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Intoducing: Filmspotting Podcast - Top 5 Spider-Man Scenes · Table Read

• 0:21
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• 0:42
  Speaker 2: What kind of a show you guys putting on here today?
• 0:45
  Speaker 1: You're not interested in art?
• 0:46
  Speaker 2: Now? No, Look, we're going to do this thing.
• 0:48
  Speaker 3: We're going to have a.
• 0:48
  Speaker 4: Conversation from Chicago. This is film Spotting. I'm Adam Kembinar
• 0:54
  Speaker 4: and I'm Josh Larson.
• 0:56
  Speaker 2: You are amazing. Some people don't think so, but you
• 1:04
  Speaker 2: are nice style am Do I get to say thank you?
• 1:08
  Speaker 2: This time?
• 1:09
  Speaker 4: With the world's Spidey sense activated, Marvel's brand new Day
• 1:13
  Speaker 4: opens this weekend. We take a look back at twenty
• 1:16
  Speaker 4: five years of the Web Slinger on screen with our
• 1:19
  Speaker 4: top five Spider Man scenes.
• 1:21
  Speaker 1: With no Power comes Great Responsibility, Let's go with that.
• 1:24
  Speaker 1: That more ahead on film Spotting.
• 1:34
  Speaker 4: Welcome to film Spotting, Josh. We are back from our
• 1:37
  Speaker 4: Odysseus review standalone review and our Odyssean Like Adventure, our
• 1:43
  Speaker 4: annual trek up to Spring Green and American Players Theater
• 1:47
  Speaker 4: saw some great theater, got to hang out with Sam
• 1:49
  Speaker 4: on the Wisconsin River, not quite as treacherous as what
• 1:52
  Speaker 4: Odysseus had to put up with.
• 1:54
  Speaker 1: It wasn't we made it. We survived. No one drifted away.
• 1:57
  Speaker 1: I think that's the main danger on that slow river
• 1:59
  Speaker 1: is you're not paying attention and before you know it,
• 2:01
  Speaker 1: you're one hundred yards down. But that is such a
• 2:04
  Speaker 1: beautiful place, and it had been a couple of years
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  Speaker 1: since Debbie and I were able to get up there
• 2:10
  Speaker 1: with you all, so it was so good to be back.
• 2:12
  Speaker 1: A lot, a lot had changed all of our kids.
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  Speaker 1: It's like we're walking around mostly with adults now. Yes,
• 2:20
  Speaker 1: and a lot had changed. Apt still doing wonderful theater.
• 2:24
  Speaker 1: I think Casey and Diana was maybe the best, certainly
• 2:29
  Speaker 1: one of the best productions we've seen I've seen since
• 2:32
  Speaker 1: we've been there. And uh, yeah, it was good.
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  Speaker 4: It was a good time.
• 2:35
  Speaker 1: It already feels like it was a month or two ago,
• 2:38
  Speaker 1: but I know that's how the summers work.
• 2:40
  Speaker 4: I guess it really does. And if you really do
• 2:43
  Speaker 4: want to see what it was like on the Wisconsin River. Yes,
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  Speaker 4: we did post a picture on the Film Spotting and
• 2:48
  Speaker 4: Larsen on film social media. Is you got some fine
• 2:51
  Speaker 4: feedback on your hat, Josh. Always always play it safe,
• 2:54
  Speaker 4: safety first, be prepared. Yes. Later in the show, we
• 2:58
  Speaker 4: will have a new poll for you asking you to
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  Speaker 4: name the definitive Spider Man movie. I am eager to
• 3:04
  Speaker 4: see those results. Maybe it will break out along generational lines, Josh,
• 3:08
  Speaker 4: maybe it won't. We have a reminder that Film Spotting
• 3:12
  Speaker 4: is available as a video podcast. You can watch us
• 3:14
  Speaker 4: talk over at YouTube dot com slash film Spotting. We
• 3:18
  Speaker 4: are anticipating Spider Man and New Day. This is a film, Josh,
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  Speaker 4: that you did just see. I believe a night or
• 3:26
  Speaker 4: two ago you were able to get to the critic
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  Speaker 4: screening in Chicago. I am seeing it this weekend. We
• 3:32
  Speaker 4: do plan to talk about it next week here on
• 3:35
  Speaker 4: Film Spotting. So anticipatory programming, we thought why not look
• 3:40
  Speaker 4: back at this entire I was going to say cycle,
• 3:45
  Speaker 4: but there's been so many iterations and different studios making movies.
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  Speaker 4: Of course, we're going to look back at all of
• 3:50
  Speaker 4: these Spider Man movies and see if we can cull
• 3:52
  Speaker 4: together our individual top five lists. I anticipated that we
• 3:55
  Speaker 4: would have some overlap, and it seems that we do,
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  Speaker 4: and that's fine. I am eager to see where we
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  Speaker 4: fall on these films and where we fall in terms
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  Speaker 4: of why we like these individual scenes. So we will
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  Speaker 4: get to that as we make our way through our list.
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  Speaker 4: We have our top five Spider Man scenes. Any preface
• 4:16
  Speaker 4: to your list, just.
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  Speaker 1: That this was way easier for me than our super
• 4:21
  Speaker 1: Man Moments list, which we just did last summer, and
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  Speaker 1: the main reason for that. Spider Man has always been
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  Speaker 1: my superhero. If I were asked to pick the one
• 4:32
  Speaker 1: that I followed the longest, been most enamored with, and
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  Speaker 1: you know I mentioned before on the show, I think
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  Speaker 1: that when I was a kid, this is who I
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  Speaker 1: wanted to be, This is who I pretended to be.
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  Speaker 1: It worked out well that for whatever reason, climbing was
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  Speaker 1: my thing as a kid. You name it, trees, jungle, gyms, sheds,
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  Speaker 1: if you could climb, it was I was trying to
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  Speaker 1: do that. And after seeing Spider Man, yeah, I added
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  Speaker 1: the walls of our home to that list and would
• 5:00
  Speaker 1: try to be Spider Man to my mom's sugar in
• 5:04
  Speaker 1: This is probably done while wearing my Spider Man under Rus,
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  Speaker 1: which I know have been mentioned on the show before.
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  Speaker 1: Do you think we need to explain under Rus to
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  Speaker 1: younger generations at this point?
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  Speaker 4: Adam, It's sad because I don't think they make him anymore, right,
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  Speaker 4: And they were wonderful.
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  Speaker 1: They were amazing. Yeah, they late seventies, early eighties, I
• 5:24
  Speaker 1: think meant sort of as pajamas or underwear. If yeah,
• 5:29
  Speaker 1: they met a T shirt, a T shirt top matching
• 5:32
  Speaker 1: bottoms in your favorite superheroes costume. Essentially, what more could
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  Speaker 1: you know a seven eight year old want. I mean,
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  Speaker 1: it was just wonderful. So yeah, definitely had spider Man
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  Speaker 1: under Rus. And I think this was interesting compared to Superman,
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  Speaker 1: where I had to do a lot of research and
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  Speaker 1: kind of bring myself up to speed on the history
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  Speaker 1: of this character. When we talked about doing this list,
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  Speaker 1: immediately four scenes came to mind, just right in the
• 6:02
  Speaker 1: first conversation I had with you know, with family and
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  Speaker 1: to my head as well. That's rare for me for
• 6:07
  Speaker 1: a top five. You know, I'll have one or two
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  Speaker 1: maybe depending on the topic. And I ended up just
• 6:12
  Speaker 1: sticking with those four. I you know, considered others, gave
• 6:16
  Speaker 1: it some more thought, but it was one of those
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  Speaker 1: instances where if it's you know, pop culture personal like this,
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  Speaker 1: you kind of have to go with what hits you first.
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  Speaker 1: And then I did a little bit of searching for
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  Speaker 1: what could be my number five and I wound up
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  Speaker 1: being a moment that a listener reminded me of that
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  Speaker 1: I'm happy to make as a pick as well. I
• 6:35
  Speaker 1: think it's a great pick. So yeah, this was a
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  Speaker 1: fun one.
• 6:38
  Speaker 4: Basically, I will get into this a little bit more
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  Speaker 4: as we get into the lists. I did have to
• 6:44
  Speaker 4: do one piece of homework. I don't know that I
• 6:46
  Speaker 4: should have done this homework, Josh, but I had to
• 6:49
  Speaker 4: do one piece of homework because as I was preparing,
• 6:52
  Speaker 4: I got a little nervous. I thought, despite my love
• 6:55
  Speaker 4: for Spider Man, and I think we've accurately dated ourselves
• 6:59
  Speaker 4: here and everyone is clear. But we didn't grow up
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  Speaker 4: with Spider Man movies. We grew up with Spider Man
• 7:04
  Speaker 4: the comic book. We grew up with Spider Man TV shows,
• 7:07
  Speaker 4: the animated cartoons, Justice League. So Spider Man was a
• 7:11
  Speaker 4: big part of our childhoods. But Superman. We had Superman
• 7:16
  Speaker 4: the movie that was the that was the originator of
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  Speaker 4: a lot of these comic book superhero movies, and that was,
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  Speaker 4: of course the first one we saw. So I think
• 7:26
  Speaker 4: I was a lot like you and that I immediately
• 7:28
  Speaker 4: became obsessed with Superman. But then Spider Man came in,
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  Speaker 4: and there was something about the playfulness of Spider Man.
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  Speaker 4: There was something about for me, there was the strength
• 7:41
  Speaker 4: despite the fact that he was such a live figure,
• 7:43
  Speaker 4: but he was so strong, he was so powerful that
• 7:48
  Speaker 4: that is something that appealed to me. And who didn't
• 7:50
  Speaker 4: want for whatever reason? What was it about web slinging
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  Speaker 4: that just seems so cool? You just wanted to be
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  Speaker 4: able to do it because it was it was shooting
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  Speaker 4: something which as young boys you have to admit we're
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  Speaker 4: drawn to for whatever reason. But it wasn't It wasn't destructive,
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  Speaker 4: it wasn't it was a hyper aggressive.
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  Speaker 1: I think that's it. And part of it is, you know,
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  Speaker 1: I can remember too, just like swings, just swinging on
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  Speaker 1: or the like the swing that just had the disc
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  Speaker 1: on the bottom, so there was a single rope. You know,
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  Speaker 1: I would rarely be sitting on that, I would be
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  Speaker 1: hanging on it. And this was probably influenced by seeing
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  Speaker 1: the Spider Man cartoon or something like that. I think
• 8:28
  Speaker 1: as we got a little older, Indiana Jones played into
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  Speaker 1: this swimming from the whip. Yeah right, It's all sort
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  Speaker 1: of this same motion that we gravitated towards, and then
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  Speaker 1: you see this superhero doing it and it's like, oh man.
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  Speaker 4: I was worried though, because I was thinking we didn't
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  Speaker 4: even review, or we avoided for a long time reviewing
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  Speaker 4: one of the last Spider Man movies with Tom Holland,
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  Speaker 4: and I knew or I was pretty certain I hadn't
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  Speaker 4: seen at least one of the Andrew Garfield There are
• 9:00
  Speaker 4: only two. I knew I hadn't seen at least one
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  Speaker 4: of the Andrew Garfield movies, and I thought it was
• 9:04
  Speaker 4: possible I hadn't seen both of them because I couldn't
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  Speaker 4: remember either of them. So I'm sitting here going, am
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  Speaker 4: I just not going to bring up the fact that
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  Speaker 4: we're doing a top five Spider Man scenes and I
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  Speaker 4: don't think I've seen like three of these ten movies
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  Speaker 4: or something. I'm straining credulity here. And then I did
• 9:21
  Speaker 4: the research and I realized that I have seen all
• 9:25
  Speaker 4: of these movies we did talk about, I think almost
• 9:28
  Speaker 4: all of them on the show. The only exception, including
• 9:31
  Speaker 4: the Amazing Spider Man the first Garfield Stone that was
• 9:34
  Speaker 4: reviewed on the show, and I did see it, just
• 9:37
  Speaker 4: have no recollection of it. The only one I did
• 9:40
  Speaker 4: not see was the Amazing Spider Man two. So the second,
• 9:45
  Speaker 4: the second one with Garfield and Stone rough. I did
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  Speaker 4: that homework, Josh, and it will come up. It will
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  Speaker 4: come up in the context of this top five. But no,
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  Speaker 4: it did not make it did not make my top five.
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  Speaker 4: I will just leave it at that. So now I
• 10:00
  Speaker 4: have now seen all of them. I'm a completist.
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  Speaker 1: Good on you, good for doing your due diligence. I
• 10:06
  Speaker 1: look forward to your letterboxed ranking soon.
• 10:08
  Speaker 4: Yes, that is coming next. So let's go ahead and
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  Speaker 4: jump in your number five Spider Man scene.
• 10:16
  Speaker 1: So yeah, this suggestion comes from a longtime listener, Jonathan Anderson,
• 10:20
  Speaker 1: and and it comes from Spider Man two, directed by
• 10:25
  Speaker 1: Sam Raimie. It's Spider Man being lifted by the crowd
• 10:29
  Speaker 1: in the train, and I think that particular moment is
• 10:35
  Speaker 1: my pick, the lifting and carrying him, But it works
• 10:38
  Speaker 1: because it's prefaced by this great action sequence that Raimi stages.
• 10:43
  Speaker 1: They're directly connected. So Toby Maguire here, Spider man's at
• 10:48
  Speaker 1: the front of this elevated train, high up above the city.
• 10:50
  Speaker 1: It's careening out of control toward the end of the track,
• 10:53
  Speaker 1: which essentially the track just ends there, and so if
• 10:56
  Speaker 1: you go past it, essentially like a cliff spider. Tries
• 11:00
  Speaker 1: a couple of things to stop it, eventually casting webs
• 11:03
  Speaker 1: onto the buildings on either side of the tracks and
• 11:06
  Speaker 1: then holding them with his arms as he's at the
• 11:08
  Speaker 1: very front, kind of turning himself into this human break,
• 11:13
  Speaker 1: and the effort nearly kills him. So this is when
• 11:19
  Speaker 1: the train stops. He succeeded, but he's completely exhausted and
• 11:23
  Speaker 1: loses consciousness and almost falls forward off the platform, and
• 11:27
  Speaker 1: that's when the passenger's hands. So the people who are
• 11:30
  Speaker 1: in the car they reach out of the broken windows
• 11:32
  Speaker 1: at the front of the train, just one and then another,
• 11:35
  Speaker 1: another another, and they kind of grab him and hold
• 11:38
  Speaker 1: him there, catch him, they save him, and then they
• 11:41
  Speaker 1: bring him into the car, pass him over their heads
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  Speaker 1: to the back of the train where they lay him down.
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  Speaker 1: He doesn't have his mask on, and so a man observes,
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  Speaker 1: I think this speaks to a little bit of what
• 11:51
  Speaker 1: you were talking about, Adam, about why were we so
• 11:53
  Speaker 1: drawn to this character. A man says, he's just a kid,
• 11:57
  Speaker 1: just a kid. He's just a kid, and all of them,
• 12:03
  Speaker 1: my son and I think as kids too. Obviously a teenager,
• 12:07
  Speaker 1: but still like this was different than Superman, who was
• 12:10
  Speaker 1: not only an adult but like an alien. Right, this
• 12:12
  Speaker 1: is a kid. So in the scene he does revive
• 12:15
  Speaker 1: and then a couple of really little kids they hand
• 12:17
  Speaker 1: him his mask and you know, promise we won't tell
• 12:19
  Speaker 1: anybody here. There's that contract between Spider Man and the
• 12:23
  Speaker 1: people that he protects, and I think that's what this
• 12:27
  Speaker 1: whole sequence really speaks to the intimate relationship that this
• 12:31
  Speaker 1: particular superhero has to the people he's protecting. And I
• 12:36
  Speaker 1: do think this scene. I like how they set it
• 12:37
  Speaker 1: up where during that whole action portion, as Spider Man
• 12:41
  Speaker 1: is trying different things to get the train to stop,
• 12:44
  Speaker 1: some of the passengers kind of get snarky with him,
• 12:47
  Speaker 1: like what didn't work, and there's a back and forth.
• 12:50
  Speaker 1: So there's already been this connection established. These aren't just
• 12:53
  Speaker 1: faceless victims basically, and it made me wonder, I wonder
• 12:58
  Speaker 1: if if Spider Man is the superhero who people in
• 13:01
  Speaker 1: the story feel the closest to, almost on a personal level.
• 13:05
  Speaker 1: I mean, he is the friendly neighborhood Spider Man, right,
• 13:07
  Speaker 1: it's right there, And I do think there's something unique,
• 13:12
  Speaker 1: maybe there's someone I'm forgetting about that where these aren't.
• 13:15
  Speaker 1: You know, people talk about superheroes being the contemporary, modern
• 13:19
  Speaker 1: day mythical guy odds, and a lot of times that's
• 13:23
  Speaker 1: how we think of them, right, these superior beings, but
• 13:27
  Speaker 1: not in the case of Spider Man, and a key
• 13:29
  Speaker 1: portion of that is the relationship he has with the
• 13:32
  Speaker 1: people on the streets that he walks and serves. So yeah,
• 13:37
  Speaker 1: I think that's I think it's a great pick of Jonathan's.
• 13:39
  Speaker 1: Definitely one of my favorite scenes among all the movies.
• 13:42
  Speaker 1: So I'm gonna start there.
• 13:44
  Speaker 4: That would have been one of the top three or
• 13:47
  Speaker 4: four that immediately came to mind for me, and that
• 13:49
  Speaker 4: I would have I would have said, am I going
• 13:52
  Speaker 4: with this because it it in a way seemed obvious
• 13:54
  Speaker 4: to me, and I mean obvious just because it was
• 13:56
  Speaker 4: one of the first ones I thought of. Am I
• 13:59
  Speaker 4: Am I giving enough thought to this for me? Or
• 14:02
  Speaker 4: is this a greatest hit? And it has to be
• 14:06
  Speaker 4: considered Josh and I am giving it an honorable mention.
• 14:10
  Speaker 4: It is a moving scene. And you're right about the
• 14:12
  Speaker 4: intimate relationship between Spider Man and the city and its
• 14:16
  Speaker 4: citizens is such a crucial part of these films. Obviously,
• 14:19
  Speaker 4: the whole saga I don't know, and I'd love to
• 14:22
  Speaker 4: hear from some New Yorkers on this. I don't know
• 14:26
  Speaker 4: as I rewatch scenes whether or not the way New
• 14:30
  Speaker 4: Yorkers are depicted is one of the strengths of these films.
• 14:35
  Speaker 4: It definitely seems to for comedic reasons. It seems to
• 14:40
  Speaker 4: resort to the most obvious cliches.
• 14:44
  Speaker 1: My guess is people would say the Spider Verse movies
• 14:47
  Speaker 1: get this the closest, yes, is what I would think.
• 14:50
  Speaker 4: That's probably that's probably it's cartoonish. Otherwise, though, so that imagery,
• 14:56
  Speaker 4: which which seems almost like Christ's imagery obviously, with him
• 15:01
  Speaker 4: being held aloft with his with his arms out as
• 15:04
  Speaker 4: he's being taken back in is really a stunning image.
• 15:08
  Speaker 4: That line about him being just a kid is one
• 15:11
  Speaker 4: that sticks with you. And the last thing I'll say
• 15:14
  Speaker 4: is that even in the really bad Spider Man movies
• 15:18
  Speaker 4: and some of these films that we considered are bet
• 15:22
  Speaker 4: there are moments like that. Maybe not on that level,
• 15:26
  Speaker 4: that's why this one's on your list and why it's
• 15:27
  Speaker 4: an honorable mention for me. But but every every one
• 15:31
  Speaker 4: of these movies gives you at least one visual moment
• 15:35
  Speaker 4: like that, that that you can that you can take
• 15:37
  Speaker 4: away from it. And and that's maybe that's why something
• 15:40
  Speaker 4: about Spider Man and these films at least stays in
• 15:43
  Speaker 4: our imagination and why we want to do lists like
• 15:46
  Speaker 4: this one. My number five is one that involves dialogue
• 15:52
  Speaker 4: and no no great imagery, Josh, unless you consider a
• 15:57
  Speaker 4: couple of really effectively deployed close ups, and I suppose
• 16:02
  Speaker 4: I will. I'm gonna start with a Spider Man scene
• 16:05
  Speaker 4: that doesn't involve anyone in a Spider Man suit, nor
• 16:08
  Speaker 4: anyone in any kind of superhero or super villain suit
• 16:12
  Speaker 4: at all. There's certainly no cgi. There's no spectacle to
• 16:16
  Speaker 4: it whatsoever, unless you consider watching Michael Keaton perform on
• 16:21
  Speaker 4: screen a spectacle. When I think of these Tom holland
• 16:28
  Speaker 4: mcu Spider Man movies, the scene that I have to
• 16:32
  Speaker 4: admit is most memorable for me. It's not any of
• 16:34
  Speaker 4: these big show stopping action sequences, and it's still a
• 16:37
  Speaker 4: treat to watch. It's the dad talk between Keaton's Adrian
• 16:42
  Speaker 4: Tombs and Holland's Peter Parker when he's taken his daughter
• 16:48
  Speaker 4: out on a date and they're in the back seat
• 16:50
  Speaker 4: together as Keaton's Vulture is chauffeuring them around, and he
• 16:56
  Speaker 4: has put together what Peter has already put together, having
• 16:59
  Speaker 4: recognized him because he doesn't wear a mask, that he
• 17:02
  Speaker 4: is the villain, he's the bad guy. But here Adrian's
• 17:06
  Speaker 4: putting it together that through some of the conversation that
• 17:10
  Speaker 4: Peter Parker, his daughter's date, is in fact his nemesis.
• 17:13
  Speaker 4: Now Spider Man.
• 17:15
  Speaker 2: Does she though no what? So she does good close
• 17:21
  Speaker 2: to the verst. I'd admire that I've got a few
• 17:24
  Speaker 2: secrets to my own. All the reasons I didn't want
• 17:28
  Speaker 2: my daughter to date.
• 17:31
  Speaker 4: Comic book villains is why I also wanted to give
• 17:33
  Speaker 4: a little bit of love to this scene and not
• 17:34
  Speaker 4: just give it to Spider Man. As we're doing our
• 17:36
  Speaker 4: top five Spider Man moments, Comic book villains on screen
• 17:41
  Speaker 4: are just so hard to pull off. When you think
• 17:43
  Speaker 4: about the best super hero movies period, so often aren't
• 17:49
  Speaker 4: the ones that are near the top of the list,
• 17:52
  Speaker 4: They're the ones that have the most memorable villains. It's
• 17:56
  Speaker 4: like three right off the top of my head. The
• 17:57
  Speaker 4: Dark Knight with the Joker. Eric Killmonger is one of
• 18:02
  Speaker 4: the great villains in Black Panther. Spider Man two. You
• 18:05
  Speaker 4: just talked about it, and doc oc Al for Molina
• 18:09
  Speaker 4: is a key part of that. And you might be
• 18:12
  Speaker 4: listening and saying, well, yeah, duh. The villains, they're the antagonists.
• 18:15
  Speaker 4: They're a huge part of the movie. They're major characters.
• 18:17
  Speaker 4: They're driving the action. Of course, the villains are important.
• 18:21
  Speaker 4: That's my point, though it should be obvious, and yet
• 18:23
  Speaker 4: there are plenty of examples where they the filmmakers try
• 18:28
  Speaker 4: to provide some psychological motivation and mostly hope the cool
• 18:32
  Speaker 4: effects will wow the audience. They give him a cool
• 18:35
  Speaker 4: suit or whatever and some cool powers and that's about it.
• 18:39
  Speaker 4: And this will come up again when I do bring
• 18:42
  Speaker 4: up the amazing Spider Man two Electro anyone. You know,
• 18:47
  Speaker 4: I think Electro kind of fits this bill and is
• 18:49
  Speaker 4: one of the reasons why no offense to Jamie Fox,
• 18:52
  Speaker 4: who I think gives it his best, but he is
• 18:55
  Speaker 4: not a good villain. And you watch this scene between
• 19:01
  Speaker 4: Keaton and Holland, and Keaton is just delivering what I
• 19:05
  Speaker 4: said at the time, was a masterclass in menace. It's
• 19:08
  Speaker 4: so intense without ever raising his voice. He's so scary,
• 19:13
  Speaker 4: despite having a smile on his face for much of
• 19:16
  Speaker 4: the conversation. I mean, it's a twisted smile, but it's
• 19:19
  Speaker 4: a smile.
• 19:20
  Speaker 2: The nothing. It's more important than family. You saved my
• 19:24
  Speaker 2: daughter's life, and I could never forget something like that.
• 19:27
  Speaker 2: So I'm gonna give you one chance. Are you ready?
• 19:31
  Speaker 2: Who walks through those doors? You forget any of this happened,
• 19:35
  Speaker 2: And don't you ever ever interfere with my business again,
• 19:41
  Speaker 2: because if you do, I'll kill you and everybody you love.
• 19:48
  Speaker 2: I'll kill you dead. That's what I'll do to protect
• 19:51
  Speaker 2: my family. Pete.
• 19:52
  Speaker 4: You understand villains, if you really go back and think
• 19:57
  Speaker 4: about him, they almost always have a grudge, of course,
• 20:01
  Speaker 4: against someone, and it's usually Spider Man or whoever they're
• 20:04
  Speaker 4: fighting or against the world, and they believe they're justified
• 20:08
  Speaker 4: in their actions. Why else are they doing whatever? Why
• 20:12
  Speaker 4: else are they doing it? Unless maybe I can't believe
• 20:15
  Speaker 4: I'm mentioning it again, unless maybe they're the Rhino Paul
• 20:18
  Speaker 4: Giamatti's character and the amazing Spider Man too. He just
• 20:21
  Speaker 4: seems to want to Reacavoc for no good reason. But
• 20:24
  Speaker 4: with the Vulture, it's very clear the Keaton tapped into
• 20:29
  Speaker 4: a character who just wants to take care of his
• 20:32
  Speaker 4: family and believes that his business has been screwed over
• 20:36
  Speaker 4: by the government. And when you watch the movie, it's
• 20:39
  Speaker 4: hard to argue with him. You absolutely understand the predicament
• 20:43
  Speaker 4: that he's in and you sympathize with him. He certainly
• 20:48
  Speaker 4: feels like, even though it's just these two guys sitting
• 20:50
  Speaker 4: in a car, he feels like a real threat to
• 20:53
  Speaker 4: Spider Man here. As a villains, he's of course a
• 20:57
  Speaker 4: threat despite just being a man. That's it. He's not
• 21:01
  Speaker 4: imbued with any special powers. He is just a man.
• 21:05
  Speaker 4: All of these other villains are almost all the other
• 21:07
  Speaker 4: villains you can think of, have been transformed in some
• 21:10
  Speaker 4: way and are not really human or fully human anymore.
• 21:16
  Speaker 4: Vulture stands out because of his humanity and you you
• 21:21
  Speaker 4: see it come through in his overprotectiveness of his family
• 21:27
  Speaker 4: in this scene. Like I said, it was one of
• 21:29
  Speaker 4: the first few scenes that came to mind for me,
• 21:31
  Speaker 4: maybe because it's one of the most recent, but of
• 21:33
  Speaker 4: all the MCU incarnations, this one had to be on
• 21:37
  Speaker 4: my list.
• 21:38
  Speaker 1: Yeah. It came to mind to me immediately as well, unfairly,
• 21:41
  Speaker 1: probably because I walked into the family room maybe two
• 21:45
  Speaker 1: or three weeks ago, and this was playing on the TV.
• 21:48
  Speaker 1: This is what my kids were watching, and I just
• 21:50
  Speaker 1: had to stop. I had to sit down. I had
• 21:53
  Speaker 1: to finish it, because.
• 21:54
  Speaker 4: It's really a great scene.
• 21:56
  Speaker 1: As a matter of fact, I've got it higher on
• 21:58
  Speaker 1: my list. So I'm gonna do some jumping around here
• 22:01
  Speaker 1: and I'll get back to my number four, and right
• 22:05
  Speaker 1: now talk about my number three, which is where I
• 22:07
  Speaker 1: have the dad talk. It is. If we have to
• 22:11
  Speaker 1: give a majority of the credit, it is Keaton. You're right,
• 22:14
  Speaker 1: this is a character, as you laid out well, so
• 22:18
  Speaker 1: smartly conceived and motivated, believably so. And then what Keaton
• 22:24
  Speaker 1: does with it, I mean, those who need cgi When
• 22:27
  Speaker 1: you have Michael Keaton's eyebrows, you're you're good. That's definitely
• 22:32
  Speaker 1: a huge part of the tension in this scene. I
• 22:36
  Speaker 1: do think Holland is also quite good here though, even
• 22:39
  Speaker 1: though it's not his moment. This is Keaton's moment. But
• 22:43
  Speaker 1: I like how he plays Peter trying to be cool,
• 22:47
  Speaker 1: but clearly not only intimidated but scared yes on a
• 22:52
  Speaker 1: multiple multiple reasons because of his relationship with Vulture's daughter. Right,
• 22:59
  Speaker 1: Laura Harrier is the actress here, and she's at the
• 23:04
  Speaker 1: beginning of the scene, and I love the dynamic there.
• 23:06
  Speaker 1: She's like, Okay, I'm gonna go go in and leave
• 23:10
  Speaker 1: you two alone to have your talk. And this is
• 23:12
  Speaker 1: I think this is what's so great about this scene
• 23:14
  Speaker 1: as well. Is the genius, the simple genius of the
• 23:18
  Speaker 1: of Spider Man Homecoming, let's say, to a lesser degree,
• 23:21
  Speaker 1: far from home. And I think this gets lost a
• 23:23
  Speaker 1: bit in No Way Home, but in Spider Man Homecoming
• 23:26
  Speaker 1: is that it was a high school movie first and
• 23:28
  Speaker 1: a Spider Man movie second, and so your emotional investment
• 23:34
  Speaker 1: is equally at least, let's say, in that scene, in
• 23:38
  Speaker 1: this familiar, uncomfortable dynamic of being, you know, a teen
• 23:43
  Speaker 1: couple in a car with one of your parents, and
• 23:47
  Speaker 1: what you're going to talk about, how your parent is
• 23:50
  Speaker 1: going to act, how your boyfriend or girlfriend is going
• 23:52
  Speaker 1: to act, however that goes Already, you've got natural anxiety,
• 23:56
  Speaker 1: and then the context that this story brings into it
• 23:59
  Speaker 1: just amps that up. And I think that's the line
• 24:01
  Speaker 1: that Holland plays really well in the movie overall, but
• 24:03
  Speaker 1: here in particular, he's anxious as the boyfriend and he's
• 24:08
  Speaker 1: anxious as the hero facing his nemesis here, So it
• 24:14
  Speaker 1: goes back to that, you know, he's just a kid
• 24:16
  Speaker 1: thing we already touched on, right, that's definitely at play here.
• 24:20
  Speaker 1: I think the best about these Holland movies are the
• 24:23
  Speaker 1: way they kind of capture the acute anxiety of that. So, yeah,
• 24:28
  Speaker 1: totally with you there. My number three pick is the
• 24:30
  Speaker 1: dad talk.
• 24:31
  Speaker 2: Now you're going in there, you show my daughter a
• 24:35
  Speaker 2: good time, Okay, just not too good.
• 24:39
  Speaker 4: Part of the fun of that scene as a viewer
• 24:43
  Speaker 4: is the way it plays with our expectations and our
• 24:48
  Speaker 4: understanding of these familiar scenes. And that's a familiar cultural scene,
• 24:56
  Speaker 4: whether we've been involved in it ourselves or not. We
• 24:59
  Speaker 4: understand the dad talk, as the dad in that scene
• 25:03
  Speaker 4: even refers to it, I'm going to have the dad talk,
• 25:05
  Speaker 4: and the daughter knows what that means as she gets
• 25:07
  Speaker 4: out of the car, and it doesn't go the way
• 25:13
  Speaker 4: it should go at all, So it subverts that. But
• 25:17
  Speaker 4: then also it subverts the superhero villain hero conversation confrontation
• 25:27
  Speaker 4: scene because There are plenty of examples in those movies
• 25:31
  Speaker 4: where and in Spider Man movies where one of the
• 25:34
  Speaker 4: two in the scene is kind of on to the
• 25:37
  Speaker 4: other and their real identity, and so they have that
• 25:40
  Speaker 4: teasing conversation where they're kind of trying to suss it
• 25:43
  Speaker 4: out or they're prodding the other one a little bit,
• 25:46
  Speaker 4: but it doesn't really go anywhere. They don't actually they
• 25:49
  Speaker 4: don't say it. They don't bluntly say what they're really
• 25:53
  Speaker 4: thinking and feeling, and they don't actually call the other
• 25:57
  Speaker 4: person out on it. And in this scene, they just
• 26:01
  Speaker 4: he just puts the pleasantries completely aside and does that.
• 26:05
  Speaker 4: So I think it it just confounds our expectations in
• 26:07
  Speaker 4: that way and a really in a really great way.
• 26:12
  Speaker 4: You may have already seen it, Josh, but I need
• 26:14
  Speaker 4: to go see Spider Man Brand New day in order
• 26:17
  Speaker 4: to review it here next week on the show. That's
• 26:20
  Speaker 4: one I am excited to see in the theater. Have
• 26:24
  Speaker 4: a couple of kids in my house actually who are
• 26:26
  Speaker 4: excited to see the new Spider Man movie as well,
• 26:29
  Speaker 4: so I'll have company for that one. It will be
• 26:33
  Speaker 4: fun to watch that now through the lens of having
• 26:35
  Speaker 4: revisited all of these films and thinking about some things
• 26:38
  Speaker 4: in common.
• 26:40
  Speaker 1: There are definitely some callbacks to a few of the
• 26:43
  Speaker 1: moments we talked about.
• 26:45
  Speaker 4: The Invite is the big movie I still haven't caught
• 26:48
  Speaker 4: in the theater, and you can still see that at
• 26:51
  Speaker 4: Regal Cinemas. And here's one more I'm gonna call out
• 26:54
  Speaker 4: because we were just in Spring Green and we were
• 26:56
  Speaker 4: hanging out seeing some theater with our producer, Sam, and
• 26:59
  Speaker 4: he talked about a musical that I've never seen any
• 27:02
  Speaker 4: kind of production of. It's playing on the big screen,
• 27:07
  Speaker 4: hades Town the musical. Sam swears by how good this
• 27:14
  Speaker 4: musical is. And this stars the original Broadway cast Hadestown
• 27:18
  Speaker 4: the Musical available now on the big screen, and you
• 27:22
  Speaker 4: can see that for free with Regal Unlimited, the all
• 27:26
  Speaker 4: you can watch movie subscription pass that pays for itself
• 27:28
  Speaker 4: in just two visits. If you sign up for Regal Unlimited,
• 27:32
  Speaker 4: just use the code film Spot twenty six to get
• 27:34
  Speaker 4: fifteen percent off. Regal Unlimited is the only truly limitless
• 27:39
  Speaker 4: movie subscription pass. You can see any standard two D
• 27:42
  Speaker 4: movie anytime with no blockout dates or restrictions, and you
• 27:45
  Speaker 4: don't just save money on tickets. You also save on snacks.
• 27:49
  Speaker 4: You get ten percent off all non alcoholic concessions. Again,
• 27:53
  Speaker 4: just sign up now in the regal app or at
• 27:55
  Speaker 4: the link in our podcast notes and use code film
• 27:59
  Speaker 4: Spot twenty six to get your discount. So we've got
• 28:08
  Speaker 4: your number five, we've got my number five, and we've
• 28:12
  Speaker 4: got your number three. That means then we do have
• 28:14
  Speaker 4: to go back to my number four, and we're going
• 28:17
  Speaker 4: to stick with recent vintage Spider Man. And this is
• 28:22
  Speaker 4: from Spider Man into the Spider Verse, and the sequence
• 28:27
  Speaker 4: is my name is Peter B. Parker Jake Johnson when
• 28:32
  Speaker 4: we learn about the backstory of his character, and I
• 28:37
  Speaker 4: guess this is this is what I'm looking for or
• 28:41
  Speaker 4: something that I need from these scenes in order to
• 28:44
  Speaker 4: make my list. Anyway, Josh, that subversion of expectations. We're
• 28:49
  Speaker 4: not used to seeing Spider Man with the five o'clock
• 28:52
  Speaker 4: shadow or with the B in his name, so something's
• 28:56
  Speaker 4: a little bit off. Our spider sense is tingling a little.
• 28:59
  Speaker 4: But he more or less looks like the Spider Man
• 29:03
  Speaker 4: we know from the movies. Everything's checking out. He even says,
• 29:09
  Speaker 4: let's do this one last time, suggesting that he's gonna
• 29:12
  Speaker 4: give us the familiar yarn. Let's just bring you up
• 29:15
  Speaker 4: to speed. But it's everything you already know. And as
• 29:18
  Speaker 4: he's saying it, the story in the imagery lines up,
• 29:22
  Speaker 4: including a scene we may hear about later, right the
• 29:24
  Speaker 4: upside down kiss, the famous upside down kiss with MJ
• 29:30
  Speaker 4: and his dialogue. The narration includes, you see, I saved
• 29:35
  Speaker 4: the city, fell in love. Okay, I got married. Well
• 29:38
  Speaker 4: that's that's maybe a new wrinkle. But I can buy
• 29:41
  Speaker 4: that saved the city some more, maybe too much. I'm
• 29:45
  Speaker 4: still I'm still buying this. I'm thinking, congratulations, Spidey. I'm glad.
• 29:48
  Speaker 4: I'm glad things worked out. You fell in love, and then.
• 29:52
  Speaker 3: I'm pretty sure you know the rest. You see, I
• 29:54
  Speaker 3: saved the city, fell in love, I got married, saved
• 29:57
  Speaker 3: the city some more, maybe too much. My marriage got testy,
• 30:00
  Speaker 3: made some dicey money choices. Don't invest in a spider
• 30:03
  Speaker 3: themed restaurant. Then, like fifteen years past, bob blah blah,
• 30:06
  Speaker 3: super barn. I broke my back, A drunk flew into
• 30:09
  Speaker 3: my face. I buried at May. My wife and I
• 30:12
  Speaker 3: split up, but I handled it like a chap.
• 30:16
  Speaker 4: It's the it's the part about the marriage getting testy
• 30:20
  Speaker 4: and making some see money choices and him warning us
• 30:24
  Speaker 4: Josh to not invest in any Spider themed restaurants. Did
• 30:28
  Speaker 4: you know, Josh, that seahorses mate for life. I can't
• 30:31
  Speaker 4: imagine a seahorse seeing another seahorse and making it work.
• 30:35
  Speaker 4: This this is funny stuff, genuinely funny stuff. And even
• 30:41
  Speaker 4: though those movies, these superhero movies, are largely about the
• 30:46
  Speaker 4: conflict between between two identities, trying to reconcile being a
• 30:51
  Speaker 4: hero versus just being a man, I don't think any
• 30:55
  Speaker 4: of us actually do really consider the possibility that any
• 31:00
  Speaker 4: of these, any of these heroes are ever going to
• 31:02
  Speaker 4: be washed up. And so this movie makes us think
• 31:06
  Speaker 4: about that, and the ironic jextapositions of the visuals and
• 31:12
  Speaker 4: Peter's narration. I remember seeing as in the theater and
• 31:16
  Speaker 4: lack good out loud at it, but I handled it
• 31:19
  Speaker 4: like a champ. And he's sobbing in the shower, And
• 31:22
  Speaker 4: no matter how many times I get hit, I always
• 31:24
  Speaker 4: get back up, and he's just, you know, crouched in bed,
• 31:27
  Speaker 4: completely despondent. The way too that Jake Johnson lowers his
• 31:34
  Speaker 4: voice at the beginning. He's talking in that normal kind
• 31:37
  Speaker 4: of Jake Johnson way. But then when he says the
• 31:39
  Speaker 4: one and Only Spider.
• 31:41
  Speaker 3: Man, the one and only Spider.
• 31:44
  Speaker 4: Man, as if he knows as the character, he has
• 31:47
  Speaker 4: to say it with some authority, but he also he
• 31:51
  Speaker 4: also means it. It's not just out of some sense
• 31:54
  Speaker 4: of duty, it's not performative. He wants to put that
• 31:59
  Speaker 4: authority behind it. I think that's why Johnson is so
• 32:03
  Speaker 4: perfect in that role as Peter B. Parker, is that
• 32:05
  Speaker 4: he is inherently an ironic actor. There's always an element
• 32:09
  Speaker 4: of winking at the audience, but he does not overplay
• 32:13
  Speaker 4: it at all. There is something still deeply genuine that
• 32:18
  Speaker 4: he brings to certainly this character. And I think a
• 32:21
  Speaker 4: scene for me maybe a microcosm of Spider Verse, where
• 32:25
  Speaker 4: I remember not only finding it legitimately hilarious, but also
• 32:31
  Speaker 4: I was shaking my head at how the filmmakers took something,
• 32:36
  Speaker 4: took a narrative and took imagery that was so familiar
• 32:40
  Speaker 4: and made it feel brand new.
• 32:42
  Speaker 1: Yeah. That quality of Jake Johnson's performance I think works
• 32:46
  Speaker 1: really well with the progression you get in this scene
• 32:49
  Speaker 1: because it does start out, as you were saying, with
• 32:51
  Speaker 1: the familiar things and showing us what we knew or
• 32:54
  Speaker 1: we've heard in other iterations. And then there's the slight diversion.
• 32:58
  Speaker 1: He starts to use euphemisms right like the money thing.
• 33:01
  Speaker 1: He doesn't exactly say what happened. It's way worse than
• 33:04
  Speaker 1: the phrase uses. And then, as you said, by the
• 33:07
  Speaker 1: time the scene comes to its end, what he's saying
• 33:10
  Speaker 1: is exactly the opposite of all we're seeing. So that
• 33:13
  Speaker 1: vocal quality works well with this progression towards complete denial
• 33:16
  Speaker 1: that the visuals that the visuals are giving us. Yes,
• 33:20
  Speaker 1: so smart, such a smart movie, able to be funny
• 33:24
  Speaker 1: and thrilling in so many ways. And you know, even
• 33:27
  Speaker 1: this character I think works well because he is a
• 33:31
  Speaker 1: supporting character to this larger story we're telling, and so
• 33:35
  Speaker 1: we can get these qualities before they become rote or
• 33:38
  Speaker 1: too familiar or too much of a joke. Instead, they're
• 33:42
  Speaker 1: informing the larger narrative in crucial ways but also really
• 33:46
  Speaker 1: entertaining ones like this scene. All right, so I need
• 33:50
  Speaker 1: to jump back to my number four to get us
• 33:54
  Speaker 1: back on track here, and I have a bit of
• 33:58
  Speaker 1: a cheat here. I did this with Superman two. This
• 34:02
  Speaker 1: is going to be a title sequence in theme song.
• 34:05
  Speaker 1: I am choosing that from the Spider Man animated series
• 34:09
  Speaker 1: that ran from nineteen sixty seven to nineteen seventy. With
• 34:13
  Speaker 1: the Superman list we did, I chose the opening for
• 34:16
  Speaker 1: those Fleischer Studios shorts from nineteen forty one. A listener
• 34:21
  Speaker 1: me in on those, and I ended up watching I
• 34:23
  Speaker 1: don't know how many, because they were just fascinating and
• 34:25
  Speaker 1: had that great opening sequence. And part of my reasoning
• 34:29
  Speaker 1: for picking it there is because that sequence from nineteen
• 34:32
  Speaker 1: forty one cemented crucial qualities of the Superman character in
• 34:36
  Speaker 1: our collective imagination. And I think this one, even though
• 34:39
  Speaker 1: it's borrowing quite heavily from the comic books, this did
• 34:43
  Speaker 1: so in the late sixties and onward. I mean we
• 34:47
  Speaker 1: were watching this adam not during its initial run. We
• 34:50
  Speaker 1: would have been watching this maybe ten years after on reruns, right,
• 34:54
  Speaker 1: but it had been I'm sure playing the whole time
• 34:58
  Speaker 1: for multiple generations of kids. So if you look at
• 35:02
  Speaker 1: the Spider Man, if you look at Spider Man as
• 35:04
  Speaker 1: a character basically debuting in a Marvel comic in sixty two,
• 35:07
  Speaker 1: got his first solo series in sixty three, and obviously
• 35:10
  Speaker 1: that's set the foundation for the character. But for me,
• 35:14
  Speaker 1: born in seventy four. I think this was my first
• 35:19
  Speaker 1: encounter with Spider Man. That would be my my guests.
• 35:22
  Speaker 1: I didn't really read comic books for whatever reason, until
• 35:25
  Speaker 1: I was an adult, actually, and so this Spider Man
• 35:29
  Speaker 1: cartoon was my first encounter, and I was locked in
• 35:34
  Speaker 1: That opening has everything I wanted and had. The swinging
• 35:38
  Speaker 1: you talked about, the web slinging, radioactive blood. Sure, I
• 35:43
  Speaker 1: probably had no idea what that meant, but sure sounds great.
• 35:47
  Speaker 1: And yeah, lots and lots and lots of climbing. And
• 35:51
  Speaker 1: I think this also captures equality that is a crucial
• 35:55
  Speaker 1: one for Spider Man, beyond his youth. But maybe related
• 35:59
  Speaker 1: that's emphasized here. He was friendly. He was a friendly
• 36:04
  Speaker 1: Spider Man. The lyrics are telling us this, but the
• 36:08
  Speaker 1: image I'll never forget. It's this great little bit, kind
• 36:11
  Speaker 1: of a winking bit in this opening credit sequence where
• 36:15
  Speaker 1: he's swinging through the air and we get a close
• 36:17
  Speaker 1: up and he just waves to the you know, quote
• 36:19
  Speaker 1: unquote camera waving, we've met me, you know, like six
• 36:23
  Speaker 1: or seven year old me. However old I was. There
• 36:27
  Speaker 1: was this superhero who paused in his heroics to give
• 36:30
  Speaker 1: me a little ways Snyder Man Steiner, So it's a
• 36:37
  Speaker 1: delightful piece of Spider Man iconography. It still resonates today.
• 36:40
  Speaker 1: This is where the Spider Man pointing at himself meme
• 36:43
  Speaker 1: comes from. So I did have to have it on
• 36:45
  Speaker 1: my list, even though it's from a TV series.
• 36:48
  Speaker 4: Yeah, watching that clip just a little bit earlier today
• 36:51
  Speaker 4: definitely took me back. Talk about a way nostalgia. It
• 36:55
  Speaker 4: did bring me back to my childhood. My number three
• 37:00
  Speaker 4: is from Spider Man two, Sam Raimi spider Man two,
• 37:03
  Speaker 4: and it's the Planetarium Party. I have to give credit
• 37:09
  Speaker 4: to the host of Film Spotting SVU, one of the
• 37:12
  Speaker 4: hosts of Film Spotting SVU, Matt Singer for reminding me
• 37:16
  Speaker 4: of this scene and the way I was reminded of
• 37:20
  Speaker 4: this scene Josh Is via our upcoming episode of movie Deathmatch.
• 37:26
  Speaker 4: This will drop in listener's feed if you follow film Spotting,
• 37:29
  Speaker 4: it will drop in your feed. On Monday, August third,
• 37:33
  Speaker 4: with Brand New Day coming out, we did a death
• 37:35
  Speaker 4: match between what a lot of people contend are the
• 37:38
  Speaker 4: two best Spider Man movies, Old School Spider Man two
• 37:43
  Speaker 4: and New School Into the Spider Verse. Matt advocating for
• 37:48
  Speaker 4: Spider Man two. Daisy Rosario defending into the Spider Verse.
• 37:54
  Speaker 4: Had a really great conversation about it. Again, that show
• 37:56
  Speaker 4: will be coming into your feed soon. Matt mentions a
• 38:00
  Speaker 4: scene from Spider Man two, and when I was scanning
• 38:02
  Speaker 4: through the movie and I went back and broke this
• 38:05
  Speaker 4: scene down, I knew it had to be on my list.
• 38:08
  Speaker 4: And the reason why Matt brought it up in the
• 38:10
  Speaker 4: context of Deathmatch is he was mentioning how during this
• 38:14
  Speaker 4: scene you really recognize Sam Raimi's sadistic tendencies as a director,
• 38:21
  Speaker 4: how they really come out. And we'll get into that,
• 38:25
  Speaker 4: because this is the scene that's this big high society
• 38:28
  Speaker 4: gala and Peter has been hired by j Jonah Jamison
• 38:32
  Speaker 4: to be the photographer for the event. There is a
• 38:35
  Speaker 4: lot of story unfolding here. Harry Osborne and Peter are
• 38:42
  Speaker 4: fighting about Spider Man. Peter is watching MJ. He doesn't
• 38:46
  Speaker 4: know it when he gets there, but Peter is watching
• 38:49
  Speaker 4: MJ get engaged to another man, John Jamison, and it
• 38:54
  Speaker 4: all could have just unfolded, rendering all of that drama
• 38:59
  Speaker 4: with a very dramatic expression, like I honestly could have
• 39:03
  Speaker 4: picked this scene Josh forgetting all the sadistic stuff and
• 39:07
  Speaker 4: just focusing on this moment. It could be a top
• 39:09
  Speaker 4: five contender just for the moment, the dramatic expression of
• 39:13
  Speaker 4: Peter's torment when he has to watch MJ descend the
• 39:18
  Speaker 4: staircase with John hearing about this perfect man, and then
• 39:23
  Speaker 4: seeing her so happy, well seemingly happy as she comes
• 39:27
  Speaker 4: down the stairs, and the way camera and editing work
• 39:30
  Speaker 4: together kind of swirling around him to show how devastated
• 39:37
  Speaker 4: he is. It's very, very effective. But where this scene
• 39:42
  Speaker 4: really becomes special for me is that it could have
• 39:45
  Speaker 4: just been all that. It could have been just about
• 39:47
  Speaker 4: showing his heartache and devastation. But what layers does Sam
• 39:51
  Speaker 4: Raimi add being Sam Rami and I assume it's a
• 39:55
  Speaker 4: Ramie touch here because it could have been written into
• 39:59
  Speaker 4: the script by David cap But not only do I
• 40:02
  Speaker 4: trust Matt Singer at least in giving the credit to Ramy,
• 40:05
  Speaker 4: it also is part of it, Josh. Where there's no dialogue,
• 40:09
  Speaker 4: it's all just physical action that happens. So here again,
• 40:12
  Speaker 4: I'm going to give the credit to Ramie in the blocking.
• 40:15
  Speaker 4: Think about everything that is going wrong for Peter at
• 40:18
  Speaker 4: this point in the movie, beyond his best friend hating
• 40:21
  Speaker 4: both him and Spider Man two parts of him and
• 40:26
  Speaker 4: MJ forsaking him for another guy. He's doubting whether he
• 40:31
  Speaker 4: should continue to be a superhero at all, and his
• 40:34
  Speaker 4: powers are fading, like he's at this low point, the
• 40:39
  Speaker 4: lowest point he could possibly be. How does Ramie portray
• 40:43
  Speaker 4: the emotional ringer that Peter is going through, How everything
• 40:49
  Speaker 4: he wants seems to be just out of his reach,
• 40:52
  Speaker 4: How he is both part of society but also excluded
• 40:57
  Speaker 4: from it. Well, the whole sequence begins with him walking
• 41:02
  Speaker 4: into the party and seeing one last ordeure on a
• 41:07
  Speaker 4: tray and reaching for it, and right as he reaches
• 41:10
  Speaker 4: for it, someone else comes along and grabs it. So
• 41:14
  Speaker 4: there you go. He he can't get just that little
• 41:16
  Speaker 4: treat that he wants. Okay, fine, he sees we have
• 41:23
  Speaker 4: that great mini sequence where he sees MJ arm in
• 41:26
  Speaker 4: arm with this perfect man, it seems John. So he
• 41:31
  Speaker 4: goes outside another waitress walking around with the tray. This
• 41:37
  Speaker 4: one Rainy shoots it so it's at his exact eye level,
• 41:41
  Speaker 4: like almost beckoning him to come over and take it.
• 41:45
  Speaker 4: One more on the tray, same thing, someone grabs it
• 41:49
  Speaker 4: just before, Like he can't even get a bite of food.
• 41:51
  Speaker 4: Here at this party, Josh, It's it's that bad. So
• 41:54
  Speaker 4: now he's having a conversation outside with MJ. And she
• 41:57
  Speaker 4: tells him off how this is just not going to work,
• 42:00
  Speaker 4: that she has to move on, that she's going to
• 42:02
  Speaker 4: have to, you know, go with this this other you
• 42:05
  Speaker 4: know why she's going with this other man and another
• 42:09
  Speaker 4: A waiter passes by and and they have one drink
• 42:13
  Speaker 4: and it seems like a fancy drink, you know, it's
• 42:15
  Speaker 4: got a little teaky hut or something in it, and
• 42:18
  Speaker 4: he reaches for it parched, goes to take large gulp
• 42:22
  Speaker 4: and it's an empty it's somebody's empty glass. He can't
• 42:26
  Speaker 4: even get his thirst satisfied there in the moment, And
• 42:33
  Speaker 4: as if that wasn't bad enough, we get that followed
• 42:35
  Speaker 4: by the indignity of Harry slapping him twice, and then
• 42:40
  Speaker 4: he has to take a photo of the newly engaged
• 42:44
  Speaker 4: MJ and John. So, I don't know, satist might be
• 42:48
  Speaker 4: putting it mildly. Rady's a monster when you watch the
• 42:52
  Speaker 4: scene in terms of the way he treats Peter Parker
• 42:55
  Speaker 4: over the course of this four or five minutes, it's
• 42:58
  Speaker 4: it's kind of horrible, but also undeniably funny watching poor
• 43:04
  Speaker 4: Peter at all, these little steps get denied when the
• 43:08
  Speaker 4: poor guy just wants like a crabcake and a drink
• 43:11
  Speaker 4: of whatever is in that in that glass. But that
• 43:15
  Speaker 4: that's the sensibility that, like I said, almost certainly wasn't
• 43:20
  Speaker 4: in the script, that an imaginative director like Raymi brings
• 43:26
  Speaker 4: to those films. That makes those first those first two
• 43:28
  Speaker 4: films in particular, but parts of the third film as well,
• 43:31
  Speaker 4: that makes those films so special.
• 43:33
  Speaker 1: Yeah, and the comic aspect is related to, you know, slapstick.
• 43:36
  Speaker 1: There's a slapstick element, maybe a slower, slower pace slapstick
• 43:40
  Speaker 1: going on here, which I think of as a part
• 43:42
  Speaker 1: of Raymie's style as well. And yeah, can't wait hear
• 43:46
  Speaker 1: that episode with Matt we should repeat and mentioned maybe
• 43:50
  Speaker 1: to plug more his book Spider Man Marvel Spider Man
• 43:54
  Speaker 1: from Amazing to Spectacular.
• 43:55
  Speaker 4: It's really I.
• 43:56
  Speaker 1: Mean, there's so much information in it, but it looks
• 43:58
  Speaker 1: beautiful too. And I remember when that came out a
• 44:01
  Speaker 1: number of years ago. That was when I was trying
• 44:03
  Speaker 1: to get my younger daughter into Spider Man, so bought
• 44:06
  Speaker 1: that for her to move her along. It's a really
• 44:09
  Speaker 1: great book.
• 44:12
  Speaker 4: Before we get to our top two, we would like
• 44:16
  Speaker 4: to remind you that you can find all of our
• 44:18
  Speaker 4: picks and all of our top five lists over at
• 44:20
  Speaker 4: our time five archive Filmspotting dot Net. Just click on
• 44:24
  Speaker 4: lists right there at the top of the page. We
• 44:25
  Speaker 4: also do link to these scenes whenever we do have
• 44:29
  Speaker 4: the clips available, and I think with all of our
• 44:32
  Speaker 4: picks for this list, the scenes are available if you'd
• 44:35
  Speaker 4: like to watch along as we discuss them. Let's also
• 44:40
  Speaker 4: take a minute, Josh to thank the Film Spotting Family
• 44:45
  Speaker 4: membership is the single largest support source of support for
• 44:50
  Speaker 4: the show. It does keep us doing what we've been
• 44:52
  Speaker 4: doing for over twenty one years, and we normally shout
• 44:57
  Speaker 4: out a couple of Film Spotting Family members. We will
• 44:59
  Speaker 4: get back to doing that, but we wanted to highlight
• 45:02
  Speaker 4: again Summer Madness, Summer Film Spotting Family madness, the best
• 45:07
  Speaker 4: of the nineteen twenties and thirties. When we left off,
• 45:11
  Speaker 4: I think maybe we were announcing the play and round,
• 45:14
  Speaker 4: but with our week off we did have Round one.
• 45:17
  Speaker 4: It played out and we should give some prop I
• 45:21
  Speaker 4: suppose to the selection committee in this case myself and Sam,
• 45:24
  Speaker 4: because all the favorites won as I thought would happen.
• 45:29
  Speaker 4: Sure it wasn't a case of any major upsets here.
• 45:32
  Speaker 4: We did have the favorites advance, though there were a
• 45:34
  Speaker 4: couple close matchups. That does mean that round two is
• 45:39
  Speaker 4: live as we are recording this. There are eight matchups then,
• 45:44
  Speaker 4: and that includes the Wizard of Oz versus Chaplain's Modern Times,
• 45:49
  Speaker 4: Metropolis versus King Kong, the Passion of Joan of Arc
• 45:52
  Speaker 4: versus Bringing Up Baby. I mean I can vote fairly
• 45:56
  Speaker 4: easily in all three of those.
• 45:58
  Speaker 1: What about you, Well, this is basically asking me to
• 46:02
  Speaker 1: rethink and agonize over my sit and sound top ten
• 46:04
  Speaker 1: of all time less right in the constantly shifting order,
• 46:08
  Speaker 1: because I believe Wizard of Oz, Modern Times, King Kong, Metropolis.
• 46:14
  Speaker 1: I think all four of those have either been on
• 46:18
  Speaker 1: my top ten of all time list or circling that
• 46:21
  Speaker 1: honor in the various iterations we've done over the years
• 46:25
  Speaker 1: on the show here. So I don't know how to
• 46:29
  Speaker 1: start thinking about this. I'm going to need a little
• 46:33
  Speaker 1: bit of a little bit of time. I can say
• 46:38
  Speaker 1: Passion of Joan of Arc versus Bringing Up Baby. That's
• 46:41
  Speaker 1: the easy one for me because I only like bringing
• 46:44
  Speaker 1: up baby, Whereas Passion of Joan of Arc. You know
• 46:48
  Speaker 1: that it's all timer. So that's an easy answer for me.
• 46:52
  Speaker 1: I don't know where I'm going to go with the
• 46:53
  Speaker 1: other ones, how to even begin thinking about it, which
• 46:56
  Speaker 1: is I suppose why we do this thing?
• 46:58
  Speaker 4: Yeah, well that's part of it, and certainly a reason
• 47:01
  Speaker 4: why we do Madness proper on the show. We've always
• 47:06
  Speaker 4: said is discovery. Even though sometimes we're talking about movies,
• 47:12
  Speaker 4: you would think everyone knows when we've been doing more
• 47:15
  Speaker 4: recent decades, as we go farther back, it is about
• 47:20
  Speaker 4: sharing titles that maybe some of our audience hasn't seen,
• 47:24
  Speaker 4: and in some cases we haven't seen, and we're doing
• 47:26
  Speaker 4: the homework that we need to do as well. So
• 47:29
  Speaker 4: case in point, David Colb, a listener who is a
• 47:33
  Speaker 4: Film Spotting family member participating in this Madness and had
• 47:38
  Speaker 4: a comment in the Film Spotting discord that we wanted
• 47:42
  Speaker 4: to share and this, Josh, you can read it. This
• 47:44
  Speaker 4: is an example. It's an interesting query that we can
• 47:48
  Speaker 4: just throw out to Film Spotting listeners to consider. But
• 47:52
  Speaker 4: also I think it just speaks to why we do tournaments,
• 47:56
  Speaker 4: silly madness tournaments like this because of a reaction that
• 48:00
  Speaker 4: David could have to a film like the Passion of
• 48:02
  Speaker 4: Joan of Arc.
• 48:03
  Speaker 1: David says, I caught up with the Passion of Joan
• 48:05
  Speaker 1: of Arc for this tournament, and I'm confident I will
• 48:08
  Speaker 1: be voting for it as long as it survives. One
• 48:11
  Speaker 1: of my all time great home viewing experiences in a
• 48:13
  Speaker 1: film I could see putting in my letterbox top four.
• 48:16
  Speaker 1: At some point that said, a significant part of my
• 48:19
  Speaker 1: love for the film was the score that cris Uses,
• 48:21
  Speaker 1: which is a nineteen nineties classical work performed by the
• 48:25
  Speaker 1: voices of Light Ensemble that was written to accompany the film.
• 48:29
  Speaker 1: For the purposes of this tournament, how do you all
• 48:31
  Speaker 1: evaluate silent films that have soundtracks that were written much later?
• 48:36
  Speaker 1: Is it possible to separate these aspects of the film,
• 48:39
  Speaker 1: and if so, should we?
• 48:40
  Speaker 4: Well?
• 48:41
  Speaker 1: Thank you David for participating and yet taking the time
• 48:44
  Speaker 1: to watch Joan of Arc. This is a question that
• 48:48
  Speaker 1: has long bedeviled me, and I've avoided trying to come
• 48:51
  Speaker 1: up with a conclusive answer because oftentimes, when you're trying
• 48:56
  Speaker 1: to track down older films like this, you're viewing options
• 49:00
  Speaker 1: are limited, let alone your score options. But I think
• 49:05
  Speaker 1: it's a really important question and I'm sure a film
• 49:09
  Speaker 1: historian would have a decisive opinion on it. I think
• 49:15
  Speaker 1: my instinct usually if I'm looking for options, is if
• 49:19
  Speaker 1: there is any sort of original now with silent films,
• 49:23
  Speaker 1: of course there's no like original original, right, but if
• 49:26
  Speaker 1: there has been historical work done where this piece was
• 49:31
  Speaker 1: often used to accompany, you know, the earliest screenings of
• 49:35
  Speaker 1: the silent film that we can go back and actually pinpoint,
• 49:39
  Speaker 1: then I would go with that just kind of be
• 49:42
  Speaker 1: sort of a purist historically, But there are many films
• 49:47
  Speaker 1: that older films that have used contemporary scores in the
• 49:51
  Speaker 1: way the one David is talking about that probably work
• 49:56
  Speaker 1: better and sound better and serve the story better. So
• 50:01
  Speaker 1: I don't know if the historical purity route is necessarily
• 50:04
  Speaker 1: the best defense it.
• 50:07
  Speaker 4: It is so tough. But maybe this is obvious and
• 50:10
  Speaker 4: not really what David is getting into, because I understand
• 50:14
  Speaker 4: as you're suggesting there's a larger philosophical conundrum here. But
• 50:19
  Speaker 4: for the purposes of something like Madness, your choice is
• 50:24
  Speaker 4: your choice, and it's what you're limited to. It may
• 50:26
  Speaker 4: simply be a case that if you only have access
• 50:28
  Speaker 4: to something like the Criterion version of it with the
• 50:31
  Speaker 4: score and for our arbitrary needs, you're weighing it against
• 50:36
  Speaker 4: the Adventures of Robin Hood, and you watch both films
• 50:39
  Speaker 4: and you have to pick one that that you like more.
• 50:42
  Speaker 4: All you can do is go off the version of
• 50:46
  Speaker 4: The Passion of Joan of Arc that you saw, and
• 50:49
  Speaker 4: I don't need to overthink it any more any more
• 50:51
  Speaker 4: than that. I think we always want to default to
• 50:55
  Speaker 4: as close to original versions as we can find of something.
• 50:58
  Speaker 4: But if it proves to be too difficult, I don't
• 51:05
  Speaker 4: know what else you can do. Right, So it is
• 51:08
  Speaker 4: a very interesting question, and I haven't had a chance
• 51:12
  Speaker 4: yet to look. I'm curious what people in the Film
• 51:13
  Speaker 4: Spotting Family discord have had to say in response to David.
• 51:17
  Speaker 4: I will check that out. Other Film Spotting Family members
• 51:20
  Speaker 4: can do that as well well, because they have access
• 51:22
  Speaker 4: to that discord, they have access to the tournament, they
• 51:25
  Speaker 4: get other benefits like our Film Spotting Family newsletter where
• 51:29
  Speaker 4: these matchups and the polls go live every week. You
• 51:33
  Speaker 4: can get access to all of this stuff, including our
• 51:35
  Speaker 4: monthly bonus shows, for as little as five dollars a month,
• 51:39
  Speaker 4: and we do have a current promotion going on now
• 51:42
  Speaker 4: where it's even less than that through the month of
• 51:45
  Speaker 4: August our Summer promotion, and all you have to do
• 51:47
  Speaker 4: is use the promo code Summer. You'll get twenty percent
• 51:51
  Speaker 4: off any Film Spotting Family membership. That's any monthly or
• 51:56
  Speaker 4: annual membership twenty percent off through August. Just use the
• 51:59
  Speaker 4: promo code Summer. We thank all of our Film Spotting
• 52:03
  Speaker 4: Family members for their support. A couple of quick notes
• 52:16
  Speaker 4: before we round out our top five Spider Man scenes.
• 52:20
  Speaker 4: We have two more picks left. You brought to my
• 52:23
  Speaker 4: attention a really fine article by Richard Roper talking about
• 52:28
  Speaker 4: something I don't know how many of our listeners are
• 52:30
  Speaker 4: aware of. They've maybe heard about it a little bit
• 52:32
  Speaker 4: over the years, this mysterious Lake Street screening room that
• 52:38
  Speaker 4: the two of us have both had the honor, quite frankly,
• 52:41
  Speaker 4: the privilege of sitting in. And it does seem it's
• 52:46
  Speaker 4: maybe not imminent. We don't know the exact route it's
• 52:49
  Speaker 4: going to take or what the timing is going to be,
• 52:51
  Speaker 4: but it does certainly seem based on Richard Roper's article,
• 52:54
  Speaker 4: which we will link to in our show notes if
• 52:56
  Speaker 4: you would like to read it, it does seem like
• 52:59
  Speaker 4: the Lake Street Screening Room may be no more, which
• 53:02
  Speaker 4: is really sad to think of when you consider all
• 53:04
  Speaker 4: the history that is in that room. So this may
• 53:07
  Speaker 4: be a little inside baseball, but hey, this is a
• 53:10
  Speaker 4: film criticism show and it's something that we did want
• 53:13
  Speaker 4: to spend a minute on. We have to.
• 53:15
  Speaker 1: The history is so rich. This article by Richard Roper
• 53:18
  Speaker 1: is really good, just very reflective, and based on my
• 53:22
  Speaker 1: experience attending there over the I guess decades, now captures
• 53:27
  Speaker 1: it quite well. So we'll link to it. It's at
• 53:29
  Speaker 1: roderibert dot com. Appropriately because this was the home of
• 53:33
  Speaker 1: Roger Ebert and Gene Siskel from the early newspaper years,
• 53:37
  Speaker 1: all throughout their television show. And I do remember when
• 53:44
  Speaker 1: I first got a chance to go, probably mid to
• 53:46
  Speaker 1: late nineties, maybe a forty seat, it's probably in the article.
• 53:51
  Speaker 1: I should should know this offhand, but not a very
• 53:53
  Speaker 1: big room. And when I got a chance to go,
• 53:56
  Speaker 1: writing a freelance movie review for a newspaper, feeling like
• 53:59
  Speaker 1: I was entering the Holy of holies because they were
• 54:03
  Speaker 1: all there, Ebert and Ciscol, but also at the time
• 54:07
  Speaker 1: Michael Wilmington Chicago Tribune critic as well, alongside Ciscol, Jonathan
• 54:12
  Speaker 1: Rosenbaum Chicago Reader critic. I mean people I had been
• 54:16
  Speaker 1: had grown up reading religiously, and here I was sitting
• 54:21
  Speaker 1: in an intimidatingly small screening room with them, And so
• 54:27
  Speaker 1: it was that. It was also just the idiosyncratic nature
• 54:30
  Speaker 1: of it. It's in this high rise, you know, sixteen
• 54:34
  Speaker 1: middle sixteenth floor of an unassuming high rise, which I
• 54:38
  Speaker 1: think the building's being sold, which is why the occasion
• 54:40
  Speaker 1: for this article or has been sold. And yeah, you
• 54:43
  Speaker 1: just walked in and you'd go up and there would
• 54:45
  Speaker 1: be this room and there'd be all these folks and
• 54:48
  Speaker 1: you'd get to watch these movies in advance. And it's faded.
• 54:52
  Speaker 2: You know.
• 54:53
  Speaker 1: I think I've only been there once, maybe within the
• 54:55
  Speaker 1: last year or so. More screenings are being held just
• 54:59
  Speaker 1: in you know, larger theater chains around the city. And yeah,
• 55:04
  Speaker 1: the quality is the other thing of the presentation though.
• 55:08
  Speaker 1: And Richard Roper interviews Steve Kraus, who's been the projectionists
• 55:12
  Speaker 1: and really the running the whole space all this time,
• 55:17
  Speaker 1: and you just knew that it was going to be
• 55:19
  Speaker 1: pristine or what the format, and that's something you know,
• 55:24
  Speaker 1: when you're going to a wider chain for press screenings,
• 55:28
  Speaker 1: you don't always get Let's just say the framing for
• 55:32
  Speaker 1: the Odyssey press screening was a little bit, you know,
• 55:35
  Speaker 1: it wasn't quite even on the screen. It wasn't disastrous.
• 55:38
  Speaker 1: We got the whole picture, but just being there reminded
• 55:41
  Speaker 1: me again of what you would get from the Lake
• 55:43
  Speaker 1: Street screening room. So yeah, I don't know if were
• 55:45
  Speaker 1: we ever there together, Adam. I think by the time
• 55:48
  Speaker 1: I was doing the show, it was being used less
• 55:50
  Speaker 1: and less, but I'm sure there were a couple instances
• 55:53
  Speaker 1: where we caught something there.
• 55:54
  Speaker 4: Absolutely there were, And it's so funny how over the
• 55:58
  Speaker 4: years now it's hard to remember exactly how many times,
• 56:02
  Speaker 4: but I know for sure because I remember referencing and
• 56:06
  Speaker 4: this doesn't happen very often that I do this, but
• 56:08
  Speaker 4: I remember referencing the muted response to the Grand Budapest
• 56:13
  Speaker 4: Hotel the first time I reviewed it, and it was
• 56:15
  Speaker 4: the critics response in the room, and we were all
• 56:18
  Speaker 4: together watching it in the Lake Street screen room the
• 56:21
  Speaker 4: first time I saw that movie, I think two thousand
• 56:24
  Speaker 4: and late two thousand and six, early two thousand and seven,
• 56:29
  Speaker 4: so just about a year and a half or two
• 56:30
  Speaker 4: years into film spotting was when we finally did get
• 56:35
  Speaker 4: access to that room and absolutely feeling like you had arrived,
• 56:41
  Speaker 4: And you especially felt like you'd arrived when you walk
• 56:44
  Speaker 4: in and there's Roger Ebert, and no one had to
• 56:47
  Speaker 4: tell you that that was his place in the back.
• 56:52
  Speaker 4: You knew that, you knew that if he was sitting there,
• 56:56
  Speaker 4: that had to be his spot, and he was going
• 56:58
  Speaker 4: to sit there every time, and you would not ever
• 57:02
  Speaker 4: dare to sit in that seat. And I did pretty
• 57:06
  Speaker 4: much always find a seat just in like the third
• 57:09
  Speaker 4: row middle. But that's the other thing about this that
• 57:12
  Speaker 4: I did want to mention, Josh, is that I think
• 57:15
  Speaker 4: when you hear about this place and you think about
• 57:17
  Speaker 4: like Ciskel and Ebert being here at this private screening
• 57:20
  Speaker 4: room for critics, the image in your mind you talk
• 57:23
  Speaker 4: about the great presentation, which it was, the image in
• 57:25
  Speaker 4: your mind is of this pristine, immaculate sort of place.
• 57:32
  Speaker 4: And it's not that it was run down or tawdry
• 57:36
  Speaker 4: or anything, but it also always felt to me just
• 57:39
  Speaker 4: very working class and just very much a space where
• 57:43
  Speaker 4: working working critics for there to see the movie they
• 57:47
  Speaker 4: had to see and then go do the work that
• 57:50
  Speaker 4: they had to do in response to that movie. It
• 57:53
  Speaker 4: wasn't it wasn't there to be some howload movie house.
• 57:57
  Speaker 4: It was. It was there to project to you a
• 58:01
  Speaker 4: good picture and good sound and a comfortable seat.
• 58:05
  Speaker 2: It was not.
• 58:05
  Speaker 1: It was not gilded, and there was a lot of
• 58:08
  Speaker 1: food being brought in. No I can remember, you know,
• 58:10
  Speaker 1: in my heyday when I was, you know, working as
• 58:13
  Speaker 1: a daily critic, I would see three in a day.
• 58:16
  Speaker 1: You'd have fifteen minutes between the ten am got out
• 58:20
  Speaker 1: and the twelve fifteen would start to run down to
• 58:23
  Speaker 1: a hot dog stand and bring it back up before
• 58:25
  Speaker 1: the next one started. So there's a lot of crinkling
• 58:28
  Speaker 1: of papers, and yeah, you're right. It was not like
• 58:30
  Speaker 1: this haloed museum, which was part of its charm. And
• 58:34
  Speaker 1: it's interesting you mentioned that about the hush reception to
• 58:38
  Speaker 1: Grand Budapest Hotel. You know, one of the things I
• 58:40
  Speaker 1: do appreciate about these larger screenings we have more often now,
• 58:44
  Speaker 1: often with audiences who have won tickets to see it,
• 58:48
  Speaker 1: is that there's not that sort of and this didn't
• 58:52
  Speaker 1: always happen, but that sort of reserved air of caution
• 58:57
  Speaker 1: that would definitely be in that room. And I was
• 58:58
  Speaker 1: a part of it. Like you know, especially when you're new,
• 59:01
  Speaker 1: you don't want your your reactions to be heard by
• 59:06
  Speaker 1: Roger because what if he's not feeling the same, you know,
• 59:09
  Speaker 1: So you're dealing with that sort of thing. And I
• 59:11
  Speaker 1: think that just kind of became or people just wanted
• 59:13
  Speaker 1: to keep their reactions close, you know, not let it known,
• 59:17
  Speaker 1: let it be known how they feel about the movie,
• 59:19
  Speaker 1: which is maybe one of the downs sides of a
• 59:22
  Speaker 1: situation like that compared to a bigger theater where you
• 59:24
  Speaker 1: could let loose a little bit. But yet, you know,
• 59:27
  Speaker 1: there probably won't be anything like it again, just the
• 59:31
  Speaker 1: way media has gone and you know, film film.
• 59:35
  Speaker 4: Reviewing and.
• 59:37
  Speaker 1: The whole the whole process has changed. There's you know,
• 59:42
  Speaker 1: as many influencers as critics at some of these screenings now,
• 59:46
  Speaker 1: which is fine, but it's just a different it's a
• 59:49
  Speaker 1: whole different experience than what could be had at the
• 59:51
  Speaker 1: Lake Street Screening Room for sure.
• 59:53
  Speaker 4: Again, we will link to the article in our show notes.
• 59:56
  Speaker 4: It is a very interesting read if you're curious to
• 1:00:00
  Speaker 4: check out Richard Roper's piece. We now move on to
• 1:00:03
  Speaker 4: our deeply flawed film spotting poll. It probably is deeply
• 1:00:06
  Speaker 4: flawed because we don't need all of these choices, but
• 1:00:09
  Speaker 4: we're going to give them to you anyway. Your task
• 1:00:12
  Speaker 4: is to choose one and only one Spider Man film.
• 1:00:16
  Speaker 4: I guess that's how we do it. We're applying it's
• 1:00:19
  Speaker 4: unwritten here, but it is implicit that the Incinerator is
• 1:00:24
  Speaker 4: at work here, Josh behind the scenes, and only one
• 1:00:28
  Speaker 4: of these movies survive. So which one is it? In
• 1:00:30
  Speaker 4: chronological order?
• 1:00:31
  Speaker 1: The options are, Yeah, the Incinerator has a generator, so
• 1:00:34
  Speaker 1: it's never offline. Okay, So our option Spider Man two
• 1:00:38
  Speaker 1: thousand and two, Spider Man two from two thousand and four,
• 1:00:41
  Speaker 1: into the Spider Verse, Spider Man Homecoming, and then across
• 1:00:46
  Speaker 1: the Spider Verse. So there's a couple of challenges here.
• 1:00:49
  Speaker 1: We are going to include the option of other as well.
• 1:00:52
  Speaker 1: For you Andrew Garfield fans, there's two things you have
• 1:00:55
  Speaker 1: to decide. Am I going Spider Verse or live action?
• 1:01:00
  Speaker 1: And then among that choice, which live Action or which
• 1:01:05
  Speaker 1: Spider Verse I'm gonna I'm I'm still thinking my way
• 1:01:10
  Speaker 1: through this, so give me, give me twenty seconds or so.
• 1:01:15
  Speaker 4: Do you have Do you have any Yeah, I can
• 1:01:17
  Speaker 4: banter a little bit, but I'm just going to stall
• 1:01:20
  Speaker 4: as well because I've been thinking about this. But I
• 1:01:22
  Speaker 4: was thinking about it before we'd even come to this
• 1:01:24
  Speaker 4: poll question, just as I was doing the top five list,
• 1:01:27
  Speaker 4: because I feel like I'm a little bit on the
• 1:01:31
  Speaker 4: outside when it comes to the conventional wisdom on this,
• 1:01:35
  Speaker 4: and that is that there's a reason why we picked
• 1:01:39
  Speaker 4: for movie Deathmatch, and we did consider what various people
• 1:01:43
  Speaker 4: had to say and consult various lists. There's a reason
• 1:01:45
  Speaker 4: why we picked to represent the live action, we picked
• 1:01:50
  Speaker 4: Spider Man two, and there's a reason why we picked
• 1:01:53
  Speaker 4: into the Spider Verse. Now, part of picking into the
• 1:01:55
  Speaker 4: Spider Verse may have actually had to do with it
• 1:01:58
  Speaker 4: being the first animated one, and so it felt revolutionary,
• 1:02:03
  Speaker 4: and Spider Man two actually felt more like the culmination,
• 1:02:07
  Speaker 4: the pinnacle of what Raymie was doing. I'm not going
• 1:02:10
  Speaker 4: to get into it anymore than that, but that's my
• 1:02:12
  Speaker 4: quick armchair assessment for me, And I want to note
• 1:02:18
  Speaker 4: I have not rewatched, other than scanning scenes for the
• 1:02:21
  Speaker 4: top five. I have not sat and rewatched in one
• 1:02:24
  Speaker 4: sitting fully focused taking notes for a review Spider Man two.
• 1:02:29
  Speaker 4: But I have done that fairly recently with well fairly recently,
• 1:02:33
  Speaker 4: like eight years ago or whenever it was for Spider
• 1:02:36
  Speaker 4: not eight years ago, three years ago four years ago
• 1:02:38
  Speaker 4: for Spider Man, for Spider Man the Original, right, because
• 1:02:41
  Speaker 4: it's twentieth anniversary in twenty twenty two, So that is
• 1:02:45
  Speaker 4: that is lingering in my mind. But my point is
• 1:02:48
  Speaker 4: is that when I think about those first two movies,
• 1:02:51
  Speaker 4: I feel like the conventional wisdom is that Spider Man
• 1:02:53
  Speaker 4: two is the greater achievement and Spider Man the first
• 1:02:57
  Speaker 4: one is the one that is stronger. In my memory.
• 1:03:02
  Speaker 4: There are scenes that are have have stayed with me
• 1:03:07
  Speaker 4: Josh in a greater way, and I feel like it
• 1:03:11
  Speaker 4: it has edged out Spider Man two for me if
• 1:03:14
  Speaker 4: I'm just picking between them. So I'm off on that.
• 1:03:16
  Speaker 4: And here's where I'm off on the animated films, especially
• 1:03:21
  Speaker 4: if you look at which I did, if you look
• 1:03:22
  Speaker 4: back at my notes for those two films, I have
• 1:03:27
  Speaker 4: way more interesting things to say and in my mind,
• 1:03:30
  Speaker 4: deeper things to say about across the Spider Verse than
• 1:03:34
  Speaker 4: I do into the Spider Verse. Across the Spider Verse
• 1:03:37
  Speaker 4: connected with me and resonated with me in a way
• 1:03:42
  Speaker 4: more meaningful way than into the Spider Verse did. Now,
• 1:03:45
  Speaker 4: maybe maybe I just saw it on a better day
• 1:03:48
  Speaker 4: and I was more in tune to what was happening
• 1:03:51
  Speaker 4: and I was paying closer attention, but I can't change
• 1:03:55
  Speaker 4: that I had the deeper reaction to across the Spider Verse.
• 1:03:57
  Speaker 4: So I feel like in both cases, I'm I'm going
• 1:04:00
  Speaker 4: against the grain a little bit.
• 1:04:02
  Speaker 1: I think you're right that consensus would stay, would say
• 1:04:05
  Speaker 1: not overall, But between the live action Spider Man two,
• 1:04:09
  Speaker 1: I'm not sure. I don't have a good sense for
• 1:04:11
  Speaker 1: which Spider Verse is considered better. It might be across,
• 1:04:16
  Speaker 1: as you're saying, I'm going to lean on, and I
• 1:04:19
  Speaker 1: know it's not in the language here we just presented,
• 1:04:21
  Speaker 1: but somewhere maybe it was in slack somewhere. I think
• 1:04:26
  Speaker 1: Sam used the word definitive, and I'm latching onto that
• 1:04:33
  Speaker 1: because I found it very helpful. Okay, it's gonna help
• 1:04:36
  Speaker 1: me weave a path towards my choice here. I think
• 1:04:41
  Speaker 1: one of these Spider Verse films are probably better as
• 1:04:44
  Speaker 1: films just in terms of the inventiveness, the craft. The
• 1:04:51
  Speaker 1: and the live action have these, but the level at
• 1:04:53
  Speaker 1: which it's operating inventedness, craft, visual elements, and balance of
• 1:05:00
  Speaker 1: action and humor. One of those is probably the better film.
• 1:05:04
  Speaker 1: But I'm gonna stick with definitive and for me, neither
• 1:05:07
  Speaker 1: of those is possible. Those are the movies we need now.
• 1:05:11
  Speaker 1: Where we've been churning our way through superheroes, let alone
• 1:05:14
  Speaker 1: Spider Man for decades. Now, we need those types of
• 1:05:18
  Speaker 1: movies now that are rethinking the entire superhero project in
• 1:05:24
  Speaker 1: very smart and entertaining ways. Not exhaustive ways, which we've
• 1:05:28
  Speaker 1: also seen elsewhere, but definitive for me. I go back
• 1:05:32
  Speaker 1: to the live action and I do as well as
• 1:05:35
  Speaker 1: you go back to the First Spider Man. I just
• 1:05:38
  Speaker 1: think it's where and maybe we should get back to
• 1:05:41
  Speaker 1: our list soon because I think we'll be talking about
• 1:05:43
  Speaker 1: this with one of the picks. It's where what I
• 1:05:46
  Speaker 1: had been waiting for my whole life to see on
• 1:05:52
  Speaker 1: the big screen and hoping they wouldn't mess it up,
• 1:05:55
  Speaker 1: And not only did they not mess it up, but
• 1:05:57
  Speaker 1: they actually made it work. And so that's why I'm
• 1:06:01
  Speaker 1: going to go back to the first First Spider Man.
• 1:06:05
  Speaker 4: That is where I'm going to vote as well. Spider Man,
• 1:06:09
  Speaker 4: we would like to know your thoughts. Can't wait to
• 1:06:11
  Speaker 4: see how this one comes out. You can vote in
• 1:06:13
  Speaker 4: that poll and leave a comment. We'll share your feedback
• 1:06:16
  Speaker 4: here in a couple of weeks. Vote at film spotting
• 1:06:19
  Speaker 4: dot net. Let's do then transition Josh very smoothly back
• 1:06:33
  Speaker 4: into our top five, and honestly based on the conversation
• 1:06:36
  Speaker 4: we just had. I don't know that it could go
• 1:06:39
  Speaker 4: any smoother, at least with my top two picks, but
• 1:06:42
  Speaker 4: we have a listener. Voicemail came in just under the wire,
• 1:06:47
  Speaker 4: and I think it will help us because it will
• 1:06:50
  Speaker 4: make this list feel complete. It will allow us to
• 1:06:55
  Speaker 4: feel like we gave every Spider Man his due. It
• 1:06:59
  Speaker 4: turns out that there is some love for Andrew Garfield
• 1:07:04
  Speaker 4: Spider Man, and it comes from a bona fide expert
• 1:07:10
  Speaker 4: on Spider Man. Let's go ahead and hear the credentials
• 1:07:14
  Speaker 4: and the choice of Drew Jeffries I.
• 1:07:16
  Speaker 5: Film Spotting, longtime listener at Drew Jeffries here. So I
• 1:07:20
  Speaker 5: teach a university class on superhero films. I'm also the
• 1:07:24
  Speaker 5: author of an academic book called Comic Book Film Style,
• 1:07:28
  Speaker 5: but perhaps more pertinention of this week's top five. I
• 1:07:31
  Speaker 5: also have that meme with the two Spider Man pointing
• 1:07:33
  Speaker 5: at each other literally tattooed on my body. I have
• 1:07:36
  Speaker 5: one Spider Man on each sigh. So when I found
• 1:07:39
  Speaker 5: out y'all were doing your top five Spider Man scenes,
• 1:07:42
  Speaker 5: I knew I had to send in a quick note.
• 1:07:45
  Speaker 5: Now I have love for every iteration of Spider Man,
• 1:07:48
  Speaker 5: but the Andrew Garfield of a Stone Amazing Spider Man
• 1:07:51
  Speaker 5: is actually at the top of my list in part.
• 1:07:54
  Speaker 5: I just find their chemistry as a couple to be
• 1:07:57
  Speaker 5: so undeniable. I'd actually put them at number one on
• 1:08:01
  Speaker 5: my personal list of movie couples, full stop.
• 1:08:05
  Speaker 4: And no offense.
• 1:08:06
  Speaker 2: But you're wrong. You're wrong about us being on different paths,
• 1:08:10
  Speaker 2: on different paths from my path.
• 1:08:13
  Speaker 4: And you're always going to be my path.
• 1:08:15
  Speaker 5: But I'm going with a more traditional Spider scene for
• 1:08:18
  Speaker 5: my pick, which is a swing scene across New York's city.
• 1:08:21
  Speaker 5: This one comes towards the end of the movie. Spider's hurt.
• 1:08:25
  Speaker 5: He needs a bit of help to swing over to
• 1:08:26
  Speaker 5: Oscorp to save the day, and wouldn't you know it,
• 1:08:29
  Speaker 5: the cranes reconstructing the city all start slowly turning inward,
• 1:08:35
  Speaker 5: giving our guys something to swing from. Cue the waterworks
• 1:08:39
  Speaker 5: for me. Every damn time superhero movies are so bound
• 1:08:43
  Speaker 5: up with the post nine to eleven moment, But this
• 1:08:45
  Speaker 5: scene really beautifully articulates the United we stand eCos instead
• 1:08:50
  Speaker 5: of just restaging the attacks themselves as movies like Batman
• 1:08:54
  Speaker 5: Begins or The Avengers or A Man of Steel would do. Anyway,
• 1:08:57
  Speaker 5: I can't wait to hear your picks.
• 1:08:59
  Speaker 4: Thanks guys, there it is Andrew Garfield, Mark Webb. Spider
• 1:09:03
  Speaker 4: Man's They're not going to come up in any of
• 1:09:06
  Speaker 4: our top two picks, but Drew did get that choice
• 1:09:09
  Speaker 4: in and I don't think you can argue with his credentials.
• 1:09:12
  Speaker 4: I think he makes a compelling choice there. And I
• 1:09:15
  Speaker 4: said it earlier, Josh that even the bad ones, and
• 1:09:17
  Speaker 4: I don't think the Amazing Spider Man the first one
• 1:09:20
  Speaker 4: is necess sssarily one of the bad ones. It may
• 1:09:24
  Speaker 4: not be one of the better ones, but it's not
• 1:09:26
  Speaker 4: a it's not a terrible movie. But it has a
• 1:09:29
  Speaker 4: moment like that, And Drew is right, it has a
• 1:09:32
  Speaker 4: moment like that, a nice visual moment like that where
• 1:09:35
  Speaker 4: those cranes come together and you go, oh, a Spider
• 1:09:40
  Speaker 4: Man movie can give me a nice a nice touch
• 1:09:43
  Speaker 4: like that with that character. And it speaks to what
• 1:09:45
  Speaker 4: you said earlier, that intimate connection between Spider Man and
• 1:09:49
  Speaker 4: the citizenry of New York.
• 1:09:51
  Speaker 1: Well, thank you for the voicemail, Drew, but where's the photo?
• 1:09:54
  Speaker 1: I mean, I'm not saying I don't believe you, but
• 1:09:58
  Speaker 1: when we did our top five tattoos tattoos we would
• 1:10:01
  Speaker 1: get we were flooded with braver souls who have guts
• 1:10:04
  Speaker 1: their movie tattoo tattoos. They would send pictures.
• 1:10:08
  Speaker 4: So it's coming now.
• 1:10:10
  Speaker 1: Yeah, yeah, let's uh talk about something for the film
• 1:10:13
  Speaker 1: Spotting Family Discord can't wait to see it.
• 1:10:15
  Speaker 4: I like it. Thank you address, Yeah, you know the
• 1:10:18
  Speaker 4: email address. We do a cpreciate the feedback. Let's get
• 1:10:22
  Speaker 4: to our final two choices, Josh, your number two Spider
• 1:10:26
  Speaker 4: Man scene.
• 1:10:28
  Speaker 1: Let's get back to praise for two thousand and two's
• 1:10:31
  Speaker 1: Spider Man and it's the upside Down kiss. When I
• 1:10:36
  Speaker 1: started rewatching and researching this pick at him because I
• 1:10:39
  Speaker 1: knew it was going to be on my list, I
• 1:10:41
  Speaker 1: really expected to find out that the scene, or at
• 1:10:45
  Speaker 1: least the image at least this image was pulled from
• 1:10:47
  Speaker 1: a comic book run at one point that I wasn't
• 1:10:50
  Speaker 1: aware of, but apparently not. What I did find was
• 1:10:55
  Speaker 1: a twenty twenty two Ringer article that was a deep
• 1:10:59
  Speaker 1: dive just on this scene, written by Jake kring Shriefels,
• 1:11:04
  Speaker 1: and in there they talk. He talks a little bit
• 1:11:07
  Speaker 1: about how the scene came about, doesn't mention that it
• 1:11:10
  Speaker 1: appeared in the comics, a comic run earlier. Maybe a
• 1:11:13
  Speaker 1: listener might know of something similar that they can share.
• 1:11:17
  Speaker 1: We'll link to this as well if you want all
• 1:11:19
  Speaker 1: the details on this deep dive. But basically, the moment
• 1:11:22
  Speaker 1: arose after director Sam Raimi scrap plans to film a
• 1:11:27
  Speaker 1: fairly standard kiss a top Rockefeller Center, and so they
• 1:11:31
  Speaker 1: were looking for another option, and second unit director and
• 1:11:34
  Speaker 1: storyboard artist Doug Leffler thought about some earlier jobs he'd
• 1:11:39
  Speaker 1: been on. Earlier work he had done that featured characters
• 1:11:42
  Speaker 1: falling into the frame, and so that was in his
• 1:11:46
  Speaker 1: mind and he started sketching out possibilities, and he sketched
• 1:11:49
  Speaker 1: out the basics for this scene. So this is Toby
• 1:11:51
  Speaker 1: Maguire's Peter lowering himself next to Kristen Dunns Mary Jane
• 1:11:56
  Speaker 1: in this rainy alley.
• 1:11:58
  Speaker 2: You have a knack for getting in trouble.
• 1:12:00
  Speaker 3: You have a knack for saving my life.
• 1:12:03
  Speaker 1: I think I had a superhero stocker. I was in
• 1:12:06
  Speaker 1: the neighborhood and I can't really say much better why
• 1:12:10
  Speaker 1: this works than what kring Shreefels does in this article.
• 1:12:15
  Speaker 1: So let me quote here. If this is in the
• 1:12:16
  Speaker 1: Ringer within the context of the story, the scene is
• 1:12:19
  Speaker 1: a cathartic release for Peter Parker, a rare opportunity to
• 1:12:23
  Speaker 1: embrace his dual identity and be vulnerable with the girl
• 1:12:26
  Speaker 1: he loves. On a much larger scale, It's one of
• 1:12:28
  Speaker 1: the most iconic and romantic kisses in Hollywood history. A
• 1:12:32
  Speaker 1: unique and asymmetrical composition of rain soaked interlocked lips, never
• 1:12:37
  Speaker 1: seen before on the big screen. So I have this
• 1:12:41
  Speaker 1: at number two. I do think this is another element
• 1:12:44
  Speaker 1: of the character, is the romantic nature. And the only
• 1:12:49
  Speaker 1: thing I'll say about Brand New Day is that is
• 1:12:53
  Speaker 1: definitely explored. If this is something you love about the
• 1:12:56
  Speaker 1: Spider Man and Peter Parker character, that is definitely explored
• 1:13:00
  Speaker 1: in the new movie in Brand New Day. What that
• 1:13:01
  Speaker 1: means for this iteration of the character. But here, yeah,
• 1:13:06
  Speaker 1: it is the composition and what it means in terms
• 1:13:10
  Speaker 1: of character. And you have when you think of this
• 1:13:13
  Speaker 1: in terms of all the versions of Spider Man, it
• 1:13:18
  Speaker 1: is such a unique I mean, this idea of a
• 1:13:20
  Speaker 1: Spider Man and so many unique visual possibilities. It would
• 1:13:24
  Speaker 1: be easy to just stop there and say the things
• 1:13:27
  Speaker 1: we started with as kids, like wouldn't it be cool
• 1:13:29
  Speaker 1: to see him swinging across the screen? We got it,
• 1:13:32
  Speaker 1: We're good. But to take that next step and imagine
• 1:13:36
  Speaker 1: ways for those visual possibilities to echo thematic ideas, to
• 1:13:42
  Speaker 1: echo emotional beats, to capture character qualities. That's when you're
• 1:13:48
  Speaker 1: really working at a higher level of artistry, and in
• 1:13:52
  Speaker 1: a single shot, really, I mean, there's a lot going
• 1:13:55
  Speaker 1: on here that goes into this. I think Kirsten Duntz
• 1:13:58
  Speaker 1: makes this a pretty sexy scene in the way she
• 1:14:01
  Speaker 1: plays it actually, so the actors are definitely involved in
• 1:14:05
  Speaker 1: making this work, but just in a single shot in
• 1:14:08
  Speaker 1: the framing, to be able to invest it, infuse it
• 1:14:13
  Speaker 1: with so much emotion and thematic purpose for me, makes it,
• 1:14:18
  Speaker 1: you know, could easily be the number one for a
• 1:14:20
  Speaker 1: lot of people, probably their number one Spider Man Scener moment.
• 1:14:24
  Speaker 1: I have it here at number two.
• 1:14:25
  Speaker 4: Yeah, tough not to put on my list. It's an
• 1:14:27
  Speaker 4: honorable mention, It's what I was trying to say. Or
• 1:14:30
  Speaker 4: we'll go back to with your number five. I believe
• 1:14:34
  Speaker 4: the stopping the train moment there are some moments, there
• 1:14:36
  Speaker 4: are reasons why you consider them Mount Rushmore type moments.
• 1:14:41
  Speaker 4: They belong on that list. And from the Train, Josh,
• 1:14:43
  Speaker 4: it's not just them them holding him, but even when
• 1:14:46
  Speaker 4: he when he faints in their their hands right, hold him,
• 1:14:49
  Speaker 4: hold him up. And and here that that image is
• 1:14:54
  Speaker 4: so vivid, and and I understand why the Ringer has
• 1:14:58
  Speaker 4: devoted an entire article to it. I think for a
• 1:15:00
  Speaker 4: lot of people, You're right, it probably is the number
• 1:15:03
  Speaker 4: one scene that said everything you just articulated about it
• 1:15:10
  Speaker 4: in terms of composition being so important and taking the
• 1:15:15
  Speaker 4: unique visual possibilities of a spider Cara so perfectly. Even better,
• 1:15:24
  Speaker 4: I think applies to my number two. It's like the
• 1:15:29
  Speaker 4: filmmakers here in Spider Man Across the Spider Verse said
• 1:15:34
  Speaker 4: let's take that moment, and maybe they did, Josh, because
• 1:15:39
  Speaker 4: it also involves characters who are upside down. They took
• 1:15:43
  Speaker 4: that moment and said, how can we extend this even more?
• 1:15:47
  Speaker 4: Extend the emotional and thematic possibilities of that imagery. And
• 1:15:56
  Speaker 4: when you think about these films, so the moment is
• 1:15:59
  Speaker 4: Miles and Gwen at the Williamsburg clock Tower in Across
• 1:16:03
  Speaker 4: the Spider Verse. In both of the films. There's plenty
• 1:16:07
  Speaker 4: of examples of impressive animation, thrilling imagery, great action moments,
• 1:16:13
  Speaker 4: but also just great compositions where you recognize the artists
• 1:16:18
  Speaker 4: responsible for these films are elevating the craft and as
• 1:16:21
  Speaker 4: you said earlier talking about the poll questions, that maybe
• 1:16:24
  Speaker 4: in some ways these are even just better films. But
• 1:16:27
  Speaker 4: for me, the single scene that best harnesses those capabilities
• 1:16:34
  Speaker 4: is this scene. It's a reunion scene. It's been I
• 1:16:39
  Speaker 4: think like a year and a half since these two
• 1:16:42
  Speaker 4: characters last saw each other, so they're catching up, they're
• 1:16:46
  Speaker 4: feeling each other out, but they also know each other
• 1:16:49
  Speaker 4: so well. They know each other in a way like
• 1:16:52
  Speaker 4: great friends do, and people who are connected the way
• 1:16:55
  Speaker 4: they are, they know each other uniquely. There's also that
• 1:16:58
  Speaker 4: other dynamic at play where Miles has a crush on Gwen.
• 1:17:03
  Speaker 4: Daniel Pemberton's score is so lovely. During this sequence, they're
• 1:17:07
  Speaker 4: high above the city. They're in this fantasy sort of realm,
• 1:17:11
  Speaker 4: and everything about it captures the way you feel when
• 1:17:15
  Speaker 4: you're seeing someone special to you who you haven't seen
• 1:17:18
  Speaker 4: in a long time. And the director justsic Kay Thompson,
• 1:17:23
  Speaker 4: he seems to want to keep it grounded in character.
• 1:17:26
  Speaker 4: It's not about showing off with the animation, but it
• 1:17:30
  Speaker 4: is about trying to heighten that that sensation, this fantasy
• 1:17:36
  Speaker 4: sort of feeling, this special feeling that these two characters
• 1:17:41
  Speaker 4: have when they're together. And the first time we see them,
• 1:17:46
  Speaker 4: it is kind of subtle, right because they're they're vertical
• 1:17:49
  Speaker 4: in the frame. The first time we see them together,
• 1:17:51
  Speaker 4: it feels like a normal shot. So you and your
• 1:17:55
  Speaker 4: dead it's a little off because the horizon is also vertical,
• 1:17:58
  Speaker 4: and we're not used to seeing horizons be vertical, and
• 1:18:02
  Speaker 4: we can kind of start to put together that, oh,
• 1:18:04
  Speaker 4: they must be walking sideways in a way that only
• 1:18:08
  Speaker 4: characters like they could do. And then when Gwen starts
• 1:18:12
  Speaker 4: walking backwards along the dome and we with the camera
• 1:18:17
  Speaker 4: follow her, almost like we're on a roller coaster, but
• 1:18:21
  Speaker 4: a gentle roller coaster that's going over the edge with her.
• 1:18:25
  Speaker 4: It's one of those kind of take your breath away moments,
• 1:18:28
  Speaker 4: but not again, not in a roller coaster drop. Take
• 1:18:31
  Speaker 4: your breath away just kind of eases you into it.
• 1:18:35
  Speaker 4: It's it's really something. And then there's that incredible one
• 1:18:38
  Speaker 4: hundred and eighty degree move that that follows her as
• 1:18:43
  Speaker 4: she moves to the underside of the ledge and she's
• 1:18:45
  Speaker 4: standing upside down, and I honestly just love the tilt up.
• 1:18:49
  Speaker 4: Then that we get where Miles is standing on top
• 1:18:52
  Speaker 4: and she's sitting up upside down, and it's still keeping
• 1:18:56
  Speaker 4: some distance between them, because I think it's still about
• 1:19:00
  Speaker 4: he is still trying to figure out how to kind
• 1:19:01
  Speaker 4: of move into her space and how to fully reconnect
• 1:19:06
  Speaker 4: with each other. So there's still some distance between them.
• 1:19:09
  Speaker 4: But then he does move closer and he joins her,
• 1:19:12
  Speaker 4: and they spend the next the next few minutes together
• 1:19:15
  Speaker 4: talking while sitting upside down.
• 1:19:18
  Speaker 2: Just a really emotionally intelligent guy beyond my years.
• 1:19:25
  Speaker 4: Some of the lines of dialogue in that scene while
• 1:19:29
  Speaker 4: they're sitting there or just about to sit there together,
• 1:19:32
  Speaker 4: I think, really explain the motivation for the sequence and
• 1:19:37
  Speaker 4: the way it's portrayed. At one point, Miles says, well,
• 1:19:42
  Speaker 4: maybe some things are supposed to be just for us,
• 1:19:45
  Speaker 4: and she says, how many people could you talk to
• 1:19:48
  Speaker 4: about this stuff? Speaking to again that special connection, how
• 1:19:50
  Speaker 4: they are Obviously they're different, and there aren't there aren't
• 1:19:55
  Speaker 4: a lot of people who have their special skills and
• 1:19:59
  Speaker 4: they need each other and if they are, then these
• 1:20:05
  Speaker 4: types of figures who are going to have an experience
• 1:20:09
  Speaker 4: that are just the experience is just for them, and
• 1:20:13
  Speaker 4: they're going to talk about things that only they can
• 1:20:16
  Speaker 4: talk about. Well, it makes sense that they would do
• 1:20:18
  Speaker 4: it in an environment, in in a way that only
• 1:20:21
  Speaker 4: they can do, that only they can have, in a
• 1:20:25
  Speaker 4: moment that only they can share, which is them high
• 1:20:29
  Speaker 4: above the city sitting upside down. So the whole sequence
• 1:20:33
  Speaker 4: for me evokes that that they're having together, this singular
• 1:20:38
  Speaker 4: experience that is just for them, and then because of that,
• 1:20:41
  Speaker 4: we as viewers, it almost feels like a privilege that
• 1:20:45
  Speaker 4: we get to be a part of it. It feels
• 1:20:47
  Speaker 4: that intimate that we get to sit there and listen
• 1:20:50
  Speaker 4: in on the conversation that they get to have. I
• 1:20:53
  Speaker 4: did find a place, Josh where the production designer said,
• 1:20:58
  Speaker 4: and I should find his full name. His last name's O'Keefe.
• 1:21:00
  Speaker 4: But he talks about the artist Peter Chan, who did
• 1:21:04
  Speaker 4: the majority of work on the sequence. He says, he
• 1:21:07
  Speaker 4: did such a fantastic job. Peters an artist that we
• 1:21:09
  Speaker 4: traditionally use for the most colorful scenes possible because he
• 1:21:12
  Speaker 4: has this ability to handle a wide variety of colors
• 1:21:14
  Speaker 4: for the scene, however, I challenged him to work with
• 1:21:17
  Speaker 4: a more limited palette and pay very close attention to
• 1:21:20
  Speaker 4: the sensitivity of the sequence. There are lots and lots
• 1:21:23
  Speaker 4: of very subtle but huge shifts happening here. The city
• 1:21:26
  Speaker 4: never feels too flat or boring. Although it feels magical
• 1:21:29
  Speaker 4: and romantic, it's not telling you directly. The visuals are
• 1:21:33
  Speaker 4: letting you feel the romanticism of the moment quietly, and
• 1:21:36
  Speaker 4: I think that I think that does get to part
• 1:21:41
  Speaker 4: of why that scene works. Again, for all of its showiness,
• 1:21:45
  Speaker 4: in some way, if you think about the way the
• 1:21:47
  Speaker 4: camera is following the characters and that upside down things
• 1:21:51
  Speaker 4: are happening, it is so quiet at the end of
• 1:21:54
  Speaker 4: the day, it is still such a quiet, beautiful scene.
• 1:21:58
  Speaker 1: Yeah, there is a real sunset seeping through the cloud
• 1:22:01
  Speaker 1: sense of the color here that that quote brings to mind.
• 1:22:05
  Speaker 1: If listeners have not seen this scene, you really got
• 1:22:08
  Speaker 1: to check it out. We'll link to it in our
• 1:22:10
  Speaker 1: show notes, as we will for I think all the
• 1:22:12
  Speaker 1: scenes for our picks, because it's kind of hard to describe, right,
• 1:22:17
  Speaker 1: but for all the reasons you laid out, and a
• 1:22:20
  Speaker 1: few more are get to this is why I have
• 1:22:22
  Speaker 1: being Upside Down with Spider Gwen as my number one.
• 1:22:25
  Speaker 1: I have it ahead of the Kiss. It's just mesmerizing
• 1:22:29
  Speaker 1: and moving. Astute listeners will also remember I had it
• 1:22:34
  Speaker 1: actually as my most moving moment at our twenty twenty
• 1:22:37
  Speaker 1: three rap party, and so obviously it was going to
• 1:22:40
  Speaker 1: be on this list. It was just a matter of
• 1:22:41
  Speaker 1: where do I rank it with the others, and once
• 1:22:44
  Speaker 1: I watched all of them again, I had to put
• 1:22:47
  Speaker 1: it at the top. I do think to your point
• 1:22:49
  Speaker 1: about the dialogue SHIMIEK Moore as Miles Here and Hailey
• 1:22:54
  Speaker 1: Steinfeld as Spider Gwen, I do think they're giving really
• 1:22:58
  Speaker 1: good performances, and the character animation with him moving his
• 1:23:02
  Speaker 1: hands slightly towards her is just so astute. So in
• 1:23:05
  Speaker 1: terms of performance, it's wonderful, But it really is a
• 1:23:08
  Speaker 1: lot of what you were talking about, the visuals accentuating
• 1:23:11
  Speaker 1: those emotions. I even like. I think the only thing
• 1:23:14
  Speaker 1: I'll mention that you didn't I don't think you mentioned
• 1:23:16
  Speaker 1: Gwen's ponytail. How she puts her hair in a ponytail
• 1:23:20
  Speaker 1: at the start, but then when the whole screen flips,
• 1:23:25
  Speaker 1: essentially she looks like she's sitting upright, but her ponytail
• 1:23:31
  Speaker 1: is poking way up in the air because of gravity, right.
• 1:23:33
  Speaker 1: So it's just it's clever. It's also orientating for us
• 1:23:38
  Speaker 1: as the audience is It's like, it's okay, it's functional,
• 1:23:41
  Speaker 1: but also like really kind of funny and cute. And
• 1:23:45
  Speaker 1: then and then to have the skyline in the background
• 1:23:47
  Speaker 1: be upside down with that happening, it's like, Okay, I
• 1:23:51
  Speaker 1: I really I what's happening here? But okay, I think
• 1:23:54
  Speaker 1: I know what's happening here, and your brain is is
• 1:23:57
  Speaker 1: registering all that and it does, you know, it's dizzying
• 1:24:02
  Speaker 1: and oddly beautiful, but it does speak to what you're
• 1:24:04
  Speaker 1: talking about their unique experiences. These are two teens whose
• 1:24:09
  Speaker 1: worlds have been completely upended literally and you know, thematically
• 1:24:14
  Speaker 1: turned upside down, and this is what they're talking about here,
• 1:24:17
  Speaker 1: the stresses, the pressures of these having these power and
• 1:24:21
  Speaker 1: what it means for their family relationships and their personal relationships,
• 1:24:25
  Speaker 1: and to yeah, to have that represented by the imagery alone,
• 1:24:32
  Speaker 1: I really, you know, I didn't think the movies could
• 1:24:36
  Speaker 1: find a way to top the comic book cool and
• 1:24:39
  Speaker 1: emotionality of The Upside Down Kiss, But I think this.
• 1:24:43
  Speaker 1: I think this scene from across the Spider Verse manages it.
• 1:24:46
  Speaker 1: So yeah, number one for me.
• 1:24:50
  Speaker 4: I guess I'm proving here why I did pick Spider
• 1:24:56
  Speaker 4: Man two thousand and two though as my definitive Spider
• 1:24:59
  Speaker 4: Man in the poll question, because when it came down
• 1:25:02
  Speaker 4: to going with a number one scene, I did resort
• 1:25:05
  Speaker 4: back to Sam Raimi's two thousand and two Spider Man
• 1:25:09
  Speaker 4: and I went with Peter discovering his powers. And I
• 1:25:16
  Speaker 4: do think there's a lot here, Josh in the scene
• 1:25:20
  Speaker 4: that it reflects here again Sam Raimi's sensibilities as a
• 1:25:24
  Speaker 4: director and how he applies them to this character. Why
• 1:25:28
  Speaker 4: these movies work so well, Starting with Peter looking down
• 1:25:32
  Speaker 4: at his hand and that extreme close up of his
• 1:25:34
  Speaker 4: fingertips with the microscopic hairs, it literally makes his superpowers tactile,
• 1:25:42
  Speaker 4: which is something we complain about, is these superhero movies
• 1:25:45
  Speaker 4: not feeling that way, not feeling real, not feeling tangible.
• 1:25:50
  Speaker 4: Here's where I said I was going to maybe mention
• 1:25:53
  Speaker 4: the Amazing Spider Man two again, the movie I needed
• 1:25:56
  Speaker 4: to catch up with, and I watched it as my
• 1:26:00
  Speaker 4: last film so I could cross off all these Spider
• 1:26:02
  Speaker 4: Man movies it's definitely the worst of all of them.
• 1:26:08
  Speaker 4: I would say, without revisiting all of them, I would
• 1:26:11
  Speaker 4: say it's the worst of them. And I bring it
• 1:26:14
  Speaker 4: up in this context, Josh, because with my respects to
• 1:26:19
  Speaker 4: our listener Drew, who said is that these movies on
• 1:26:23
  Speaker 4: the whole work and that he really likes Gwen and
• 1:26:28
  Speaker 4: Peter as Emma Stone and Andrew Garfield portray them. I
• 1:26:32
  Speaker 4: don't really have a problem with them, but I did
• 1:26:33
  Speaker 4: spend most of the movie making that face. Dennis Leary
• 1:26:37
  Speaker 4: makes the whole movie when he appears as the ghost
• 1:26:40
  Speaker 4: of Policemen Past, who just appears every now and again
• 1:26:43
  Speaker 4: with that scolding face.
• 1:26:45
  Speaker 1: Where he just got about him.
• 1:26:47
  Speaker 4: He just appears and scowls at I hope he got
• 1:26:50
  Speaker 4: paid well to do that, like for just one day
• 1:26:53
  Speaker 4: of work, just stand in front of a green screen
• 1:26:55
  Speaker 4: or whatever and scowl at Tom Holland or nobody. He
• 1:26:58
  Speaker 4: was probably scowling it or not Tom Holland Andrew Garfield,
• 1:27:00
  Speaker 4: he probably was scowling at nobody. I do hope Dennis
• 1:27:02
  Speaker 4: Leary got paid well for that day. That's how I
• 1:27:05
  Speaker 4: felt mostly disappointed watching this movie. And my biggest disappointment
• 1:27:10
  Speaker 4: was maybe that at no point did I feel not
• 1:27:15
  Speaker 4: just during the set pieces, the major set pieces, but
• 1:27:17
  Speaker 4: during any single moment of Spider Man being Spider Man.
• 1:27:22
  Speaker 4: At no point did I feel like I believed it.
• 1:27:26
  Speaker 4: At every turn, the effects jolted me out of my
• 1:27:31
  Speaker 4: suspension of disbelief. It felt like they had to apply
• 1:27:35
  Speaker 4: some kind of computer, computerized moment, computer generated effect at
• 1:27:41
  Speaker 4: every single leap or wall climb, whatever it was, and
• 1:27:47
  Speaker 4: it took me out of it at every turn. And
• 1:27:51
  Speaker 4: here Rainy is signaling to you, these hands are about
• 1:27:55
  Speaker 4: to walk up the wall and you're gonna watch it. Yeah,
• 1:27:58
  Speaker 4: it's gonna be great. This is a fun sequence. It's
• 1:28:01
  Speaker 4: a funny sequence, but I think it's so memorable in
• 1:28:05
  Speaker 4: part two because of the layers that Raymie brings to it.
• 1:28:09
  Speaker 4: You don't need a PhD in child psychology to read
• 1:28:12
  Speaker 4: Spider Man as a metaphor for puberty and adolescents with
• 1:28:18
  Speaker 4: sudden physical transformations and the way that can be scary
• 1:28:22
  Speaker 4: for young boys. And not surprisingly with Rainy, this sequence
• 1:28:27
  Speaker 4: starts with some ominousness. It's in this dark kind of
• 1:28:30
  Speaker 4: alley out of the sun, and he looks up and
• 1:28:33
  Speaker 4: sees the Spider in the web crawling around and there's
• 1:28:37
  Speaker 4: barbed wire right next to it, and the Danny Elfman
• 1:28:39
  Speaker 4: score even heightens that a little bit. And then when
• 1:28:42
  Speaker 4: Peter initially starts crawling up the wall slowly, it doesn't
• 1:28:49
  Speaker 4: feel like this joyous thing. It actually feels like something
• 1:28:52
  Speaker 4: out of a horror movie where a scary monster starts
• 1:28:56
  Speaker 4: crawling slowly toward the main character and then picks up speed.
• 1:29:00
  Speaker 4: But then once he fully realizes what he can do,
• 1:29:03
  Speaker 4: that's where the excitement begins. And I suppose watching that sequence, Josh,
• 1:29:11
  Speaker 4: the only part for me watching it again multiple times
• 1:29:14
  Speaker 4: you could be really nitpicky about is how real a
• 1:29:17
  Speaker 4: couple of those jumps felt from the aerial shots. But
• 1:29:20
  Speaker 4: otherwise I bought every single amazing move Peter pulls off. There.
• 1:29:27
  Speaker 4: It completely holds up, and the webs and the webs
• 1:29:31
  Speaker 4: slinging feel real and don't feel like any kind of
• 1:29:34
  Speaker 4: computer generated effect. He's a kid, acting like a kid
• 1:29:40
  Speaker 4: like you believe a kid would act, discovering these powers
• 1:29:43
  Speaker 4: and going back to where we began. Every single one
• 1:29:46
  Speaker 4: of us who aspired to be Spider Man, who dreamed
• 1:29:50
  Speaker 4: about this moment, suddenly actually getting bitten by the radioactive
• 1:29:55
  Speaker 4: Spider that when we put on our under roofs and thought,
• 1:29:58
  Speaker 4: if only I could actually sling webs and crawl up
• 1:30:01
  Speaker 4: the walls. In this moment, Raymie brought that to life
• 1:30:06
  Speaker 4: for us. He delivered the confusion but also the exhilaration
• 1:30:10
  Speaker 4: that we imagined when we were kids, and I suppose
• 1:30:14
  Speaker 4: that is a big part of why it will always
• 1:30:17
  Speaker 4: be this movie. That scene in particular, that's a big
• 1:30:19
  Speaker 4: reason why this will be the diff of Spider Man
• 1:30:21
  Speaker 4: for me.
• 1:30:22
  Speaker 1: Yeah, I remember watching this in a press screening. Wasn't
• 1:30:27
  Speaker 1: at the Lake Street screening room, but in a press screening,
• 1:30:29
  Speaker 1: and my immediate reaction when this scene happened was they
• 1:30:32
  Speaker 1: did it because you'd been hearing about this movie being
• 1:30:36
  Speaker 1: in development for so long and I didn't know if
• 1:30:41
  Speaker 1: it could work until we saw the scene of Peter
• 1:30:43
  Speaker 1: actually trying out his powers and they pulled it off.
• 1:30:48
  Speaker 1: It absolutely worked. It was thrilling, it was funny as
• 1:30:50
  Speaker 1: the character should be. All the things you said, it's
• 1:30:53
  Speaker 1: my number six, it's you know, the top honorable mention
• 1:30:57
  Speaker 1: for me. I think it captures the genial enthusiasm, which
• 1:31:02
  Speaker 1: is a core trade of the character as well. Sometimes
• 1:31:06
  Speaker 1: some of these movies try a little too hard to
• 1:31:08
  Speaker 1: force that into fights here and there, but it's perfect
• 1:31:12
  Speaker 1: for this sequence where Peter's response is yes, confused, maybe
• 1:31:16
  Speaker 1: a little nervous, but mostly this genial enthusiasm. And you
• 1:31:20
  Speaker 1: mentioned the Elphan score. The best part of it is
• 1:31:24
  Speaker 1: when he starts crawling up that wall, the way the
• 1:31:26
  Speaker 1: music inches the wall with him with him. So yeah,
• 1:31:32
  Speaker 1: just just a really great scene and my top honorable mention.
• 1:31:35
  Speaker 4: Those are our top five Spider Man scenes. We would
• 1:31:38
  Speaker 4: love to hear your picks or any other comments about
• 1:31:41
  Speaker 4: the show. You can email us feedback at film spotting
• 1:31:43
  Speaker 4: dot net. Once again, you can find all of our
• 1:31:45
  Speaker 4: choices and links to the scenes at film spotting dot
• 1:31:48
  Speaker 4: net just by clicking on lists right there at the
• 1:31:51
  Speaker 4: top of the page. Josh, you did list one of
• 1:31:55
  Speaker 4: your honorable mentions for us already. Do you have any
• 1:31:57
  Speaker 4: others you would like to throw in?
• 1:31:59
  Speaker 1: Well, I feel like I should give a bone to
• 1:32:01
  Speaker 1: the Andrew Garfield fans. I mean, you know, Drew Drew
• 1:32:04
  Speaker 1: came to his defense, but you've just you've been scared
• 1:32:07
  Speaker 1: by your your amazing Spider Graw experience. So how about this?
• 1:32:12
  Speaker 1: And it speaks to some of the things we've been
• 1:32:14
  Speaker 1: talking about. But in The Amazing Spider Man, there's a
• 1:32:16
  Speaker 1: rescue sequence where Spider Man convinces a kid who is
• 1:32:21
  Speaker 1: is in a car that's dangling from a bridge and
• 1:32:23
  Speaker 1: he's trying to convince him to climb out and you know,
• 1:32:26
  Speaker 1: come to him, come to safety, and the kid is scared,
• 1:32:29
  Speaker 1: and what he does to convince him is he takes
• 1:32:32
  Speaker 1: his masks and gives it to the kid and says,
• 1:32:35
  Speaker 1: it'll make you strong. And I think that, you know,
• 1:32:37
  Speaker 1: it's a really nice moment that also speaks to the
• 1:32:40
  Speaker 1: intimacy that we've touched on. So I would say that
• 1:32:43
  Speaker 1: for the Andrew Garfield run, I feel like I need
• 1:32:47
  Speaker 1: to acknowledge the Spider Men reunion that takes place in
• 1:32:51
  Speaker 1: Spider Man No Way Home. I think that's not a
• 1:32:56
  Speaker 1: super successful I mean I liked it okay, but a
• 1:32:58
  Speaker 1: super successful Spider Man movie. And maybe it's a little
• 1:33:02
  Speaker 1: hokey that all of the previous Spider Man come to
• 1:33:06
  Speaker 1: join Tom Holland. But if you are a completist or
• 1:33:09
  Speaker 1: you have a long history with this character, I'm sorry, it's.
• 1:33:14
  Speaker 4: Kind of cool.
• 1:33:15
  Speaker 1: I mean what they asked the actors to do is
• 1:33:16
  Speaker 1: kind of lame, but the idea is cool enough. Okay,
• 1:33:18
  Speaker 1: So let's say that the opening of Spider Man Across
• 1:33:22
  Speaker 1: the Universe is essentially a mini Spider Gwen movie, and
• 1:33:28
  Speaker 1: it's wonderful. You talked about the color work in the
• 1:33:31
  Speaker 1: scene we both picked with Miles and Spider Gwen. But this,
• 1:33:36
  Speaker 1: I think of that sequence where she's having that fight
• 1:33:39
  Speaker 1: with her father and the background walls just start dripping
• 1:33:42
  Speaker 1: like water colors. Incredible. Yeah, I think I'll go with
• 1:33:47
  Speaker 1: those for my honorable mentions.
• 1:33:48
  Speaker 4: Yeah, we have covered a lot of the same ground.
• 1:33:50
  Speaker 4: Because I already mentioned to the run your list the
• 1:33:55
  Speaker 4: upside down kiss scene stopping the train Spider Gwen was
• 1:33:58
  Speaker 4: one that stood out to me that opening.
• 1:34:01
  Speaker 5: And you know what I do.
• 1:34:05
  Speaker 4: Or I am willing to give a nod to Peters
• 1:34:09
  Speaker 4: reuniting in the latest Spider Man movie. Which one is
• 1:34:14
  Speaker 4: that again? No Way Home? Is that what we're calling that?
• 1:34:16
  Speaker 4: No Way Home? Yes? From twenty twenty one. In terms
• 1:34:19
  Speaker 4: of one or two, the didn't mention. I do have
• 1:34:23
  Speaker 4: a moment that I called out during our Spider Man conversation,
• 1:34:28
  Speaker 4: our twenty year anniversary conversation where Aunt May chides Willem Dafoe,
• 1:34:35
  Speaker 4: who I think is great, chides Willem Dafoe's Norman Osborne.
• 1:34:39
  Speaker 4: I can't remember exactly what he says, but he says
• 1:34:41
  Speaker 4: something that she gives him a little slap on the wrist,
• 1:34:44
  Speaker 4: and the way she does it and the way he
• 1:34:46
  Speaker 4: reacts to it he doesn't like. He doesn't like the
• 1:34:50
  Speaker 4: way she puts him in his place he's not used to.
• 1:34:53
  Speaker 4: That is really is really great into the Spider verse.
• 1:34:56
  Speaker 4: I mean, this is one of those iconic Mount Rushmore moments,
• 1:35:00
  Speaker 4: perhaps as well, but the Leap of Faith is another
• 1:35:03
  Speaker 4: great visual and and thematic moment as well. I thought, Josh,
• 1:35:08
  Speaker 4: that I would and I did the research here. I
• 1:35:12
  Speaker 4: thought that I would be able to find something from
• 1:35:16
  Speaker 4: This was going to be my off the beaten path surprise,
• 1:35:19
  Speaker 4: Josh Pick. You know you went with the I should
• 1:35:22
  Speaker 4: have known it was coming now. It's a trend. But
• 1:35:26
  Speaker 4: just as you went with the theme music or the
• 1:35:28
  Speaker 4: opening theme moment, I thought, here's where I'm gonna surprise Josh.
• 1:35:32
  Speaker 4: I'm gonna even though this isn't that risky here or whatever,
• 1:35:37
  Speaker 4: that much of a surprise, I'm gonna go with a
• 1:35:40
  Speaker 4: Spider Man moment from one of the Avengers movies or Captain.
• 1:35:44
  Speaker 1: I thought about that, Yeah, right.
• 1:35:46
  Speaker 4: And I went back and watched every scene I could
• 1:35:49
  Speaker 4: get my hand on. I thought, surely one of these scenes,
• 1:35:51
  Speaker 4: the relationship between him and Tony Stark, they have such
• 1:35:55
  Speaker 4: a bond, fun that they have such a bond, And
• 1:35:59
  Speaker 4: and and who doesn't love Tony Stark? Who doesn't love
• 1:36:03
  Speaker 4: Robert Downey Jr. I'm I'm surely going to find a
• 1:36:06
  Speaker 4: scene that I love. It's gonna jog my memory and
• 1:36:09
  Speaker 4: I'm gonna I'm gonna feel like I have to put
• 1:36:11
  Speaker 4: this in my top five. And not only did I
• 1:36:13
  Speaker 4: not find a scene from Civil War or Infinity War
• 1:36:15
  Speaker 4: or Endgame that made my top five. I this is
• 1:36:18
  Speaker 4: the honorable mention I'm giving it is that I really
• 1:36:21
  Speaker 4: couldn't find one, a single scene from any of those movies.
• 1:36:23
  Speaker 1: Joshua is that he does appear in the Avengers.
• 1:36:27
  Speaker 4: He appears in those movies. So maybe that's some feedback
• 1:36:30
  Speaker 4: I'm I'm looking for from listeners in general. But you
• 1:36:34
  Speaker 4: can give us any feedback on the list, But specifically,
• 1:36:37
  Speaker 4: is there something Is there a key scene from many
• 1:36:40
  Speaker 4: of those and I know I know there's there's the
• 1:36:42
  Speaker 4: death scene, and there's the there's the life. But those
• 1:36:45
  Speaker 4: don't stand out to me.
• 1:36:48
  Speaker 1: In the moment and in the context. I think they're
• 1:36:50
  Speaker 1: I think they're very effective. I think his return is
• 1:36:53
  Speaker 1: quite moving, and I think his presence what he brings
• 1:36:56
  Speaker 1: just even as a character to that battle scene, it's
• 1:36:59
  Speaker 1: like at an airport or something like that. Right, Yeah,
• 1:37:02
  Speaker 1: in Civil War, I think is a nice there's some
• 1:37:07
  Speaker 1: nice levity there with what else we're getting. So I
• 1:37:10
  Speaker 1: think he's quite good and a welcome presence in all
• 1:37:13
  Speaker 1: those movies. I just didn't have anything from them that
• 1:37:16
  Speaker 1: could rival, you know, the ricks that we made.
• 1:37:19
  Speaker 4: Okay, what's again our top five Spider Man scenes? Email
• 1:37:23
  Speaker 4: us yours feedback at film spotting dot net, Josh, that's
• 1:37:28
  Speaker 4: our show.
• 1:37:29
  Speaker 1: If you want to find Adam in the show on
• 1:37:32
  Speaker 1: social media, you can find them on Instagram, Facebook, letterbox, YouTube,
• 1:37:36
  Speaker 1: and blue Sky. At film Spotting, I'm at those places
• 1:37:39
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• 1:37:43
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• 1:37:48
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• 1:37:53
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• 1:38:04
  Speaker 1: show archive. For show t shirts and other merch go
• 1:38:07
  Speaker 1: to film spotting dot net slash shop.
• 1:38:10
  Speaker 4: Out in limited release this weekend is I Want Your Sex,
• 1:38:13
  Speaker 4: the new movie from director Greg Araki, with Olivia Wilde
• 1:38:17
  Speaker 4: and Cooper Hoffman. Friend of the show, Mitchell bo Pray
• 1:38:20
  Speaker 4: at Letterbox says, a rocky, sex filled riff on something
• 1:38:23
  Speaker 4: like The Lady Eve or Ball of Fire. Okay, I
• 1:38:25
  Speaker 4: was interested, now at more interested. Boyhood is being re
• 1:38:29
  Speaker 4: released unfortunately only in Alamo drafthouse theaters and other independent chains.
• 1:38:34
  Speaker 4: It does say, other independent chains, but not one near me. Josh,
• 1:38:38
  Speaker 4: I can't see that beloved film of mine back in theaters.
• 1:38:42
  Speaker 4: The Kidnapping of Arabella is a new film from Italian
• 1:38:46
  Speaker 4: writer director Carolina Cavali. Friend of the show Robert Daniel says,
• 1:38:51
  Speaker 4: and you can't say this isn't intriguing. What if Roy
• 1:38:54
  Speaker 4: Anderson made Thelma and Louise.
• 1:38:59
  Speaker 1: I'm gonna need a few minutes, take a.
• 1:39:01
  Speaker 4: Minute to process that one. Okay, we know Roy Anderson's
• 1:39:05
  Speaker 4: worked fairly well. So yeah, Sheep in the Box. This
• 1:39:08
  Speaker 4: is the latest from Hirikazu Korata. Big year for Sheep
• 1:39:11
  Speaker 4: at the Movies, a near future set film about a
• 1:39:14
  Speaker 4: family raising a humanoid robot as a sun at the
• 1:39:19
  Speaker 4: music Box, Korata, I am, I am interested? Out wide
• 1:39:23
  Speaker 4: is spider Man brand new day, So next week you
• 1:39:26
  Speaker 4: can't expect more Spider Man talk. We will get to
• 1:39:31
  Speaker 4: the latest Spider Man movie starring Tom Holland next week.
• 1:39:34
  Speaker 4: In the Film Spotting Feed, that's our show on Friday
• 1:39:36
  Speaker 4: Monday is episode three of the movie Deathmatch. It is
• 1:39:39
  Speaker 4: a lot of spidery. Sorry, hopefully you'll be interested. Great
• 1:39:43
  Speaker 4: conversation though, Matt Singer and Daisy Rosario about spider Man
• 1:39:46
  Speaker 4: two and into the spider Verse. See which one gets
• 1:39:50
  Speaker 4: crowned the definitive Spider Man movie. It's going to be
• 1:39:53
  Speaker 4: one of those two. Host Chris Klemack has to be
• 1:39:56
  Speaker 4: the judge and make that tough call and Josh, that's
• 1:39:59
  Speaker 4: it because it's break time for the next picture show.
• 1:40:02
  Speaker 4: In Film Spotting SVU, I guess they've earned it.
• 1:40:07
  Speaker 1: Sure, yeah, yeah they do. They do deserve a break.
• 1:40:10
  Speaker 1: Film Spotting is produced by Golden Joe Toso and Sam
• 1:40:13
  Speaker 1: Van Holgren. Without Sam and Golden Joe, this show wouldn't go.
• 1:40:16
  Speaker 1: Our production assistant is Sophiekempanar special thanks to everyone at
• 1:40:20
  Speaker 1: wbeasy Chicago. More information is available at wbez dot org.
• 1:40:25
  Speaker 1: For film Spotty, I'm Josh.
• 1:40:26
  Speaker 4: Larson and I'm Adam Kempinar. Thanks for listening.
• 1:40:29
  Speaker 2: This conversation can serve no purpose anymore. Good Bye,