8: people do not like them, but I thought it was fine.
• 1:06:27
  Speaker 8: But the reason I'm bringing this up is because Antony
• 1:06:29
  Speaker 8: from Antony and the Johnsons, who was on this song,
• 1:06:32
  Speaker 8: was also, he did, he guessed it on, like, three
• 1:06:34
  Speaker 8: of the tracks on the album, and he was singing
• 1:06:37
  Speaker 8: in that voice that he sings with on this song,
• 1:06:38
  Speaker 8: but he's singing about the weirdest, just, why are you
• 1:06:42
  Speaker 8: saying this in this voice? Like, are you fucking for real,
• 1:06:45
  Speaker 8: or what? Like, that was my takeaway from that album, and,
• 1:06:48
  Speaker 8: you know, that was my first introduction to this guy, so,
• 1:06:52
  Speaker 8: and since then, I've heard, like, other stuff that he's
• 1:06:54
  Speaker 8: done with, like, his real bands and stuff, and I'm like, alright,
• 1:06:57
  Speaker 8: he's fine, you know, whatever, but I, You know, when
• 1:07:01
  Speaker 8: I heard this song, I was thinking about how when
• 1:07:04
  Speaker 8: I first heard this dude on a song anywhere, I
• 1:07:07
  Speaker 8: was like, this is, nobody should ever hear a human
• 1:07:10
  Speaker 8: being making these noises because this is just bananas. And my,
• 1:07:15
  Speaker 8: how far you've come. That was what I was thinking.
• 1:07:18
  Speaker 1: Oscar nominee.
• 1:07:19
  Speaker 8: Don't listen to him.
• 1:07:20
  Speaker 6: Well, the interesting thing about that was it was probably,
• 1:07:22
  Speaker 6: the song was probably two-thirds of the way in.
• 1:07:25
  Speaker 2: Before I realized that there's actually lyrics to this, whatever
• 1:07:29
  Speaker 2: he's singing. Yeah. And I don't know if that was
• 1:07:32
  Speaker 2: because he's singing in that weird voice or because I
• 1:07:35
  Speaker 2: was distracted by the footage.
• 1:07:36
  Speaker 8: Right.
• 1:07:37
  Speaker 2: From the clip.
• 1:07:38
  Speaker 6: But yeah, like I said earlier, I think without the
• 1:07:42
  Speaker 6: visuals going on, I probably would not have paid attention
• 1:07:45
  Speaker 6: to the song whatsoever.
• 1:07:46
  Speaker 11: Yeah.
• 1:07:47
  Speaker 1: On that note, let's move on. See, now this is,
• 1:07:52
  Speaker 1: as scores go, This is the kind of thing I
• 1:07:54
  Speaker 1: would actually listen to in the outside world. This is Carol,
• 1:07:59
  Speaker 1: and this is the opening composed by Carter Burke.
• 1:08:40
  Speaker 7: Amen.
• 1:08:40
  Speaker 15: © transcript Emily Beynon.
• 1:10:08
  Speaker 1: I have several CDs that kind of sound similar in
• 1:10:11
  Speaker 1: tone to this and I think they do a great
• 1:10:14
  Speaker 1: job of capturing this specific mood and it does like
• 1:10:18
  Speaker 1: if you listen to other tracks outside of that one
• 1:10:21
  Speaker 1: it continually ties in those recurring themes and like it
• 1:10:24
  Speaker 1: just kind of works again I don't know that it's
• 1:10:27
  Speaker 1: doing anything radically different it's probably more traditional along the
• 1:10:30
  Speaker 1: other lines but I I just think it's better than
• 1:10:33
  Speaker 1: a lot of, you know, most other scores that I
• 1:10:35
  Speaker 1: get bored with. Like this one, I didn't have that.
• 1:10:37
  Speaker 1: Like it just sounds like something I would actually want
• 1:10:40
  Speaker 1: to listen to.
• 1:10:41
  Speaker 19: Yeah.
• 1:10:41
  Speaker 11: It's really beautiful and it's a really beautiful movie and
• 1:10:44
  Speaker 11: you kind of want to, well, I kind of wanted
• 1:10:45
  Speaker 11: to live in the movie cause I love that period
• 1:10:47
  Speaker 11: and I love those clothes and I love New York
• 1:10:51
  Speaker 11: city in the fifties, which is really Cincinnati.
• 1:10:54
  Speaker 8: You're not tricking. How'd they hide all the Brown? Cincinnati
• 1:10:58
  Speaker 8: is the brownest city I've ever been in.
• 1:11:00
  Speaker 11: That's, That's not a racial thing for those listening.
• 1:11:02
  Speaker 8: I'm talking about the roads. I'm talking about the buildings.
• 1:11:05
  Speaker 1: The overall tone of Cincinnati.
• 1:11:08
  Speaker 8: It's a very brown city. Please continue.
• 1:11:11
  Speaker 12: Really?
• 1:11:12
  Speaker 7: Interesting.
• 1:11:13
  Speaker 11: Yeah, no, it was funny because when I was watching it,
• 1:11:15
  Speaker 11: I didn't know that it was filmed in Cincinnati until
• 1:11:17
  Speaker 11: the credits rolled. And I saw it in Cincinnati because
• 1:11:20
  Speaker 11: it hadn't opened in Lexington yet, and I really wanted
• 1:11:22
  Speaker 11: to see it.
• 1:11:22
  Speaker 1: Wait, you didn't know that when you were sitting there?
• 1:11:24
  Speaker 11: I thought it was amazing that there were so many
• 1:11:27
  Speaker 11: people in the theater. I was like, wow, Cincinnati has
• 1:11:29
  Speaker 11: such a great art house audience. This is really cool.
• 1:11:32
  Speaker 11: And then everybody stayed through the credits and was like
• 1:11:35
  Speaker 11: applauding the makeup people.
• 1:11:36
  Speaker 18: Yeah.
• 1:11:37
  Speaker 11: And I was like, oh my God, they're so active here.
• 1:11:39
  Speaker 11: They're so engaged and appreciating cinema. And then I saw
• 1:11:43
  Speaker 11: at the very end that it was filmed in Cincinnati.
• 1:11:45
  Speaker 11: And I was like, oh, okay, that's what's going on.
• 1:11:47
  Speaker 1: It finally clicked all those times during the movie. You went,
• 1:11:49
  Speaker 1: there I am, there I am. You kept hearing, there
• 1:11:51
  Speaker 1: I am, there I am.
• 1:11:53
  Speaker 8: Were you ever like, wait, that building looks familiar. And
• 1:11:55
  Speaker 8: then later driving home, I was like, that's where I
• 1:11:56
  Speaker 8: saw the movie.
• 1:11:57
  Speaker 18: Two things.
• 1:11:58
  Speaker 11: Actually, yes. When I was watching it, I was like, oh,
• 1:12:01
  Speaker 11: my God, how did they film this in New York City?
• 1:12:03
  Speaker 11: At the beginning, there's like this crazy crane shot that
• 1:12:06
  Speaker 11: goes on forever. And there's like so many streets closed down.
• 1:12:09
  Speaker 11: And it's just like, how did they do this in
• 1:12:10
  Speaker 11: New York? It's such a small film.
• 1:12:12
  Speaker 1: Well, duh.
• 1:12:13
  Speaker 11: And then number two, when I was watching the movie,
• 1:12:16
  Speaker 11: there was this diner in the movie. And I became
• 1:12:18
  Speaker 11: obsessed with it during the course of watching it.
• 1:12:19
  Speaker 1: I'm going to have to go all the way to
• 1:12:21
  Speaker 1: New York.
• 1:12:22
  Speaker 11: I was like, wait, I think that's a real place
• 1:12:24
  Speaker 11: and not a set. And out the window, it's the
• 1:12:26
  Speaker 11: same name. So it's not like they've created a name
• 1:12:28
  Speaker 11: for this diner because it's a giant sign. And why
• 1:12:30
  Speaker 11: would they go to that trouble to create a giant
• 1:12:33
  Speaker 11: vintage sign? And so I was like, okay, wait, is
• 1:12:35
  Speaker 11: this like in the Midwest? Because they're going to Chicago. Like,
• 1:12:37
  Speaker 11: I will freaking drive to wherever this is to go
• 1:12:40
  Speaker 11: to this diner. And so then when I realized it
• 1:12:42
  Speaker 11: was in Cincinnati, I was like, shit, let's find out
• 1:12:43
  Speaker 11: where that diner is. And it was on the way home.
• 1:12:45
  Speaker 11: It was in Alexandria, Kentucky. And we got to like
• 1:12:47
  Speaker 11: drive by. It was closed at that point. But it
• 1:12:50
  Speaker 11: was fun.
• 1:12:50
  Speaker 1: And you broke in and you made yourself a sandwich.
• 1:12:52
  Speaker 2: Toronto must be terrible.
• 1:12:54
  Speaker 11: Is damn it apparently the last two years um cincinnati
• 1:12:58
  Speaker 11: film has brought 54 million dollars into like that area's
• 1:13:01
  Speaker 11: economy which is incredible yeah yeah it's pretty impressive and
• 1:13:05
  Speaker 11: emilio estevez is talking about moving there and if that
• 1:13:08
  Speaker 11: happened he could be our guest for harry dean stanton
• 1:13:10
  Speaker 11: fest every year and we could show repo man every year.
• 1:13:12
  Speaker 8: God cincinnati's turning into the new louisville.
• 1:13:14
  Speaker 1: Have you have you talked to him about this Well,
• 1:13:17
  Speaker 1: not yet. I'm not sure how into things he is anymore.
• 1:13:20
  Speaker 2: He doesn't know.
• 1:13:20
  Speaker 13: Like things, period?
• 1:13:21
  Speaker 1: Things in general. He wants to direct now, but.
• 1:13:24
  Speaker 11: No, he's really into Cincinnati.
• 1:13:25
  Speaker 12: Okay.
• 1:13:25
  Speaker 1: Maybe you can use that angle.
• 1:13:27
  Speaker 11: It's weird how into Cincinnati he is.
• 1:13:28
  Speaker 8: Is he a big Reds fan?
• 1:13:29
  Speaker 11: I don't know. I think his mom maybe grew up
• 1:13:32
  Speaker 11: there or something.
• 1:13:33
  Speaker 6: Probably.
• 1:13:34
  Speaker 11: Kinfolk there.
• 1:13:35
  Speaker 8: He's totally into Jerry Springer. I just named all the
• 1:13:38
  Speaker 8: things I know about Cincinnati.
• 1:13:39
  Speaker 1: And Chili.
• 1:13:40
  Speaker 2: Chili.
• 1:13:41
  Speaker 13: Jerry Springer.
• 1:13:42
  Speaker 1: And the zoo.
• 1:13:43
  Speaker 11: It's zoo-sized.
• 1:13:45
  Speaker 1: Cinnamon Chili.
• 1:13:47
  Speaker 11: Anomalisa. If anybody's seen Anomalisa, that's like the... It's the
• 1:13:51
  Speaker 11: most anti-Cincinnati movie I've ever seen in my life. Just
• 1:13:54
  Speaker 11: bizarrely anti-Cincinnati. Like Charlie Kaufman spends half the time just
• 1:13:58
  Speaker 11: making fun of Cincinnati.
• 1:14:00
  Speaker 1: You gotta appreciate that.
• 1:14:01
  Speaker 11: Yeah, anyway, balance.
• 1:14:02
  Speaker 2: Uh.
• 1:14:03
  Speaker 11: But Carol, back to the soundtrack, I read an article,
• 1:14:07
  Speaker 11: an interview with the composer, and it seemed like they
• 1:14:10
  Speaker 11: did do it the traditional way, not the Ennio Morricone,
• 1:14:14
  Speaker 11: Quentin Tarantino way, where they don't want to be in
• 1:14:16
  Speaker 11: the same room together. Sorry, Morricone doesn't want to be
• 1:14:18
  Speaker 11: in the same room as Tarantino, and that's all Tarantino
• 1:14:20
  Speaker 11: wants in the world.
• 1:14:22
  Speaker 1: He just hugs him as soon as he gets up.
• 1:14:24
  Speaker 8: That sounds like so much of high school for me,
• 1:14:26
  Speaker 8: for reasons I won't go into.
• 1:14:29
  Speaker 1: You're the Tarantino.
• 1:14:31
  Speaker 18: Don't ever leave me.
• 1:14:33
  Speaker 11: But, you know, it was super collaborative, and they really
• 1:14:36
  Speaker 11: worked with the story, and they really broke it down.
• 1:14:38
  Speaker 11: And he said he wanted it to be both lush
• 1:14:40
  Speaker 11: and cool, which is kind of a tricky balance, but
• 1:14:42
  Speaker 11: it achieves both.
• 1:14:43
  Speaker 1: Yeah.
• 1:14:45
  Speaker 11: I agree.
• 1:14:45
  Speaker 1: He does both of those things.
• 1:14:47
  Speaker 11: So I would pick this just because I would pick
• 1:14:49
  Speaker 11: Carol to win everything ever, especially since it's not nominated
• 1:14:54
  Speaker 11: for either picture or director, which is the greatest travesty.
• 1:14:58
  Speaker 1: But, as you've already stated, who's going to win?
• 1:15:00
  Speaker 7: Me.
• 1:15:02
  Speaker 1: You're shutting down your own theory.
• 1:15:03
  Speaker 11: I mean, Marconi's going to win, and I want him
• 1:15:05
  Speaker 11: to win, and he deserves to win. But I want
• 1:15:07
  Speaker 11: Carol to win as many things as possible.
• 1:15:09
  Speaker 1: Yeah, this is an excellent score.
• 1:15:11
  Speaker 13: Should, in another year, be the winner.
• 1:15:13
  Speaker 11: Yes.
• 1:15:15
  Speaker 8: We can award it something right now. We can give
• 1:15:17
  Speaker 8: it our own award.
• 1:15:18
  Speaker 11: Sure.
• 1:15:19
  Speaker 8: Do you have your own award to give?
• 1:15:21
  Speaker 18: Oh, I do.
• 1:15:23
  Speaker 12: Winner!
• 1:15:23
  Speaker 1: Should we just cut out the voting part? Where our
• 1:15:28
  Speaker 1: wonderful listeners who bothered to contact me get to vote
• 1:15:31
  Speaker 1: for them. And just award it the... Actually, there is
• 1:15:34
  Speaker 1: one of those categories. So I think people better start
• 1:15:37
  Speaker 1: writing in now. But I think we're going to get
• 1:15:39
  Speaker 1: a lot of weird off-the-wall stuff. So we'll make a
• 1:15:42
  Speaker 1: separate subsection of most Oscar-y songs that we like. Winner
• 1:15:49
  Speaker 1: of the foiler.
• 1:15:52
  Speaker 11: How about sound score for a film that should have
• 1:15:57
  Speaker 11: been nominated in larger categories but wasn't? So we'll give
• 1:16:00
  Speaker 11: it this prize instead.
• 1:16:02
  Speaker 1: Write all that down so I'll remember.
• 1:16:04
  Speaker 26: Now, I want everyone to sit down, strap in, and
• 1:16:06
  Speaker 26: turn on all you've got.
• 1:16:07
  Speaker 2: All right.
• 1:16:08
  Speaker 1: So, regardless of what we'd said earlier.
• 1:16:11
  Speaker 26: I.
• 1:16:13
  Speaker 12: Actually.
• 1:16:13
  Speaker 8: Everything we've already said aside.
• 1:16:15
  Speaker 1: I actually don't have a problem with this artist. Actually,
• 1:16:19
  Speaker 1: I don't think the song is great even for his work.
• 1:16:22
  Speaker 1: And the video is really kind of overwhelming. But, yeah,
• 1:16:28
  Speaker 1: this would be earned it by the weekend. From Oscar-nominated
• 1:16:34
  Speaker 1: Fifty Shades of Grey.
• 1:16:36
  Speaker 13: That's painful.
• 1:16:52
  Speaker 20: You make it look like it's magic, don't you know?
• 1:16:58
  Speaker 20: I see nobody, nobody but you, you, you. I'm never confused.
• 1:17:08
  Speaker 15: Hey, hey.
• 1:17:10
  Speaker 18: I'm so used to being used. So wrong.
• 1:17:17
  Speaker 15: Unexpected Cause I hate when the.
• 1:17:22
  Speaker 21: Moon's expected So I'ma care for you, you, you.
• 1:17:31
  Speaker 26: I'ma care for you, you, you.
• 1:17:35
  Speaker 15: Yeah Cause girl, you're perfect You're.
• 1:17:41
  Speaker 18: Always worth it And you deserve it The way you work.
• 1:17:48
  Speaker 15: It Cause girl, you earned it Girl, you earned it.
• 1:18:04
  Speaker 20: You know our love would be tragic So you don't
• 1:18:11
  Speaker 20: pay it, don't pay it Oh, my, my, my.
• 1:18:17
  Speaker 1: We live with no lies.
• 1:18:20
  Speaker 18: Hey, hey.
• 1:18:22
  Speaker 20: You're my favorite kind of night.
• 1:18:26
  Speaker 18: So I laugh.
• 1:18:27
  Speaker 15: When you're all unexpected. Because I hate when no one's expecting.
• 1:18:36
  Speaker 26: So I'm a care for you, you, you. I would
• 1:18:43
  Speaker 26: care for you, you, you, you.
• 1:18:47
  Speaker 23: Yeah.
• 1:18:50
  Speaker 15: Girl, you're perfect You're.
• 1:18:52
  Speaker 21: Always worth it And you deserve it The way you
• 1:18:59
  Speaker 21: work it Girl, you're perfect Girl, you're perfect Girl, you're
• 1:19:07
  Speaker 21: perfect Yeah, all that loneliness Said it wouldn't be love
• 1:19:19
  Speaker 21: But we felt the rush It made us believe it
• 1:19:26
  Speaker 21: was only us Convinced we were broken inside Inside Inside Girl,
• 1:19:44
  Speaker 21: you're perfect. You're always worth it. And you deserve it.
• 1:19:53
  Speaker 21: The way you work it. Girl, you're perfect.
• 1:19:56
  Speaker 18: Girl, you're perfect.
• 1:20:18
  Speaker 15: .
• 1:20:19
  Speaker 18: .
• 1:20:40
  Speaker 16: Thank you, sir.
• 1:20:41
  Speaker 4: May I have another?
• 1:20:41
  Speaker 8: The movie was nominated?
• 1:20:43
  Speaker 1: No, no, no.
• 1:20:44
  Speaker 7: Oh.
• 1:20:45
  Speaker 13: Either way, now I can say nominated for one Oscar. Okay.
• 1:20:49
  Speaker 8: All right.
• 1:20:50
  Speaker 6: I had high hopes when I checked out this clip
• 1:20:53
  Speaker 6: because I had to verify my age with YouTube.
• 1:20:56
  Speaker 13: Then you did all right from that angle.
• 1:20:58
  Speaker 6: No, because it's one of those things where after a while,
• 1:21:02
  Speaker 6: it's like it's just girl's.
• 1:21:05
  Speaker 2: Doing nothing, which sounds great, but after five minutes of it,
• 1:21:10
  Speaker 2: you're like.
• 1:21:11
  Speaker 1: So you had the response I did to showgirls?
• 1:21:13
  Speaker 22: Yes.
• 1:21:14
  Speaker 1: Like, after a while, I'm like, yeah, it's a bunch
• 1:21:16
  Speaker 1: of naked girls, but who gives a shit?
• 1:21:18
  Speaker 14: Right.
• 1:21:19
  Speaker 13: After a while, I'm like, what else is... Can we
• 1:21:22
  Speaker 13: have a story or something?
• 1:21:23
  Speaker 6: I was just about to turn the video off when
• 1:21:25
  Speaker 6: it gets to the girl who's got her legs spread
• 1:21:28
  Speaker 6: out and she starts pulsating her butt cheeks for.
• 1:21:31
  Speaker 2: Lack of a better description. And I thought, okay, there's
• 1:21:33
  Speaker 2: something there.
• 1:21:34
  Speaker 13: Getting creative here.
• 1:21:36
  Speaker 2: And there was nothing.
• 1:21:38
  Speaker 6: And, you know, really, after a while when your thought is, okay,
• 1:21:42
  Speaker 6: this guy's a good singer and there's naked chicks everywhere,
• 1:21:44
  Speaker 6: but he's got such a bad haircut. That's your main
• 1:21:47
  Speaker 6: focus on a video full of naked chicks.
• 1:21:50
  Speaker 11: Something's wrong.
• 1:21:51
  Speaker 1: It does say something.
• 1:21:52
  Speaker 8: They pay a lot of attention to his fucked up, weird,
• 1:21:55
  Speaker 8: abstract hair. Like the whole first two minutes of the video,
• 1:21:58
  Speaker 8: it's just a slow pan up. And it's like, oh,
• 1:22:01
  Speaker 8: suddenly half of his hairdo is missing, and it looks
• 1:22:05
  Speaker 8: like it was bitten by a shark.
• 1:22:06
  Speaker 2: Yeah, that's a better description.
• 1:22:08
  Speaker 6: It was bitten by a shark, and normally I get
• 1:22:10
  Speaker 6: excited when people get bitten by sharks, but this is just,
• 1:22:13
  Speaker 6: I mean.
• 1:22:15
  Speaker 1: Again, I, like, it's so cliche to have weird hair
• 1:22:19
  Speaker 1: if you're a rock star. I'm just kind of like,
• 1:22:21
  Speaker 1: I don't even notice anymore. Like, it doesn't even register
• 1:22:24
  Speaker 1: as a thing. I'm just like, yeah, I know. You
• 1:22:26
  Speaker 1: signed a contract.
• 1:22:27
  Speaker 8: You have to have weird hair.
• 1:22:28
  Speaker 2: He's got a nice suit on.
• 1:22:29
  Speaker 13: He's... you know, a handsome looking guy and he's.
• 1:22:33
  Speaker 8: Got that bad hair.
• 1:22:34
  Speaker 2: It's like people are looking at you run a comb
• 1:22:35
  Speaker 2: through that shit.
• 1:22:36
  Speaker 8: Yeah, I'm with you. Like, I'm so used to like
• 1:22:40
  Speaker 8: crazy hair. Like, what just, what got me, I was like,
• 1:22:44
  Speaker 8: are they still showing this dude's hair? Like, what could
• 1:22:47
  Speaker 8: possibly come next?
• 1:22:48
  Speaker 13: Continually panning up the hair.
• 1:22:50
  Speaker 8: Yeah, because it was such a slow, deliberate, like, focus
• 1:22:54
  Speaker 8: on his hair, like, as it just kind of fell
• 1:22:56
  Speaker 8: over and then disappeared.
• 1:22:57
  Speaker 12: Right.
• 1:22:58
  Speaker 8: I was like, That's a lot of attention paid to
• 1:23:01
  Speaker 8: his hair.
• 1:23:01
  Speaker 11: And then she draws attention to it, that Johnson gal, right?
• 1:23:05
  Speaker 11: At one point she plays with it.
• 1:23:06
  Speaker 1: Yeah.
• 1:23:07
  Speaker 2: Who wants to touch that?
• 1:23:09
  Speaker 8: I kind of did want to touch.
• 1:23:11
  Speaker 1: It, actually.
• 1:23:11
  Speaker 13: Can I poke it with a stick?
• 1:23:12
  Speaker 11: So wait, I didn't have to do any sort of confirmation.
• 1:23:15
  Speaker 11: Does YouTube already know that I'm old as shit because
• 1:23:17
  Speaker 11: of how much I look up Stacey Keach clips?
• 1:23:19
  Speaker 2: I didn't have an account.
• 1:23:21
  Speaker 8: You were already logged into your account.
• 1:23:22
  Speaker 1: I don't think I have an account.
• 1:23:24
  Speaker 13: It's just like, oh, that's perfect.
• 1:23:26
  Speaker 1: And here he goes.
• 1:23:28
  Speaker 13: So... This, I mean, you almost have to separate.
• 1:23:32
  Speaker 1: It's like the rest of his career in this song,
• 1:23:36
  Speaker 1: because I'm like, it doesn't surprise me that he's in there, period,
• 1:23:40
  Speaker 1: because this is his year. I mean, 2015 was the
• 1:23:44
  Speaker 1: turning point. He'd been making shit for years, but it
• 1:23:47
  Speaker 1: all hit. this year to the point that if you
• 1:23:50
  Speaker 1: listen to pop radio, you will hear him and you
• 1:23:53
  Speaker 1: will hear not just one, but multiple songs of his
• 1:23:56
  Speaker 1: within an hour. Like they will be playing almost back
• 1:23:59
  Speaker 1: to back, which is kind of how normal pop radio,
• 1:24:01
  Speaker 1: they have 10 songs and they loop them around. And
• 1:24:04
  Speaker 1: like two out of the 10 are his songs. So
• 1:24:06
  Speaker 1: I'm like, that's impressive. That's kind of staying powder when
• 1:24:09
  Speaker 1: they're already playing multiple songs from the same artist in
• 1:24:12
  Speaker 1: the same little span of time. You usually don't get
• 1:24:15
  Speaker 1: that if you're like an up and comer or a
• 1:24:17
  Speaker 1: one hit wonder kind of thing.
• 1:24:18
  Speaker 13: Because you disappear in that first one.
• 1:24:19
  Speaker 1: So the fact that he's already knocked out several songs,
• 1:24:23
  Speaker 1: he's getting so much airplay, they're handing him Grammys, like,
• 1:24:26
  Speaker 1: I don't know.
• 1:24:27
  Speaker 13: What all did he win?
• 1:24:28
  Speaker 1: I've lost track.
• 1:24:28
  Speaker 13: Maybe it was just American Music Awards, but they're giving
• 1:24:31
  Speaker 13: him awards regardless.
• 1:24:32
  Speaker 1: Tom Cruise is covering him?
• 1:24:34
  Speaker 2: Yeah. I have kept hearing the name The Weeknd, but
• 1:24:38
  Speaker 2: didn't know anything about him, didn't know any of his stuff.
• 1:24:42
  Speaker 6: This song alone made me kind of, like, search for
• 1:24:45
  Speaker 6: some of his other material, which was shockingly different.
• 1:24:49
  Speaker 1: Thankfully, I went the other way and came in knowing
• 1:24:52
  Speaker 1: all his other stuff, at least off this new album,
• 1:24:54
  Speaker 1: and then went in and went, oh, well, this will
• 1:24:56
  Speaker 1: be good because, yeah, he's got a really good voice.
• 1:24:58
  Speaker 1: And I'm like, wait, what? What is this song?
• 1:25:02
  Speaker 13: The Naked Girls aside, I'm.
• 1:25:03
  Speaker 1: Like, this song is just so bleh.
• 1:25:06
  Speaker 8: See, when I was listening to it, I liked the song.
• 1:25:09
  Speaker 8: I didn't love it, but I was like.
• 1:25:10
  Speaker 5: All right, totally.
• 1:25:11
  Speaker 1: It's listenable, but knowing what.
• 1:25:13
  Speaker 13: Again, if I'd never heard him before, I'd be like, eh, whatever.
• 1:25:16
  Speaker 13: But knowing.
• 1:25:17
  Speaker 1: He can come up with really interesting lyrics. They don't
• 1:25:20
  Speaker 1: even have to make sense. But they're always kind of interesting.
• 1:25:23
  Speaker 1: So then going to this, I'm like, eh, whatever.
• 1:25:25
  Speaker 11: Just knowing that he's better than this.
• 1:25:27
  Speaker 13: Yeah.
• 1:25:27
  Speaker 1: I think that's what stacked the deck against him going
• 1:25:30
  Speaker 1: into this.
• 1:25:30
  Speaker 11: You're better than this.
• 1:25:31
  Speaker 6: I like that there's an Oscar-nominated song that randomly says shit.
• 1:25:35
  Speaker 2: Yeah. And there's no real pattern to it. It's just like, shit.
• 1:25:38
  Speaker 2: And then, you know, he's singing, shit.
• 1:25:40
  Speaker 1: Shit.
• 1:25:41
  Speaker 2: And I love that.
• 1:25:42
  Speaker 1: Maybe that'll be a theme for the evening, and they'll
• 1:25:44
  Speaker 1: just try to slip it in as much as possible
• 1:25:47
  Speaker 1: throughout the night.
• 1:25:49
  Speaker 8: My biggest problem with the song was the whole time
• 1:25:51
  Speaker 8: I was listening to it, I was thinking, I really
• 1:25:53
  Speaker 8: wish this was actually a Lauryn Hill song. Because if
• 1:25:57
  Speaker 8: you take him out of it and put Lauryn Hill
• 1:26:00
  Speaker 8: in there in his place, that song is fucking awesome.
• 1:26:02
  Speaker 11: Doesn't that kind of go for everything, though?
• 1:26:04
  Speaker 8: Yeah, it does, but I mean, like, Like, that's the
• 1:26:08
  Speaker 8: kind of music I want to hear Lauryn Hill, like,
• 1:26:10
  Speaker 8: come off of her crazy perch and, like, come back
• 1:26:12
  Speaker 8: down to earth and make.
• 1:26:13
  Speaker 13: When she's not talking shit about white people. Which, granted,
• 1:26:17
  Speaker 13: I don't care. I don't care.
• 1:26:19
  Speaker 1: But that was just such a weird rant for her
• 1:26:21
  Speaker 1: that now I'm just like, I don't know what to do.
• 1:26:22
  Speaker 13: Like, you were so talented and now I just.
• 1:26:25
  Speaker 1: You're weird. Like, you just.
• 1:26:27
  Speaker 8: Every talented person is weird. Yeah, that's true. That's the life. But,
• 1:26:32
  Speaker 8: you know, I was really impressed with the video because...
• 1:26:38
  Speaker 8: The video's garbage, but I was like, was there not
• 1:26:41
  Speaker 8: a single social justice warrior that could get pissed off
• 1:26:44
  Speaker 8: about this enough to cause a protest in the street
• 1:26:47
  Speaker 8: or something? Isn't that where we are now?
• 1:26:49
  Speaker 1: Or at least somebody hanging out on set going, um
• 1:26:53
  Speaker 1: like just raising their hand even.
• 1:26:55
  Speaker 6: The choreography was bad because those girls were never in
• 1:26:58
  Speaker 6: sync and I know there were times where it was
• 1:27:00
  Speaker 6: supposed to be like a cascading effect and they did
• 1:27:02
  Speaker 6: that okay but the rest of the time they're supposed
• 1:27:05
  Speaker 6: to be in unison and it's like that girl is
• 1:27:08
  Speaker 6: I don't know what your butt is way out of whack.
• 1:27:10
  Speaker 8: Yeah It made me think of the David Lee Roth
• 1:27:14
  Speaker 8: outfit where he wore the chaps, but it was like
• 1:27:17
  Speaker 8: a pants thing with chaps, but the butt.
• 1:27:19
  Speaker 13: Cheeks were cut out of it.
• 1:27:20
  Speaker 1: I would say this specific video, but oh, no, wait,
• 1:27:22
  Speaker 1: it was about a 10-year span he wore those.
• 1:27:25
  Speaker 6: Yeah, yeah.
• 1:27:26
  Speaker 8: And so, like, me looking at a video with, like,
• 1:27:29
  Speaker 8: these naked girls on it shouldn't make me think about
• 1:27:31
  Speaker 8: that time that David Lee Roth wore those chaps.
• 1:27:34
  Speaker 1: Depends on how much you like David Lee Roth.
• 1:27:36
  Speaker 9: Right.
• 1:27:36
  Speaker 8: Like, if it's the Panama video, all right. So David
• 1:27:39
  Speaker 8: Lee Roth's already there to begin with. But it invoked
• 1:27:42
  Speaker 8: David Lee Roth in a way that I wasn't expecting.
• 1:27:44
  Speaker 12: Surprise!
• 1:27:45
  Speaker 6: I got the pasties in the video, but does drawing
• 1:27:48
  Speaker 6: an X on a butt cheek censored enough to make
• 1:27:51
  Speaker 6: it okay?
• 1:27:52
  Speaker 1: I guess so. What I thought was it's actually, like,
• 1:27:55
  Speaker 1: It's very fitting knowing the source material.
• 1:27:59
  Speaker 11: Yeah.
• 1:27:59
  Speaker 1: Because it's the least creative or... It's like... It's aimed
• 1:28:03
  Speaker 1: at such a... wide group of soccer moms that really
• 1:28:07
  Speaker 1: know absolutely nothing about that world that i'm like you
• 1:28:11
  Speaker 1: almost need an x on the ass to understand what's
• 1:28:14
  Speaker 1: going on in this movie.
• 1:28:15
  Speaker 2: Well our soccer mom's gonna start dressing in assless chaps
• 1:28:18
  Speaker 2: with x.
• 1:28:18
  Speaker 1: At home probably because they're weird because.
• 1:28:21
  Speaker 6: I'm all for that yeah you know i'm with you
• 1:28:25
  Speaker 6: i can't.
• 1:28:25
  Speaker 2: Explain why it's but it's.
• 1:28:27
  Speaker 13: Such a Ugh. Like, it was just such a watered-down
• 1:28:31
  Speaker 13: version of this.
• 1:28:32
  Speaker 1: I'm like, if you showed anybody who read or watched
• 1:28:35
  Speaker 1: the movie 50 shades of gray any sort of actual
• 1:28:39
  Speaker 1: snm behavior they would fucking lose their mind like it's
• 1:28:43
  Speaker 1: the most watered down shit and then you find somebody
• 1:28:45
  Speaker 1: who's really into that and they will make you cry
• 1:28:48
  Speaker 1: just telling.
• 1:28:48
  Speaker 6: A story even the one girl who's supposed to be
• 1:28:52
  Speaker 6: tied up was really just laying on a nest she's
• 1:28:54
  Speaker 6: just laughing.
• 1:28:55
  Speaker 11: Gene yeah and that was in fact dakota johnson right
• 1:28:58
  Speaker 11: oh I believe that it was.
• 1:28:59
  Speaker 8: I don't know.
• 1:29:00
  Speaker 11: I believe that it was. The star of Fifty Shades
• 1:29:01
  Speaker 11: of Grey.
• 1:29:02
  Speaker 1: She wasn't yelling at her mom, so I didn't recognize her.
• 1:29:04
  Speaker 18: Mom!
• 1:29:05
  Speaker 1: God, I'm trying to be naked. Leave me alone.
• 1:29:08
  Speaker 11: Oh, boy.
• 1:29:11
  Speaker 16: Oh, boy.
• 1:29:12
  Speaker 1: So.
• 1:29:13
  Speaker 8: Did any of you guys actually see Fifty Shades of Grey?
• 1:29:15
  Speaker 1: I did.
• 1:29:16
  Speaker 7: What?
• 1:29:17
  Speaker 18: Give me.
• 1:29:19
  Speaker 8: Okay, here's the thing.
• 1:29:21
  Speaker 11: I was going to go and see it in the theater,
• 1:29:23
  Speaker 11: and my boyfriend begged me not to. He was like,
• 1:29:26
  Speaker 11: just don't be seen there. Just don't do it. Don't
• 1:29:29
  Speaker 11: be around other people that are watching that movie. Just
• 1:29:32
  Speaker 11: don't expose yourself. He was like, just watch it at
• 1:29:35
  Speaker 11: home like all the perverts do. And I was like, well,
• 1:29:37
  Speaker 11: I'm not going to watch it because I'm a pervert.
• 1:29:39
  Speaker 11: I'm going to watch it because I watch everything. And
• 1:29:41
  Speaker 11: if I'm going to make fun of something, I need
• 1:29:43
  Speaker 11: to know what I'm making fun of. And so I
• 1:29:46
  Speaker 11: did in fact get it on On Demand. It literally
• 1:29:51
  Speaker 11: took me three days. It was like an assignment that
• 1:29:55
  Speaker 11: somebody had forced me. I watched it for like 45
• 1:29:58
  Speaker 11: minutes and I was like, I literally can't watch it anymore.
• 1:30:01
  Speaker 11: I can't be exposed to it right now. Like, my
• 1:30:03
  Speaker 11: brain is shrinking. Like, I have to walk away from it.
• 1:30:05
  Speaker 12: I'll come back to it.
• 1:30:07
  Speaker 13: Welcome to most of America's thought process.
• 1:30:08
  Speaker 11: I'll come back to it when I have to. I mean,
• 1:30:10
  Speaker 11: it was other level tedious.
• 1:30:14
  Speaker 6: My best friend's wife has read all the books multiple
• 1:30:17
  Speaker 6: times and loves them. She went to see the movie
• 1:30:20
  Speaker 6: and she said basically the same thing that you're saying.
• 1:30:23
  Speaker 6: She said it was very hard to watch. And not
• 1:30:25
  Speaker 6: because it was graphic or anything like that, but it
• 1:30:28
  Speaker 6: was just very tedious.
• 1:30:29
  Speaker 13: It's so boring.
• 1:30:30
  Speaker 6: And her thing was the whole series of books is
• 1:30:33
  Speaker 6: about sex, but you don't get any of that in
• 1:30:36
  Speaker 6: the movie. And she left the theater just feeling like,
• 1:30:41
  Speaker 6: what did I just waste my time on?
• 1:30:44
  Speaker 1: Well, I mean, I haven't read the books, nor do
• 1:30:45
  Speaker 1: I want to. But what little I know about them,
• 1:30:49
  Speaker 1: I'm like, it's just bad. fan fiction and again like
• 1:30:53
  Speaker 1: by somebody who doesn't really know anything about snm behavior
• 1:30:57
  Speaker 1: so it's just kind of like here's some stuff that
• 1:31:00
  Speaker 1: soccer moms will respond to because they don't know anything
• 1:31:03
  Speaker 1: either like it's i think it's the the falseness of
• 1:31:06
  Speaker 1: it that annoys me the most i'm like if you
• 1:31:09
  Speaker 1: were actually somebody into this and you wrote a good
• 1:31:11
  Speaker 1: story centered around this world that's cool because it's a
• 1:31:15
  Speaker 1: part of society that most people don't know anything about
• 1:31:18
  Speaker 1: and and You might be able to, like, you know,
• 1:31:20
  Speaker 1: make people understand, hey, these are actual real people. This
• 1:31:23
  Speaker 1: is just their thing. Like, deal with it.
• 1:31:25
  Speaker 13: Where this just seems like it's doing.
• 1:31:27
  Speaker 1: Nothing but capitalizing on the most scandalous, in quotation marks,
• 1:31:31
  Speaker 1: version of it that isn't at all really scandalous.
• 1:31:34
  Speaker 8: You just sounded like you pitched that movie to somebody. Like,
• 1:31:37
  Speaker 8: that's probably how the pitch went down for turning the
• 1:31:40
  Speaker 8: book into a movie.
• 1:31:41
  Speaker 1: It's not the most creative writer. It probably was.
• 1:31:44
  Speaker 11: Is there going to be other levels? So this was
• 1:31:46
  Speaker 11: Twilight fan fiction.
• 1:31:47
  Speaker 2: Yeah.
• 1:31:47
  Speaker 11: Is there then going to be Fifty Shades of Grey
• 1:31:49
  Speaker 11: fan fiction?
• 1:31:50
  Speaker 1: Knockoff that then gets picked up as a novel and
• 1:31:53
  Speaker 1: as a movie?
• 1:31:53
  Speaker 13: Because it probably will.
• 1:31:54
  Speaker 11: And has the author of Twilight, who's Mormon, right? Has
• 1:31:56
  Speaker 11: she responded to Fifty.
• 1:31:58
  Speaker 13: Shades of Grey? I mean, she's already kind of an
• 1:32:00
  Speaker 13: iffy writer, too.
• 1:32:01
  Speaker 12: Oh, no.
• 1:32:01
  Speaker 11: Obviously, it's crap being based on crap.
• 1:32:04
  Speaker 13: We're sub-levels of this bullshit writing.
• 1:32:06
  Speaker 11: No, we're going to go deep until we dissolve as
• 1:32:08
  Speaker 11: a society.
• 1:32:08
  Speaker 13: Oh, good lord.
• 1:32:10
  Speaker 1: There's no hope for humanity.
• 1:32:12
  Speaker 8: On that note.
• 1:32:14
  Speaker 13: Weekend, you can do better.
• 1:32:17
  Speaker 8: Lauryn Hill and David Lee Roth, that's the mashup.
• 1:32:21
  Speaker 1: I am up for that.
• 1:32:23
  Speaker 8: I want them to do a whole album together. David
• 1:32:26
  Speaker 8: Lee Rawls is like, I am the boy part. And
• 1:32:28
  Speaker 8: Lauryn Hill is like, I am the girl part. And
• 1:32:30
  Speaker 8: then they just, they're crazy feeds off of each other.
• 1:32:32
  Speaker 8: And it's fucking, that album will be the best album
• 1:32:35
  Speaker 8: ever made.
• 1:32:35
  Speaker 2: That would be such a confusing concert experience.
• 1:32:38
  Speaker 12: Yes.
• 1:32:39
  Speaker 8: Oh my God, that would be the best.
• 1:32:41
  Speaker 2: And the thing is, I know going in, I would
• 1:32:42
  Speaker 2: be like, what, who?
• 1:32:44
  Speaker 6: And I think leaving, I would be like, I don't
• 1:32:48
  Speaker 6: know why I spent that money, but I'm glad.
• 1:32:50
  Speaker 8: And then the rest of Van Halen comes out and
• 1:32:52
  Speaker 8: Lauryn Hill sings Hot for Teacher while Eddie Van Halen
• 1:32:54
  Speaker 8: plays the guitar solo. Oh, my God.
• 1:32:57
  Speaker 12: Oh, my God.
• 1:32:57
  Speaker 13: As long as he doesn't talk.
• 1:33:00
  Speaker 8: Whatever, man. This is a brilliant idea.
• 1:33:04
  Speaker 1: Other than that, the whole first half. I don't know
• 1:33:06
  Speaker 1: if I want Eddie Van Halen involved.
• 1:33:08
  Speaker 8: Oh, come on, dude. There's only one reason that guitar
• 1:33:11
  Speaker 8: is sitting over there. When I was four years old,
• 1:33:14
  Speaker 8: Eddie Van Halen existed and it formed me as a
• 1:33:17
  Speaker 8: human being. He still exists.
• 1:33:19
  Speaker 13: He has no soul. Does that count?
• 1:33:21
  Speaker 6: The thing is, I think the more you don't want
• 1:33:23
  Speaker 6: Eddie Van Halen to be part of it, the more
• 1:33:24
  Speaker 6: he's going.
• 1:33:26
  Speaker 8: That's a fact.
• 1:33:27
  Speaker 1: There's a reason there's still a Van Van Halen, because
• 1:33:29
  Speaker 1: he won't stop. I don't care if I have to
• 1:33:31
  Speaker 1: bring in four other people. I don't even have to
• 1:33:33
  Speaker 1: be in the band, but.
• 1:33:33
  Speaker 13: There will be a Van Halen just to piss you
• 1:33:35
  Speaker 13: people off.
• 1:33:36
  Speaker 8: If it helps, I follow his dog on Facebook. Cody
• 1:33:40
  Speaker 8: Van Halen. That is an adorable little dog.
• 1:33:43
  Speaker 13: That's pretty funny, actually. I'm sure.
• 1:33:44
  Speaker 8: And all the posts are like, my daddy thinks I'm
• 1:33:47
  Speaker 8: the cutest dog. And it's like a dog asleep on
• 1:33:48
  Speaker 8: Eddie Van Halen's face. I love it.
• 1:33:50
  Speaker 1: I'm team Valerie Bertinelli on this.
• 1:33:53
  Speaker 14: Well, whatever.
• 1:33:57
  Speaker 1: We might have had good times at one point, but
• 1:33:58
  Speaker 1: I don't want anything to do with them now. Moving
• 1:34:03
  Speaker 1: on to what little we talked about things earlier. This
• 1:34:07
  Speaker 1: is one of the better scores to work with. This
• 1:34:10
  Speaker 1: is Sicario. And this track is The Beast, composed by
• 1:34:15
  Speaker 1: Johan Johansson.
• 1:36:07
  Speaker 12: I'm sorry.
• 1:36:07
  Speaker 15: I'm sorry.
• 1:37:13
  Speaker 1: I really liked it.
• 1:37:15
  Speaker 13: Again, I feel like the score is probably better than
• 1:37:19
  Speaker 13: the movie.
• 1:37:19
  Speaker 1: I'm sure you've seen it, what's your take on it?
• 1:37:21
  Speaker 11: Yeah, I didn't listen to the score because I did
• 1:37:23
  Speaker 11: not want to revisit the film in any way, shape,
• 1:37:25
  Speaker 11: or form. I just didn't want it seeping back into
• 1:37:27
  Speaker 11: my subconscious.
• 1:37:27
  Speaker 1: See, I didn't hate it that much, but I feel
• 1:37:29
  Speaker 1: like it's got such good things going for it and
• 1:37:32
  Speaker 1: somehow still doesn't make it all work.
• 1:37:34
  Speaker 11: I hated Sicario, mostly because the whole premise of the
• 1:37:38
  Speaker 11: film is flawed. I don't even understand.
• 1:37:40
  Speaker 8: What is the premise?
• 1:37:41
  Speaker 11: Well, I don't want to give any spoilers. Basically, there's
• 1:37:43
  Speaker 11: this woman, and she's brought into this situation, and she
• 1:37:46
  Speaker 11: doesn't super know what's going on. And as an audience,
• 1:37:48
  Speaker 11: we don't super know what's going on. And when we
• 1:37:50
  Speaker 11: ultimately find out what's going on, it makes no sense
• 1:37:52
  Speaker 11: that they would have recruited her.
• 1:37:53
  Speaker 1: Like zero all of the time she's there you're like
• 1:37:56
  Speaker 1: she really does not need to be here which again
• 1:37:59
  Speaker 1: negates the entire movie the most.
• 1:38:00
  Speaker 11: Ill suited person these are very high level people who
• 1:38:02
  Speaker 11: are really good at recruiting and this was the wrong
• 1:38:05
  Speaker 11: person to pick on every level.
• 1:38:06
  Speaker 1: And it's more frustrating because Emily Blunt's great like she's
• 1:38:10
  Speaker 1: always good and stuff but like and she's good here
• 1:38:13
  Speaker 1: but and all the cast members she has nothing to
• 1:38:15
  Speaker 1: do and I'm like I feel bad for her and
• 1:38:18
  Speaker 1: her character because neither know why they're in this movie
• 1:38:22
  Speaker 1: yeah So, yeah, I feel like the movie has its problems,
• 1:38:25
  Speaker 1: but I felt like the score is, and again, I
• 1:38:28
  Speaker 1: kind of noticed it during the movie. but listening to
• 1:38:30
  Speaker 1: it separately even more so it probably works in conjunction
• 1:38:34
  Speaker 1: with the movie better if i go back and re-watch
• 1:38:36
  Speaker 1: it which it's arguable but um i feel like it's
• 1:38:41
  Speaker 1: it's got it's got a weird sound that i'm like
• 1:38:44
  Speaker 1: i don't feel like it's unusual.
• 1:38:45
  Speaker 13: In scores overall.
• 1:38:46
  Speaker 1: In the last 15 years or so it's probably something
• 1:38:50
  Speaker 1: we've heard a lot more of but i feel like
• 1:38:52
  Speaker 1: it's not the kind of thing that usually gets nominated
• 1:38:53
  Speaker 1: for oscars so i think that's kind of cool.
• 1:38:56
  Speaker 8: Yeah the song the beast specifically sounds like an animal
• 1:38:59
  Speaker 8: carcass covered in gasoline which i really appreciated i that's
• 1:39:02
  Speaker 8: how i like that contextualize things an animal carcass covered
• 1:39:07
  Speaker 8: in gasoline.
• 1:39:08
  Speaker 1: When it's got that subtle build-up so it really does
• 1:39:11
  Speaker 1: kind of ease its way in to the point where
• 1:39:13
  Speaker 1: you're kind of like oh this might be like any
• 1:39:15
  Speaker 1: other oscar okay wait what is it doing now like
• 1:39:17
  Speaker 1: it It takes that weird turn and it gets super
• 1:39:20
  Speaker 1: oppressive and then it kind of just pulses and builds. Again,
• 1:39:24
  Speaker 1: it's very effective the way that it's done. Again, nice job, Johan.
• 1:39:33
  Speaker 1: I don't know about the director. Or writing, really. I
• 1:39:35
  Speaker 1: think writing's probably the first place to start on that movie.
• 1:39:39
  Speaker 1: It's just uneven.
• 1:39:40
  Speaker 11: Yeah, it's a poorly written movie. Characters don't make any sense.
• 1:39:43
  Speaker 11: The choices they make, it's very frustrating.
• 1:39:46
  Speaker 1: Especially when there's great performance.
• 1:39:48
  Speaker 8: Is this the only thing this movie's nominated for?
• 1:39:51
  Speaker 11: Surely to God, right?
• 1:39:54
  Speaker 1: I'm trying to think of, like, sound editing kind of stuff.
• 1:39:57
  Speaker 1: I mean, there's explosions. That usually gets you sound editing
• 1:39:59
  Speaker 1: and mixing, right? I mean, it seems like a thing.
• 1:40:02
  Speaker 8: Now, pay attention, 007.
• 1:40:04
  Speaker 1: So, to round it up with maybe the, I don't know,
• 1:40:08
  Speaker 1: one of the, if not the most long-running themes, types
• 1:40:14
  Speaker 1: of song to be handed over the years... I mean,
• 1:40:18
  Speaker 1: that's what I think is weird that the, and this
• 1:40:22
  Speaker 1: is writing on the wall by Sam Smith, from Spectre,
• 1:40:25
  Speaker 1: and the fact that the James Bond theme song has
• 1:40:29
  Speaker 1: become such a huge status thing in the music industry,
• 1:40:35
  Speaker 1: that not only do they hand it to likely top names,
• 1:40:38
  Speaker 1: but they will go to multiple huge musicians and bands
• 1:40:43
  Speaker 1: and they all have to kind of fight it out
• 1:40:45
  Speaker 1: for the title. Like, whoever actually gets picked. And they've
• 1:40:48
  Speaker 1: done that. Truthfully, they've always done that. Like, I didn't know,
• 1:40:52
  Speaker 1: going all the way back, there's like a, I think
• 1:40:55
  Speaker 1: it's Thunderball that Johnny Cash did the song for, and
• 1:40:59
  Speaker 1: they threw it out. What?
• 1:41:01
  Speaker 7: What?
• 1:41:02
  Speaker 1: And, like, you can find it now, but at the time, like,
• 1:41:04
  Speaker 1: he thought, hey, I'm going to be the theme to Thunderball.
• 1:41:07
  Speaker 1: And then they, nope, and they move on and they
• 1:41:09
  Speaker 1: pick somebody else.
• 1:41:09
  Speaker 11: So who was picked? Who beat out Johnny Cash?
• 1:41:14
  Speaker 1: I'll report back.
• 1:41:15
  Speaker 2: Was this the, I haven't seen Spectre, was this the
• 1:41:18
  Speaker 2: actual theme song?
• 1:41:19
  Speaker 13: This is the theme song.
• 1:41:21
  Speaker 6: Not a bad song, but kind of lightweight for a
• 1:41:24
  Speaker 6: James Bond theme.
• 1:41:25
  Speaker 11: Yeah. And yet, the first theme to go number one
• 1:41:28
  Speaker 11: in the UK.
• 1:41:30
  Speaker 2: Interesting.
• 1:41:30
  Speaker 11: Not in the U.S.
• 1:41:32
  Speaker 8: It's not even in my top five all-time James Bond themes.
• 1:41:35
  Speaker 2: So not even Live and Let Die went number one.
• 1:41:39
  Speaker 1: No, no.
• 1:41:39
  Speaker 11: Interesting.
• 1:41:40
  Speaker 1: The closest was last time.
• 1:41:41
  Speaker 13: Yeah. But You Don't Kill, I think, is the only
• 1:41:43
  Speaker 13: other one that got close.
• 1:41:45
  Speaker 11: Well, it was the only number one in the U.S.
• 1:41:46
  Speaker 11: and continues to be. And it got to be number
• 1:41:49
  Speaker 11: two in the U.K., clearly. And it got to be
• 1:41:51
  Speaker 11: number two in the U.K. And I can't remember who else. Oh, well,
• 1:41:54
  Speaker 11: the last one shared that, the adult one.
• 1:41:56
  Speaker 13: Adele got the number two in the U.K.
• 1:41:58
  Speaker 8: Where did The Living Daylights fall? That was a-ha, right?
• 1:42:01
  Speaker 1: It was a-ha.
• 1:42:02
  Speaker 8: That song was all right. It was no, again, view
• 1:42:05
  Speaker 8: to a kill.
• 1:42:06
  Speaker 1: Who I heard, and I can't remember if it was
• 1:42:07
  Speaker 1: one of the Broccoli guys or if it was just
• 1:42:10
  Speaker 1: the music producer that had been there for years. And
• 1:42:12
  Speaker 1: he'd worked with all these, like going back to like Goldfinger,
• 1:42:15
  Speaker 1: like worked with all the people over the years. And
• 1:42:17
  Speaker 1: they were like, well, you know, who was like the
• 1:42:19
  Speaker 1: hardest to get along with?
• 1:42:20
  Speaker 13: He was like, a-ha.
• 1:42:21
  Speaker 1: Like just like immediately, oh no, a-ha, those guys. They
• 1:42:24
  Speaker 1: were a lot of trouble.
• 1:42:25
  Speaker 13: So like, I'm like, really? Of all the divas in
• 1:42:28
  Speaker 13: the industry, a-ha?
• 1:42:30
  Speaker 18: Okay.
• 1:42:31
  Speaker 8: It's because they were given an amount of success that
• 1:42:33
  Speaker 8: they all knew they didn't fucking deserve. They were like,
• 1:42:36
  Speaker 8: we know we're bullshit, but everybody seems to like us,
• 1:42:39
  Speaker 8: so whatever.
• 1:42:40
  Speaker 1: That's the best cartoon show I've ever seen. What are
• 1:42:43
  Speaker 1: you talking about?
• 1:42:45
  Speaker 11: So apparently Tom Jones supplanted the Johnny Cash season.
• 1:42:48
  Speaker 1: Which again, those are two huge guys of the moment
• 1:42:51
  Speaker 1: to go to both of them and go, hey, write
• 1:42:54
  Speaker 1: a song for us. Now screw you. Which they've done
• 1:42:56
  Speaker 1: a lot of times of it. Because I remember... Whichever the,
• 1:43:00
  Speaker 1: what is it? Tomorrow Never Dies. I had to think
• 1:43:03
  Speaker 1: of the song to get it out. Because I remember
• 1:43:06
  Speaker 1: hearing early on, oh, this Bond theme is going to
• 1:43:10
  Speaker 1: Katie Lang. Which I was like, what an interesting way
• 1:43:13
  Speaker 1: for a Bond theme. All right.
• 1:43:15
  Speaker 13: Well, they kept it.
• 1:43:17
  Speaker 1: It's in the movie.
• 1:43:17
  Speaker 13: It's the closing credits. Because they scored Madonna. Which, by
• 1:43:22
  Speaker 13: the way, is not a good Madonna song.
• 1:43:23
  Speaker 6: What's the old tradition with the Bond? Is it the
• 1:43:27
  Speaker 6: worse the theme, the better the movie?
• 1:43:30
  Speaker 2: No, there's something to that. Again, I don't really follow
• 1:43:35
  Speaker 2: the Bond.
• 1:43:35
  Speaker 1: Movies, so I couldn't tell you.
• 1:43:36
  Speaker 13: It's such a weird spectrum.
• 1:43:38
  Speaker 1: Not spectrum. It's such a weird... Yeah, just all of them.
• 1:43:41
  Speaker 1: The songs and the movies are just such.
• 1:43:43
  Speaker 13: A weird group to approach.
• 1:43:45
  Speaker 1: Yeah, I don't know what to do with any of them.
• 1:43:48
  Speaker 12: I don't know.
• 1:43:48
  Speaker 1: Again, Sam Smith's really good. Again, a guy with a
• 1:43:52
  Speaker 1: great voice. did seem kind of ill suited to come
• 1:43:56
  Speaker 1: into a bond theme. But once again, I was like,
• 1:43:58
  Speaker 1: we're dealing with a different era of bond now. I'm like,
• 1:44:01
  Speaker 1: that's cool. Maybe we'll do something different with it. But
• 1:44:04
  Speaker 1: I think it's just hard coming off the last one.
• 1:44:08
  Speaker 1: Like that's the thing, like to have to follow Adele
• 1:44:11
  Speaker 1: in general, let alone for that thing that was so
• 1:44:14
  Speaker 1: huge that like kind of, I mean, she already was huge,
• 1:44:17
  Speaker 1: but like that kind of took it to the top level.
• 1:44:20
  Speaker 1: Like she's can't get any bigger than she is right now.
• 1:44:22
  Speaker 1: And it like, I feel like Skyfall pushed it right there.
• 1:44:27
  Speaker 13: So I don't know.
• 1:44:27
  Speaker 1: Then trying to follow that Whoever You Are, plus it
• 1:44:30
  Speaker 1: feels like it's a little weaker.
• 1:44:32
  Speaker 13: Song in general, just the song.
• 1:44:33
  Speaker 1: Yeah. So I don't know. I think from both those angles,
• 1:44:36
  Speaker 1: it just puts him in a rough spot.
• 1:44:39
  Speaker 6: Well, you know, that Adele song sounded like a James
• 1:44:42
  Speaker 6: Bond thing when you think of James Bond.
• 1:44:44
  Speaker 2: This one does not at all.
• 1:44:46
  Speaker 1: But, I mean, they have a lot of those, too. Like,
• 1:44:49
  Speaker 1: I kind of forget. I get into watching one of them.
• 1:44:51
  Speaker 1: I'm like, oh, yeah, the song. I start watching the weird, again,
• 1:44:56
  Speaker 1: looking at half-naked silhouette chicks the whole time. And I'm like, oh, yeah,
• 1:44:59
  Speaker 1: this happens every time.
• 1:45:02
  Speaker 15: I forget.
• 1:45:11
  Speaker 1: But back to my original point on this, you did
• 1:45:14
  Speaker 1: see they went to radio. And said, write us a
• 1:45:17
  Speaker 1: Bond song.
• 1:45:18
  Speaker 8: For this movie?
• 1:45:19
  Speaker 1: For this movie.
• 1:45:20
  Speaker 8: I didn't know Radiohead still gave a shit about anything.
• 1:45:22
  Speaker 1: You wouldn't think so. Once again, it does not seem
• 1:45:24
  Speaker 1: like the direction you would normally go with a Bond theme.
• 1:45:27
  Speaker 13: They did it.
• 1:45:28
  Speaker 1: They put their own spin on it. It definitely sounds
• 1:45:31
  Speaker 1: like a Radiohead song, but you can hear them trying
• 1:45:33
  Speaker 1: to be like, and here's a little bit for Bond people.
• 1:45:36
  Speaker 1: It's got a moment or two where you're like, oh, okay, yeah,
• 1:45:38
  Speaker 1: they're trying a little. As much as Radiohead tries.
• 1:45:41
  Speaker 8: Any song from OK Computer or Kid A would have
• 1:45:43
  Speaker 8: worked as a James Bond film. They could have just said,
• 1:45:46
  Speaker 8: all right, we'll take this song.
• 1:45:47
  Speaker 7: Thanks.
• 1:45:48
  Speaker 1: But once again, to be a huge enough property that
• 1:45:52
  Speaker 1: you can go to Radiohead, write us an original song.
• 1:45:55
  Speaker 1: nah we're not gonna use it yeah like that's that's
• 1:45:58
  Speaker 1: amazing at this point so i.
• 1:46:00
  Speaker 11: Don't know i like it when sam smith gets awards
• 1:46:03
  Speaker 11: because he's so dorky and sweet and.
• 1:46:05
  Speaker 1: Grateful again i like him as a person everything i
• 1:46:09
  Speaker 1: know about him he is like again that's kind of
• 1:46:11
  Speaker 1: why i like him he's super dorky and like just
• 1:46:13
  Speaker 1: very sappy about his love songs to the point that like.
• 1:46:17
  Speaker 13: Yeah, this is what I wrote. I was totally into it.
• 1:46:22
  Speaker 13: What are you going to do? I was like, that's
• 1:46:24
  Speaker 13: the way you're supposed to write a love song. That's awesome.
• 1:46:26
  Speaker 11: He's very earnest.
• 1:46:27
  Speaker 1: Yeah.
• 1:46:28
  Speaker 8: I'm not familiar with his work.
• 1:46:30
  Speaker 1: He's very talented. And so we'll go out with Sam Smith.
• 1:46:36
  Speaker 1: Anything to pass along to people before?
• 1:46:38
  Speaker 8: I just want to remind people of the Lauryn Hill,
• 1:46:41
  Speaker 8: David Lee Roth.
• 1:46:43
  Speaker 1: You better get that going before somebody steals it out
• 1:46:45
  Speaker 1: from under you.
• 1:46:47
  Speaker 8: I don't care. I'm giving that... Anybody who can put
• 1:46:49
  Speaker 8: the two of them in a room together.
• 1:46:50
  Speaker 1: I propose you as the Eddie Van Halen in this scenario.
• 1:46:53
  Speaker 1: I'll do it. You need to be playing guitar while
• 1:46:55
  Speaker 1: you get those two to get to it. Get working
• 1:46:57
  Speaker 1: on it.
• 1:46:58
  Speaker 6: I see David Lee Roth being a lot more enthusiastic
• 1:47:00
  Speaker 6: about this than me.
• 1:47:02
  Speaker 8: Probably about everything. They don't have to be enthusiastic. The
• 1:47:05
  Speaker 8: guys in Van Halen barely even talk as it is.
• 1:47:07
  Speaker 8: They're not... He's not a stranger to animosity, so.
• 1:47:12
  Speaker 1: Probably not because he's an old dude now, but I
• 1:47:14
  Speaker 1: really hope that David LeRoy wakes up and is like, wow, cereal!
• 1:47:18
  Speaker 13: And he's just all day long. Everything's exciting.
• 1:47:21
  Speaker 8: He lives that. He absolutely is that.
• 1:47:23
  Speaker 13: He kicks his head and has a bowl of Froot Loops.
• 1:47:25
  Speaker 2: I'm sure he wears spandex in the shower.
• 1:47:27
  Speaker 1: I would hope he gets out of bed wearing that
• 1:47:30
  Speaker 1: chapped look.
• 1:47:33
  Speaker 8: This idea has replaced my previous idea of Best Collaboration Ever,
• 1:47:37
  Speaker 8: which was Outcast with Ani DiFranco. I thought those two
• 1:47:41
  Speaker 8: together would make an amazing fucking album. And I don't,
• 1:47:44
  Speaker 8: I'm just kind of like so-so on both of them, but.
• 1:47:46
  Speaker 3: Together, yes.
• 1:47:47
  Speaker 1: Are you at least DJing these ideas? You need to
• 1:47:49
  Speaker 1: be like playing parties with this now.
• 1:47:51
  Speaker 8: I'm terrible at execution. I'm great at concepting.
• 1:47:54
  Speaker 1: Can I just steal them?
• 1:47:55
  Speaker 2: Yes.
• 1:47:56
  Speaker 8: If you can do something with this.
• 1:47:57
  Speaker 2: He just wanted to have them, bro.
• 1:47:58
  Speaker 8: I just wanted to have them.
• 1:47:59
  Speaker 2: I don't give a.
• 1:48:00
  Speaker 8: Shit about how it happens.
• 1:48:01
  Speaker 1: I am the person because of this show and a
• 1:48:04
  Speaker 1: certain member of the cast kept asking why isn't there
• 1:48:07
  Speaker 1: a mashup of fancy with fancy and i did it
• 1:48:12
  Speaker 1: for fuck's sakes so the Drake Fancy is now mixed
• 1:48:17
  Speaker 1: with the Reba Fancy. And I think it's still on YouTube.
• 1:48:21
  Speaker 1: I don't think I pulled it down because I want
• 1:48:22
  Speaker 1: people to suffer. But it's mostly just cuts back and forth.
• 1:48:27
  Speaker 13: And then I spent way too much time on it.
• 1:48:30
  Speaker 1: It's ridiculous. I mean, you realize who you're talking to.
• 1:48:33
  Speaker 13: I'm dumb enough to do it.
• 1:48:36
  Speaker 22: All right.
• 1:48:36
  Speaker 1: So on that note, Mr.
• 1:48:38
  Speaker 15: Sam Smith.
• 1:48:42
  Speaker 19: So with that, I will remind you, get a life,
• 1:48:44
  Speaker 19: we'll provide the soundtrack.
• 1:48:55
  Speaker 10: I've been here before But always hit the floor I've
• 1:49:09
  Speaker 10: spent a lifetime running in And.
• 1:49:13
  Speaker 15: I always get away But with you I'm feeling.
• 1:49:18
  Speaker 10: Something That makes me want to stay I'm prepared for
• 1:49:27
  Speaker 10: this I never shoot to miss.
• 1:49:38
  Speaker 15: But I feel.
• 1:49:39
  Speaker 10: Like a storm is coming If I'm gonna make.
• 1:49:43
  Speaker 15: It through the day, then.
• 1:49:46
  Speaker 10: There's no more use in running.
• 1:49:49
  Speaker 1: This is something I gotta face.
• 1:49:51
  Speaker 15: If I risk it all, could you break my heart?
• 1:50:09
  Speaker 15: How do I breathe when you're not here?
• 1:50:12
  Speaker 18: I'm suffocating.
• 1:50:14
  Speaker 28: I want to feel love right through my blood.
• 1:50:18
  Speaker 15: Tell me, is this where I give it all up?
• 1:50:22
  Speaker 15: For you, I have to risk it all.
• 1:50:30
  Speaker 8: Cause the road.
• 1:50:42
  Speaker 10: Billions of stars That haunt me from my past As
• 1:50:55
  Speaker 10: the stars begin to gather And the light begins to
• 1:51:01
  Speaker 10: fade When all hope begins to shatter.
• 1:51:06
  Speaker 1: Know that I will be.
• 1:51:11
  Speaker 12: If I risk it.
• 1:51:17
  Speaker 15: All Could you break my fall? How do I live?
• 1:51:26
  Speaker 18: How do I breathe?
• 1:51:27
  Speaker 28: When you're not here I'm suffocating I wanna feel love
• 1:51:33
  Speaker 28: Run through my blood Tell me is this where I
• 1:51:37
  Speaker 28: give it all up For you I have to risk
• 1:51:43
  Speaker 28: it all. Because the writing's on the wall. The writing's
• 1:51:56
  Speaker 28: on the wall. The writing's on the wall.
• 1:52:21
  Speaker 15: How do I breathe when you're not here?
• 1:52:24
  Speaker 1: I'm suffocating.
• 1:52:26
  Speaker 28: I want to feel love run through my blood. Tell me,
• 1:52:31
  Speaker 28: is this worth giving it all up?
• 1:52:34
  Speaker 15: How do I live? How do I breathe when you're
• 1:52:38
  Speaker 15: not here?
• 1:52:39
  Speaker 28: I'm suffocating. I want to feel love run through my blood.
• 1:52:45
  Speaker 28: Tell me, is this worth giving.
• 1:52:47
  Speaker 18: It all up for you?
• 1:52:51
  Speaker 15: I have to risk it all Cause the writing's on
• 1:53:06
  Speaker 15: The wall.
• 1:53:12
  Speaker 8: Which one was the Tina Turner one? Was it Licensed
• 1:53:18
  Speaker 8: Kill maybe? Or the Sean Connery 80s one?
• 1:53:23
  Speaker 13: See, that doesn't even count officially.
• 1:53:26
  Speaker 27: Revenge, it's a kiss This time I won't miss Now
• 1:53:34
  Speaker 27: I've got.
• 1:53:36
  Speaker 9: You This episode is a production of Movie Meltdown, produced
• 1:54:01
  Speaker 9: and edited by the Auditude Studios. For more on how
• 1:54:03
  Speaker 9: to sponsor or support the show, email producer at moviemeltdown.com.
• 1:54:08
  Speaker 26: Aloha!
• 1:54:10
  Speaker 5: Aloha!
• 1:54:12
  Speaker 18: Talk hard!