Latest / Cage Match: A Roundabout Way of Meeting Nicolas Cage / Raising Arizona vs The Weather Man

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Raising Arizona vs The Weather Man · Cage Match: A Roundabout Way of Meeting Nicolas Cage

• 0:00
  What you are listening to is real. The participants are not actors. They are real people with a case pending in Podcast Court.
• 0:10
  Hello, I'm Producer Peter and welcome to Cage Match, a roundabout way of meeting Nicolas Cage, Podcast Court.
• 0:16
  Today's case is between a man with a penchant for robbing out-of-the-way convenience stores and a man who really should be carrying around more than one dollar.
• 0:26
  Oh, God.
• 0:27
  Oh, God.
• 0:46
  I like crunchy bits.
• 0:47
  That's fair.
• 0:48
  I also like, I like a good Nestle crunch.
• 0:50
  Dude, Butterfinger crunch when those were out? Not a thing anymore. Amazing.
• 0:55
  The new Butterfinger recipe is actually really good.
• 0:59
  There's a new recipe?
• 1:00
  Yeah, they, well, they changed.
• 1:01
  They just, I don't know, made it a little better.
• 1:03
  It's not as dry. It feels good.
• 1:06
  Does it not stick to your teeth as bad? Because that's what I hate.
• 1:08
  It still does a little bit, but not like as much.
• 1:13
  So it doesn't feel like it's been sitting in a warehouse for half a year.
• 1:17
  So I kind of liked that about it.
• 1:19
  Yeah, sort of comes with the territory.
• 1:21
  It's their own. I really like a payday, which is a yeah, we call them salted nut rolls in Minnesota.
• 1:27
  Yeah. Different brand. Different brand.
• 1:29
  That's like the Kmart of the payday.
• 1:32
  Oh, variety. No, it's just a local brand.
• 1:35
  I also like a Charles.
• 1:36
  When you have to describe something strictly by the ingredients, it's salt and nuts and rolled.
• 1:45
  That is the Kmart variety.
• 1:49
  It's like our brand. You know, did you guys have a tomato?
• 1:52
  No. What? It's like off brand Kmart.
• 1:56
  Oh, no, definitely not. It's even more off brand.
• 2:00
  I thought this was like special pimento.
• 2:04
  You guys ever think about doing ASMR? No.
• 2:08
  I mean, I think about whacking off on a microphone sometimes, but I am going to cut all of this legitimately.
• 2:16
  You can't cut what's already been cut.
• 2:19
  No, we just have to reference this later. Yeah, exactly.
• 2:22
  Then I do have to put it in because it was just funny.
• 2:24
  I've seen this problem on who's lives it anyway.
• 2:26
  You do have to reference it later, but actually be funny about it because it's not doesn't matter.
• 2:30
  Correct. Yeah. Double cut.
• 2:32
  I know how cage match works because you're in charge of it.
• 2:37
  Yes. Why do we define how it works? Really? Kind of.
• 2:40
  Yeah, I just try to keep all the racist things underneath somebody else's really good jokes.
• 2:45
  Right. Yeah. You say backwards. Yeah. Smart.
• 2:48
  So if they play the podcast backwards, they know the racist stuff.
• 2:51
  Yeah. And it's just like hell talk and then racism.
• 2:54
  My name is Peter and I hate the.
• 3:00
  Wow. You didn't even you didn't go for it.
• 3:03
  Was your chance. You could have said it.
• 3:05
  You know what? It would have been incredibly unbelievable no matter what I had said.
• 3:09
  I don't think there's probably enough recorded audio of you guys that you can make voices.
• 3:14
  Oh, absolutely. I mean, we have, you know, upwards of like 90 hours of content.
• 3:19
  Oh, yeah. So you want to bag your pills?
• 3:21
  I mean, they just look like ibuprofen and Advil. That's all they are.
• 3:24
  Yeah. It doesn't look like a lot of fun, but your joints will feel good.
• 3:28
  My joints are just fine as they are. All right. Fine.
• 3:31
  Yeah. Yeah, I knew you're talking about.
• 3:34
  I mean, I got it.
• 3:37
  I will grind those up and boost them, though.
• 3:41
  It's the only way to take ibuprofen.
• 3:44
  Oh, you know, so I was getting getting in the car the other day with Josie and she goes to sit down and I had to move some stuff off the scene.
• 3:51
  I had like an afferent and some stuff like that on there and she was like, I want to sit on your nasal spray.
• 3:56
  And I got me thinking like, what's going to happen if you like spray a bunch of afferent up your butthole?
• 4:02
  Like, does it open it up? Like, are you going to get no afferent?
• 4:06
  Afferent is a decongest, like they gave me that after my nose surgery and they were like under no circumstances.
• 4:11
  Should you use this for longer than three days? Yeah. Yeah. Yeah.
• 4:14
  Because it's got like some shit that's you get addicted to it.
• 4:17
  Oh, I'm aware. But like, what happens if you put it in your butt?
• 4:20
  Yeah, it just opens it wide. But it'll like, but you don't do it.
• 4:23
  Dry it up, I think. You think it'll dry it up? Yeah.
• 4:26
  They make afferent now that like is good for moistness. Oh, yeah.
• 4:31
  That's right. We'll try it for moistness. Yeah.
• 4:34
  Oh, yeah. You could boof one of these mints.
• 4:37
  All right. So first, I'm going to spray a bunch of afferent up my butt.
• 4:40
  Then you take one of the peppercorns.
• 4:42
  Then we're going to put your like Szechuan peppercorns up my butt.
• 4:45
  And then we just let them battle it out and see what happens.
• 4:48
  Yeah. And then when things get too boring, I'm going to take some loosely ground
• 4:52
  afferent and ibuprofen and kind of rim it around in there.
• 4:57
  You know, if you're going to do this, do it after I move out, please.
• 5:00
  Because I know you're going to do it here. Well, yeah.
• 5:02
  No, you got plenty of boxes. I'll just lay some cardboard down and Peter.
• 5:07
  And yeah, Peter and John can just kind of funnel the pills into me.
• 5:10
  It's like a general like it's a usual Sunday.
• 5:14
  It's like loading a Pez dispenser.
• 5:18
  But backwards.
• 5:20
  Oh, gross. It's like one of those cheap novelty like candy dispensers
• 5:26
  where it's poop coming out and you bend the thing over.
• 5:29
  Yeah, I've never seen this. Oh, it's like, you know,
• 5:32
  you're so popular during like Christmas, like, oh, the reindeer poops.
• 5:36
  Yeah. No, it's just a beer flavor jelly bean or some shit cowards.
• 5:42
  Could have been poop.
• 5:43
  Didn't the Cards Against Humanity send like poop to. Yes.
• 5:49
  Yeah. You could have done that. Yeah.
• 5:51
  Speaking of things that could happen to you, welcome to Cage match around
• 5:54
  about way of meeting Nicholas Cage under desk, John.
• 5:57
  Yeah, I wasn't going to be eliminated for so long.
• 6:00
  Wait a minute.
• 6:03
  You guys are replacing me since I'm moving, aren't you?
• 6:05
  I knew it. I just saw an opportunity for it.
• 6:09
  Anyway, I had to take it. I was hoping that would happen.
• 6:12
  I'm your host, Sean. And my name is Nick.
• 6:15
  Hi, I'm Peter. I'm also here.
• 6:17
  Yeah, we exist in the general space of this.
• 6:20
  It's amazing that we've gotten so bad at that.
• 6:23
  We've just gotten comfortable with each other. Yeah, that's true.
• 6:26
  We just don't try anymore. So thanks. Kind of like a marriage.
• 6:29
  Yeah. So Raising Arizona in 1987. Yeah.
• 6:33
  Cohen Brothers. I did not realize this movie was that old. Yeah.
• 6:36
  Yeah, I was thinking I was talking to a friend of mine when I was watching this.
• 6:40
  And I think it's like 1991. Looked at it. Oh, shit. OK. Yeah.
• 6:43
  Yeah, this one goes back. It really does.
• 6:46
  It also did not realize Cohen Brothers second movie after one that nobody's ever seen.
• 6:50
  Mm hmm. Yeah. Blood simple. Is that what it is?
• 6:54
  Yeah. You haven't seen Blood Simple? I've seen it once.
• 6:58
  Have you seen it? No, I literally never heard of it until today. Yeah.
• 7:02
  So this is Nick and I fourth time watching it.
• 7:06
  Yeah, first fourth round ish of it. Third round of it.
• 7:09
  This is the third time that we've watched it for the bracket. For the bracket.
• 7:13
  I'm doing mostly single rewatches for the second time or third time around.
• 7:18
  Yeah. Yeah. At this point, I think that's fair to just stay fresh on it. Yeah.
• 7:24
  Still slaps. It is still so good.
• 7:27
  I love. Well, John, why don't you run us down on this movie?
• 7:31
  Apparently you're the host now. You did the work.
• 7:34
  I was really afraid that I knew that you guys were going to ask me to narrate the plot of this movie.
• 7:38
  And there is so much plot. Give me a scene by scene breakdown.
• 7:42
  We haven't done one of those in a long time. We need it in two minutes or less.
• 7:45
  All right. So this guy, Hi, McDonough. They reveal what the H stands for.
• 7:49
  But I forget Herbert. Yeah. Thank you.
• 7:51
  So he likes to rob convenience stores and keeps going to jail.
• 7:56
  And the lady that's taking his picture at jail every time over the course of years.
• 8:01
  This is mind blowing to me. Is always the same lady.
• 8:04
  And Edwina. Yeah. Goes by Ed.
• 8:07
  They, for some fucking reason, fall in love.
• 8:11
  He gets out, proposes to her.
• 8:15
  She leaves. I don't remember something, something.
• 8:17
  They decide they want a kid. But it turns out that she's barren.
• 8:21
  So you can find no purchase.
• 8:25
  And but this rich, famous dude just had it.
• 8:32
  Does the wife ever like appear in this next to him and their chasers?
• 8:37
  She checks out. She has one line.
• 8:39
  Weird. She's like the cool shot where they did everything in reverse from her mouth.
• 8:45
  Oh, yeah. Then played it backwards. Yeah, that was cool.
• 8:48
  Anywho, famous guy has five kids, right? Quince.
• 8:53
  I can remember those four or five. Arizona quince.
• 8:56
  It's more than one man. His name is his name is Nathan, Arizona.
• 8:59
  His kids are named a bunch of all these and then Nathan Jr.
• 9:03
  Yeah, it's like Larry, Gary, Jerry, Barry, and Nathan Jr.
• 9:08
  And Nathan Jr. The good one. So we know which one's the favorite.
• 9:11
  He's the best baby. You know, if they would have just told all of them so well,
• 9:15
  if they would have just taken Ali, they probably would have gotten away with it.
• 9:19
  Well, nobody wants an Ali. So they steal the kid.
• 9:24
  He puts out a bounty. So this random fucking bounty hunter shows up and also wants the kid.
• 9:29
  And also two criminal buddies of highs show up
• 9:33
  and also decide they want the kid for said reward.
• 9:38
  And basically the kids, a big old McGuffin, they all fight over it at the very end.
• 9:43
  And high and Ed come up with it, but they return it to Nathan Arizona.
• 9:49
  Well done. You want 10 seconds over.
• 9:51
  Fuck you. Still pretty good. We talked about the screaming for a minute.
• 9:55
  So yeah, you hit the mark.
• 9:57
  I'm actually really proud of myself for that, because I'm fucking terrible at summarizing shit.
• 10:01
  That was good. I mean, that is accurate. Yeah.
• 10:04
  Yeah. So there is a terrific series of events in this.
• 10:08
  Did you have a favorite scene or what? What?
• 10:11
  What about this movie release? What does it for you?
• 10:14
  I mean, it's absolutely fucking bonkers for one.
• 10:17
  And there's so much plot. So like I was rewatching it earlier
• 10:21
  and I knew the sequence of the movie and I had a moment where I was like,
• 10:27
  holy fuck, there's still 40 minutes of this movie left and it's only been, I don't know what.
• 10:32
  It's a 90 minute movie. Yeah. Yeah. It's yeah. It's a tight 90.
• 10:35
  It's actually more like a tight 100, I think. But tight.
• 10:38
  I started to get loose. Nice. 94. Thank you.
• 10:42
  So you were both right. Yes. Yeah. Average.
• 10:46
  Thanks, Peter. Between the two of us were average.
• 10:48
  That's a very nice way of saying that you were wrong.
• 10:52
  Oh, so you were both right.
• 10:54
  But in general, I appreciate the zaniness.
• 10:58
  When I was watching it, I turned to the person I was watching it with and said,
• 11:03
  this movie or the events of this movie are so incredibly improbable.
• 11:08
  And that's what I love about it, I think, is it's just like,
• 11:11
  and this is kind of all Coen Brothers movies.
• 11:13
  It's like, you know, you set up a premise and then something very improbable happens,
• 11:17
  sends off a bunch of shit. And then, you know, depending on the movie more.
• 11:21
  And then this all of it, there isn't a wasted moment of this film.
• 11:25
  Every every scene fucking matters.
• 11:27
  It is tight. It is executed very well.
• 11:30
  And at a certain point, it just becomes a live action cartoon.
• 11:33
  And it doesn't stop until the very end.
• 11:36
  Yeah, because even this stuff that like doesn't really matter,
• 11:38
  like his boss is Foreman Glenn and his wife, Francis McDormand.
• 11:42
  Like that stuff doesn't matter in really any capacity, but it's fucking funny.
• 11:48
  And it's great the cuts of him at work with that old guy.
• 11:51
  He just fell in stock.
• 11:53
  Talking about the story about finding a head.
• 11:55
  Oh, man, the guy.
• 11:57
  Well, OK, so the old guy at the bank
• 11:59
  and the old guy at the gas station convenience store,
• 12:03
  whatever, were my fucking favorite.
• 12:05
  Absolutely. Oh, yeah. Absolutely necessary.
• 12:07
  I know we just did Wild at Heart, but every time I watch both these, both that or this,
• 12:13
  I know both movies end with a bank robbery.
• 12:15
  And I can never remember outside of like who's there.
• 12:19
  Like the series of events, I kind of always am like,
• 12:21
  which one does someone get their hand shot off?
• 12:23
  Yeah. And they're both like a seat banks or banks for sure.
• 12:27
  Freezing it on the ground.
• 12:29
  Which one is it?
• 12:31
  If we get on the ground, we can't be freezing.
• 12:34
  John Goodman in this just makes this movie for me.
• 12:38
  Just him. The amount of scenes that it's just him screaming.
• 12:42
  And it's great.
• 12:43
  He has such a primal scream in it, too, like when he climbs out of the shithole.
• 12:47
  Ah.
• 12:48
  So you just escape from prison.
• 12:50
  It's in the background.
• 12:51
  But you know what? You deserve this.
• 12:53
  Or just like two times they leave the baby.
• 12:55
  When they're going back for the baby the first time and he's just screaming
• 12:58
  and punching the roof of the car or when the the impact goes off.
• 13:05
  All of it's so good.
• 13:07
  It is fantastic.
• 13:08
  I think on this third watch, I finally was just able to like completely turn my brain off
• 13:12
  and just enjoy every aspect of this movie.
• 13:15
  The thing that kills me about it is the writing is so good.
• 13:18
  It's tight.
• 13:19
  Everything about it is phrased in such a weird, bizarro way.
• 13:24
  It's like nobody talks like this.
• 13:26
  And it's amazing. It's so funny.
• 13:28
  It's believable.
• 13:29
  Like you're right. Nobody talks like that.
• 13:31
  But also it's somehow executed in such a way that it's like not jarring.
• 13:36
  That's exactly it.
• 13:37
  It doesn't feel weird to hear it even though you're like no one says that.
• 13:42
  Right. You're comfortable with the way they talk.
• 13:44
  People always talk about like, I mean, I think this is well past this now with his last few movies.
• 13:49
  But people would always talk about how Tarantino does such naturalistic dialogue.
• 13:53
  But the Coen brothers do it so much better because it's actually focused and still feels like it's a real conversation.
• 14:00
  How do you all feel about the West Wing guy?
• 14:02
  Sorted.
• 14:03
  Yeah. How do you feel about his dialogue?
• 14:05
  West Wing social network.
• 14:07
  A lot of walking and talking. There's a lot of like back and forth.
• 14:09
  It's like Gilmore Girls for middle-aged dudes.
• 14:13
  Yeah. I mean, I feel fine with it.
• 14:15
  I feel like it is a good representation of like real patter in a workplace.
• 14:20
  But it's also sort of like too on it or something.
• 14:24
  I've heard it described as not how real people talk, but how we wish they talked.
• 14:29
  That's a good way to put it.
• 14:30
  And I want everyone to talk like they're from Raising Arizona or Fargo. Either one.
• 14:35
  I want everybody to talk like they're from Wild at Heart.
• 14:39
  Oh, that's good too.
• 14:40
  Yeah. That's just so affected.
• 14:42
  But Raising Arizona would be a solid choice.
• 14:45
  High and Sailor seem like they might have, they could have been separated at birth.
• 14:48
  Or met in prison and talked about crawdads and eating sand.
• 14:52
  There's a real dangerous intersection for those two worlds.
• 14:56
  Yeah.
• 14:57
  John, had you seen this before?
• 15:00
  Yeah. So I saw it like a while ago.
• 15:03
  I'm going to say like 15 years ago, something like that.
• 15:06
  And remember it being good.
• 15:08
  Remember it being funny, zany, whatever.
• 15:10
  But I couldn't remember any specifics about it.
• 15:12
  And so when you all started doing the podcast, I rewatched it and remembered how amazing it was.
• 15:17
  And then I think it was several months ago now.
• 15:20
  But when you talked about me coming on here for this, I rewatched it again.
• 15:24
  And then I've watched it twice in the last two days. So nice.
• 15:27
  You've watched it now, technically more than we have.
• 15:29
  Well, rewatches. But yeah, impressive.
• 15:32
  Thanks. I understood the assignment more than we do.
• 15:39
  Yeah, we're in charge of the show.
• 15:41
  We all we have to do is just know slightly more than the person coming in
• 15:45
  or at least be good at pretending when someone's like, did you guys know about this?
• 15:48
  And we go, yeah, yeah.
• 15:49
  Oh, the best part is just asking questions like,
• 15:52
  so why do you think this is the movie that needs to go forward?
• 15:56
  Because it's the definition of a Nick Cage movie.
• 15:59
  It's absolutely fucking zany. He's amazing at it.
• 16:03
  He's got this crazy character that he's the best at.
• 16:07
  Unless you want to go really serious, I would say like this and Pig are like the complete opposites
• 16:12
  and really good examples of the full spectrum of Nick Cage.
• 16:17
  Which one's better?
• 16:19
  I think Raising Arizona because it's a little bit more representative of his full career.
• 16:25
  Save yourself a little bit. It's not going up against Pig today.
• 16:29
  Not yet. Yeah, it's up to you guys.
• 16:33
  I do. I agree.
• 16:35
  I also fucking for asking me that question.
• 16:38
  I asked part of this.
• 16:39
  Technically, he wasn't asking you the question.
• 16:40
  He was just giving an example of what we can ask as podcast hosts.
• 16:44
  But it's what we were going to ask you.
• 16:45
  So why do you think this needs to move forward this week?
• 16:49
  We also we also have like 15 to 20 minutes more of time.
• 16:53
  So we spent 10 minutes talking about nothing.
• 16:57
  So we need to make a joke about that.
• 16:59
  So Peter has to put it in.
• 17:01
  I don't even remember what we're talking about anymore.
• 17:03
  Just say that's a nice callback.
• 17:08
  Oh, good. I'll definitely put that in.
• 17:10
  And there's a very sincere apology.
• 17:13
  Oh, great.
• 17:15
  Okay.
• 17:16
  So you know,
• 17:17
  I think the podcast is going to be a very good podcast show.
• 17:19
  It's going to be a good podcast show.
• 17:20
  Yeah.
• 17:21
  I think it's going to be a good podcast show.
• 17:22
  It's going to be a good podcast show.
• 17:23
  That's right.
• 17:24
  It's going to be a good podcast show.
• 17:25
  Has the podcast ever done a clip show?
• 17:26
  I listened to this week in tech once a week or I used to.
• 17:28
  And at the end of the year, they do a clip show.
• 17:29
  It sounds like so much fucking work for you.
• 17:30
  Yeah.
• 17:31
  I mean,
• 17:32
  it'd be one thing if I were like actually tucking good things aside
• 17:35
  every time I edit an episode, but you think ahead.
• 17:37
  Yeah.
• 17:38
  No, I didn't bucket any of those.
• 17:39
  All right.
• 17:40
  You have to go back.
• 17:41
  about absolutely everything Atlantic City require,
• 17:45
  like related, but never talking about the film
• 17:47
  and then moving on.
• 17:48
  So now you need to put 20 minutes of that right here.
• 17:51
  Perfect, done.
• 17:52
  John, what's your favorite podcast memory?
• 17:55
  One time I was listening to Stuff You Should Know.
• 17:57
  Fuck you.
• 18:02
  I mean, it was really holding out a lot of hope to think
• 18:04
  that you would actually give us one of ours.
• 18:08
  My favorite from this podcast is one of those little after
• 18:12
  whatever stings and Nick said, do you think,
• 18:15
  speaking of which, do you think Sting makes his sexual partners
• 18:18
  sign non completes?
• 18:19
  I love that one.
• 18:21
  That's so good.
• 18:22
  I was at work at my desk and I started laughing
• 18:24
  and I got a couple of looks.
• 18:26
  John, do you have a favorite?
• 18:27
  You're not going to ask me.
• 18:29
  Sean, do you have a favorite memory from this podcast?
• 18:31
  When you lost your shit.
• 18:32
  Oh, me too. That's my favorite.
• 18:34
  The mom and dad episode.
• 18:35
  Mom and dad in Next.
• 18:37
  Just you.
• 18:38
  Why is Colombo in this?
• 18:40
  The thing is, like, it's great on the podcast,
• 18:42
  but I very much remember just I've never seen you laugh like that before.
• 18:48
  It was it was everything leading up to that.
• 18:50
  It was just tickling me so much.
• 18:52
  And then that was whatever reason, the fucking thing that kicked me over the edge.
• 18:57
  We've been I've been chasing that high ever since.
• 18:59
  Oh, yeah. The good days.
• 19:00
  Yeah, we don't record like that anymore.
• 19:03
  No, no fun anymore.
• 19:04
  Never. Did we do favorite scene?
• 19:06
  No, we haven't really hit like specific scenes.
• 19:08
  Let's do the round robin favorite scene.
• 19:11
  And John, you can kick it off if you want.
• 19:15
  No, I'd rather not.
• 19:17
  I will.
• 19:21
  Thanks for coming on the podcast and talking about this fucking movie, asshole.
• 19:26
  Hey, shut up. You gave me the like,
• 19:28
  why should this be the best Nick Cage question?
• 19:30
  Yeah, it's perfect.
• 19:31
  Again, technically, he didn't.
• 19:33
  Right. It was a prompt.
• 19:34
  OK, my favorite scene this time when I was watching it is when high.
• 19:39
  I think they've come back from stealing the Huggies and Evel and
• 19:44
  the fuck is John Goodman's character's name, Dale and Dale and Evel
• 19:48
  are sitting on the couch and around them just beautifully arranged
• 19:52
  are like 22 Budweiser's. Yeah.
• 19:56
  And they're just having this conversation about like high being sort of a cuck
• 20:00
  and, you know, not having the balls to be the man in the situation.
• 20:05
  And I just kept laughing about it because there's like one crushed up there
• 20:08
  and it looks really normal.
• 20:09
  But then there's like one inside of a cup somewhere.
• 20:11
  And there's another one over here. It's just everywhere.
• 20:14
  Yeah. The set dresser for that scene just had a great job of like
• 20:20
  individual placement, like what makes this can fun?
• 20:24
  Yep. And then Goodman goes to the fridge and gets three more.
• 20:27
  The scene that got me this time and I always love this line, but
• 20:32
  full disclosure, I was like watching this in the background while I was packing.
• 20:35
  So just the scene that made me just stop what I was doing
• 20:37
  and just get a good chuckle in is just sometimes I'd find myself
• 20:40
  driving by convenience stores or even on the way home.
• 20:44
  I'm always going to love
• 20:48
  the Huggies theft scene just because it gets so crazy.
• 20:52
  Like the dogs get involved.
• 20:54
  And everybody's got a gun.
• 20:59
  It is a terrific just farcical moment.
• 21:03
  I also just I mean, in terms of his crime spree and all the scenes
• 21:06
  where he's up for parole. Those are good.
• 21:09
  Yeah. It's like, don't tell us what we want to hear.
• 21:11
  Tell us the truth.
• 21:12
  Well, I think the truth is what it's like.
• 21:14
  Well, then I am going to tell you what you want to hear.
• 21:16
  Well, what I tell you about telling us what we want to hear.
• 21:20
  My favorite scenes are the one just the ones with the old guys.
• 21:23
  Both of those are so masterful.
• 21:25
  They're so dry.
• 21:26
  Everything they said is just hilarious because of the way they say it.
• 21:31
  And so unexpected.
• 21:32
  Yep. I like that.
• 21:33
  Yeah. The bank robbery is terrific.
• 21:35
  So where are the tellers?
• 21:38
  We're down here.
• 21:41
  We're on the ground like you told us.
• 21:42
  I also just I love the reason they don't want to leave the baby in the car
• 21:45
  because if they die robbing the bank, then people
• 21:48
  someone won't find the baby for hours.
• 21:49
  So they take the baby into the bank. Yeah.
• 21:51
  And then promptly forget the baby.
• 21:53
  On top of the roof. Never leave a man behind.
• 21:56
  I just love how everyone falls in love with the baby.
• 21:59
  Such a good MacGuffin.
• 22:00
  Well, he probably is the best baby.
• 22:02
  He is the best one.
• 22:03
  I think I got the best one.
• 22:06
  They're all terrific.
• 22:08
  I mean, I know this one's the best. Doesn't matter.
• 22:10
  And I know this movie is it you're not supposed to think about
• 22:12
  like how logistically any of this works, but it sounds like you're going
• 22:16
  to bring up the point.
• 22:17
  I love that.
• 22:18
  But it's like the way they say it's like so they've had these babies for a while
• 22:21
  because they're crawling. They're moving.
• 22:22
  Yeah, they're not like that's not a newborn.
• 22:25
  No, they have teeth. Yeah. Yeah.
• 22:27
  How long does it take the fontanel to close up?
• 22:31
  By the time you got teeth, your fontanels are getting pretty closed up.
• 22:35
  You probably don't have to mind that fontanel too much.
• 22:37
  It's pronounced fentanyl.
• 22:39
  You should mind your fentanyl.
• 22:40
  Yeah. I mean, it probably takes a minute to get home.
• 22:43
  Like she was walking around and stuff.
• 22:45
  If I just dumped out five kids, I probably wouldn't be walking so much.
• 22:50
  Dumped out five kids.
• 22:53
  Well, I mean, at that point, what do you think?
• 22:55
  It's a shoot. Yeah.
• 22:57
  One and two is pushing three kind of gets out before and five just sort of like
• 23:02
  I've never thought of the logistics of like inside multiple babies.
• 23:06
  But I just thought of like a bunch of like vocal chords hanging out.
• 23:10
  And I got a weird I grossed myself out.
• 23:13
  Do you think one comes out and then two through five just like firemen
• 23:18
  pulls down the fifth one definitely does.
• 23:21
  Yeah. I assume people just squat out five.
• 23:24
  I never thought about it.
• 23:25
  I assume it's one that's so simple, right? So.
• 23:28
  And yeah, each one would have their own umbilical cord.
• 23:31
  That's like a four course meal.
• 23:33
  So many placentas is like a trees.
• 23:36
  Identical twins versus no, that's just the eggs, right?
• 23:40
  So identical twins are one egg that splits.
• 23:42
  So is it always just one placenta?
• 23:45
  I don't know. I don't know.
• 23:46
  Let's ask our next guest about this.
• 23:47
  I should ask my brother who has twins.
• 23:49
  Yeah, I know. How many placentas per child?
• 23:52
  I'm going to go out on a limb and guess that our next guest
• 23:55
  doesn't know anything about placentas, but we will check in.
• 23:59
  Oh, OK. So fraternal twins will have individual placentas.
• 24:03
  Identical twins may end up sharing a single placenta.
• 24:06
  This is getting dangerously close to our next podcast.
• 24:08
  PNs talk. Yeah.
• 24:10
  Us trying to learn about shit that we should know.
• 24:13
  No, we don't try and learn about it.
• 24:14
  We just say it as if it's fact. Oh, that's right.
• 24:17
  Well, man, we correctly instruct those who need instruction.
• 24:21
  Jesus. Fuck you.
• 24:25
  Why? It's been a long time since we've talked about penis talk.
• 24:28
  That's true. I still identified as man when we did last time we did.
• 24:32
  That's true. Yeah.
• 24:33
  Oh, different times.
• 24:35
  I can't wait to trans inclusionary
• 24:37
  subject you by mansplaining to you.
• 24:43
  Yeah. Trans inclusionary sexism.
• 24:49
  It's what I have to look forward to in this life.
• 24:54
  Oh, my God, I'm crying.
• 24:58
  Oh, quote, quote, favorite quote.
• 25:01
  Well, I'm going to read it.
• 25:03
  Quote, quote, favorite quote, quote, quote, quote, quote, quote.
• 25:10
  What does he say when he cocks a shotgun?
• 25:12
  I think he just says, like, let's go get our baby or something like that.
• 25:16
  But it's just this perfectly framed scene.
• 25:18
  He goes, let's go get our baby.
• 25:20
  And then it smash goes to something else.
• 25:22
  The delivery is where it's at. Yeah.
• 25:25
  Did you end up watching the weatherman?
• 25:27
  I didn't. OK.
• 25:28
  I thought about it and then I opted to watch this twice.
• 25:30
  Yeah, I think that was a better choice.
• 25:32
  Weatherman slaps. Yeah, it's good movie.
• 25:35
  The last 15 to 20 seconds were great at this point.
• 25:38
  Oh, yeah. You know, it ends now.
• 25:39
  You're so it's ruined for you. Yeah.
• 25:41
  He becomes a weatherman. He had a bow. That's true.
• 25:46
  Yeah, he becomes Hawkeye.
• 25:48
  Jesus Christ.
• 25:50
  But for weather.
• 25:51
  So he's like some weird storm Hawkeye combination shooting arrows.
• 25:55
  It's a hurricane towards the people. Nice swords.
• 25:58
  Yeah, he shoots swords out of his bow. Why not?
• 26:00
  It's Hawkeye Hawkeye's brother is swordman.
• 26:03
  Come at me, Marvel. What?
• 26:05
  Yeah, he's like his brother is like a sword guy.
• 26:07
  That's no God.
• 26:09
  It was it was the Hawkeye is also the worst Hawkeye is the best.
• 26:13
  Yeah, Hawkeye is not the worst plastic man's the worst.
• 26:16
  That's a different universe.
• 26:18
  You guys are going way too still sucks.
• 26:20
  Anything with a movie is what I'm talking here.
• 26:22
  Batman's the worst.
• 26:24
  Batman's fucking not great.
• 26:27
  I think Batman is a great character that's been way overdone
• 26:31
  and like explored a little too far.
• 26:33
  I think we need to like seriously sit down
• 26:37
  and have a talk about Spider-Man one of these days.
• 26:39
  Like I was going to say, we need to do that with Wolverine, but you're not wrong.
• 26:43
  Yeah, it's to the point where like the editors aren't even entertaining
• 26:48
  the thought of like Spider-Man ever getting back together with Mary Jane.
• 26:52
  I don't know.
• 26:53
  Also, I have not loved this whole jackpot shit with Mary Jane.
• 26:57
  There's a whole lot going on right now with Spider-Man that I'm not so sure about.
• 27:00
  No, to Spidey sense where we have Sean and Nick talking about my two Spidey sense.
• 27:06
  Yeah, my two spots.
• 27:07
  Oh, that's really good.
• 27:08
  Yeah.
• 27:10
  What else do you want to kind of put on tape about watching this multiple times?
• 27:15
  Well, the easy thing to say is I watched it two days in a row and did not like
• 27:19
  like I enjoyed both.
• 27:20
  Not even upset about it.
• 27:22
  Yeah, really, for real.
• 27:23
  I'm not saying I would have done it, you know, if I wasn't coming to this.
• 27:26
  But, you know, it's not like Joe, like.
• 27:30
  Yeah, I don't think I watched that one a second time.
• 27:34
  But it's not even like, oh, I don't know.
• 27:36
  Pick a pick a fun Nick Cage movie.
• 27:38
  It's not like a spirit of leaving Las Vegas.
• 27:41
  Never seen it.
• 27:42
  You're in for a romp.
• 27:43
  Yeah, I've heard.
• 27:45
  I'm also a listener, Nick.
• 27:47
  Oh, shit.
• 27:48
  We got to do something about that.
• 27:50
  We might have just done that.
• 27:53
  Patreon.com
• 27:55
  slash cancel.
• 27:57
  All right. Leave him out of the end.
• 27:59
  Instinct.
• 28:02
  Yeah, I mean, that's the thing that keeps getting me is it's just a really amazing
• 28:05
  movie that happens to have Nicolas Cage in it.
• 28:07
  And he's really good at it, too.
• 28:09
  I don't know.
• 28:11
  If somebody's like, hey, picking the cage movie for me to watch,
• 28:13
  this is probably what I would pick for them.
• 28:15
  It's one of the most high energy Nicolas Cage movies, for sure.
• 28:19
  If if I was just competing on like energy levels alone,
• 28:23
  this is like top three, maybe with
• 28:28
  maybe only like a vampire's kiss and.
• 28:34
  G force.
• 28:36
  G force, for sure.
• 28:37
  Yeah, it's got that boom boom pow.
• 28:40
  I always ask myself like whether how whether this movie works
• 28:44
  with out Nicolas Cage and this one, the whole I mean, this whole cast is so perfect.
• 28:48
  Like there's not a single wasted part.
• 28:52
  There's not a single person that I would take out of this film
• 28:56
  or think that anyone else could do a better job.
• 28:58
  So like in terms of that, definitely high mark for Nicolas Cage film.
• 29:03
  Yeah, I think for me, both of these movies really benefit
• 29:06
  from having just fucking banger scripts, like absolutely great writing.
• 29:12
  I think that this one cage does such an excellent job with that script.
• 29:18
  Like what he brings to it is pretty unique.
• 29:22
  And I think that's what makes it stand out to me is like, yeah,
• 29:25
  you could put any other like late 80s dude into that role
• 29:29
  and they would be fine, but it wouldn't hit the same way.
• 29:32
  Well, I think work so well as his character is so nonchalant about everything.
• 29:37
  It's all very monotone.
• 29:39
  Yeah, he's like he is high energy, but he's also sort of like one note.
• 29:43
  He's kind of he's he's kind of the straight man for all the wacky shit.
• 29:48
  And it works so well.
• 29:50
  So the ultimate question does come down to, John,
• 29:52
  why does this movie need to go forward?
• 29:54
  I already asked that.
• 29:55
  Yeah, but we never actually asked you that.
• 29:57
  Cut that in right now for the real part right now.
• 29:59
  This is how you fix it in post.
• 30:01
  Oh, I do want to bring up the no.
• 30:03
  That's the question. Oh, yeah.
• 30:05
  It's amazing. So like, yeah, it's set in 87.
• 30:07
  But like most of the set dressing looks more like 75. Yeah.
• 30:11
  And it was just so perfect.
• 30:14
  I remember at one point they're sitting on their couch and it's that goofy,
• 30:17
  like like various shades of tan pictures of barns and shit.
• 30:22
  And I'm like, oh, my God, my grandparents had that when I was a kid.
• 30:26
  I'm talking like 95.
• 30:28
  Yeah. The wallpaper choices, especially in their trailer are stellar.
• 30:32
  I mean, their starter home. Yeah. Right.
• 30:35
  I do love the I want to go back.
• 30:37
  The trailer fight always kills me.
• 30:40
  It's just like close quarter, like combat between big people.
• 30:46
  Someone's getting bounced into a ceiling.
• 30:48
  Like ceilings are punching walls when you like just pull back.
• 30:51
  It's everything comical about a good like close quarter fight.
• 30:56
  Have you ever punched a wall like a sheetrock wall? I have.
• 30:58
  I have to. And it is not fun.
• 31:00
  No, they hold up pretty well.
• 31:03
  They're good.
• 31:04
  It's weird that something that's like fire preventative
• 31:08
  for like two hours is so strong.
• 31:11
  You wouldn't expect it.
• 31:12
  But you can't go through the door.
• 31:14
  Fire can't go through doors.
• 31:15
  Not a ghost.
• 31:15
  Kaelin wool, Nick.
• 31:17
  And that's nice and light.
• 31:19
  Kaeli Kaelin. Oh.
• 31:22
  It is a super food.
• 31:26
  I'm going to start packing.
• 31:27
  Thanks for being here, John.
• 31:28
  I'm going all natural now.
• 31:30
  I'm just putting kale in my walls.
• 31:33
  Yeah, there you go.
• 31:34
  I thought you were saying I'm going to start packing your stuff,
• 31:36
  so you'll leave sooner.
• 31:39
  You're projecting a little bit.
• 31:40
  Yeah, I don't need to pack it.
• 31:41
  You've got a deck and a door right there.
• 31:43
  I can just help you out right now and get out.
• 31:46
  All right. Last thoughts.
• 31:47
  Boom, boom, boom, boom, boom, boom, pow.
• 31:51
  That's it. Holds up. It's great.
• 31:52
  I love this movie every time I say I like it more every time I say it.
• 31:55
  Yes. Good.
• 31:58
  This movie makes me want to box a toddler and I love it.
• 32:02
  Oh, man. It just gets me so excited.
• 32:04
  Like, I mean, they everything.
• 32:06
  I don't know. Like the energy is just so high.
• 32:09
  It's so comedic.
• 32:11
  I don't know. Box a toddler.
• 32:13
  Yeah, I'm getting to that part. OK.
• 32:14
  And it just gets me amped up that like I want to put on those
• 32:18
  like comically large, like inflatable boxing gloves
• 32:22
  and just knock over a four year old.
• 32:24
  Like, I don't know if it's an uppercut or if I hit him with like a hook.
• 32:28
  But that's still a toddler for me.
• 32:31
  I think you're just a kid.
• 32:32
  Oh, I could go younger.
• 32:34
  I would say two, three is toddler. Sweet.
• 32:39
  Who's got a two year old?
• 32:40
  I know. Well, one of our friends has a three year old, you know.
• 32:42
  Yeah. Well, you pushing it.
• 32:44
  But she's almost a kid.
• 32:46
  Well, we'll see.
• 32:46
  Oh, so she's ready to learn life's lessons. Right.
• 32:49
  Yeah. This movie just gets me amped up.
• 32:51
  I love just the energy and the inclusion of everything.
• 32:55
  Like to have this kind of wacky ass story about
• 32:59
  stealing a baby because somebody has too many babies.
• 33:02
  Beautiful. Highly improbable.
• 33:05
  Yeah, it's very improbable.
• 33:07
  Kidnappings happen every day, John.
• 33:09
  Name three. Lindbergh.
• 33:12
  That happened today.
• 33:14
  We got one. I got nothing else.
• 33:17
  Fucking John Rene Ramsey. Nick, one more.
• 33:20
  One more. That wasn't a kidnapping.
• 33:21
  She got murdered by her parents.
• 33:23
  But those kidnappings end in murder. Allegedly.
• 33:26
  Allegedly. For legal reasons.
• 33:30
  Take it. There we go. That's great.
• 33:31
  Yeah, Steve. That guy's really bad.
• 33:34
  It's just like knowing where his family is at any given time.
• 33:36
  Yeah, they keep trying to take him. It's bad.
• 33:39
  Yeah. Final thoughts.
• 33:40
  Good for us. Bad for them.
• 33:42
  Go ahead, John.
• 33:42
  Well, I was just going to give you actual final thoughts
• 33:44
  because I felt bad for just saying yes earlier.
• 33:46
  That's half of my participation.
• 33:48
  What? Just yes. Yeah.
• 33:50
  Yeah. Good. You're the yes, man.
• 33:51
  Movie good. Yeah.
• 33:53
  No, but for real, like it's a high quality movie.
• 33:57
  You all have said everything there is to be said about this movie.
• 34:00
  Yeah, but we don't remember what we said.
• 34:02
  So it's new to us.
• 34:03
  I also don't remember what you said.
• 34:05
  All right. So it's new to you, too.
• 34:06
  Well, it's not even the listeners.
• 34:08
  You're the listener.
• 34:10
  Allegedly.
• 34:12
  No, it's why should this movie go forward, John?
• 34:14
  For real. It's a it's a great movie.
• 34:16
  Nick Cage is amazing in it.
• 34:18
  It's really early in his career.
• 34:19
  It's before his Oscar, which I think is really fun.
• 34:22
  Yeah, I legit think this is Nick Cage's best movie except for maybe Pig.
• 34:26
  But again, they're, you know, very polar opposites.
• 34:29
  So well, thank you, John.
• 34:31
  Do you have anything you want to plug?
• 34:33
  Um, next, but.
• 34:37
  Nice.
• 34:40
  Well, we get some drinks later.
• 34:44
  We do that. We don't have to wait till later.
• 34:45
  Well, so that the bye bye goes there.
• 34:48
  I know this podcast.
• 34:49
  Do you know how editing works?
• 34:52
  I can do whatever I want.
• 34:54
  Like you can put in that time, Nick said multiple times.
• 34:58
  He could, but he won't because he knows what's good for him.
• 35:02
  Adios.
• 35:05
  It's good to see you again.
• 35:07
  It's been a long time. Yeah, it has.
• 35:09
  It's been a really long time since you left Seattle.
• 35:11
  So, yeah, yeah, it's been what?
• 35:14
  Like 10 years more than that, but 12 years, something like that.
• 35:18
  I think I've been up here for 12 and I think you and Lisa
• 35:21
  were here too much longer after I showed up.
• 35:24
  Yeah, no, it's about 12 years.
• 35:26
  Crazy. Once I enter a city, it's fair.
• 35:30
  Creates an exit point.
• 35:31
  Uh huh.
• 35:33
  It's just a clear and easy out.
• 35:34
  They're just like, you know, things change.
• 35:37
  I don't know. I just.
• 35:38
  I've been here since.
• 35:40
  I am moving to Portland in a week.
• 35:42
  Yeah, we get it. That's fine.
• 35:44
  I'm like stank on Portland already, too.
• 35:46
  So you're not going to like it either.
• 35:49
  But you're not there now.
• 35:51
  This everywhere you go, you just leave a wake of Nick in your in your pack.
• 35:56
  You know, we've established that Nick is just the generic like
• 36:00
  shape of like just white guy.
• 36:02
  So I see Nick everywhere I go. Yeah.
• 36:06
  Yeah, I am the best kind of white guy.
• 36:09
  It's sort of an I am Spartacus situation where everyone just sort of stands up
• 36:12
  and is like, I'm Nick.
• 36:16
  Then there's Jack and then Jack.
• 36:18
  Yeah, which still sounds like a slur.
• 36:20
  It does.
• 36:23
  This is the best kind of Nick.
• 36:25
  How are things going up there?
• 36:27
  It's wet.
• 36:28
  Yeah.
• 36:28
  Spider. Yep.
• 36:30
  Spider season.
• 36:32
  Got to love spider season.
• 36:33
  Yeah. Yeah.
• 36:36
  No, things are going great.
• 36:37
  Stop doing entertainment.
• 36:39
  I didn't have that kind of heart in it for myself anymore.
• 36:42
  Fair. And now I just make three times as much being an electrician.
• 36:46
  I mean, it's hard to argue with that math.
• 36:50
  Yeah. Yeah, that seems pretty good.
• 36:52
  It's very reasonable.
• 36:53
  Like, it's OK that I went to college and I'll pay it off this way.
• 36:58
  Yep, absolutely.
• 37:01
  You know, our backstories really aren't that different.
• 37:03
  No, I make so much more money doing web development
• 37:06
  than I ever did as an illustrator. Absolutely.
• 37:10
  I feel like that's sort of the story of our entire generation.
• 37:13
  We like we went to school for something artistic.
• 37:16
  And then at some point, we found out that we actually had to make money
• 37:19
  doing something else.
• 37:21
  Yeah, Scott warned us like early on.
• 37:24
  He's like, hey, guys, you're going to be poor if you do this for a living.
• 37:27
  And it's like every year he'd start out like, hey, guys, here's my speech.
• 37:31
  Get ready to be poor.
• 37:32
  It's a spirit.
• 37:34
  Yeah. Full of love and happiness.
• 37:36
  Nope. Yeah.
• 37:38
  And if you're lucky, you'll have some high highs,
• 37:42
  but those low lows are guaranteed.
• 37:44
  Yeah, exactly.
• 37:46
  This is a nice segue into depression,
• 37:50
  which I think is a yes theme of the weatherman.
• 37:55
  Agreed. Well done. Yeah, I know.
• 37:58
  We're basically like describing the early life of Dave Spritz here, right?
• 38:04
  Dave Spritz, Al.
• 38:08
  And we have our special guest this week.
• 38:11
  Hey, I'm Alec Wilson.
• 38:13
  Very nice to be on the podcast.
• 38:15
  Yeah. Thanks for being here.
• 38:17
  So you're our first or this is your first time with us.
• 38:21
  Not to require a second time.
• 38:23
  We'll leave that open.
• 38:25
  But this is my first time here to all of us.
• 38:29
  My name's Alec Wilson.
• 38:31
  I went to school with Nick, for better or worse.
• 38:35
  I'm an actor.
• 38:36
  I spent several years going around the country,
• 38:39
  doing theater, various places before I landed in L.A.
• 38:42
  I was there for about 10 years,
• 38:46
  appeared in some small films and some small roles in TV shows.
• 38:51
  And now I'm here to pimp the weatherman as it goes.
• 38:55
  The logical progression as it goes.
• 38:58
  It's like the career arc.
• 39:00
  Weatherman is a certain point in the career arc.
• 39:02
  And it's it's dead center for me.
• 39:04
  You know, I did want to talk about that.
• 39:06
  I'm just going to talk about it now.
• 39:07
  There was like I remember the weatherman being that kind of kind of peak
• 39:12
  of when like Nick Cage movies were were advertised as kind of the thing to say.
• 39:17
  Like, I feel like that kind of quickly went downhill after this.
• 39:21
  Yeah, it did.
• 39:22
  There was definitely like a pocket and then it collapsed really rapidly.
• 39:28
  So it's like right, right near the end of the window,
• 39:30
  because this came out, what same year's Lord of War,
• 39:34
  which I think you guys already eliminated, right?
• 39:36
  Oh, that movie sucks.
• 39:38
  That was. Yeah, yeah.
• 39:39
  That and this were both kind of like that last year of just like Nick Cage movie.
• 39:43
  And this movie is great.
• 39:45
  And Lord of War, not. Yeah.
• 39:48
  Yeah. And yet I think Lord of War got like got all of the advertising
• 39:53
  money between the two Nick Cage movies.
• 39:55
  Like, I remember ads for Lord of War, and that was, you know, 20, 20 years ago.
• 40:01
  I still remember those ads.
• 40:02
  Listen, Michael Caine, don't come cheap.
• 40:05
  Well, and I mean, Lord of War is getting another.
• 40:07
  It's getting a sequel potentially, which is, you know, like it's insane.
• 40:12
  That movie is not that good.
• 40:13
  It's not that interesting, but it has to cloud is to your point, you know.
• 40:19
  Well, I want to let go in the second one, so that'll be better.
• 40:24
  Yeah, no, but I think I think you're absolutely right.
• 40:27
  Like there were two Nick Cage movies that year.
• 40:29
  One of them was good and went completely under everybody's radar.
• 40:33
  And the other one was pretty terrible.
• 40:35
  And his career was really in the process of falling off a cliff
• 40:38
  like there or shortly thereafter.
• 40:40
  Yeah, because as we've talked about, the next things up is Ant
• 40:44
  Bully World Trade Center, Wicker Man Ghost Rider one.
• 40:49
  Guesting on Grindhouse, then next.
• 40:52
  What was adaptation?
• 40:54
  Adaptation was 2002.
• 40:58
  And this weatherman was 2005.
• 41:00
  OK, 2005. Yeah.
• 41:02
  Ant Bully, I I've only heard the title like once or twice,
• 41:07
  but I feel like that's a film I could really get into.
• 41:09
  It's animated like pushing around some Karens or something.
• 41:15
  Are we just getting violent and like a wine like a siphon?
• 41:19
  Exactly. Sippin paint, siphon paint. Yeah.
• 41:25
  I had seen this movie shortly after it came out originally
• 41:29
  and then hadn't seen it for 20 years until I watched it just a couple of weeks ago.
• 41:34
  And then I watched it again a couple of days later
• 41:37
  just because I realized I had forgotten just how freaking fantastic this movie is.
• 41:42
  There are things like the that tartar sauce stream of consciousness
• 41:46
  that like as soon as it started, I was like, oh, right.
• 41:49
  I remember just laughing my ass off watching this for the first time.
• 41:54
  It's so good.
• 41:56
  Nothing in cinema ever beats Michael Caine
• 42:02
  dropping camel toe the first time.
• 42:04
  And the way he just won't stop saying it during that first scene.
• 42:10
  Just I just I just rewatched this movie.
• 42:12
  David, do you know what camel toe is?
• 42:15
  It is atrocious American dialect.
• 42:17
  Oh, it's so bad.
• 42:19
  Just rewatching this right before like we started recording today
• 42:22
  and just his final scene with his son and the great advice he gives him,
• 42:26
  which is sometimes you just have to chuck things in this shit life.
• 42:31
  Yeah. Sometimes you just chuck shit.
• 42:34
  This is like my stump speech for this movie.
• 42:38
  The reason I one of the reasons I really, really love this movie
• 42:41
  is because it's like a perfect anti typical Hollywood narrative movie.
• 42:46
  Because if you if you were to approach somebody with this script and say, listen,
• 42:51
  this is going to be the guy's last conversation with his dad.
• 42:54
  He's going to have words of wisdom to impart to him.
• 42:57
  What's this powerful message going to be?
• 42:59
  Sometimes you got to give up on shit, right?
• 43:02
  What Hollywood executive is going to go? Yeah, check.
• 43:05
  We'll do that. No, they're going to say, oh, no, it needs to be something meaningful
• 43:11
  and aspirational and blah, blah, blah, blah, blah.
• 43:14
  And I think it takes like Gore Verbinski in the middle of making the Pirates franchise,
• 43:20
  which is making everybody in Hollywood
• 43:24
  like more money than they could possibly imagine to get studio backing
• 43:29
  for this script like it is just a perfect chain of events
• 43:34
  that this movie can even exist at all.
• 43:37
  I do love those like weird little passion projects where, yeah, like
• 43:40
  Gore Verbinski is making all the money in the world.
• 43:42
  And he's like, what do you want to do next?
• 43:44
  Like, I want to do this weird thing with Nicolas Cage being sad.
• 43:47
  Yeah. Yeah.
• 43:48
  I want to like do a film about divorce and midlife crises.
• 43:55
  Something that a lot of people will identify with.
• 43:57
  Well, at least three people I identify with in a good 20 years. Yeah.
• 44:03
  I also watched this movie
• 44:05
  like in shortly after it came out on DVD and then didn't watch it again
• 44:10
  until this podcast.
• 44:11
  And I remember liking it.
• 44:12
  And I was excited when we got to it the first time.
• 44:14
  And I'm like, oh, good. This movie is is good.
• 44:16
  My memory of this isn't right.
• 44:18
  It's grown on me so many times now.
• 44:20
  It's like the first time I watched it, I was like, I like it.
• 44:22
  But I'm not like blown away by it.
• 44:24
  You know, the structure of our podcast means that like
• 44:28
  good movies go up against bad movies. They get whittled down.
• 44:31
  So I was like, it seems like a slam dunk moving forward kind of situation.
• 44:35
  The second time I watched it, I was like, I like it more.
• 44:37
  Third time, I'm like, this movie fucking rules. It's so good.
• 44:41
  We just need to get you to watch Ghost Rider five more times.
• 44:43
  We love it. I will never like Ghost Rider.
• 44:45
  That movie sucks.
• 44:46
  Shit. It can take jelly beans right to fucking hell.
• 44:50
  This movie is like one of those adult ice creams that you try the first time.
• 44:53
  And you're just like, oh, fucking pralines.
• 44:58
  I don't need that.
• 44:59
  Shaking me some of the cocoa puffs in it.
• 45:01
  And then like the next time, you know, it's like, you know,
• 45:03
  that's actually like a good it's a fine pairing.
• 45:06
  And it's OK. I like it.
• 45:07
  You know, it's a nice day.
• 45:09
  And pretty soon you're just like, fuck, yeah, dude, give me
• 45:11
  give me those fucking candied walnuts and booth.
• 45:14
  Those pralines right up my.
• 45:16
  Yeah.
• 45:18
  Somebody shove a praline on my.
• 45:21
  I got to get this Sunday started.
• 45:24
  Whoop whoop.
• 45:27
  All I want is candied walnut and praline ice cream.
• 45:30
  Now, where do I find that?
• 45:33
  Well, I got one place that'll serve it is definitely soft serve.
• 45:38
  That didn't take long.
• 45:41
  That's the one.
• 45:42
  That's it. That's the joke.
• 45:44
  That's the one you hit my limit.
• 45:47
  Fuck, yeah. All right.
• 45:48
  You're out. You're finally free.
• 45:50
  That's one more friend group out the window.
• 45:54
  One fewer social obligation.
• 45:56
  I just had to make a bad, bad poop joke.
• 45:58
  I didn't have to leave town.
• 45:59
  That's it. Looks like I'm moving to Portland.
• 46:02
  No. Ignore that big box in the corner.
• 46:07
  That just says Nick on it.
• 46:08
  Yeah, the one with the air holes.
• 46:10
  This end up
• 46:12
  definitely doesn't smell like farts and spiders.
• 46:16
  So from like a performance perspective,
• 46:19
  like as an actor, what do you think about the performances in there
• 46:24
  across the spectrum of the people in this movie, not just Nick Cage?
• 46:28
  So let's let's set aside Michael Caine's dialect and just
• 46:32
  just acknowledge that it's not great if we can.
• 46:35
  Let's just let that live in its own little world of why wasn't this character
• 46:40
  just English? It wouldn't have changed anything.
• 46:42
  But I think the the performances in this movie are fantastic.
• 46:48
  A Nick Cage, he's doing something he rarely, rarely does,
• 46:53
  which is like a very kind of subtle grounded performance.
• 46:59
  It's incredibly naturalistic, everything he's doing.
• 47:02
  And he's very, very funny in it, but in a very dry way,
• 47:07
  which is not what you think of when you think a typical Nick Cage performance.
• 47:12
  You think, you know, like vampires kiss or something,
• 47:14
  these huge over the top moments.
• 47:17
  And this movie, there's like none of that throughout this entire movie,
• 47:20
  maybe one or two moments.
• 47:22
  The rest of it is these little tiny looks.
• 47:24
  And I think that's one of the reasons it gets better on rewatching,
• 47:27
  because you pick up more of those little subtle moments that he's layering in.
• 47:31
  One thing I noticed this time just about his acting,
• 47:35
  the scene that really stuck out to me is no dialogue whatsoever.
• 47:39
  It's when him and Shelley are when he's buying her the clothes
• 47:44
  and she's like coming out with all the different outfits and just his like,
• 47:47
  it's all silent, just music over and you see Nick Cage just kind of hamming it up
• 47:51
  and just great like body work and great like physical acting.
• 47:55
  It's the most joy you see him
• 47:58
  experience while parenting the whole film.
• 48:01
  It's true. Maybe ever. Yeah.
• 48:03
  It's the only time you see her, Shelley, have like any joy in the entire movie,
• 48:08
  except for like a brief twinkle behind her eyes when she talks about
• 48:12
  bow hunting and killing small animals.
• 48:14
  Oh, yeah, she's probably a serial killer. Yeah.
• 48:17
  So sociopathy definitely on the spectrum for her.
• 48:23
  I mean, that's that's a perfect transition because Shelley is
• 48:28
  like maybe the most scene stealing kid in a movie.
• 48:32
  She's right up there. She's so good.
• 48:35
  Yeah, we've aligned her.
• 48:36
  We have a good kid, bad kid like toggle that we have in this pod.
• 48:42
  She's definitely a shitty child, but we love Shelley so much.
• 48:46
  We stand a legend for her shittiness.
• 48:48
  Like most shitty kids in this in the Nicolas Cage filmography suck.
• 48:52
  But Shelley's a shitty kid that we we support.
• 48:56
  There's handpan than every other kid.
• 48:58
  Pretty much. Yeah.
• 48:59
  Handpan, Shelley, every other kid, but there's like a good a good break.
• 49:03
  There's a big gap. Yeah.
• 49:04
  Where you say like, well, handpan's a good kid.
• 49:07
  And Shelley's a bad kid, but fucking awesome.
• 49:09
  Yeah. The way she orders cigarettes
• 49:13
  and just like ask for a pair like strikes strikes.
• 49:19
  So cool. I love Shelley.
• 49:21
  Yeah, she's the best.
• 49:22
  Well, like Nick Holt is just a young Nick Holt, who I just I love his work now
• 49:28
  and just to go back and just see that.
• 49:30
  You know, his acting is pretty bad, but he's a teenager.
• 49:34
  You know, it's not the best of his career.
• 49:37
  And you can see like the starts of what he will be.
• 49:41
  But it's not his finest work.
• 49:42
  No. Although I do have to say in defense of Nicholas Holt, like his performance,
• 49:47
  he's kind of like a sullen, mumbly teenager through most of it.
• 49:50
  But his American dialect is better than Michael Caine's.
• 49:55
  Yeah, very good point.
• 49:57
  And he hasn't had nearly as much time in the craft to sharpen that one.
• 50:02
  Michael, this is true.
• 50:03
  I understand. Like, why would you ever bother with accent work?
• 50:06
  Like, just play on it. You fucking are. Yeah.
• 50:08
  You you. Yeah, you're Michael Caine.
• 50:12
  Let's get let's get Michael Caine as a Southern gentleman.
• 50:16
  Like, no.
• 50:17
  Oh, he was supposed to be like the great American author.
• 50:20
  And yeah, it's weird.
• 50:23
  It's kind of like the same, like the rumored reason why Constantine
• 50:26
  isn't British in the county movies, because they're like, we need a big name.
• 50:30
  Let's get Keanu Reeves only to find out he can't do a British accent.
• 50:33
  Do you think they ask Nicholas Cage to train up Michael Caine on a Boston accent?
• 50:40
  No, this is oh, no, this was this was Boston time.
• 50:43
  Yeah, this would be the height of the Nicholas Cage Boston accent.
• 50:46
  This is where he gets his best.
• 50:47
  He's left Southern behind full on Boston.
• 50:52
  Just all Boston cop from here on out.
• 50:55
  Why would you want anything else?
• 50:57
  No, I mean, have you ever seen the 9-11 movie?
• 51:01
  I haven't, actually. I haven't. No.
• 51:03
  Well, it's got Michael Pena doing just an incredible job.
• 51:08
  Yeah, he's very good.
• 51:08
  Nicholas Cage does a Boston accent for a New York cop.
• 51:13
  Is it is it just wonderful?
• 51:15
  It's it's what I live for.
• 51:18
  So actually, it does.
• 51:19
  It brings up an interesting question, Alec.
• 51:21
  What is your relationship to Cage?
• 51:23
  You know, have you seen a billion of his movies?
• 51:25
  Have you seen 10?
• 51:26
  I've seen a lot of them.
• 51:27
  I haven't seen all of them.
• 51:28
  I looked through the bracket.
• 51:31
  I think I've seen somewhere between somewhere around
• 51:36
  like two thirds of the movies on that list, I think.
• 51:38
  Pretty good. There's there's a decent number of the especially the more obscure
• 51:42
  ones that I haven't seen, but I have seen a lot of them.
• 51:45
  And I mean, this this is a tough week because of the ones that I've seen,
• 51:50
  like this could be the final for me.
• 51:52
  Like these are two of my very favorite Nicholas Cage movies of all time.
• 51:55
  This in Raising Arizona, which it like it's tough for me to like
• 52:00
  try and get the edge on Raising Arizona because I also love that movie.
• 52:04
  But you got to love like The Rock, right?
• 52:08
  For its special little place.
• 52:09
  But in terms of just what what is a great movie?
• 52:13
  It's this one for me.
• 52:14
  It's The Weatherman.
• 52:15
  It is incredibly well acted.
• 52:18
  Like I consider this an adult comedy.
• 52:20
  I mean, it's not like a like raunchy comedy.
• 52:23
  It's it's your like, I don't know, intellectual comedy.
• 52:26
  Like, does it fall in the same like world space as like sideways?
• 52:30
  We're like, you want to feel good or like,
• 52:33
  what's that movie that Will Ferrell did?
• 52:35
  Stranger than fiction. Oh, sure.
• 52:36
  So sort of that kind of like world space of like, yeah, it's darker,
• 52:41
  but it's still funny.
• 52:42
  It's not just like and it touches like real world.
• 52:47
  Like things like depression and divorce.
• 52:49
  And yeah, it doesn't belittle or demean anything.
• 52:54
  BJ's lacked enthusiasm.
• 52:57
  The funny the funny in this movie is like
• 53:01
  it's just enough like of that really dark, dry humor
• 53:05
  to like make the bitter pill at the core of this movie go down,
• 53:09
  which is like another reason that like this is a movie
• 53:12
  that's going to fly under everybody's radar because nobody wants to hear
• 53:15
  that like maybe you should just give up.
• 53:19
  Maybe what you need to do is delete the novel that's on your hard drive.
• 53:22
  Like, that's not an easy thing to hear, but it's an important thing to hear.
• 53:27
  Oh, I love just his inner monologue throughout this movie and like his thinking
• 53:33
  and just like how relatable that is to depressive states
• 53:38
  and like very real life inner monologues that I've had at times.
• 53:42
  But I just the one that sticks out to me is when he's after
• 53:45
  after got hit with the apple pie and he's like, you know,
• 53:48
  right before he beats up the pedophile talking about how it's like, you know,
• 53:51
  Thomas Edison didn't get pies thrown at him.
• 53:54
  It's like then right before like right when he gets up to the gate, he's just like
• 53:58
  clowns get pies thrown at them.
• 54:00
  And there's that moment right when he's like, oh, he's about to realize something.
• 54:03
  Then he's like, nope, got to go beat someone up.
• 54:04
  Yeah, yeah.
• 54:05
  But that moment of realization, then he beats the shit out of the guy.
• 54:09
  Then he picks right back up walking back.
• 54:12
  So nobody ever threw a pie at Harriet Tubman,
• 54:15
  but a million fucking dollars nobody ever threw a pie at Harriet Tubman.
• 54:19
  No, his in his inner monologue, I think, is what really seals
• 54:25
  this movie for me and a lot of a lot of conversations is it's just so like clearly.
• 54:32
  I mean, I identify with it because of like how often I go in and out of
• 54:36
  like something with myself and it's I don't know, it's relatable and it's stupid.
• 54:42
  You mentioned the tartar sauce scene.
• 54:45
  I can't tell you how many times I like my brain just wanders.
• 54:49
  It's not necessarily about like who or who does not enjoy eating pussy.
• 54:53
  But I mean, it's on record, we know.
• 54:57
  But I don't know.
• 55:00
  Like focusing is not my strongest suit.
• 55:02
  So when I see a scene like that, I'm like, yeah, OK, I get it.
• 55:05
  I understand.
• 55:07
  I have to ask you how many times during a given day
• 55:11
  does the random thought I wish I had two dicks just pop into your brain?
• 55:15
  OK, so recently I found a news article about a guy
• 55:19
  who may have died without ever knowing that he had three penises.
• 55:23
  I just heard about this. Yeah, it blew me away.
• 55:25
  What? Yeah. What?
• 55:26
  So apparently his testicles were extra penises and he didn't like
• 55:31
  may not have known that there were extra dicks instead of just
• 55:35
  instead of balls in his ball sack.
• 55:38
  And this is only the second.
• 55:40
  So it is the second record.
• 55:42
  It's happened again where some other guy had three penises.
• 55:47
  You know, I've gone back and forth on the two penis situation before.
• 55:51
  The two penis problem.
• 55:52
  Obviously, you have a two penis problem.
• 55:54
  Weighing the pros versus the cons. Yeah.
• 55:58
  Clearly, you want like top bottom stackers.
• 56:01
  Yeah, you don't want side to side. You don't want side stackers.
• 56:04
  No, that's no good to anybody.
• 56:05
  Yeah, it seems to be the way it often comes out.
• 56:08
  Yeah, it's class.
• 56:10
  Classes are side by side.
• 56:11
  Yeah. Clasper, the friendly ghost.
• 56:13
  Oh, shark dicks.
• 56:16
  I'm going to get a clasp for the friendly ghost tattoo and you can't stop me.
• 56:20
  Is that going to be your tattoo?
• 56:23
  It's going to be my Peter tattoo.
• 56:25
  Oh, don't do it.
• 56:28
  Two dicks. Never forget.
• 56:30
  Yeah, New York skyline with just two penis.
• 56:36
  Nothing wrong with this. I support fully.
• 56:40
  Rigidly. Yeah.
• 56:42
  Turgid. Turgid.
• 56:43
  I love that word.
• 56:44
  But yeah, so I'm all for multiple penises.
• 56:49
  I've definitely put it on the record.
• 56:52
  Yeah. On a day to day basis, do I think about it?
• 56:55
  Maybe not. But I think it gets like a monthly check in.
• 56:59
  Yeah. Honorable mention.
• 57:01
  Like there's got to be some time where I'm like, you know,
• 57:03
  it would be really helpful right now.
• 57:05
  Second dick. Just to have a spare, you know.
• 57:08
  Sure. I mean, this one's busy.
• 57:10
  Yeah. Tap this one in.
• 57:11
  This one could be doing other stuff like taxes.
• 57:14
  Yeah. All my debt taxes.
• 57:17
  This one's really good at typing for some reason.
• 57:19
  Why the government really takes their cut.
• 57:25
  Oh, God.
• 57:26
  I don't even know how to get out of this.
• 57:30
  You were talking earlier about like the internal monologue
• 57:34
  and about how I like really kind of like seals a lot of things.
• 57:37
  And all the way to the end of the film, I think one that really got me
• 57:41
  was like his acceptance during an internal monologue
• 57:44
  where he's like in the parade and he's like, oh, you know,
• 57:46
  you know, I'm behind station 47.
• 57:49
  All right. But I'm in front of SpongeBob and that's OK.
• 57:53
  And, you know, he found his place and that's good.
• 57:56
  You know, he makes a dick ton of money, like two dick tons of money.
• 57:59
  And yes, one point two million in 2005 bucks is still that solid money.
• 58:05
  Yeah, man. That's good.
• 58:07
  It's two deck money. It's two dick money.
• 58:09
  That is absolutely two deck money.
• 58:14
  This brings up this brings up another point I wanted to make about
• 58:18
  like this, if this movie through the lens of being a Nicolas Cage movie.
• 58:23
  So I ran into an interview with Verbinski.
• 58:26
  It was it was actually he was doing a junket tour
• 58:31
  and it was specifically for the weatherman.
• 58:33
  The interview was supposed to be for the weatherman.
• 58:35
  They talked about the weatherman for like the first third.
• 58:39
  And the rest of it was all questions about the pirates movies.
• 58:43
  Yeah. I mean, they're not going to ask me about the Mexican.
• 58:49
  No, no, definitely not.
• 58:51
  But he said when he got the script, like he loved the script.
• 58:54
  And then he like had some prior relationship with the cage
• 58:58
  and he sent the script to Nick Cage.
• 59:00
  And he came back and said, look, I I really want to do this.
• 59:04
  Like, this is me.
• 59:05
  I don't have to act. This guy is me.
• 59:08
  And if you think about what was going on in Nick Cage's life and who he is,
• 59:12
  like his his dad's a lit professor, his uncle's,
• 59:15
  Frantz Ford Coppola talk about a father figure you can never live up to.
• 59:18
  He'd been divorced, I think, twice at this point.
• 59:23
  He's very financially successful,
• 59:25
  but probably feels like artistically he's not where he wished he was.
• 59:31
  Like it all lines up for this being Nicholas Cage around age 40.
• 59:37
  And I think that's that's part of like that's part of why his performance
• 59:41
  in this is feels so effortless and so good because he just steps into it
• 59:45
  and brings like his real life to.
• 59:47
  It's definitely kind of like just an old slipper or something.
• 59:51
  Like he just kind of exists in this role.
• 59:55
  Like it just fits around him very wonderful.
• 59:58
  There is something about the performance that is, I guess,
• 1:00:01
  so naturalistic and so real and raw to where even like I look, think of
• 1:00:06
  adaptation or what's leaving Las Vegas, like the kind of big ones for him.
• 1:00:12
  But like where he's acting great, but it's, you know,
• 1:00:16
  acting as opposed to this, we're just like, no, this this just feels real
• 1:00:19
  in a way that I don't think most of his performances do.
• 1:00:22
  Yeah, that's really well put.
• 1:00:24
  There are those little short snippets where he's like looking in the mirror
• 1:00:28
  and he puts on his like shitty grin and then it kind of falls just for a fraction.
• 1:00:33
  It's like, oh, God, that feels so fucking real.
• 1:00:37
  Yeah, it's beautiful.
• 1:00:38
  There's a moment like that with the the the fast food internal monologue thing.
• 1:00:43
  We just talk about people throwing, you know, it's always something
• 1:00:46
  they'd rather throw away than then finish.
• 1:00:48
  And it gets down to the end of it.
• 1:00:50
  And there's this like pause.
• 1:00:51
  It's just long enough.
• 1:00:52
  And then I am fast food and it all that it hits.
• 1:00:58
  It's so good. It's so good.
• 1:01:00
  Yeah, you hurt for him a little bit at that moment.
• 1:01:02
  Yeah, you got to think about like the Nicolas Cage filmography
• 1:01:05
  and him saying I am fast food and like thinking about Gore Verbinski,
• 1:01:10
  like coming to terms with like he's forever going to be that dude
• 1:01:14
  who's famous for making movies based on a ride at Disneyland.
• 1:01:17
  Right. Exactly.
• 1:01:20
  Yeah, this is terrific.
• 1:01:22
  I love I love that identification between director and actor.
• 1:01:27
  The personal touch, I think, really comes through for both of them.
• 1:01:32
  One of those rare situations where like the right script
• 1:01:35
  hits the right people at the right time and the right people.
• 1:01:39
  And they have enough clout to actually get a green light.
• 1:01:42
  Yeah, it's one of those magic in a bottle movies
• 1:01:44
  and and flies under everybody's radar
• 1:01:47
  because it was never going to be commercially successful,
• 1:01:51
  which is why Lord of War got better billing than it.
• 1:01:53
  But, you know, whatever.
• 1:01:54
  This is one of those films where, you know, when I ask,
• 1:01:57
  is this movie made better by Nick Cage?
• 1:02:00
  Like no one else could have done this film
• 1:02:02
  and done it this well. I can't that I can think of.
• 1:02:04
  Yeah, I agree with that.
• 1:02:05
  That's an important assessment.
• 1:02:07
  Yeah. Yeah.
• 1:02:08
  It's really perfect casting.
• 1:02:10
  Yeah, at this point, that's ultimately what I'm looking for in these films
• 1:02:13
  is like how much of this does Nick Cage sell
• 1:02:17
  and this whole movie works on him.
• 1:02:20
  Yeah, yeah, absolutely.
• 1:02:21
  Contrast, of course, to the other film to Raising Arizona.
• 1:02:27
  If you ask the same question,
• 1:02:28
  I could say that, like, obviously Nicholas Cage makes the role,
• 1:02:33
  but the Coen brothers could have cast anybody
• 1:02:35
  and they could have made a fantastic film regardless.
• 1:02:40
  Right. And they really maybe wanted to after that movie, maybe not enjoy him.
• 1:02:46
  I can't imagine not enjoying him.
• 1:02:48
  Not to get like too deep into the other movie, but hey,
• 1:02:52
  I think you're absolutely right.
• 1:02:53
  Like that movie rests on the strength of the Coen brothers imagination.
• 1:02:57
  And like the strong by far,
• 1:03:00
  I think the strongest performance in that movie is Holly Hunter.
• 1:03:03
  She's so ridiculously good.
• 1:03:05
  But bringing it back to this one, because we haven't talked about Hope Davis
• 1:03:10
  speaking of female leads, and she's amazing in this movie as well.
• 1:03:13
  Yes. Also, still to this day, my all time just Hollywood crush.
• 1:03:18
  I don't know. Even even now, just I fucking love Hope Davis.
• 1:03:21
  Her getting hit with the snowball and just being like, the fuck, Dave?
• 1:03:26
  Yes. It's so good.
• 1:03:29
  I think I think my my favorite moment that she has in this
• 1:03:33
  is when they're in the restaurant after the like trust building thing
• 1:03:37
  and he starts going off about it wasn't science fiction.
• 1:03:40
  One of the characters was a scientist and the moment of realization
• 1:03:44
  she has that he immediately read the paper is so good.
• 1:03:52
  Yeah. Dave, fuck you.
• 1:03:56
  Fuck you.
• 1:03:58
  He is just a shitty partner.
• 1:04:02
  There are so many moments in this movie
• 1:04:04
  where you just want to slap him upside the head, but that's like the biggest one
• 1:04:09
  immediately goes in the bathroom.
• 1:04:11
  You're like, I know why you're doing it, but fuck, dude, pull it together.
• 1:04:15
  Sorry, I love that he goes into the bathroom and pulls out the note
• 1:04:18
  and then another guy walks in behind him.
• 1:04:19
  He's just like, oh, it's cool.
• 1:04:22
  Hey, what's up? Yeah.
• 1:04:23
  And then it's like you piece of shit.
• 1:04:31
  And then, of course, we I mean, we have to mention the like, I hated you.
• 1:04:36
  That's why I lacked enthusiasm when your cock was in my mouth.
• 1:04:39
  That's such a fucking brutal line.
• 1:04:41
  Yeah, it's so brutal.
• 1:04:43
  You can't come back from that.
• 1:04:45
  No, no, no, there's no coming back.
• 1:04:48
  I mean, that was especially rude because all he said was that they lacked enthusiasm
• 1:04:53
  and she brings the hate when your cocks in my mouth game.
• 1:04:58
  It was there's some definite escalation there.
• 1:05:00
  Yeah.
• 1:05:01
  He's like, I don't know, man.
• 1:05:03
  It wasn't my favorite.
• 1:05:05
  Nope. I hate having poor Shelly, poor Shelly, like opening the front door
• 1:05:09
  at exactly the wrong moment to hear that.
• 1:05:12
  Shelly just brutal.
• 1:05:14
  I'll be in the background for some of the best just parts like Shelly.
• 1:05:19
  Why are you here?
• 1:05:20
  It's because Shelly's too adult for her own good.
• 1:05:22
  Yeah, totally.
• 1:05:24
  I love all the outfits and they all have hats.
• 1:05:28
  It's very New York minute kind of thing.
• 1:05:30
  Yeah.
• 1:05:31
  She just looked like an extra from Blossom or something.
• 1:05:34
  Totally. I do.
• 1:05:36
  Definitely. This movie ends on such like it's been such kind of a downer
• 1:05:40
  and very like, you know, just kind of the whole thing is about acceptance
• 1:05:43
  accepting your role and your your lot in life.
• 1:05:46
  And we have that kind of more upbeat ending where he has like a moment
• 1:05:50
  of realization that, you know, people don't throw stuff at him anymore.
• 1:05:53
  And, you know, maybe it's because they respect him.
• 1:05:55
  But then he has that little beat than a moment of realization.
• 1:05:58
  Or maybe it's just because I carry a weapon with me now.
• 1:06:01
  Maybe it's because I'm carrying a bow.
• 1:06:04
  Do you guys have favorite scenes from this?
• 1:06:07
  I love when he beats up the pedophile.
• 1:06:09
  That's pretty good.
• 1:06:10
  I always kind of come back to
• 1:06:15
  when he's like at his father's living wake,
• 1:06:17
  when he doesn't get to give his speech or whatever.
• 1:06:20
  And Iraq. Yeah.
• 1:06:21
  So he's just outside or I may have this
• 1:06:25
  timeline wise backwards a little bit, but he's just outside like
• 1:06:29
  shooting his bow and Russ is there and fuck Russ.
• 1:06:32
  And then he's just going to aim his bow at Russ.
• 1:06:34
  And then it's super threatening and very dark for everybody who's there.
• 1:06:39
  That's right. He found out that there she's going to marry Russ.
• 1:06:42
  That's right. It's before it's right for the speeches.
• 1:06:44
  Yeah, before the speech. Yeah, yeah.
• 1:06:47
  One that we haven't talked about yet that I absolutely love is right after he
• 1:06:53
  he comes back to the house after he finds out what's happening,
• 1:06:55
  what's happened with his son.
• 1:06:57
  He comes back to the house and Russ is there.
• 1:06:59
  He just smacks him in the face with the glove.
• 1:07:02
  And it's one of my favorite lines in the movie is afterwards.
• 1:07:05
  Here's something if you want your father to think you're not a silly fuck,
• 1:07:08
  don't slap a guy across the face with a glove, because if you do that,
• 1:07:12
  that's what he'll think unless you're a nobleman or something in the 19th century,
• 1:07:16
  which I'm not.
• 1:07:18
  I do. If I'm being serious, one of my favorite scenes is early on when he's like
• 1:07:24
  when we first meet his dad and his dad's like in the doctor's office
• 1:07:26
  and ask him to go get a newspaper and then just the thing felt like
• 1:07:29
  he gave Shelley all his cash.
• 1:07:32
  He had a dollar and a quarter.
• 1:07:33
  Like the thing closes too soon.
• 1:07:35
  So he tries to get change, can't get change.
• 1:07:37
  So he does all the things to like give his father what he wants.
• 1:07:40
  And it just doesn't kind of just a series of events happen.
• 1:07:43
  And when his dad comes out, he has the coffee that cost him five more cents
• 1:07:47
  than he thought.
• 1:07:48
  And his dad just like wears the newspaper.
• 1:07:50
  It's like, oh, I couldn't afford it.
• 1:07:51
  But you could afford coffee. It's like.
• 1:07:54
  Yes.
• 1:07:55
  It's like you should carry more than a dollar. Just like, oh,
• 1:07:58
  that's just it should carry more than a dollar, David.
• 1:08:01
  It just like just all that stuff sucks so much.
• 1:08:04
  But it's such a great little microcosm of what the rest of this movie is going to be.
• 1:08:07
  Him getting told three times that he needs to carry money
• 1:08:11
  because he's an adult is so good, but especially when Shelley.
• 1:08:15
  Yeah, exactly. You need more than a dollar, dad.
• 1:08:19
  There was only a dollar in the you should carry more money.
• 1:08:24
  It's just the best lecture, especially now in a time when nobody carries money.
• 1:08:28
  That was the weirdest thing.
• 1:08:29
  The first time I watched this movie being like living in a largely cashless society.
• 1:08:33
  Now it's just like, oh, yeah, money used to bring money. Yeah.
• 1:08:38
  Can I get having no change?
• 1:08:40
  Getting change for things. Yeah, that used to be a thing.
• 1:08:43
  And that guy that fucking get at the Arby's
• 1:08:47
  was just like this 72 cents plus the whole thing.
• 1:08:53
  But you little fuck, you don't get to charge me eight cents for fucking nothing.
• 1:08:57
  You were getting Arby's.
• 1:09:00
  Can I get change? Not really.
• 1:09:05
  What a piece of shit.
• 1:09:07
  The book and the book ends on the movie of the guys asking for his autograph.
• 1:09:13
  The first guy in the DMV and the last guy.
• 1:09:16
  And this is something that really hit me on my second watch through this time is,
• 1:09:22
  you know, he comes out of the DMV scene saying, oh, people, you know,
• 1:09:26
  ask for my sometimes people recognize me, sometimes they're assholes.
• 1:09:30
  But like the dude wasn't being an asshole until he started being an asshole in that scene.
• 1:09:36
  And it's and down at the end of it, the exact same thing.
• 1:09:40
  All he does is ask for his autograph and he has a perfectly nice interaction with this dude.
• 1:09:44
  And it's such a perfect little book end of like
• 1:09:47
  he starts the movie as the kind of guy who creates his own misery.
• 1:09:51
  And by the end of the movie, he's figured out how to not do that.
• 1:09:54
  And it's it's such a powerful little book end there.
• 1:09:58
  I love it. I love it.
• 1:09:59
  Two Dick money will do that to you.
• 1:10:02
  True enough. Yeah, that's a serious growth to take growth.
• 1:10:07
  To take money buys a lot of growth growth.
• 1:10:13
  Hey, to take money is hard to come by. So fuck.
• 1:10:18
  I got hard and come in that.
• 1:10:20
  I know that's impressed.
• 1:10:21
  Like I am kind of mad that I didn't do that.
• 1:10:23
  Yeah, this I fucking love this movie.
• 1:10:30
  It's so well written.
• 1:10:33
  So it's a ride.
• 1:10:34
  The real question now, why does this film deserve to go forward in the bracket?
• 1:10:39
  Particularly knowing what it's up against.
• 1:10:42
  Yeah, I like I said, this is this is a tough one because
• 1:10:46
  like when when Nick originally contacted me about this, he was like,
• 1:10:50
  oh, here's here's the movies that are still available.
• 1:10:52
  We need somebody to talk about it. I was like, Weatherman done.
• 1:10:55
  And I was thinking about it later.
• 1:10:56
  I was like kind of comparing it in my brain and I was like, OK,
• 1:10:59
  Weatherman against this, against this, against this.
• 1:11:02
  All right. As long as it's not up against Raising Arizona,
• 1:11:04
  I think it'll be a cakewalk.
• 1:11:06
  And now it's up against Raising Arizona.
• 1:11:07
  So this is tough for me.
• 1:11:08
  But I will say this.
• 1:11:10
  I think that The Weatherman is a very, very expertly made movie.
• 1:11:16
  It's got a lot of very skilled craftsmen behind it
• 1:11:21
  who are like at the peak of their careers or have been veterans in their career.
• 1:11:27
  Raising Arizona, while it has
• 1:11:30
  just balls to the wall imagination, the Coens, I think, are still kind of
• 1:11:35
  finding their voice and finding their style.
• 1:11:39
  It's not quite as assured when you get down to the nitty gritty of the filmmaking.
• 1:11:45
  One of the things that really popped this out for me was in The Weatherman,
• 1:11:49
  when they do the there's a flashback, it's right after.
• 1:11:53
  Well, the tartar sauce is the beginning of the flashback.
• 1:11:56
  And then they jump like halfway forward to a conversation with his dad
• 1:12:00
  where he's telling him he's going to leave and then back to the present.
• 1:12:04
  And it feels completely seamless.
• 1:12:07
  But if you sit down and try and figure out how to do that,
• 1:12:09
  it's not an easy thing to do, but they do it with editing
• 1:12:12
  and the way they do the sound editing around it.
• 1:12:15
  It's great. It's brilliantly done.
• 1:12:17
  It's those small things that you don't notice unless you're looking
• 1:12:20
  unless you're looking for them.
• 1:12:21
  And Raising Arizona doesn't have much of that.
• 1:12:26
  It's it's a much lower budget film for one, which I'm not saying to be against it.
• 1:12:31
  They just didn't have the same kind of resources.
• 1:12:35
  And there's still it's a very guerrilla style film,
• 1:12:40
  which limits the amount of things they can do with it.
• 1:12:44
  And I think because Weatherman had more resources
• 1:12:48
  and because the people making it had more just experience under their belt,
• 1:12:53
  they were able to make a much more polished finished product.
• 1:12:56
  I agree. Yeah.
• 1:12:59
  Yeah. Yes. Well, put.
• 1:13:01
  Yes. Exactly.
• 1:13:02
  Just give the Nick. Yes. At the end. Yeah.
• 1:13:06
  So there have been far fewer edibles involved in today's recording.
• 1:13:10
  And so I can give you more than just yes. Yes, please.
• 1:13:16
  But yeah, that that and I mean, what we were talking about earlier with
• 1:13:20
  if if you're looking at this through the lens of what is the best Nick Cage movie,
• 1:13:24
  the fact that this was such like a pinpoint accurate movie
• 1:13:28
  for him at this time in his life is.
• 1:13:31
  I think through that lens, this one's got to take it.
• 1:13:34
  OK. Yeah. I mean, I mean, we're going to get into all of that here.
• 1:13:39
  And we're going to get all into all that here shortly.
• 1:13:41
  Just I can't tell you you're right or wrong.
• 1:13:43
  I still need to go have a two day moment in the bathroom
• 1:13:46
  before I fully realize what's going on.
• 1:13:50
  Fully realize case closed.
• 1:13:53
  You're under the prosecution rests.
• 1:13:56
  Yeah, exactly.
• 1:13:57
  Actually, Sean, why don't you have one of those mirrors that I could like
• 1:14:01
  open up in like a trifecta that makes it look like I have three dicks
• 1:14:05
  when I look at my reflection?
• 1:14:08
  That's a failing.
• 1:14:09
  Yeah, you need to.
• 1:14:10
  That's a moral fail.
• 1:14:11
  Your new place better have that three dick energy.
• 1:14:15
  Do you really want the hollow illusion of the three dick energy, though?
• 1:14:19
  I mean, that's just going to let you down when you try and put it into practice.
• 1:14:22
  I'll just take like concept photos so that when I get
• 1:14:28
  what has human centipede for started up, once I get my script down for that,
• 1:14:33
  you put it in the pitch deck.
• 1:14:35
  Yeah, it'll be three dick energy like the last person in the chain.
• 1:14:39
  It's like, yeah, you're the last person in the chamber.
• 1:14:41
  I'm going to give you three dicks and I'm going to ask myself
• 1:14:45
  so that nobody else has to go through that.
• 1:14:47
  I think I'm really locking down what makes this film really good for me.
• 1:14:51
  Absolutely.
• 1:14:52
  So moving forward, we know human centipede for
• 1:14:56
  four for forward.
• 1:14:58
  Always, always ahead.
• 1:15:00
  And then maybe raising Arizona, maybe maybe the weatherman.
• 1:15:03
  Hmm. We'll find out.
• 1:15:04
  Yeah, there you go.
• 1:15:06
  Can't wait to get Nicolas Cage and human centipede for.
• 1:15:10
  That's everybody. That's every man.
• 1:15:12
  I mean, he doesn't say no to a lot. I got to say.
• 1:15:16
  Well, he's getting choosy with his roles.
• 1:15:18
  He's going to take powerful ones that give him the opportunity
• 1:15:21
  to really express himself like he's never been able to.
• 1:15:23
  Spider-Man like Spider-Man and human centipede for and human centipede for. Yeah.
• 1:15:28
  Yeah. So just a bug movies.
• 1:15:31
  Yeah. All right, Alec, thank you for being here.
• 1:15:35
  Do you have anything that you would like to plug?
• 1:15:37
  Hey, thanks for having me.
• 1:15:39
  No, I got nothing to plug right now.
• 1:15:41
  Just keep listening to this podcast.
• 1:15:44
  I will be because I want to be there when Weatherman emerges victorious
• 1:15:48
  as the ultimate Nicolas Cage movie.
• 1:15:50
  I think you're the first person to ever plug our podcast on our podcast.
• 1:15:55
  We don't even do that. Yeah, I know.
• 1:15:56
  It's bad. Hey, I just work on that level, man.
• 1:16:01
  Hey, so for anybody who made it to the end of this episode,
• 1:16:04
  definitely keep listening to us.
• 1:16:06
  Yeah. Also, like and subscribe.
• 1:16:09
  Yeah, sure. Yeah, I think those are things.
• 1:16:11
  Oh, we haven't told people to drop down in the basement for the comments section lately.
• 1:16:16
  Sure. We can get there later in our next section. Oh, yeah. OK.
• 1:16:19
  Thanks, guys. Thanks for having me on. It's a blast.
• 1:16:21
  Well, fuck, that was pretty good. Yeah.
• 1:16:24
  That was a two terrific conversations and one terrific guest.
• 1:16:29
  You know, I'm here every week.
• 1:16:32
  What are you talking about?
• 1:16:33
  Well, let the listeners decide. Right. Right.
• 1:16:37
  Going into this week, I was prepping to watch Red Rock West
• 1:16:41
  and National Treasure because my life's been crazy and I forgot we switched things on.
• 1:16:46
  It was on the schedule. You are correct.
• 1:16:48
  To be fair, we got a whole lot better watching these two films.
• 1:16:52
  Yes, I was I was fully ready to come in and just be like Red Rock West.
• 1:16:56
  West slaps. I mean, I'm looking forward to watching it.
• 1:16:59
  And Peter's like, we're not watching that. I'm like, well.
• 1:17:00
  And so this morning, you will get a mainline to Nicholas Cage films.
• 1:17:04
  Yeah, we go.
• 1:17:06
  Call up cocaine, Carl.
• 1:17:07
  If there was a shout out, cocaine, Carl, what's up, dog?
• 1:17:13
  Best in the West.
• 1:17:14
  I'm working on my sponsorship.
• 1:17:16
  I like it. Yeah, that's good. So can Carl pay us for this?
• 1:17:19
  Probably. All right.
• 1:17:21
  Cocaine, Carl doesn't fucking know my name.
• 1:17:24
  That's how little this is going to get us.
• 1:17:26
  I've been so just happy these last like two weeks, just being like,
• 1:17:31
  I'm going to watch fucking Weatherman and then I'm going to watch Raising Arizona.
• 1:17:36
  And I want the other way with it.
• 1:17:38
  Well, yeah, I did it the other way to Josie was just like, oh, what do you want to do?
• 1:17:42
  Like tonight is like, oh, how about we watch a movie?
• 1:17:46
  She's like, what movie is it? Movies are we watching?
• 1:17:48
  It's like we only got good ones left.
• 1:17:51
  Yeah, I was just going to say we're at that point now where really every
• 1:17:54
  I'm so excited to rewatch every movie except one movie I do love.
• 1:17:58
  But I'm like, I can tell you would be for Pete at this point.
• 1:18:03
  Conair. No, that doesn't matter.
• 1:18:06
  We're done with eight millimeter.
• 1:18:09
  Is that how you do it?
• 1:18:10
  That's how you pronounce it. Right. Yeah. I've only read it.
• 1:18:13
  Eight millimeter. This is America.
• 1:18:16
  I don't need to know how to millimeter.
• 1:18:19
  Now, national treasure.
• 1:18:20
  I'm just like, I love this movie, but it just it I love individual scenes
• 1:18:25
  more than I love the movie.
• 1:18:26
  It never deserved to beat Primal.
• 1:18:28
  It always deserved to be primal.
• 1:18:30
  Have you watched Primal recently?
• 1:18:32
  I'll tell you, it's great.
• 1:18:33
  I'm going to get down. So I'm going to get down to Portland.
• 1:18:36
  I'll have nothing to do.
• 1:18:37
  Like nothing like unpacked on this part primal and I'll just get like sucked in.
• 1:18:41
  You know, like, oh, my God, this is incredible.
• 1:18:43
  I can never let Nick know.
• 1:18:45
  I do think that once we finish the bracket, the first thing that we need to do
• 1:18:49
  is a double header, but of Primal and adaptation, the Primal adaptation had had.
• 1:18:58
  I think it's the only thing we talked about.
• 1:19:00
  Those two movies being eliminated more than any other.
• 1:19:03
  There's one of them deserves to be here now. Primal.
• 1:19:07
  Boom. First episode.
• 1:19:09
  All right. We're not reviewing these movies.
• 1:19:11
  Come back next week for that.
• 1:19:12
  We're going to talk about adaptation of Primal.
• 1:19:14
  Yeah, we're going to release all this audio with no resolution.
• 1:19:18
  And we're only going to come back and talk about Primal and ignore this ever happened.
• 1:19:22
  Beautiful.
• 1:19:24
  Great.
• 1:19:26
  He named the parent Edison.
• 1:19:28
  I love it.
• 1:19:29
  Oh, man. What are we doing here again, Peter?
• 1:19:31
  We're trying to make a decision here. I don't know.
• 1:19:33
  We're putting off the inevitable.
• 1:19:36
  It's I don't want to put.
• 1:19:37
  Yeah, I don't want to put either one of these movies out to pasture.
• 1:19:39
  It's a tough one, actually.
• 1:19:40
  Like going into this, I was really feeling like Raising Arizona was just a complete slam dunk.
• 1:19:46
  So funny. The writing is incredible.
• 1:19:48
  Talking to Alec, though, I'm like, man, Weatherman is really good.
• 1:19:52
  Yeah, I like that.
• 1:19:53
  I like that.
• 1:19:54
  I like that.
• 1:19:55
  I like that.
• 1:19:56
  Man, Weatherman is really good.
• 1:19:59
  Alec made some real intelligent conversation, something we don't get around here very often.
• 1:20:04
  And we actually like generally this this way this way.
• 1:20:09
  Yeah.
• 1:20:10
  Discourage like big words that aren't on this podcast.
• 1:20:13
  Yeah, I am glad that we had a good two, even three penis discussion with Alec.
• 1:20:20
  That's a plus.
• 1:20:21
  All those penises add weight to his argument.
• 1:20:24
  It's not much, but it's an ounce here and there.
• 1:20:27
  I think the biggest argument I have for adaptation at this point is the fucking talking about
• 1:20:34
  Weatherman. Sorry.
• 1:20:36
  The biggest argument I have for Weatherman at this point is the fact that like in terms of just acting and just the movie being made by Nicholas Cage and like just a Nicholas Cage vehicle adaptation.
• 1:20:47
  God damn it.
• 1:20:49
  Weatherman.
• 1:20:51
  There's a time in my I watch these both both these movies at the same time, like in my life when I was younger.
• 1:20:55
  So I just it's.
• 1:20:56
  Yeah, I mean, they came out around the same time.
• 1:20:58
  Weatherman.
• 1:20:59
  But like Raising Arizona, great Coen Brothers film, great ensemble film.
• 1:21:03
  Everyone in that movie is perfect.
• 1:21:06
  But as we talked about, Nicholas Cage is kind of the straight man for that.
• 1:21:10
  Whereas adaptation.
• 1:21:11
  God damn it.
• 1:21:12
  Weatherman.
• 1:21:13
  Weatherman is a Nicholas Cage movie that really works because of him.
• 1:21:19
  Yeah, it really it really well highlights his skills as an actor, as well as just his intuition.
• 1:21:27
  And, you know, he's in damn near every scene.
• 1:21:30
  It's his film.
• 1:21:31
  There is a it is and it is an interesting juxtaposition to watch Raising Arizona with the weatherman.
• 1:21:38
  You mean primal.
• 1:21:41
  Stop it.
• 1:21:42
  My brain is already teetering on usable.
• 1:21:47
  Perfect.
• 1:21:49
  Yes, Raising Arizona, please go on.
• 1:21:51
  It's just like it's so interesting to see like that very young, raw, like just young and raw.
• 1:21:57
  Go ahead.
• 1:21:59
  Performance.
• 1:22:01
  And it's very silly and not really.
• 1:22:04
  And as opposed to like this very deep, complicated, real performance.
• 1:22:10
  Yeah, it is. It's one of those films that I'm always going it's always going to exist up in my brain as top tier Nicholas Cage film.
• 1:22:21
  There's a reason it's made it this far.
• 1:22:23
  It's a terrific movie.
• 1:22:24
  Everything about it, writing, acting, nailed it to pitch Raising Arizona.
• 1:22:31
  There's nothing else like it.
• 1:22:33
  No. So I guess the question really comes down to I would say Raising Arizona is the better, more fun film.
• 1:22:40
  I would say Weatherman is the better Nicholas Cage film.
• 1:22:43
  You know, I might say that if I was going to pitch these to somebody, I would like if somebody wasn't familiar with Nicholas Cage, I would be like, hey, watch Raising Arizona.
• 1:22:55
  When you understand Nicholas Cage's filmography, watch Weatherman.
• 1:23:00
  OK, that's an interesting take on this, because, yeah, I would not suggest Weatherman for someone who didn't quite wasn't really that invested in Nick Cage.
• 1:23:09
  Yeah, it wouldn't hold if you weren't as familiar with the Cage verse, but it is a terrific film.
• 1:23:16
  I mean, they're both terrific films. And, you know, we've said a lot about Nicholas Cage is he he is the man for the weatherman.
• 1:23:27
  He is the weatherman. He says so at the end of the movie.
• 1:23:30
  Well, spoilers.
• 1:23:35
  But with a film like Raising Arizona, it's just so much of like unique performance wildness.
• 1:23:43
  No, I think you've convinced me on on that.
• 1:23:46
  Like when recommending a Nicholas Cage film to someone who isn't familiar with Nicholas Cage.
• 1:23:51
  Yeah, I wouldn't suggest Weatherman over Raising Arizona. So by that logic, I would say Raising Arizona should go forward in terms of like a Nick Cage film.
• 1:24:00
  Yeah, I think my vote is as much as I love Weatherman for Raising Arizona.
• 1:24:07
  Oh, fucking nailed it, dude.
• 1:24:14
  All right, next.
• 1:24:26
  Nice. Oh, man. Thank you all for listening.
• 1:24:31
  We are on social media at Cage underscore match underscore pod. We are also on Patreon at Cage match pod.
• 1:24:36
  Thank you to our Sparkle buddies, Josh, Sean, Josie, Rico, Matt, Adam and Bill and to our Cage dancers, I would Freeman Lance, Nathan and Cameron.
• 1:24:47
  Did you leave? No. And maybe.
• 1:24:52
  I don't know. You did say I'll find out. I'll find out if I if we weren't clear.
• 1:24:58
  Raising Arizona. Yes. No, I thought that was clear. Yeah, it was clear.
• 1:25:02
  Yeah. Bye bye.
• 1:25:10
  Bye bye.
• 1:25:14
  Doesn't sound like Adam. No, it really doesn't. Yeah.
• 1:25:17
  This was early, early in the times. Yeah.
• 1:25:20
  He knew you were safe. I'm a safe.
• 1:25:22
  My first my earliest Adam memory is when there were only five of us allowed on the patio during covid times and Adam was asking what everyone's favorite candy bar was.
• 1:25:33
  And I said three musketeer and he got livid.
• 1:25:36
  Because it's a bad. He started screaming.
• 1:25:40
  I like nougat and I don't need caramel to like judge it up.
• 1:25:44
  So Milky Way is. Yeah, they're also bad.
• 1:25:48
  I just like nougat.