Latest / the arc.fm / Hobbes & Shaw - Virgo Season Continues with a Story Told Almost Entirely in Visuals

Transcript

Hobbes & Shaw - Virgo Season Continues with a Story Told Almost Entirely in Visuals · the arc.fm

• 0:03
  That was such a dramatic button push.
• 0:09
  It's take two.
• 0:12
  And we know it.
• 0:13
  We know it from that very dramatic button push.
• 0:16
  You want to tell me just what we're dealing with here?
• 0:19
  It's my sister. Family business.
• 0:21
  When it's the fate of the world, it becomes my business.
• 0:27
  Well, I guess for the beginning of this, could you give me a
• 0:29
  why we are watching.
• 0:33
  There is so much in that. Why.
• 0:35
  Why, why are we watching this?
• 0:38
  More Virgo season, Another Virgo.
• 0:40
  Oh, cool.
• 0:42
  What have you done with your life?
• 0:45
  Take two: Virgo season
• 0:48
  is what we all agreed on yesterday.
• 0:52
  I took notes For God sakes.
• 0:55
  It's on the *bleep*
• 0:57
  group calendar.
• 0:59
  but that's it. So it was Virgo season.
• 1:01
  Yes. Because it's Robbie and Jaclynn’s birthday weeks.
• 1:05
  And so we picked favorite movies and I mine was inspired
• 1:09
  by the fact that I watched it literally on my birthday in 2019.
• 1:13
  And it was great.
• 1:14
  And in part I think it was great in part because it was just a great day.
• 1:18
  It was my birthday, my first sober birthday.
• 1:20
  I had a milkshake that I was obsessed with that I think about all the time.
• 1:24
  please read the milkshake recipe.
• 1:25
  It's called the Samoa cookie shake.
• 1:27
  Cookie, vanilla ice cream, dark chocolate and caramel
• 1:31
  roasted macadamia nuts, coconut cream and toasted coconut flakes.
• 1:38
  It does a lot of storytelling efficiently.
• 1:40
  like, this is the movie I hope to make one day.
• 1:43
  Like, It sets up the story really quickly.
• 1:45
  It does some visual stuff.
• 1:46
  You know exactly what you're doing, what the tone is.
• 1:48
  So it does it really well. Really quickly in your in.
• 1:50
  I had a very specific experience watching it the first time, which was,
• 1:54
  I thought, I thought Jaclynn was going to hate me
• 1:57
  because I was watching it and I was like, oh my God, this is like,
• 2:00
  I do not like this.
• 2:02
  Like I really do not like. Starts off not that great. Yeah.
• 2:04
  And but it and it sort of continues. Not that great.
• 2:07
  And and there's a he slid that.
• 2:09
  No no no but like I recognize how skillful like how skillful it is.
• 2:13
  I recognize how well it's made.
• 2:15
  I recognize that it has all these elements of things that I love.
• 2:18
  It's got witty banter.
• 2:20
  It's got, it's got funny cameos.
• 2:22
  I actually laughed a lot we should note that my experience watching this was.
• 2:26
  Me quoting it before it happened.
• 2:28
  Yeah. You were watching. Yeah, I was that person.
• 2:31
  Were watching it as if I had also seen it 12 times.
• 2:34
  Yeah. I mean.
• 2:35
  nobody should watch a movie with me, I do.
• 2:37
  I was like, we're going home.
• 2:39
  And then like, like Hobbs is like, we're going home.
• 2:43
  And Cole's like, really?
• 2:46
  Really?
• 2:47
  Yeah. I'm sorry.
• 2:48
  That's rude because I thought I thought the exact opposite.
• 2:50
  like, I thought, oh, I should be watching this with Jaclynn and Cole.
• 2:54
  Like, that's what I thought. I agree.
• 2:55
  it would be a bummer to miss out on, like, this fun, absurd experience
• 3:00
  that I get to take, like my serious friends through.
• 3:03
  And like, this is actually really well done.
• 3:05
  But also there's like a sense of humor,
• 3:07
  playfulness and absurdity to it that I want everybody in on.
• 3:11
  So the only thing that would be
• 3:12
  I wouldn't unfriend you guys if you hadn't liked it.
• 3:14
  in trying to get myself hyped.
• 3:17
  And that is what this requires.
• 3:19
  It's a hyped movie.
• 3:21
  I realized David Lynch directed it and I gasped.
• 3:24
  is now a David Leitch Fan Club podcast.
• 3:28
  And his wife to his wife is executive produce is everything he does.
• 3:32
  And I have no doubt she's actually a giant part of why everything works.
• 3:37
  I'm like, why so?
• 3:38
  Well, he's such a good director, mean, you should actually probably Google him.
• 3:41
  And like, I did this before.
• 3:42
  Guy that the guy.
• 3:44
  Yeah I love fall guy I a thing that will never stop
• 3:48
  making me upset is that fall guy wasn't a giant success.
• 3:51
  Yeah, yeah.
• 3:52
  The promise before it like oh my it just so. Yeah.
• 3:54
  So he, David Leech was a stunt guy,
• 3:58
  and then he was a stunt coordinator, and he, like, he loves stunts.
• 4:02
  He loves stunt people. He loves.
• 4:04
  And so everything he does, especially fall guys like a love letter to stunts.
• 4:08
  And I think you see it so well in this action film of the precision.
• 4:13
  And it's such a like high, low
• 4:15
  mixture of like believability and absolutely unbelievable.
• 4:18
  And it is it's like, I believe that Hobbs took his giant muscle arm out
• 4:23
  a window and like, picked up somebody off a motorcycle, like I believe it.
• 4:27
  Even though, like.
• 4:28
  Physically and. Physically.
• 4:30
  Yeah.
• 4:30
  There's no amount of strength that prevents broken joints like whatever.
• 4:35
  Yeah. Yeah.
• 4:36
  And so it just it's very believable.
• 4:38
  And he, I just think he does genius up. So he did John Wick.
• 4:41
  Oh he did.
• 4:42
  Blond. I telephoned. Yeah. He's done all the John Wick.
• 4:45
  I think he was on all of them.
• 4:46
  But I think he's like uncredited on some of them.
• 4:48
  Or he
• 4:49
  I thought Cole had seen it.
• 4:50
  I did a you admitted you had it right.
• 4:53
  You tried when you said 12 minutes in.
• 4:56
  Oh no, I don't know if I'm going to like this again.
• 4:59
  Don't call it always given up. That was. Yeah.
• 5:01
  That's okay.
• 5:02
  Yeah. And I was like, yeah, I get it, I don't get it.
• 5:05
  I think you're right about the beginning.
• 5:06
  Like it just it sets up everything.
• 5:07
  It's going to be And I knew exactly what I was getting into.
• 5:10
  a thing that I feel strongly about it is so visually perfect.
• 5:14
  the precision of the visuals for me is what really gets me.
• 5:18
  they didn't speak for like 12 minutes that's like the whole arc of the story.
• 5:22
  That was the thing.
• 5:23
  The thing I want to do is I want to sit down and I want to go shot by shot.
• 5:25
  And I also want to sit down and count
• 5:27
  the amount of dialog because there's not much dialog.
• 5:29
  If you take out the insults.
• 5:31
  it's even because insults aren't really dialog.
• 5:33
  It is.
• 5:33
  It's mostly like punchy one line
• 5:35
  jokes, the insults and like a tiny bit of exposition,
• 5:38
  I think it's visually precise in a way that I find extremely impressive,
• 5:43
  what I actually want to do with this film
• 5:45
  is I want to sit down and talk about every shot,
• 5:47
  And this is a storyteller talking about the story, but I.
• 5:50
  Really shot has a.
• 5:51
  Story it does if you watch the like editing and the visuals,
• 5:54
  so the the opening scene comes in, they're juxtaposed next to each other.
• 5:57
  It's like split screen.
• 5:58
  And you start to see Hobbs and you start to see Shaw.
• 6:01
  starts to happen is that they're very much the same.
• 6:04
  Yeah.
• 6:05
  And like they do that so visually throughout it so many times
• 6:08
  and I loved that.
• 6:09
  So at the beginning, you already know that these are two dudes who think they're
• 6:12
  diametrically opposed to each other, who are pretty much the same.
• 6:16
  And so you already start like connecting it visually.
• 6:19
  And so they're both like eating eggs, but they're eating eggs differently,
• 6:21
  like they're both in bed, but they're both like in the same size bed.
• 6:24
  And garage doors open on the exact same playing frame.
• 6:30
  They answer the phone, right. They both answer the phone.
• 6:32
  They hear that they're like on a mission, and they both give it a B
• 6:35
  and then say where they see it at the same time.
• 6:39
  Well.
• 6:40
  That's cool.
• 6:41
  Right? They're not like asking details. They're not asking how.
• 6:43
  They're just like where I know it's now and I'm going to go
• 6:45
  But what was really cool to me and this is like cinematography
• 6:48
  nerd stuff, but like a lot of times characters will have a color story, right?
• 6:52
  So like and maybe that color
• 6:53
  will shift over the film to like show what they're going through.
• 6:56
  But so for, big part of this, like, juxtaposition, Hobbs is, rust colored
• 7:01
  and Shaw is blue very, very clearly and like so each side of the screen,
• 7:06
  you have your color story and like, rust colored on the left and blue on the right,
• 7:10
  and you're kind of following them around.
• 7:12
  And in my mind I'm like, okay, each has their own color story.
• 7:14
  and then all of a sudden they get in their cars and the color swap.
• 7:17
  but the characters stay the same.
• 7:19
  And to me, that was like such a, like,
• 7:21
  subconscious thing of like, they're the same, right?
• 7:24
  Like it's like they're these two different people.
• 7:26
  But yeah, like the color switches and it switches on the side of the screen,
• 7:29
  but the colors stay, the characters stay the same,
• 7:32
  and just the ways that they're like constantly trying to show you that
• 7:34
  these guys are actually, like, much more aligned than you would think.
• 7:38
  And I love that because, like, one of the things I don't like
• 7:41
  about films like that I didn't like about Freaky or
• 7:43
  Friday was like, there's so much yelling and there's so much like disagreement.
• 7:48
  And so I like that visually.
• 7:49
  They weave the two of them together in ways that like make your brain like,
• 7:53
  calm your brain and weave them together in a way that's not so discordant.
• 7:57
  I just think that's really cool.
• 7:58
  Like the visuals me are like more than the story.
• 8:01
  So I put you to a hard task, right?
• 8:03
  Like we're storytellers talking story.
• 8:05
  And mostly I'm just obsessed with what they do visually.
• 8:07
  But anyway, that color thing was really another thing
• 8:10
  that I like rewound and kept watching, being like,
• 8:12
  when does that switch and why does it switch?
• 8:13
  And do the character switch back?
• 8:14
  At first, when the switch happened with the cars,
• 8:17
  I was like, so angry because that's a mistake.
• 8:20
  This guy, this this guys.
• 8:21
  Yes, we made the switch.
• 8:22
  Yes, I noticed it I noticed it in the theater.
• 8:25
  It's very jarring, but it's also like, oh, that's like a it's a choice
• 8:29
  because they're interchangeable to an extent.
• 8:31
  I like that it's an element of story because it absolutely is.
• 8:34
  It is.
• 8:35
  I mean, I.
• 8:35
  Kind of. An eye roll.
• 8:37
  Of the, the channel that's being the medium, that's being used.
• 8:40
  Right.
• 8:41
  each of his stunts has a story to. Yes.
• 8:44
  It's arc.
• 8:45
  there was a scene where, Vanessa Kirby and the Rock are fighting at the beginning
• 8:50
  because he's cornered her where he basically picks her up and lifts.
• 8:54
  Her from there.
• 8:55
  One hand.
• 8:56
  Yeah, yeah, with one hand.
• 8:57
  And it's just like this far away shot.
• 8:59
  And then you get his face saying something,
• 9:01
  and then you get her looking down and it's like she's she's capitulated.
• 9:05
  Yeah.
• 9:06
  And I really there was something very like, both grounded and sort of,
• 9:10
  and just sort of amazing about it, he is so big and so powerful.
• 9:14
  And she's so tiny. Yeah.
• 9:16
  and this is where these two people end up in this particular situation.
• 9:19
  I really I liked it.
• 9:21
  And it needed to be shown because it's like as much as we can
• 9:24
  pretend that, like, she's a badass and like all these impossible
• 9:28
  things are happening, you do kind of need to be like.
• 9:30
  But she's also like, he literally could pick her up with one hand.
• 9:33
  Yeah, and just hold her at bay.
• 9:34
  They gave her a great amount of power.
• 9:36
  Like two scenes later, even two lines later where the Rock is interrogating her,
• 9:42
  and he mentions you learned a lot about a person by fighting them.
• 9:46
  I don't think you to this person because you were not fighting to kill me.
• 9:49
  You were fighting to get away. You got it, right? Yeah.
• 9:52
  They do.
• 9:52
  They keep the I agree, like, it's like she got kind of bested in an easy way.
• 9:55
  But she never loses her, like, power or autonomy.
• 9:58
  Like I don't feel she was unsafe and I didn't I wasn't like, oh yeah.
• 10:01
  Once again, like, the lady's too tiny and weak. Yeah.
• 10:04
  I mean, you're right.
• 10:05
  It was like you weren't fighting to kill. So yes, or I'm not dead.
• 10:07
  Those are the types of things that I wanted more of like
• 10:10
  there wasn't a lot of chemistry between the two of them,
• 10:11
  but those kind of things are the things that build chemistry.
• 10:14
  You're like, yeah.
• 10:14
  Oh my God, this guy sees me. Yeah.
• 10:16
  Like whether it's not romantic, it's just like, okay,
• 10:19
  this guy doesn't think that I did this.
• 10:21
  That to me was a big chemistry.
• 10:22
  Yeah.
• 10:23
  It was it was like very seen and like very understood.
• 10:26
  And when he comes back later with the quote that and she says
• 10:29
  is that Nietzsche and and and she and he says and he says, no, it was Bruce Lee.
• 10:33
  I was like, that's great.
• 10:34
  Like that's you know, it's it's like it's so clever and so fun.
• 10:38
  And and it was the callback, right? Yeah. It was a callback.
• 10:40
  And then and then and then he was like, no, it's Bruce Lee.
• 10:43
  So good. Yeah. Jeff reminding me I loved that.
• 10:45
  as an element of relationship building.
• 10:47
  It was just very effective for me.
• 10:49
  Was so good at, effortlessly
• 10:51
  getting us to the next thing that there was a cut from the Rock
• 10:56
  crewing up or suiting up and getting ready for the fight
• 11:00
  that when they cut to a close up of Idris Elba, in my mind,
• 11:05
  I was like, the next shot is going to be this whole army of the bad guys in Samoa,
• 11:10
  and we're going to skip all of the traveling in between.
• 11:12
  We're just going to go with it.
• 11:14
  Yeah, they didn't do that, but it was almost just as quick.
• 11:18
  It was.
• 11:18
  But yeah, they're they're fast.
• 11:20
  It's I think it's really efficient.
• 11:22
  This is certainly very smart escapism it just pushes you along
• 11:25
  and on its own, on its own merits, on its own rhythms.
• 11:29
  And it's a lot of fun to watch.
• 11:31
  it was amazing how quickly the story
• 11:34
  set me up to accept the unbelievable, like the physically impossible.
• 11:38
  Yeah, yeah, yeah.
• 11:39
  And I was just, like, accepting, accepting, accepting, accepting,
• 11:42
  accepting, and I was ready to accept the entire film.
• 11:46
  But now, in retrospect and near the end of its Jaclynn had won.
• 11:51
  I lose that So we're watching it.
• 11:53
  And this bothered me in the theater, and it's bothered me every time.
• 11:56
  And this is the first time I finally, like, paused it
• 11:58
  and like, went back and then went shot for shot.
• 11:59
  in the last scenes were in Samoa and the fight is going on.
• 12:04
  Hattie Vanessa Kirby now has a timer, a little timer
• 12:08
  strapped to her back of 30 minutes, 28 minutes, 30 minutes.
• 12:11
  It is. Count it.
• 12:12
  Yeah, it's perfectly 30, which I also find a little ridiculous, but that's fine.
• 12:16
  30 exact minutes strapped her back.
• 12:19
  You just elbow bad guys. I'll show up.
• 12:21
  Pitch dark.
• 12:22
  Pitch dark. Middle of the night.
• 12:24
  Absolutely black. Dark night.
• 12:25
  We see fire going up the lake.
• 12:28
  Jason Statham gets in his big fancy truck and, like, drives
• 12:31
  a ring of fire around, you know, very Johnny Cash.
• 12:35
  And then it suddenly day.
• 12:37
  Yeah.
• 12:38
  And close like, well, maybe like maybe the sun has come up
• 12:40
  and I was like, no, it like it's been.
• 12:42
  And then we get a shot of this like countdown clock
• 12:44
  and it's been nine minutes.
• 12:46
  And even if you're like, okay, maybe the sun has come up,
• 12:48
  like maybe we were at dawn
• 12:50
  and maybe I'm seeing, like, something peak over the horizon.
• 12:54
  Even if you do that still it's like ten a am, like it's so bright.
• 12:58
  It's like 10 a.m..
• 13:00
  And it drove me crazy.
• 13:02
  And as Cole said, he's like this.
• 13:04
  Like, you've sat here now for two hours and 20 minutes and this is the thing
• 13:07
  I was like, yes, that brought you out of that is yeah,
• 13:10
  we've all agreed this is taking place on Planet Earth.
• 13:13
  Yeah.
• 13:13
  The rules of Earth are the same. Everything else I've said.
• 13:16
  Okay, fine, this is a special thing. But yeah, it really bugged me.
• 13:19
  And so we went back and I will say again to the editing
• 13:21
  and the efficiency of the editing, because Cole was like, cool is fine with it.
• 13:25
  He was like, no, I'm in.
• 13:27
  And so I'm like, okay, what happened that that we were okay with it.
• 13:30
  So it goes pitch dark, pitch dark.
• 13:32
  They go, we need a chopper.
• 13:34
  I don't know why I always have to say it
• 13:35
  like Arnold Schwarzenegger, but we need a chopper it cuts to a chopper
• 13:39
  in front of the sun like a rising sun.
• 13:42
  And then you come back in there in the light and so close, like, oh,
• 13:45
  I saw sun and I, I, my brain said, yeah, the sun is now up and I'm in.
• 13:50
  And I thought that that was really interesting.
• 13:51
  So they do a really the I think the editing is also fantastic.
• 13:55
  Yeah, fantastic.
• 13:57
  And I think that that was a good example of sort of like I'm so curious.
• 14:00
  Like I want to ask him like I assume they ran out of days to film.
• 14:03
  So they can keep filming at night or it was a choice
• 14:08
  where they were like, the fire stuff looks so good in pitch dark,
• 14:12
  but the actual climax fight scene needs light to see it.
• 14:17
  Yeah,
• 14:18
  because you're not going to have the same thing with like,
• 14:20
  the trucks stacking up in the middle of the night.
• 14:22
  Like you need the contrast, you need the light. So I want to know.
• 14:25
  I want to know, like, was it just a big f up?
• 14:26
  And they were like, well, we got to do what we got to.
• 14:28
  Do or just where.
• 14:30
  when we were talking about, I was like,
• 14:32
  they're facing all the fiscal constraints, all the time constraints.
• 14:36
  And this is the point where they break.
• 14:39
  And yeah, you were like they said, nope, not worth it.
• 14:42
  Yeah. Daytime.
• 14:43
  We're not making Andre's kitchen deal or kitchen.
• 14:47
  We're not making Andre's kitchen or meal.
• 14:50
  My dinner
• 14:51
  with Andre.
• 14:53
  Well, they're not making Andre's kitchen either.
• 14:57
  They're not making my dinner with Andre.
• 14:58
  They're not making also.
• 15:00
  With, heat and weight.
• 15:03
  Have either you seen, My Dinner with Andre? Yes.
• 15:06
  Should not.
• 15:07
  Dave, has Kwesi be Andre in a remake?
• 15:10
  Oh, I can see that.
• 15:11
  I can see that.
• 15:12
  Yeah. Yeah, I think about that every day.
• 15:15
  I feel.
• 15:15
  I feel like I'm back in film. School and I'm so cool.
• 15:18
  Because I'm talking about Hobbs and Shaw and you guys. No no no no. So.
• 15:21
  So I was on my phone and it and and it might have felt
• 15:24
  like I was ignoring you, but I was looking something up,
• 15:27
  you see?
• 15:28
  Then I'm going back to. Have the best of. Us. I'm going,
• 15:32
  did you ever see, the Blues Brothers? Yes.
• 15:34
  at the end of the movie or near the end of the movie, right
• 15:36
  before the big car chase with other cops
• 15:38
  and everything, they have just performed at, like, 8:00 at night, right? Yes.
• 15:42
  and then they go under and they get in their car
• 15:44
  and there's that famous line.
• 15:45
  It's 106 miles in Chicago.
• 15:46
  We have a cigaret for.
• 15:48
  and then they start, and then the car chase begins
• 15:50
  and then there's a lot of car chases and then there's like a fade out
• 15:54
  and then the fades up again and it's morning. Yeah.
• 15:56
  And they're driving through Chicago
• 15:58
  and I don't know where they were, but it was like 10:00.
• 16:00
  And then it was sunrise.
• 16:02
  And to drive 106 miles is like, I don't know, it's like maybe two hours,
• 16:06
  maybe an hour and a half.
• 16:07
  And so, like I remember clocking that of going like, wait a minute, wait a minute.
• 16:11
  It was like it's two hours later, but it's like eight and nine in the morning.
• 16:15
  But there's something about the, thinking or the atmosphere of thinking
• 16:20
  that they've been driving all night and they've been been chasing all night.
• 16:23
  The vigil. Had to be.
• 16:24
  Okay. Yeah, yeah, yeah.
• 16:25
  Like, sure, sure.
• 16:26
  Like and that's that's what this should feel like.
• 16:28
  And you feel like, you know.
• 16:29
  And I don't know if that's the
• 16:32
  if that's the case with this because I didn't even catch it.
• 16:34
  I mean, it bugged me in the theater.
• 16:36
  Call was like, I can't believe you think that
• 16:37
  I've seen this as many times as you have And you didn't think about it?
• 16:41
  But so I do wonder a little bit
• 16:42
  if they did pickups
• 16:43
  on the timer on her back, if they realized like they added that in later
• 16:47
  because it does sort of have a feeling of they fall through the night.
• 16:51
  And this is like a really long battle because the fire goes down
• 16:56
  like we do, start to see the fire go down and it's much lower and the data.
• 17:00
  And so it has this feeling of like all night long this has been happening.
• 17:02
  And now we're like in the dawn of day.
• 17:05
  But the thing that totally messes that up is like,
• 17:08
  it's been nine minutes according to the timer on my back.
• 17:11
  So I wonder like also, perhaps the plan was that
• 17:14
  it was like this whole long thing, but they felt like
• 17:16
  the stakes weren't high enough or there wasn't enough urgency.
• 17:18
  So then they're like, we should probably add a timer in on Vanessa Kirby's back.
• 17:23
  Yeah, I don't know.
• 17:24
  I'd love to ask I have a personal history with
• 17:27
  timers that is fraught.
• 17:32
  Sure.
• 17:32
  a frequent collaborator and award winning mystery writer,
• 17:37
  somebody you've worked with also, we started doing documentaries with
• 17:41
  and in Mystery World.
• 17:44
  A ticking time bomb is like the number one suspense device.
• 17:48
  Sure.
• 17:49
  And working with, like, people tangential to mystery writer.
• 17:53
  They all they're only note for every like, dark scene that we did was.
• 17:58
  So we put a timer on screen.
• 18:01
  It's the timer big enough.
• 18:04
  how do we feel about the timer.
• 18:06
  You're like what about everything else that's happening in the scene. Right.
• 18:09
  You know. That time.
• 18:10
  What about when like essentially the Prince of Saudi
• 18:13
  Arabia says I'm going to murder you okay.
• 18:16
  But how long does it take.
• 18:18
  Yeah that that's an okay, So I hate timers.
• 18:22
  But I. Mean, with.
• 18:23
  Maybe the studio noted that was like, you know, this needs a timer.
• 18:27
  And it does. It works. I mean, it does like, we know, we know.
• 18:29
  We have been told through this whole if we're going to get into plot and story
• 18:33
  for this film. Sure.
• 18:34
  We have been told the whole time that it's going to take her 30 minutes
• 18:37
  to get her out and like, she needs a special machine and it needs.
• 18:40
  So I mean, you do kind of need to see it, but it makes I got new idea.
• 18:44
  Yeah.
• 18:45
  the timer is destroyed in a big in a big truck accident,
• 18:49
  and now it's on her back, and she has been
• 18:52
  in a helicopter that then just plummeted to the ground
• 18:56
  and then I was like, oh my God, one of the boxes broken.
• 19:00
  And then she gets up.
• 19:02
  She's like, she's been thrown out of the helicopter.
• 19:04
  And all of a sudden.
• 19:05
  It's off and.
• 19:06
  She's on her back and she gets up and the thing is fine.
• 19:09
  And I was like, oh, come on, iPhones.
• 19:11
  IPhones should be made of this kind of material.
• 19:13
  Yeah. Yeah.
• 19:14
  They made a big deal about how delicate the.
• 19:18
  Yeah, yeah it was. Yeah. Yeah.
• 19:20
  She literally lands on her back.
• 19:22
  Yeah. She. Yeah, yeah. It was like.
• 19:23
  It really fell apart towards the end. It does I'm sorry.
• 19:26
  That's a start to question a lot of things to the very end.
• 19:28
  That's another thing at
• 19:30
  I don't have an issue with this because I've been under similar pressure
• 19:34
  to not do something realistic because we're shooting a Broadway commercial.
• 19:38
  We need to see Jessica Chastain's fucking face Put her face on it.
• 19:42
  Yeah, it doesn't matter. It doesn't matter if it's real. Yeah.
• 19:45
  Whereas, like, the real scene is like, she covers her face.
• 19:48
  Right? With her hands to weep. To weep.
• 19:51
  Yeah. We got. Gotta.
• 19:52
  There's gotta be. Smiling.
• 19:53
  Pretty glamorous, dewy face. That's great.
• 19:56
  every time that there is a very story driven,
• 20:00
  reality driven reason that they need to have a mask on,
• 20:04
  it is on one second.
• 20:07
  There's some reason we see. Yeah.
• 20:09
  I'm sorry.
• 20:10
  We are too good looking for these. Stay on.
• 20:12
  I'm getting on a motorcycle. I better take this off.
• 20:14
  Yeah, literally. They do. They put them on, but they're gone.
• 20:17
  Yeah, those are way too too many hardy bodies to be put in.
• 20:21
  Yeah. I'm actually.
• 20:23
  The other thing that really takes me out, like big time is all of a sudden
• 20:27
  Jason Statham, all of a sudden Shah starts talking very sideways.
• 20:31
  And it just it happens all of a sudden you just you're just not you.
• 20:35
  Did you notice it? Do.
• 20:36
  Yeah. When he was driving. Yes. Yeah.
• 20:38
  I read about it online and I guess it's like it's
• 20:41
  a thing that your mouth does if you have a Cockney accent,
• 20:44
  which he does, and he plays it up really big in his movies.
• 20:49
  So it's sort of his like action figure voice.
• 20:52
  just noticed that. Yeah, you did.
• 20:53
  Notice it, you know, except. For.
• 20:55
  But like. Yeah, yeah, it's crazy.
• 20:57
  Yeah, yeah, I.
• 20:58
  Think they do a lot of, action movie voice.
• 21:02
  And so I think that was him doing action movie voice.
• 21:04
  I like when Kevin Hart made kind of fun of it
• 21:07
  when he started talking like that. And they're like, what are you doing?
• 21:09
  Yeah, I like that. I did. It.
• 21:11
  That was the most I've ever liked. Kevin Hart.
• 21:13
  Yeah. Hey. Yeah.
• 21:15
  I don't really.
• 21:15
  Like I don't like, heavily dislike him, but I'm just like,
• 21:18
  I know that he is not my cup of tea. Yeah.
• 21:20
  And I've had his fans
• 21:22
  tell me so specifically the ways in which he is not my cup of tea.
• 21:27
  And just dunk on me for it.
• 21:28
  At the end of the longest shoot.
• 21:31
  Of the year, I called you from the Staten Island Ferry
• 21:35
  to say they sent me on a shoot.
• 21:38
  And we don't have any, like, location permits.
• 21:41
  Paper signed. And it's sort of like a brand.
• 21:46
  They're not gonna be able to use any of this footage.
• 21:48
  This entire shoot has been a waste of a day.
• 21:51
  And the pas Chanel
• 21:53
  the most earnest person in the world.
• 21:57
  Just a great human.
• 21:58
  She was like, well, we can still just enjoy this ferry ride.
• 22:03
  And, And I laughed.
• 22:06
  Really hard.
• 22:07
  Like it was, That was hilarious.
• 22:09
  Sure. Now, I didn't know you were, so. It's just amazingly funny.
• 22:12
  And it's like, that wasn't
• 22:14
  a joke to you.
• 22:16
  That's the definition of earnest.
• 22:19
  That's great.
• 22:20
  And so we got into a really long discussion of, like.
• 22:23
  So what's funny to you? What's funny to me?
• 22:26
  She loves Kevin Hart.
• 22:27
  Loves Kevin Hart, the jungle.
• 22:30
  Jumanji, Jumanji.
• 22:32
  That was the funniest movie.
• 22:33
  that was her favorite funny movie.
• 22:35
  Yeah.
• 22:35
  And she, she had me describe, like, what I thought was funny.
• 22:39
  I was like blah blah blah blah blah.
• 22:41
  I was like, I guess you could call it like
• 22:44
  dark humor.
• 22:44
  And she's like, I don't think that's you like dark humor.
• 22:47
  So like deadpan.
• 22:50
  I was like, yeah, deadpan.
• 22:52
  And she said, oh, so you don't like funny stuff,
• 22:57
  That could describe you pretty well.
• 23:00
  We'll get to this with favorite lines, but I like how I like that
• 23:03
  this plays with genre and it makes fun of itself within itself.
• 23:07
  And it calls to other things.
• 23:09
  and it doesn't feel tired in the way that like a lot of meta stuff can.
• 23:13
  So I think he does a really nice job of sort of being a character
• 23:16
  that makes fun of.
• 23:17
  It's like it's making fun of the movie during the movie
• 23:20
  in a way that's like a helpful, I think.
• 23:23
  Robbie, did you not like it?
• 23:25
  You're just afraid to tell me that you didn't like.
• 23:26
  No no no no no.
• 23:27
  I did it, okay.
• 23:28
  it's one of those movies.
• 23:29
  If I saw it on TV, I would send it and watch it for a little while.
• 23:32
  the big problem I had with it and problem might not be a word.
• 23:35
  It just wasn't my cup of tea in terms of like that.
• 23:38
  heat and weight situation, the weight and heat situation.
• 23:41
  Like I really, the relationships really need
• 23:44
  to be strong for me to really be engaged in this.
• 23:48
  and for me, like all the elements of, of those things
• 23:53
  were there without them actually having any heat and wait for me.
• 23:56
  That's fair.
• 23:57
  I mean, no,
• 23:57
  there was sort of stated and said, but they don't necessarily have heat.
• 24:01
  Right. Yeah.
• 24:02
  I would disagree with for each of us, what is heat and weight
• 24:05
  and how can we describe. That.
• 24:07
  I were to just, sum it up in eloquently.
• 24:09
  Heat is chemistry, So it's like the level of intensity of the relationship.
• 24:14
  Yeah.
• 24:15
  and weight is like how grounded and earned is something the weight is more about
• 24:20
  like the level of intensity of the scene or the level of.
• 24:23
  the level of caring, the level of concern, the level of whatever it is
• 24:26
  you're playing in the moment.
• 24:27
  they complement each other.
• 24:28
  this is a movie about family
• 24:30
  and this is a movie about families standing up for each other,
• 24:33
  and this is also about, family members who have betrayed one another.
• 24:38
  In, in some context.
• 24:40
  And I found myself not caring and, because.
• 24:45
  Things had not been set up in a way that like, lent
• 24:48
  depth to, people's feelings about one another.
• 24:51
  where there was we care about family, this is about family.
• 24:54
  But it's not.
• 24:55
  It's told. It's not shown.
• 24:56
  if something is going to tell me that it's about something,
• 24:59
  then I want it to be about the thing that's telling me that it's about.
• 25:02
  And and if it doesn't, then but the thing that you said about it
• 25:06
  being part of a larger universe and that might be somewhere I will say
• 25:10
  it is a spin off of like a nine series arc that even I haven't seen.
• 25:15
  So it is funny that I have such love of it, but I think.
• 25:19
  That would. Have how much like a marvel movie.
• 25:21
  Yeah, I think a lot of it comes from like, you have this history over nine movies
• 25:25
  or whatever it was when this one came out yeah, yeah.
• 25:28
  I think they shortcut some of that. Wait.
• 25:29
  So I think it's a, it's you can watch it standalone as we all need
• 25:33
  and like understand it and they give you enough.
• 25:36
  I don't know that the fast
• 25:37
  and the furious movies are known for their like depth of emotion.
• 25:41
  So I don't know that it ever gets like heated and grounded as we would say, like,
• 25:44
  you need to know what's happening.
• 25:46
  You need to have the history and.
• 25:47
  Like to read it. Makes it.
• 25:49
  Yeah, yeah, it makes it a lot more enjoyable.
• 25:51
  And it makes it a lot more enjoyable with, like, a huge group of people.
• 25:53
  That's a so. Yeah.
• 25:55
  so it wasn't that I didn't like it, it was just that
• 25:57
  I think there were parts of parts of the movie I couldn't access.
• 26:00
  That's fair.
• 26:00
  didn't.
• 26:00
  That was the most diplomatic way that you could describe the situation.
• 26:05
  It's a it's I made it.
• 26:07
  I can access. Yeah. You break up line.
• 26:12
  I mean, I think you said this before we started, like, it's not the movie's fault.
• 26:15
  I didn't like it.
• 26:16
  It's just like a bunch of people made the movies.
• 26:18
  A bunch of very skillful people made the movie,
• 26:20
  and and they made this thing, and it's like, well, okay, it didn't.
• 26:24
  I mean, I'm going to do some things that people don't like.
• 26:27
  I've like, I've had people walk out of things that I've been doing, and.
• 26:29
  That's such a that's such a brag.
• 26:32
  And what.
• 26:34
  Having people walk out of stuff you've made, that's.
• 26:36
  It doesn't feel like it's the.
• 26:37
  Opposite of love. Isn't different.
• 26:40
  Right. You a big react?
• 26:42
  I would know press is bad press. Robbie.
• 26:44
  People walk out of your stuff. That's.
• 26:46
  Yeah, but be proud.
• 26:47
  But I didn't like I don't blame them for doing it.
• 26:50
  It's just.
• 26:50
  It's just the thing that I'm talking about doesn't appeal to them.
• 26:53
  Or the thing that, like I've written, doesn't appeal to them.
• 26:55
  And that's, you know, that's. Everything's not for everybody.
• 26:57
  Yeah, it's great that people take this stuff seriously, but it's also like,
• 27:01
  there's a Kurt Vonnegut quote about you don't have to get upset about it.
• 27:05
  It's just like it appeals to you or it doesn't.
• 27:06
  As for literary criticism in general, I have long felt that any reviewer
• 27:10
  who expresses rage and loathing for a novel or play or poem is preposterous.
• 27:15
  He or she is like a person who is on full armor
• 27:18
  and attacked a hot fudge sundae or a banana split.
• 27:21
  That's great.
• 27:22
  That's amazing. Yeah, it's a good visual.
• 27:25
  Kurt Vonnegut.
• 27:26
  Yeah. Who is favorite movie is.
• 27:28
  My Life Is a duck in. A circle. Yeah. So.
• 27:31
  And yeah, like, actually the fact that it's it's your favorite movie makes it,
• 27:35
  it makes me like it even more,
• 27:40
  We have got to get out of here.
• 27:43
  I acknowledge that there.
• 27:44
  There's a lot going on.
• 27:47
  Seems like a good time to do favorite lines.
• 27:50
  Oh, I love being outsmarted by tall,
• 27:53
  flightless birds, either. Oh.
• 27:59
  But we got dressed up.
• 28:04
  I mean,
• 28:04
  we're in pleated periwinkle safari shorts.
• 28:08
  Cool. Yeah.
• 28:09
  How bout if we just go ahead and do favorite lines?
• 28:15
  All right, all right.
• 28:16
  Naked actors. You finished? Whoa!
• 28:19
  Oh, Jaclynn Cole.
• 28:25
  I think it would behoove us
• 28:28
  to move on to favorite lines
• 28:31
  immediately.
• 28:36
  Who pissed off the bird?
• 28:37
  And why was it cold?
• 28:42
  By a naked ostrich. Oh.
• 28:46
  No. You were great.
• 28:49
  I'm just saying that I'm saying.
• 28:51
  Them right now.
• 28:55
  That's good, that's good. Cool.
• 28:56
  Yeah, I will go ahead.
• 28:58
  Oh, no. No, I have scenes I love.
• 29:00
  I have a couple of things. Okay.
• 29:02
  Yeah.
• 29:03
  I found the line. It's true.
• 29:04
  We got bigger problems than your fragile ego.
• 29:06
  And just a moment ago, I most definitely shit my pants.
• 29:10
  I most definitely shit my pants.
• 29:12
  And most definitely shit my pants.
• 29:15
  I most definitely shit my pants.
• 29:17
  I most definitely shit my pants.
• 29:20
  I most definitely shit my pants.
• 29:24
  I most definitely shit my pants.
• 29:27
  I most definitely shit my pants.
• 29:30
  I most definitely shit my pants.
• 29:32
  I most definitely
• 29:35
  I must.
• 29:44
  Like answer every other run away
• 29:49
  cookie monster.
• 29:51
  I love the Cookie Monster.
• 29:54
  It's a
• 29:56
  it's.
• 29:59
  I mean, it's a small in the dream.
• 30:02
  An action and action star.
• 30:04
  It is a monster.
• 30:06
  I do you think Roy Kent sees it like later seasons of of, of Ted
• 30:09
  Lasso gets a little Cookie Monster?
• 30:11
  Yeah. He gets a little comic. Yeah.
• 30:15
  And and the Cockney accent.
• 30:17
  Side mouth Jason Statham to guys.
• 30:20
  It starts getting to Muppet. It does.
• 30:22
  It starts getting to Muppet.
• 30:24
  Yeah.
• 30:24
  And, and Jason Statham had a line in it.
• 30:26
  This is like dragging my balls against, again.
• 30:30
  Shattered glass.
• 30:31
  It was on the plane he was using every time
• 30:33
  he heard the Rock's voice or something like that.
• 30:35
  I think that's what I. Yeah, it was a good insult.
• 30:37
  Yeah, I like that.
• 30:38
  I love when the when the rock sits on the plane and says, I love you, Rebecca.
• 30:43
  After.
• 30:44
  After he said how friendly he is and I know this is I
• 30:47
  and the woman just smiles and like love it.
• 30:52
  If an eyebrow raise can be a liner.
• 30:55
  Oh. When the doctor raises her eyebrow and he raises an eyebrow back at her tears.
• 31:00
  That was great. That's a great. That's great.
• 31:02
  If an eyebrow raise could be a line. That's good, that's good. Cool.
• 31:04
  Yeah, One scene that I just loved is when When the rock is on the phone
• 31:09
  with his daughter and they're, like, FaceTiming.
• 31:12
  And he.
• 31:13
  She's like, I think you kind of think spy lady's cute.
• 31:16
  And he's like, stop it. I don't know what you're talking about.
• 31:19
  And then, like, Vanessa Kirby is kicking
• 31:22
  the other thing right behind him in the classroom.
• 31:25
  Yeah, she's like taking him out with the chair.
• 31:27
  And he's like, I don't think you know what you're do.
• 31:28
  I don't have a crush on her.
• 31:30
  I don't I maybe don't need to tell the story,
• 31:32
  but I also I really like that because it felt really true.
• 31:35
  And I had, I had a guy friend from college
• 31:37
  who had been in love with since college, and he had a daughter
• 31:39
  and the daughter was like 14 goes, there's a cell phone.
• 31:42
  Chris, Voice stream wireless. Chris.
• 31:45
  Yeah, whatever.
• 31:46
  Shout out Chris, Shout out Chris.
• 31:49
  Are those two still okay?
• 31:51
  he was, he was dating somebody.
• 31:53
  But him and I got back in touch and we were like texting all the time.
• 31:57
  And girlfriend got mad.
• 31:59
  Like she was like mad about it.
• 32:01
  And Chris was like, I don't get it. Like, I don't know what's up.
• 32:03
  And daughter
• 32:04
  goes, there's just a smile you get when you get a text from Jaclynn.
• 32:07
  She's like, I'll be sitting across the room and I'll know, like the phone
• 32:12
  will beep and based on your face, I will know it's Jaclynn.
• 32:16
  And like, way before he knew he liked me.
• 32:18
  Right. Like, she was kind of like, nice try, you guys.
• 32:21
  And she's like, that's why this woman is so pissed at you.
• 32:24
  Oh, come on Kathleen.
• 32:26
  I wouldn't be caught dead.
• 32:28
  C a v o r t I n g.
• 32:33
  With someone who spells their name.
• 32:36
  j a c l y and n.
• 32:41
  And I don't think she would even consider it.
• 32:44
  And like, so when, like, the daughter's doing that to the dad and he's sort of
• 32:47
  like, whatever. I don't like spy Lady.
• 32:48
  I was like, that felt so real to me like that.
• 32:51
  She could see it and like, knew and was teasing him about it.
• 32:54
  So I just I really appreciated that moment.