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Movie Review: Has “Digger” Dug Its Own Grave? · Boomer Has It!

• 0:00
  SPEAKER_01: It was one of the most anticipated films of the year.
• 0:03
  SPEAKER_01: Now it's been described as one of the biggest box office failures of all time.
• 0:08
  SPEAKER_01: It's Digger, Tom Cruise's first belly flop since Edge of Tomorrow and The Mummy.
• 0:15
  SPEAKER_01: But is it really that bad?
• 0:16
  SPEAKER_01: It's certainly interesting.
• 0:18
  SPEAKER_01: This week we're taking a look at the film that's dividing audiences and confounding critics, partly because they can't give away the most interesting aspects of the film.
• 0:29
  SPEAKER_01: Don't worry, we will give them away.
• 0:32
  SPEAKER_01: I'm JB Miller in Cold Rainy London.
• 0:35
  SPEAKER_00: I'm Jim Jalamis in Brooklyn.
• 0:38
  SPEAKER_00: And this is Boomer Has It.
• 0:46
  SPEAKER_00: JB, neither of us knows what the other thinks of this film.
• 0:50
  SPEAKER_00: It's another, it's another surprise attack on each other.
• 0:54
  SPEAKER_00: You saw it a couple of weeks ago.
• 0:57
  SPEAKER_00: I just saw it last night, and and I'm recovering.
• 1:01
  SPEAKER_00: Should we start with you since you have some perspective?
• 1:04
  SPEAKER_01: Oh no, I want to hear your fresh your fresh report having just come off it.
• 1:10
  SPEAKER_00: I will tell you this.
• 1:12
  SPEAKER_00: My first reaction was I I made notes in the theater.
• 1:16
  SPEAKER_00: I had to turn down the light on my my camera, uh, my phone so I could take the notes.
• 1:22
  SPEAKER_00: But my my first re reaction was Dr.
• 1:27
  SPEAKER_00: Strange Love, it ain't.
• 1:28
  SPEAKER_00: Okay, what do you mean by that?
• 1:30
  SPEAKER_00: You know, Dr.
• 1:31
  SPEAKER_00: Strange Love ultimately was a comment about nuclear mutually assured destruction.
• 1:38
  SPEAKER_00: And this is about mutually assured destruction, you know, a very on the nose uh allegory for the climate crisis.
• 1:48
  SPEAKER_00: It doesn't really stack up.
• 1:50
  SPEAKER_00: I mean, it's it's like a community play version of Doctor Strange Love.
• 1:55
  SPEAKER_00: And um, I think and I kept trying to think of myself, if I if I had seen this on, if this had been staged, would I have liked it more?
• 2:04
  SPEAKER_00: And we can get into part of that discussion because they do something very interesting with the structure.
• 2:11
  SPEAKER_01: That let's let's hold back on that for now.
• 2:13
  SPEAKER_01: I mean, people have compared it to um don't look up in Adam McKay's rather broad night 2021 climate crisis farce, because it's really trying to do the same thing with the same genre, right?
• 2:30
  SPEAKER_00: It is doing the same thing, and just to get back to my comment, if I had seen it staged somewhere, uh would it would a more intimate environment made make me like it?
• 2:42
  SPEAKER_00: And my main problem is that it's it's bellicose and bombastic, and it is one note throughout the whole thing.
• 2:53
  SPEAKER_00: I don't think there's a moment when one character speaks softly, everyone's yelling at each other every moment frantically.
• 3:00
  SPEAKER_01: Yeah, I I felt like I was I was being yelled at for two hours, and it's not when I go to the movies to have happen to me to be screamed at.
• 3:10
  SPEAKER_01: The level was so high, and it didn't go down much, did it?
• 3:13
  SPEAKER_01: It was a lot of yelling in it.
• 3:15
  SPEAKER_00: I I got a reviewer, uh looked at a reviewer who said, We're left to question as we wandered out of our own theaters and back into the world whether the apocalypse looms or if we've been living through it all along.
• 3:27
  SPEAKER_00: You mean in the in the previous two hours in the theater, yeah, yeah.
• 3:31
  SPEAKER_01: Uh yeah, that's a good uh that's a good point.
• 3:34
  SPEAKER_01: I mean, do we give we should explain, let's explain what the film's about.
• 3:39
  SPEAKER_01: You're really good at summing up summing up films.
• 3:42
  SPEAKER_00: Take it away, Jim.
• 3:43
  SPEAKER_00: Well, it's it's basically that um in the tradition of don't look up, it's a it's a climate crisis allegory and not a very subtle one.
• 3:54
  SPEAKER_00: Um, Digger is an oil man who lives in this secluded mansion somewhere.
• 4:03
  SPEAKER_00: It is his home is rigged with a lot of technology, so he can speak to someone on the spot.
• 4:09
  SPEAKER_00: And he finds out that uh in Greenland, where he has a massive oil rig, a methane leak um has endangered one of the oil platforms, platforms, and triggered a huge explosion, ripping away a chunk of i of an ice shelf headed straight to uh continental Europe.
• 4:29
  SPEAKER_00: Uh, one reviewer called it a rogue popsicle.
• 4:34
  SPEAKER_00: And um, it spells out an environmental and humanitarian disaster, and humor supposedly ensues, but I didn't see any of it.
• 4:44
  SPEAKER_01: Well, that that kind of begs the question: can you make a comedy about uh the climate crisis?
• 4:52
  SPEAKER_01: And we saw uh you know Adam McKay tried.
• 4:54
  SPEAKER_01: He saw this has already been attempted five years ago.
• 4:57
  SPEAKER_01: I don't think successfully.
• 4:59
  SPEAKER_01: Um, it does draw big names because don't look up what featured Meryl Streep and um I mean had some very big a massive ensemble cast.
• 5:12
  SPEAKER_00: Every actor who has some kind of um awareness of you know, do good in this was in that movie.
• 5:22
  SPEAKER_01: Yeah, I mean it was sort of virtue signaling in a way.
• 5:25
  SPEAKER_01: My wife really liked that film, Don't Look Up, and she got grumpy at people who were tearing it down.
• 5:32
  SPEAKER_01: I to this day, I don't know if she liked the sentiment behind it or the film itself, because I found the film totally unfun.
• 5:40
  SPEAKER_01: But is that the wrong genre to address the climate crisis?
• 5:44
  SPEAKER_01: I guess you could say that.
• 5:45
  SPEAKER_00: Once again, I I think one of the shrewdest, funniest, memorable, hilarious uh allegories about humanitarians' end is is um Doctor Strangelove.
• 5:58
  SPEAKER_00: And wow, what a great movie! And it you know, it was the lesson we learned at the end was pretty clear, but it didn't, we didn't, you know, I didn't feel yelled at throughout the whole movie.
• 6:11
  SPEAKER_00: It was completely entertaining.
• 6:13
  SPEAKER_01: I think it was released the same year as a serious as serious drama about the exact same scenario.
• 6:21
  SPEAKER_01: Uh maybe with Bert Lancaster, I forget what it said.
• 6:24
  SPEAKER_00: Was it fail safe?
• 6:26
  SPEAKER_01: Yeah, maybe that's or maybe it's Henry Fonda.
• 6:28
  SPEAKER_01: Yeah, it was uh I think that's right.
• 6:30
  SPEAKER_01: I like Dr.
• 6:31
  SPEAKER_01: Strange.
• 6:31
  SPEAKER_01: I don't think I like Doctor Strange quite as much as you do.
• 6:34
  SPEAKER_01: Um, but I think you know, Peter Sellers and George C.
• 6:38
  SPEAKER_01: Scott make that film work.
• 6:41
  SPEAKER_01: Um, I I don't that was broad in places, but it was a much smarter film than either Don't Look Up or Digger.
• 6:49
  SPEAKER_01: Digger seemed like a dumb film to me.
• 6:51
  SPEAKER_01: Um, the very big budget dumb film.
• 6:54
  SPEAKER_01: Uh and it it it frustrated me because it is such an important subject that we're all ignoring.
• 7:01
  SPEAKER_01: There's a very uh self-congratulatory um speech in it where Tom Cruise in a prosthetic, a lotter, what's the word?
• 7:14
  SPEAKER_01: Prostheses, uh prosthetics.
• 7:17
  SPEAKER_01: He's an old fat guy.
• 7:20
  SPEAKER_01: Um and it's hard to and he's acting 110, which for Tom Cruise is a lot.
• 7:27
  SPEAKER_01: You know what?
• 7:28
  SPEAKER_00: I yeah, we should talk about the cast and let's talk about Tom Cruise.
• 7:33
  SPEAKER_00: And I I just I it just he just did not work for me.
• 7:38
  SPEAKER_00: I felt like he was hiding, he was hiding behind his prosthesis, and he was hiding behind something that actors do that I I think you have to be careful.
• 7:49
  SPEAKER_00: It's he was employing a Texas accent, and I think regionalisms are dangerous for actors because it's a good point, it's easy to hide behind them and overdo them.
• 8:00
  SPEAKER_00: Well, but that's that said, he's not nearly as effective as Jason Sudakis in Ted Lasso.
• 8:08
  SPEAKER_01: Jason, oh well, you're comparing them because you're both doing Texas.
• 8:13
  SPEAKER_01: Okay, and they're both all right, that's a fair comparison.
• 8:17
  SPEAKER_01: I would say Tom Tom Cruise um knew the genre he was in because it was far, so he's allowed to be over the top.
• 8:26
  SPEAKER_01: And and I don't hate Tom Cruise the way some people do.
• 8:29
  SPEAKER_01: Um my god, you get such extreme reactions.
• 8:32
  SPEAKER_01: I would never see a Tom Cruise film.
• 8:34
  SPEAKER_01: I can't take him seriously.
• 8:36
  SPEAKER_01: Boy, he's great at driving, you know, a motorcycle off a cliff.
• 8:39
  SPEAKER_01: I mean, no one else does that better than he does.
• 8:41
  SPEAKER_01: And I and I thought he was terrific in um Born on the Fourth of July.
• 8:46
  SPEAKER_01: I thought maybe even he was denied um an Academy Award for that.
• 8:50
  SPEAKER_01: I thought that was maybe his best performance in a film, so he can act.
• 8:55
  SPEAKER_01: Um, I'm not sure what he's doing in this film.
• 8:59
  SPEAKER_01: It's um it's really reaching for the bleachers, isn't it?
• 9:04
  SPEAKER_00: He was in a film, he was very good in the film um where frogs fall out of the sky.
• 9:12
  SPEAKER_00: Magnolia.
• 9:12
  SPEAKER_00: He was right very good in Magnolia.
• 9:15
  SPEAKER_00: He was good in Born on the Fourth of July.
• 9:18
  SPEAKER_00: I've uh nothing else I've seen him in.
• 9:21
  SPEAKER_00: I I've never really liked him.
• 9:23
  SPEAKER_00: And he's been in one of my favorite films, which is a few good men.
• 9:26
  SPEAKER_00: Um, and I I I liked it despite him.
• 9:30
  SPEAKER_00: And what is it about him you don't like?
• 9:32
  SPEAKER_00: I don't know.
• 9:32
  SPEAKER_00: There's something very fake about him.
• 9:34
  SPEAKER_00: I don't know what it is.
• 9:36
  SPEAKER_00: Poor Tom Cruise.
• 9:37
  SPEAKER_00: I feel sorry for him.
• 9:39
  SPEAKER_00: No poor Tom Cruise.
• 9:40
  SPEAKER_00: People love Tom Cruise.
• 9:42
  SPEAKER_00: I and I just I thought it was a very craven performance that he we couldn't just see his face or hear his Canadian.
• 9:49
  SPEAKER_00: He's from Canada originally.
• 9:51
  SPEAKER_00: He'll hear just talk the way he talks.
• 9:53
  SPEAKER_01: I mean, I read I've read, and maybe maybe you've read as well, he was vying for an um an Academy Award nomination in this film, which I think was um you know pretty unlikely, but but um he was he really thought he had something here, and the director whose name I can never pronounce, Alejandro Gonzalez was.
• 10:45
  SPEAKER_01: Very expensive film uh with the character kind of based on him.
• 10:50
  SPEAKER_01: Um, but you know, I didn't pay for it.
• 10:52
  SPEAKER_01: I didn't pay for uh I I don't mind huge budget films that flop, except that they probably prevent, you know, 10 smaller films being um you know being made.
• 11:04
  SPEAKER_00: Yeah, let's get back, let's get back to that a little later about the finances and continue quickly on the cast.
• 11:10
  SPEAKER_01: All right, yeah, yeah.
• 11:10
  SPEAKER_01: Tom Cruise, you hate Tom Cruise.
• 11:12
  SPEAKER_01: So you weren't gonna like this film anyway if you don't like Tom Cruise.
• 11:15
  SPEAKER_01: Yeah, because you made me go.
• 11:18
  SPEAKER_01: Okay, I'm sorry.
• 11:19
  SPEAKER_00: I would not have gone to that movie, for God's sakes.
• 11:22
  SPEAKER_00: I could have cleaned the bathroom or something, I could have done my taxes.
• 11:28
  SPEAKER_00: I don't, I could I could have done a lot of things.
• 11:31
  SPEAKER_00: John Goodman, he plays a foul mouth, um physically incapacitated president, not so subtly wearing a red necktie and blue suit half the time.
• 11:44
  SPEAKER_00: Michael Stuhlbard, one of my favorite actors, plays in you know, the hackneyed role of the feckness, feckless vice president.
• 11:54
  SPEAKER_00: They even make reference to that in the film that he's playing the role of the feckless vice president.
• 11:59
  SPEAKER_01: What else has he been in?
• 12:00
  SPEAKER_01: He looked familiar, but I can't remember what I'd seen him in.
• 12:03
  SPEAKER_00: Call me by your name.
• 12:04
  SPEAKER_00: He was in a great uh he was and almost and did a reprise of his role in Call Me by Your Name in a another Luca Guaragnino film that takes place on Yale's campus, uh The Hunt, uh, which is excellent.
• 12:20
  SPEAKER_00: I love that director, even when he's horrible.
• 12:23
  SPEAKER_00: Uh and he was great in Dope Sick.
• 12:26
  SPEAKER_00: He played the scion of the uh the Purdue family.
• 12:29
  SPEAKER_01: That's right.
• 12:30
  SPEAKER_01: He was good.
• 12:30
  SPEAKER_01: That was a very good series.
• 12:31
  SPEAKER_01: We could rap recommend that series.
• 12:34
  SPEAKER_00: Uh we had Riz Ahmed, who is I also one of my favorite actors, who gives the portrayal of the, you know, un sadly kind of stereotyped Dr.
• 12:46
  SPEAKER_00: Ganesh.
• 12:48
  SPEAKER_01: Another feckless character.
• 12:49
  SPEAKER_00: Feckless Sandra Huller.
• 12:51
  SPEAKER_00: Do you write?
• 12:52
  SPEAKER_00: Did you recognize her?
• 12:53
  SPEAKER_01: Yes.
• 12:54
  SPEAKER_01: Uh she, yes, I had seen her in a couple of things.
• 12:57
  SPEAKER_01: I'm trying to remember what I'd seen her in.
• 12:59
  SPEAKER_00: She was in a great European legal thriller about a uh a murder or accident.
• 13:05
  SPEAKER_01: Oh, right, that's right.
• 13:06
  SPEAKER_00: Uh the name of the film escapes me.
• 13:08
  SPEAKER_00: Where's our research assistant to come up with the name of that film?
• 13:11
  SPEAKER_00: Uh yeah, but she plays Digger's sister, who has an alternative energy company, and he just keeps her around for laughs.
• 13:19
  SPEAKER_00: Uh, Jesse Plemens has a almost uh I'd almost call him a cameo role, a very small, surprising role.
• 13:27
  SPEAKER_00: Also, incredible actor who I I love over and over again.
• 13:32
  SPEAKER_00: And the director uh of the film, uh the meta director, is played by an actress named Sophie Wilde.
• 13:38
  SPEAKER_00: Some of you may know her.
• 13:40
  SPEAKER_00: I didn't.
• 13:41
  SPEAKER_00: Um send us a letter, tell us how great she is normally when she's not in this movie.
• 13:46
  SPEAKER_00: We'll be glad to listen.
• 13:48
  SPEAKER_01: Um, John, John Goodman.
• 13:50
  SPEAKER_01: I think it's almost cheating if you put um John Goodman in a film.
• 13:53
  SPEAKER_01: He's so good, but I found it difficult to watch him in this film because he looks so ill.
• 13:58
  SPEAKER_01: And I was worried about him.
• 14:00
  SPEAKER_01: I he's lost a lot of weight.
• 14:02
  SPEAKER_01: Um, he fell on set.
• 14:05
  SPEAKER_01: They had to close down the filming for I think four weeks before.
• 14:10
  SPEAKER_01: Four weeks?
• 14:11
  SPEAKER_01: Yeah, no wonder it was so expensive.
• 14:13
  SPEAKER_01: It was expensive.
• 14:13
  SPEAKER_01: I mean, it went way over budget.
• 14:15
  SPEAKER_01: Uh, but he doesn't look well in that film, in the film, does he?
• 14:19
  SPEAKER_00: No, no, he doesn't.
• 14:21
  SPEAKER_01: Not the first time he's played the president.
• 14:23
  SPEAKER_00: Do you remember when else you when he spent you are you quizzing You Dare Quiz Me?
• 14:28
  SPEAKER_00: Yes, he was terrific in the in the West Wing as a former.
• 14:32
  SPEAKER_01: West Wing, that's right.
• 14:34
  SPEAKER_01: In all of like two episodes in a in a subplot that gets um corrected much too easily.
• 14:40
  SPEAKER_01: It was in the season after Aaron Sorkin left as the beginning of the fifth season.
• 14:46
  SPEAKER_01: It's a cliffhanger, the end of the fourth season.
• 14:49
  SPEAKER_01: And Aaron Sorkin was so exhausted.
• 14:51
  SPEAKER_01: Hey, let him go.
• 14:52
  SPEAKER_01: I thought I didn't know what the details of that was, but but he was very good in that role.
• 14:57
  SPEAKER_01: Um, he played a smart president in that in the West Wing.
• 15:01
  SPEAKER_01: Here he plays a kind of feckless, dumb president, right?
• 15:05
  SPEAKER_01: What do you do?
• 15:06
  SPEAKER_00: Everyone's feckless in this except dumb dumb president, and he's uh he's a little he I kept thinking George C.
• 15:13
  SPEAKER_00: Scott in how he was sort of a you know second-rate version of George C.
• 15:18
  SPEAKER_00: Scott in in um what you call it, Stanley, this Stanley Kubrick genius film.
• 15:22
  SPEAKER_01: Well, but George George C.
• 15:24
  SPEAKER_01: Scott wasn't playing the president, he wasn't, um, but he was no, that would Peter Sellers.
• 15:29
  SPEAKER_01: That was one of uh three roles Peter Sellers played.
• 15:32
  SPEAKER_01: George C.
• 15:32
  SPEAKER_01: Scott played um a general um who's on the base who goes to the to the war room.
• 15:39
  SPEAKER_01: There's no fighting in the war room, gentlemen.
• 15:42
  SPEAKER_01: Yeah, no, there were president Muff Muff Muffin.
• 15:46
  SPEAKER_01: Uh Muffin.
• 15:47
  SPEAKER_00: Muffin.
• 15:48
  SPEAKER_00: Muffin.
• 15:49
  SPEAKER_00: He has a feckless name.
• 15:51
  SPEAKER_01: Yeah, uh, it was a rude name.
• 15:53
  SPEAKER_01: Um, it was Peter Sellers with a very credible American accent.
• 15:57
  SPEAKER_01: Uh, one of the three roles he uh he played, including Doctor Strange Love, um and the British uh the British officer.
• 16:05
  SPEAKER_01: Um, but yeah, he is all right, it's unfair to compare this film with Doctor Strangelove, which is I mean, God, Dr.
• 16:14
  SPEAKER_01: Strange Love did the impossible, right?
• 16:16
  SPEAKER_01: Because I don't think there's ever been a farce since then, a cinematic farce that has succeeded in um you know animating a true existential crisis, right?
• 16:28
  SPEAKER_01: Like like Dr.
• 16:28
  SPEAKER_01: Strange.
• 16:29
  SPEAKER_00: Not that I can think of as a comedy, a very dark, hilarious comedy.
• 16:35
  SPEAKER_01: Yeah, yeah.
• 16:36
  SPEAKER_01: So and maybe it makes it look easy, and it ain't.
• 16:40
  SPEAKER_01: It really ain't.
• 16:42
  SPEAKER_01: Um, I don't think of Kubrick as having the greatest uh sense of humor, but he had a very good script, and you know, he had a really good cast, so in a way, you almost didn't need a sense of humor with when got Peter Sellers.
• 16:55
  SPEAKER_01: Um, but this was this was a disappointment because it is an important subject that everyone's ignoring, right?
• 17:03
  SPEAKER_01: And should be depicted on film, and whatever way you can bring in an audience, but I don't know what I'm gonna attempt to pronounce this guy's name again, Inyeratu was thinking.
• 17:17
  SPEAKER_01: Nosferatu, I think it isferatu was thinking, and and there were a lot of uh you read some of the uh the reviews, some of the reviews wondered if the crew if the crew, if the director in the cast knew when they were making it that they had a major turkey on their hands, right?
• 17:38
  SPEAKER_01: Because it's so obvious.
• 17:40
  SPEAKER_01: Now, I it's an unpleasant film to sit through.
• 17:43
  SPEAKER_01: I mean, we're making it see like a must miss, but it was, I mean, it's a washed-out palette.
• 17:49
  SPEAKER_01: It would you get yelled at, it's ugly, the art direction is really ugly.
• 17:54
  SPEAKER_00: There's potty humor that's real effective.
• 17:57
  SPEAKER_01: Yeah, it's potty humor, it's just unpleasant for a uh 200 million dollar film or whatever it costs.
• 18:04
  SPEAKER_01: Um, for what's meant to be, you know, one of the big, big successes.
• 18:09
  SPEAKER_01: Tom, for certainly for a Tom Cruise film.
• 18:11
  SPEAKER_01: You don't go to a Tom Cruise film to feel um depressed and go through, you know, sit through an ugly experience, right?
• 18:19
  SPEAKER_00: I'd say almost every character is grotesque, the sets are grotesque.
• 18:24
  SPEAKER_00: Digger is grotesque, he has this long pinky nail, he's got this animatronic cat like Dr.
• 18:31
  SPEAKER_00: Evil.
• 18:32
  SPEAKER_01: The cat is horrible, the cat is incontinent, and that's supposed to be funny.
• 18:36
  SPEAKER_01: It's just disgusting, and that's right at the start.
• 18:38
  SPEAKER_00: And that's right at the start, and I it just and I again, you know, I couldn't help but think about um George Clooney in his last film, um based on his career, yeah.
• 18:53
  SPEAKER_00: Where we saw up close his face, every wrinkle, every saggy part of his skin.
• 18:59
  SPEAKER_00: And I and I why didn't why didn't Cruz have the balls to do that?
• 19:04
  SPEAKER_00: He's 64 years old.
• 19:05
  SPEAKER_00: That's what he looks like.
• 19:07
  SPEAKER_00: Why did we need facial makeup and prosthetics?
• 19:10
  SPEAKER_01: Oh, wait a minute, wait a minute.
• 19:12
  SPEAKER_01: Oh, come on, I'm gonna stand up for Tom Cruise here.
• 19:14
  SPEAKER_01: He looks pretty damn good for a 64-year-old.
• 19:17
  SPEAKER_01: He's had the most expensive cosmetic surgery that anyone can afford.
• 19:22
  SPEAKER_01: You know, he came across the city.
• 19:23
  SPEAKER_00: How do you know?
• 19:25
  SPEAKER_00: Oh, the uh have you been reading some of the grocery store magazines and the checkout ones?
• 19:30
  SPEAKER_01: It's I mean it's well done.
• 19:32
  SPEAKER_01: It's pretty, you know, it's pretty his skin looks like it's um almost you know made out of wax.
• 19:38
  SPEAKER_01: Um, but but uh even having said that, you know, there's good plastic surgery and there's bad plastic surgery.
• 19:44
  SPEAKER_00: So wait, are you saying he's had plastic surgery?
• 19:46
  SPEAKER_00: But that this film is he's we don't see his face.
• 19:49
  SPEAKER_00: And I as I as I get to know actors, I mean part of the the challenge you have as an actor is you have a camera right up to your face, and God knows, I look in like photo stream and I see photos of myself with like my mouth open and I my eyes half shut, I look like Quasimoto.
• 20:07
  SPEAKER_00: Uh I think actors don't get enough credit for taking risks like that.
• 20:11
  SPEAKER_00: And unless you're Tilda Swinton in Suspiria or Merrill Streep in the laundromat, where the makeup is a disguise and a prank on the audience.
• 20:24
  SPEAKER_00: No prosthetics, please.
• 20:25
  SPEAKER_00: Well, I mean, was it compulsory to have Virginia Wolfe's nose glued onto Nicole Kidsman's face in in the hours?
• 20:33
  SPEAKER_00: I mean, for God's sake, just show your face and be an actor.
• 20:37
  SPEAKER_01: Play the role.
• 20:38
  SPEAKER_01: All right.
• 20:38
  SPEAKER_01: You know, yeah, that didn't do any favors.
• 20:41
  SPEAKER_01: I think it's easier for character actors to display their wrinkles and everything when they are matinee idols like Nicole Kidman, like Tom Cruise, even like Meryl Street, but she's a very brave actress.
• 20:54
  SPEAKER_01: You know, she's a serious actor and a brave actor.
• 20:56
  SPEAKER_01: But I think with Tom Cruise, boy, it's real hubris to think you can get an Academy Award, even Academy Award nomination, when you're just covered in all this stuff where you you and he's hardly, you know, it's not subtle, his performance and his look is not subtle.
• 21:12
  SPEAKER_00: Let's see the real Tom Cruise.
• 21:14
  SPEAKER_00: I mean, and play and let's have the real Tom Cruise play this obnoxious oil man.
• 21:20
  SPEAKER_00: And and should we talk a little bit about the plot and ruin everything for anyone who wants to know?
• 21:25
  SPEAKER_01: In a minute, minute, I just want to say uh the real Tom Cruise.
• 21:30
  SPEAKER_01: I he hides behind so many layers, um, like a good um you know Scientologist, you know, he he we don't no one has no one sees the real Tom Cruise.
• 21:43
  SPEAKER_01: There was a there was a big deal being made when he had the when he gave the first major interview he's given in something like 20 years to um GQ magazine, and he managed to say absolutely nothing.
• 21:57
  SPEAKER_01: Amazing, nothing.
• 21:58
  SPEAKER_01: I mean, he is a An expert at it.
• 22:01
  SPEAKER_01: So we we don't know that real Tom.
• 22:03
  SPEAKER_01: I don't think there is a real Tom Cruise, but I think he works fine in Mission Impossible and uh uh what's the one of the airplane you know flying around?
• 22:14
  SPEAKER_01: It's almost like he's animatronic, it's almost like he's AI.
• 22:19
  SPEAKER_01: Oh wow, he's gonna watch his back because he is very AI, yeah.
• 22:23
  SPEAKER_01: And and he looks a bit waxy AI.
• 22:25
  SPEAKER_01: So maybe maybe he is AI.
• 22:28
  SPEAKER_01: Look, maybe we're gonna break the story here on our podcast that there is no Tom Cruise, it's actually AI, and it's always been AI.
• 22:37
  SPEAKER_01: So it goes back.
• 22:39
  SPEAKER_01: Maybe he was killed in a freak accident after like his first or second film, and he's been he created over the last 30 years.
• 22:47
  SPEAKER_01: That would make a lot of sense, actually.
• 22:49
  SPEAKER_00: You know, wasn't it a quaint time when the only conspiracies were about you know Scientology and whether Tom Cruise was gay or not?
• 22:57
  SPEAKER_00: I mean, remember those Halcyon days?
• 23:00
  SPEAKER_00: Oh, those good old days so harmless.
• 23:02
  SPEAKER_01: Yeah, I guess so.
• 23:03
  SPEAKER_01: Do we miss those days when they were such um innocent uh conspiracies?
• 23:09
  SPEAKER_01: Yeah, but now there's just one conspiracy.
• 23:11
  SPEAKER_01: Is it AI or not AI?
• 23:13
  SPEAKER_01: We're having this with you know books.
• 23:15
  SPEAKER_01: Is it AI or not AI?
• 23:16
  SPEAKER_01: Is the character AI or not?
• 23:18
  SPEAKER_01: It's it's pretty binary.
• 23:19
  SPEAKER_00: Well, does I mean does Tom Cruise have any hobbies?
• 23:23
  SPEAKER_00: Does he collage collage?
• 23:25
  SPEAKER_00: Does he collage in the evenings?
• 23:27
  SPEAKER_01: I mean, that's what he says in the interview.
• 23:29
  SPEAKER_01: He lives for film, you know, he's a he's a he's a craftsman, you know.
• 23:34
  SPEAKER_01: It's uh it's you know, uh, what's the word?
• 23:36
  SPEAKER_01: Um artisanal work for him.
• 23:38
  SPEAKER_01: It's like making sourdough bread, but he's an actor.
• 23:41
  SPEAKER_01: That's his version of of baking bread.
• 23:45
  SPEAKER_01: He's a he creates these characters, he takes it very seriously.
• 23:50
  SPEAKER_01: And uh, why not?
• 23:51
  SPEAKER_01: You know, I'm I'm all for keeping people going to the cinema.
• 23:54
  SPEAKER_01: He's been good at that.
• 23:55
  SPEAKER_01: He has been uh no, I I won't begrudge him that for him in that regard.
• 24:01
  SPEAKER_01: Top gun.
• 24:02
  SPEAKER_01: His next film is gonna be uh the sequel to um Days of Is it Days of Thunder, the race car movie from 30 years ago.
• 24:10
  SPEAKER_01: So, you know, that's more in his comfort zone.
• 24:13
  SPEAKER_01: Let's let's spoil.
• 24:15
  SPEAKER_01: Let's let's spoil everything.
• 24:17
  SPEAKER_00: Anyone who wants to not be spoiled, stop listening or watching right now.
• 24:23
  SPEAKER_00: I'm gonna start this off with a word you're going to like.
• 24:26
  SPEAKER_01: Oh, okay.
• 24:27
  SPEAKER_01: Yes, I know what it is.
• 24:28
  SPEAKER_00: It's polysyllabic.
• 24:30
  SPEAKER_00: Ready?
• 24:31
  SPEAKER_00: Yes.
• 24:31
  SPEAKER_00: Let's see if I can say it.
• 24:33
  SPEAKER_00: Meta textuality.
• 24:34
  SPEAKER_01: Yeah, okay.
• 24:35
  SPEAKER_00: Groovy, man.
• 24:37
  SPEAKER_00: So, and what that means is that pretty early in the film, where it's the filmmakers reveal that what we're watching is an elaborate stage play named Fossil Fools, and that Digger is an actor named Curtis Markson.
• 24:54
  SPEAKER_00: Anything to add?
• 24:56
  SPEAKER_00: Uh no, well, you don't need to add anything.
• 24:58
  SPEAKER_01: That's it.
• 24:58
  SPEAKER_01: And I have to say, that spoiler, I knew that spoiler before I went to see the film, and it is why I went to see the film.
• 25:09
  SPEAKER_01: I will be honest about this.
• 25:11
  SPEAKER_01: The film had no interest for me, but all of the critics, all of the reviews kept saying, There's a twist that I'm can't tell you.
• 25:18
  SPEAKER_01: And I want to know what this twist is.
• 25:20
  SPEAKER_01: So I looked it up and I found out that you know it's a play.
• 25:24
  SPEAKER_01: And it's uh what I would call a, or what has been in a pretentious way, a Brechtan alienation effect.
• 25:31
  SPEAKER_01: Oh jeez.
• 25:32
  SPEAKER_01: Which it adds to your what did you say, meta textual textuality?
• 25:36
  SPEAKER_00: Oh, you said that really well.
• 25:39
  SPEAKER_01: Uh I'm fascinated by Brechttian alienation effects, where the the work of art uh acknowledges its own uh artness, artifacts, artifice in a meta, a meta way.
• 25:55
  SPEAKER_01: Yeah, and I was very curious to see how they how they did this.
• 25:58
  SPEAKER_01: So the spoiler got me to the cinema, and I found it was the most interesting thing of the film, and I wanted to see how they did it.
• 26:07
  SPEAKER_01: And how they did it, of course, was a huge cheat because there's no way they could stage.
• 26:13
  SPEAKER_01: Don't you think the first, you know, you go to Greenland, absolutely impossible.
• 26:17
  SPEAKER_01: There's a scene with a self-contained conference room, so there's no wall that's opened, there's no fourth wall open to the audience.
• 26:24
  SPEAKER_01: So it's a it's a conceit, but it's the same conceit that it shares that conceit with early Warner Brothers uh backstage musicals.
• 26:34
  SPEAKER_01: If you think of you know, Busby Berkeley films from the early 1930s, where you have a conceit where you're watching a musical.
• 26:43
  SPEAKER_01: Okay, you see the theater, you see the seats of the theater, and then the camera moves on stage, and it disappears, and it and you're in this wonderland, this the where there are lakes, there are bridges, there are gondolas, there are these crazy sequences that couldn't possibly be on stage.
• 27:04
  SPEAKER_01: And you know, people enjoyed it.
• 27:06
  SPEAKER_01: And it's what is the willing suspension of uh of disbelief, by the way, same studio, Warner Brothers.
• 27:12
  SPEAKER_01: So we'll come back to that in a moment.
• 27:14
  SPEAKER_01: So it's a it's a conceit that hasn't that has you know it's has a heritage to it, um, but it's a cheat, right?
• 27:22
  SPEAKER_00: Well, and and you know, back to that film that the latest George Clooney film, Jay Kelly, about an aging actor uh looking at the prime of his life.
• 27:32
  SPEAKER_00: There's there's a little of that.
• 27:34
  SPEAKER_00: There's a you know, if you remember, there's a dramatic opening scene that's revealed to be on stage, and um, it was not quite a meta moment, but it tricks the audience in the same way that you have the artifice all around you in the theater, and then all of a sudden, reality.
• 27:52
  SPEAKER_00: And I I would say this meta moment, this meta structure isn't really a spoiler.
• 27:58
  SPEAKER_00: I would argue that.
• 27:59
  SPEAKER_00: I would say actually, if someone had said a little like your your experience, if someone had told me at a cocktail party, hey, this film, it actually takes place in reality and um it, you know, it mixes a stage with cinema, uh I'd be compelled to go.
• 28:16
  SPEAKER_00: I would have been more compelled to go than waiting for this surprise that was such a letdown.
• 28:22
  SPEAKER_01: Okay, but I I yeah, I totally agree with that.
• 28:24
  SPEAKER_01: I think it's ridiculous that the critics felt they could, well, they were told, I think, not to give away that that spoiler as if that was the only thing that had the had the film going for it.
• 28:34
  SPEAKER_01: But it is silly.
• 28:35
  SPEAKER_01: You cannot discuss this film without discussing the spoiler.
• 28:39
  SPEAKER_01: And you know, you read these reviews.
• 28:41
  SPEAKER_01: I used to see them after you saw the film.
• 28:43
  SPEAKER_01: Did any of them hint at it?
• 28:45
  SPEAKER_01: They all felt constrained by it, and it's mixed nonsense about it.
• 28:49
  SPEAKER_00: No, I I read a couple reviews that said stop here.
• 28:52
  SPEAKER_00: Uh Justin Chang did it in the New Yorker.
• 28:54
  SPEAKER_00: He's he's a reviewer I I really come to depend on.
• 28:58
  SPEAKER_01: All right, fair enough.
• 28:59
  SPEAKER_01: Yeah, well, I mean, how does how does this why do they even do that?
• 29:04
  SPEAKER_01: Why do they need that conceit?
• 29:06
  SPEAKER_01: Because it it's immediately puts it at a at a uh remove, but it also gets Tom Cruise's performance a little off the hook because he's an actor, he's a real life actor playing an actor, playing a role, right?
• 29:21
  SPEAKER_01: Um, and so, but he his character off stage, so to speak, is not that much different, right, to his on-stage character.
• 29:30
  SPEAKER_01: It's not like you see the real, whatever the name of the actor he's playing in it.
• 29:35
  SPEAKER_01: It is no revelation, except he's got a daughter who um is in some stress and that's a subplot.
• 29:44
  SPEAKER_01: And so I don't know what even why they needed that.
• 29:47
  SPEAKER_01: It didn't add anything.
• 29:48
  SPEAKER_01: And in fact, it gives you kind of a double take because when you realize it's a stage vehicle, you spend some time in your head trying to, you know, backtracking, thinking, wait, those early scenes could that have worked on stage?
• 30:02
  SPEAKER_01: And they couldn't.
• 30:03
  SPEAKER_00: They couldn't.
• 30:03
  SPEAKER_00: You know, it's funny you mentioned the daughter.
• 30:05
  SPEAKER_00: So there's a subplot.
• 30:07
  SPEAKER_00: His daughter is missing uh in a plane.
• 30:11
  SPEAKER_00: He's calling his wife, the actor who's played by Curtis, whose whose name is Curtis So-and-so, he's calling his wife.
• 30:18
  SPEAKER_00: There's an emergency, they're concerned.
• 30:20
  SPEAKER_00: The daughter's name is Hope, a little on the nose there.
• 30:24
  SPEAKER_00: His name, the character's name is Digger, a little more on the nose.
• 30:28
  SPEAKER_00: And then if you recall, there's a scene where the camera drifts to his dressing room, and on the wall is the stage poster for the movie Opening Night.
• 30:37
  SPEAKER_01: Right.
• 30:38
  SPEAKER_00: I mean, Cassavidi's.
• 30:40
  SPEAKER_00: Yeah, let's just can we just not be hit on the head with a giant wooden mallet of symbolism, please.
• 30:45
  SPEAKER_01: Right.
• 30:46
  SPEAKER_01: I mean, that was a bit snooty in a way, because that is an arthouse film.
• 30:50
  SPEAKER_01: It's uh not that well known.
• 30:52
  SPEAKER_01: John Cassaviti's project of kind of improvised uh cinema in the 60s and 70s.
• 30:58
  SPEAKER_01: That's a film about I actually never seen that film, but it's about an opening night of a of a uh of a play where everything goes wrong, I think.
• 31:05
  SPEAKER_01: Is that right?
• 31:06
  SPEAKER_00: That's called The Play That Goes Wrong.
• 31:09
  SPEAKER_01: Sorry, I get those too confused all the time.
• 31:12
  SPEAKER_01: The film with the play that goes wrong.
• 31:14
  SPEAKER_01: Digger was just has been described by a few critics as the as a big budget arthouse film, right?
• 31:20
  SPEAKER_01: Do you think that's a good description?
• 31:22
  SPEAKER_01: Isn't that a contradiction in terms like jumbo shrimp?
• 31:24
  SPEAKER_01: It is um why is jumbo shrimp a contradiction?
• 31:28
  SPEAKER_01: Oh, because the word shrimp is small there.
• 31:31
  SPEAKER_01: You can have big shrimp.
• 31:32
  SPEAKER_01: I uh well, that's the thing.
• 31:34
  SPEAKER_00: Can you have a big budget arthouse film?
• 31:36
  SPEAKER_00: Isn't that a jumbo shrimp?
• 31:38
  SPEAKER_00: It's like the tallest um short person in the world.
• 31:41
  SPEAKER_00: It's sort of no, I mean I I think of an arthouse film, I I think of uncomfortable seats and a not a big budget and requiring some patience and hopefully being pleasingly surprised.
• 31:53
  SPEAKER_01: I think if this had been a smaller budget film, maybe it could have worked on a certain level.
• 32:00
  SPEAKER_01: I think so.
• 32:00
  SPEAKER_01: I agree with you.
• 32:01
  SPEAKER_01: You said if you were wondering at the top of this pod if it had been a a stage vehicle, if would it could it have worked?
• 32:08
  SPEAKER_01: But I don't understand how you could make it a play, although that's the whole conceit of the film.
• 32:14
  SPEAKER_01: What do you mean by that?
• 32:15
  SPEAKER_01: If it was a play, well, you're saying if this subject, if the premise is that it's a play anyway, that is how would that work?
• 32:24
  SPEAKER_00: It would be interesting if it was a if it was a stage play doing everything it was intended to do.
• 32:30
  SPEAKER_00: And honestly, my main my main uh complaint is just everyone yelling at each other every moment of every every and and the fact that Tom Cruise in is in 98 of the scenes.
• 32:47
  SPEAKER_00: Uh uh we had to see him constantly yelling.
• 32:51
  SPEAKER_00: And if there was just a little variation in the sound level, it could have been a it could have been a better movie.
• 32:58
  SPEAKER_01: No, I think you're right.
• 32:59
  SPEAKER_01: I felt I was being harangued for the entire film, and all I wanted paid 10 quid to see it, you know.
• 33:06
  SPEAKER_01: I don't pay 10 quid to be yelled at for two hours.
• 33:09
  SPEAKER_00: No, no.
• 33:11
  SPEAKER_01: Um, but if it was on stage, the I mean the the whole point of the of a film is you don't have to yell.
• 33:18
  SPEAKER_01: You know, the camera's right there.
• 33:20
  SPEAKER_01: Um, was that a was that a concession to it supposedly being a play because they had to yell so the audience could hear that?
• 33:27
  SPEAKER_01: No, it doesn't, it's not really it's not really supported.
• 33:30
  SPEAKER_01: I wanted to like this film partly because it it had it had gotten such terrible reviews and it's become uh like a punchline.
• 33:39
  SPEAKER_01: Uh every, you know, everyone knows it as a as a flop.
• 33:44
  SPEAKER_01: And it was sadly possibly the last film released under the Warner Brothers banner, because uh Larry Ellison's uh kid, Happy or Biff, what's his name?
• 33:57
  SPEAKER_01: The little the little Ellison.
• 33:59
  SPEAKER_00: I think it's um either Pee-Wee Ellison or Stinky Ellison.
• 34:03
  SPEAKER_00: I forget.
• 34:04
  SPEAKER_00: Those are his nicknames, but I I forget.
• 34:06
  SPEAKER_01: Stinky Ellison, who's you know the ultimate uh Nepo baby, because he's got billions to work with.
• 34:13
  SPEAKER_01: He has this uh this company called Sky Dance, which had already gobbled up Paramount, and then he bought uh Warner Brothers, and so he owns these two studios.
• 34:25
  SPEAKER_01: And what did he call them?
• 34:26
  SPEAKER_01: Did he call them Paramount?
• 34:28
  SPEAKER_01: Did he call them Warner Brother Warner Brothers Paramount?
• 34:30
  SPEAKER_01: No, he folded them into his Sky Dance, so even the IP that has spent a century of building up two centuries if you have these two studios.
• 34:40
  SPEAKER_01: I mean, it's a ludicrous um yeah business approach.
• 34:44
  SPEAKER_01: I hope they bring back the Warner Brothers imprint or or whatever, but anyway, uh it goes up to the name Sky Dance, isn't it a bit fa?
• 34:54
  SPEAKER_01: Well, to me, it sounds like Sundance, it's it's a bit too close to uh Skywalker, Sundance, oh I see.
• 35:00
  SPEAKER_00: Maybe maybe should have like you know, he should have opened an an interpretive movement company called Sky Dance and just kept it at local stages and gotten Larry Allison to fund it.
• 35:10
  SPEAKER_01: And Warner's Paramount, I don't know.
• 35:13
  SPEAKER_01: Anyway, it's uh it's yeah and do you remember um the uh writer of uh I guess writer director of that film, American Fiction, uh, when he won his Academy Award.
• 35:26
  SPEAKER_01: It was a film I didn't like that much based on a book that I liked.
• 35:30
  SPEAKER_01: Um, but when he accepted his Academy Award, he pleaded for instead of$100 million film, why can't the industry make 10,$10 million films?
• 35:42
  SPEAKER_01: Not a big ask, and those aren't bad budgets.
• 35:45
  SPEAKER_01: No one heeded that that that call.
• 35:47
  SPEAKER_00: I didn't I didn't hear that call.
• 35:49
  SPEAKER_00: That was Cord Jefferson, I think, the director.
• 35:51
  SPEAKER_01: Yeah, I think that's right.
• 35:53
  SPEAKER_01: Yeah, he said that when he uh when he collected his Academy Award and didn't didn't thank the author of the book that he had had his big success on what's the name of that author that uh we liked that guy who wrote um Percival Everett.
• 36:06
  SPEAKER_01: Percival Everett wrote James.
• 36:09
  SPEAKER_01: Anyway, um I thought that was a good plead, which uh fell on deaf, deaf ears.
• 36:15
  SPEAKER_01: And this is the kind of film that Hollywood is kind of afraid of, except the fact that Tom Cruise is in it.
• 36:21
  SPEAKER_01: That's how it got made, and it's a well-known director, but it's a standalone feature, right?
• 36:26
  SPEAKER_01: It's not based on any IP unless you think unless you call Tom Cruise IP, which you could could, I guess.
• 36:33
  SPEAKER_00: Well, we're calling him AI at the moment.
• 36:35
  SPEAKER_01: AI IP, AIP.
• 36:37
  SPEAKER_01: So, you know, I'm I'm rooting.
• 36:39
  SPEAKER_01: I am rooting, I was rooting on this for this film on so many levels.
• 36:44
  SPEAKER_01: Um, and I wish I could recommend it, and I just can't, right?
• 36:48
  SPEAKER_01: Can you recommend it?
• 36:49
  SPEAKER_01: On is there any way only if you like self-harm to your ears, to your eyes.
• 36:55
  SPEAKER_00: I uh uh you know, I just can't, I just can't see it.
• 36:58
  SPEAKER_00: It just was painful for me.
• 37:01
  SPEAKER_00: It actually it just yeah, I found and there was a weird moment where he's I mean the art direction was certainly interesting, it's very gray.
• 37:11
  SPEAKER_00: It looks like the film 1987 or maybe Brazil.
• 37:15
  SPEAKER_00: Um 87.
• 37:17
  SPEAKER_00: Give me 977.
• 37:18
  SPEAKER_00: 1987 is it did I say 87 or 1987?
• 37:21
  SPEAKER_00: 1984, sorry, 1984.
• 37:23
  SPEAKER_00: Getting a year two stuff three years off, yeah.
• 37:25
  SPEAKER_00: Um, and there's a there's a moment where he's in front of the International Criminal Court or some room with people dressed like they're in some strange 19th century garb in this sort of almost gray, black and white environment.
• 37:40
  SPEAKER_00: And he's giving this profane speech about why everyone needs and loves oil.
• 37:49
  SPEAKER_00: Boy, is he giving it?
• 37:51
  SPEAKER_00: He's giving it and then some, right?
• 37:53
  SPEAKER_00: I mean, he's really uh he's he's screeching it just about it's a little like again, George C.
• 38:00
  SPEAKER_00: Scott at the beginning of the film Patton.
• 38:03
  SPEAKER_00: Remember that sort of out of world with the great big uh flag behind it, flag behind him.
• 38:07
  SPEAKER_01: It was a little like yelling at us.
• 38:10
  SPEAKER_00: Well, George C.
• 38:11
  SPEAKER_00: Scott Scott was kind of yelling because he's a general, but I guess that gives him you know a little latitude there.
• 38:16
  SPEAKER_00: But I I don't know if you remember that these people, whoever they are, at some moment they start chanting blah blah blah.
• 38:24
  SPEAKER_00: Remember?
• 38:24
  SPEAKER_00: They start chanting.
• 38:26
  SPEAKER_00: It felt like I was in waiting for Godot.
• 38:28
  SPEAKER_00: I mean, what happened?
• 38:29
  SPEAKER_00: It became a uh we went from this metacontextualization, oh boy, that was hard to say, uh, to theater of the absurd.
• 38:37
  SPEAKER_00: Wait, hold on.
• 38:38
  SPEAKER_00: Samuel Beckett didn't write blah blah blah.
• 38:40
  SPEAKER_01: No, he wrote waiting for Godot.
• 38:43
  SPEAKER_01: But yeah, but the text isn't blah blah blah blah blah.
• 38:48
  SPEAKER_01: Uh what do you mean?
• 38:49
  SPEAKER_01: What do you mean by that?
• 38:50
  SPEAKER_00: Well, all of a sudden there's this this this orchestrated chanting by this large group of officials or judges or whatever they are wearing these strange robes, and they're they're in unison saying blah blah blah, but it's it's staged, it's kind of weird.
• 39:09
  SPEAKER_01: It's this it's very weird.
• 39:10
  SPEAKER_01: The film is weird, and remember that's supposed to be a stage scene.
• 39:14
  SPEAKER_01: So there are hundreds of people on this set, and you know, you see uh a reverse shot, which is a camera angle from the other side, you don't see any audience.
• 39:25
  SPEAKER_01: They they they they don't honor their own conceit, uh which was a little insulting in a way, right?
• 39:32
  SPEAKER_01: You're supposed to just accept this, and then they kind of it doesn't it doesn't add up.
• 39:37
  SPEAKER_01: I would have I would have liked to have seen them actually try to honor their own conceit and show the audience every now and then, or or design a set where you could have the audience at the background.
• 39:49
  SPEAKER_01: I found it a very ugly film.
• 39:52
  SPEAKER_01: Um and you know it's grotesque.
• 39:56
  SPEAKER_01: The incontinent cat was the signal of things to come.
• 39:59
  SPEAKER_00: Oh, and did you catch that there was a demographic insult?
• 40:03
  SPEAKER_00: Did you remember did you remember catching that?
• 40:05
  SPEAKER_00: Well, no, remind me.
• 40:07
  SPEAKER_00: What do you what do you mean?
• 40:08
  SPEAKER_00: There's a moment when um they cut the film shot shooting to go to the stage, and the director comes out and there's a conflict.
• 40:18
  SPEAKER_00: The actor's with his lines, the director with the direction, and she says, This is supposed to be about your generation, which has ruined everything for us.
• 40:28
  SPEAKER_00: So, baby boomers, there may be a reason for you to feel offended by this film.
• 40:33
  SPEAKER_01: Do you remember you remember her saying that?
• 40:36
  SPEAKER_01: Uh yeah, I mean, it probably just went over, probably glossed over it.
• 40:41
  SPEAKER_01: Um, just taking in the general ugliness of the whole of the whole film.
• 40:47
  SPEAKER_01: Tom Cruise is a baby boomer if he's 64.
• 40:50
  SPEAKER_00: Yeah, maybe he should have uh been insulted.
• 40:53
  SPEAKER_01: Um yeah, and also remember the end of the film, uh, you do you do go into the theater, right?
• 41:01
  SPEAKER_01: You see the audience filing out.
• 41:02
  SPEAKER_01: There's a great big siren.
• 41:04
  SPEAKER_01: So there's a um there's a chemical moment or something where everyone has to don their gas mask before they leave the theater, which is supposed to lend what some some kind of I'm trying to pronounce this word, vermissip verisimilitude to the thank you, to the scene.
• 41:22
  SPEAKER_01: And it that's a meta again, because you're seeing the outside of the theater.
• 41:26
  SPEAKER_01: This this doesn't make sense any.
• 41:28
  SPEAKER_01: This didn't make sense either, because you go outside and you see this the city in kind of ruins, but we've just seen a very expensive theatrical production where no money was spared in building these sets and all of this very complicated stagecraft in a in a in an urban environment that seems uh that's complete squalor.
• 41:48
  SPEAKER_00: It's complete squalor, flooded, flooded, flooded, ruined cars on top of each other, yeah, police activity or military, yeah.
• 41:57
  SPEAKER_01: 98% of that city's budget went to this one theatrical venture uh we've just seen.
• 42:04
  SPEAKER_01: It just didn't, it just did not add up.
• 42:07
  SPEAKER_01: And and I go back to my question or someone else's question of did these actors, did the director realize that they were making such a turkey?
• 42:18
  SPEAKER_01: And I always say it's as much work to make a bad film as it is to make a good film.
• 42:24
  SPEAKER_01: Uh, and they put a lot of work on this, but did they not see what unpleasant experience this is going to be?
• 42:30
  SPEAKER_01: That that this in no way looks like a uh box office smash, right?
• 42:37
  SPEAKER_01: It's not like Top Gun 3, right?
• 42:40
  SPEAKER_01: I always expect it.
• 42:42
  SPEAKER_00: I mean, I always wonder what it's like to work on a film, maybe to be on the ground as a gaffer or grip or even an actor, where the you know, everything's in control of the director, and there's so many moving parts.
• 42:56
  SPEAKER_00: So it's I wonder, I wonder if there, you know, you can actually see what the outcome is going to be after post-production and uh you know, all you know, hours and hours of editing and special effects.
• 43:09
  SPEAKER_00: Does does the film that you shot come out to be that the film the film that we see?
• 43:15
  SPEAKER_00: I I always wonder about that.
• 43:18
  SPEAKER_01: Well, and and then we should we should point out that the film has its uh fans, one of them being Neil Young.
• 43:26
  SPEAKER_00: Is that right?
• 43:27
  SPEAKER_00: Neil Young came out and made news.
• 43:30
  SPEAKER_00: I saw it in Rolling Stone.
• 43:33
  SPEAKER_00: He came out and he said that um none of the reviews I have read describe this film adequately, in my opinion.
• 43:39
  SPEAKER_00: They seem to miss the overall effect, and most of them are negative.
• 43:43
  SPEAKER_00: The film lives in a world of art, it is its own best review.
• 43:47
  SPEAKER_00: Don't read any other reviews and forget this one before you see Digger.
• 43:52
  SPEAKER_01: Oh, fair enough.
• 43:53
  SPEAKER_01: Um, Anne Hathaway stuck up for it, but it should be pointed out, she's starring in Tom Cruise's next film.
• 43:59
  SPEAKER_01: So who's Maybe maybe maybe slightly suspect.
• 44:04
  SPEAKER_01: But we should also point out that when you first tried to see this film, it was sold out, right?
• 44:09
  SPEAKER_00: You tried It was sold out.
• 44:11
  SPEAKER_00: It was sold out.
• 44:12
  SPEAKER_01: And was it packed when you went?
• 44:13
  SPEAKER_01: Was it when the the room that you went when they were the the Yeah, it was packed with 10 people.
• 44:18
  SPEAKER_00: Although you know it was Tuesday night at 4 30.
• 44:22
  SPEAKER_00: Tuesday at 4 30 p.m.
• 44:23
  SPEAKER_00: There were 10 people in the theater.
• 44:24
  SPEAKER_00: So maybe the 7 30 would have been well.
• 44:28
  SPEAKER_01: So the the the performance you try to get into was the uh evening before?
• 44:32
  SPEAKER_00: It was the evening before, correct.
• 44:34
  SPEAKER_01: All right, I saw it with about 12 people in the audio.
• 44:38
  SPEAKER_01: The two people I sat next to whom I didn't know walked out halfway through.
• 44:42
  SPEAKER_00: Oh, they did.
• 44:43
  SPEAKER_01: Yeah, it would have been me if not for this podcast.
• 44:46
  SPEAKER_01: All right.
• 44:47
  SPEAKER_01: So what we put up with for just to bring you bring our viewers and uh listeners, uh, these these podcast episodes.
• 44:57
  SPEAKER_00: Uh how about something about the numbers then?
• 45:00
  SPEAKER_00: Let's, you know, have you read Variety or Hollywood Reporter?
• 45:03
  SPEAKER_00: I uh Neil Young did his work.
• 45:05
  SPEAKER_00: He reported that two weeks after its theatric release, Digger has grossed roughly 38 million worldwide, but would need to gross 350 million to break even.
• 45:19
  SPEAKER_00: How was that film 350 million dollars?
• 45:21
  SPEAKER_01: Tom Cruise is gonna get paid before he's probably already been paid, but he probably has a percentage, you know, a back-end deal.
• 45:29
  SPEAKER_01: So um the studio is gonna have to wait till he gets paid out in full.
• 45:33
  SPEAKER_01: Uh it's exp well, you know, expensive, made expensive looking film.
• 45:37
  SPEAKER_01: Everyone would have gotten top dollar.
• 45:39
  SPEAKER_01: So John Goodman would have gotten, you know, the most he's ever made in a film, probably.
• 45:44
  SPEAKER_01: Uh they had a shutdown for a few weeks because of um he broke his hip his accident.
• 45:49
  SPEAKER_00: Yeah, whatever.
• 45:49
  SPEAKER_00: Broke his hip.
• 45:50
  SPEAKER_01: Yes, he really break his hip.
• 45:52
  SPEAKER_01: He did break his hip.
• 45:52
  SPEAKER_01: And that's so dangerous.
• 45:53
  SPEAKER_00: He's sad about John Goodman because I didn't love him.
• 45:56
  SPEAKER_01: There was an interview with him, was it in the New Yorker recently?
• 46:00
  SPEAKER_01: He sounded easy if he was okay.
• 46:02
  SPEAKER_01: He looks pretty ill in the film.
• 46:04
  SPEAKER_00: Um, he's only 74, but he looked 94.
• 46:08
  SPEAKER_01: Yeah, he looked old in it.
• 46:11
  SPEAKER_01: Um, I I never understand how these films cost quite as much as they do, but Tom Cruise must be the most expensive actor in the world, right?
• 46:22
  SPEAKER_01: Um, so if you're gonna have him on board and probably the director, you're two uh gets paid top dollar.
• 46:30
  SPEAKER_00: So but but that they thought by the way, you know, he's a three-time, I think four-time Academy Award winner.
• 46:36
  SPEAKER_00: So in Uratu, yes, he would get two.
• 46:39
  SPEAKER_01: I don't know if he won yeah, yeah.
• 46:41
  SPEAKER_01: He's certainly well he won Best Picture, is one best director.
• 46:44
  SPEAKER_01: He is he's a and he gets actors uh academy awards, right?
• 46:49
  SPEAKER_01: He got uh he finally got um what's his name?
• 46:52
  SPEAKER_01: Uh the revenant Leonardo DiCaprio.
• 46:55
  SPEAKER_00: Oh, that was his first one.
• 46:57
  SPEAKER_01: That was uh, yeah, that was his Academy Award.
• 46:59
  SPEAKER_01: And Birdman, I think, won Best Picture, I believe.
• 47:02
  SPEAKER_01: Yeah.
• 47:03
  SPEAKER_01: Um, so you know that was an interesting film.
• 47:05
  SPEAKER_01: That was not an expensive film, and that was a good working film.
• 47:08
  SPEAKER_00: Birdman was best original screenplay.
• 47:10
  SPEAKER_00: Oh, didn't it win best film?
• 47:12
  SPEAKER_00: Best director for The Revenant.
• 47:14
  SPEAKER_00: And um no receipts.
• 47:17
  SPEAKER_00: I think I'm wrong.
• 47:17
  SPEAKER_00: I'm looking.
• 47:19
  SPEAKER_01: What did the bird birdman not best picture?
• 47:22
  SPEAKER_01: No, who won best picture?
• 47:23
  SPEAKER_00: Oh wow, no, birdman swept best picture, best director, best original screenplay.
• 47:28
  SPEAKER_00: Yeah, you were right.
• 47:29
  SPEAKER_01: So he's gonna he's gonna be expensive.
• 47:32
  SPEAKER_01: Um uh not anymore.
• 47:34
  SPEAKER_01: He ain't he's gonna have a hard time getting financing for his next film.
• 47:38
  SPEAKER_01: Maybe maybe that'll be good for him.
• 47:41
  SPEAKER_01: Maybe he'll make a smaller budget, better film.
• 47:43
  SPEAKER_01: I don't know.
• 47:44
  SPEAKER_01: Um, but I would point out that Tom Hooper, uh, who got in the Academy Award for the um King's speech, has not made a film since Cats.
• 47:59
  SPEAKER_01: The box office explosion uh with glass radius that was Cats, which was I think seven years ago.
• 48:07
  SPEAKER_01: He has not made a film since.
• 48:09
  SPEAKER_01: So, and he's an Academy Award-winning director.
• 48:12
  SPEAKER_01: So it does not help to make a big splat of a film.
• 48:17
  SPEAKER_01: Um, but I hope he does make another film.
• 48:19
  SPEAKER_01: He's an interesting filmmaker.
• 48:21
  SPEAKER_01: Uh, but this is uh this is not this is not a recommendation.
• 48:26
  SPEAKER_00: No, it isn't.
• 48:28
  SPEAKER_00: It isn't, and I don't know what else there is to say about it really, uh, except I I'm disgusted that it wasted my time.
• 48:36
  SPEAKER_01: Well, I'm sorry I wasted uh your time, but it was for a worthy cause.
• 48:41
  SPEAKER_01: I were for boomer has it.
• 48:43
  SPEAKER_00: I I would agree, I would agree.
• 48:45
  SPEAKER_01: But I but I do one thing I might add is do you think critics should be allowed to mention a spoiler?
• 48:55
  SPEAKER_01: Well, you said that they did it artfully in the New Yorker, saying spoilers ahead or spoiler ahead.
• 49:01
  SPEAKER_01: Uh the the idea that you cannot discuss the one interesting aspect of the film in a review kind of makes nonsense of a review.
• 49:09
  SPEAKER_01: Would you agree with that?
• 49:12
  SPEAKER_00: Well, I'm sorry, could you repeat that?
• 49:13
  SPEAKER_01: Well, it's it should critics be allowed to give away a key element of a film if it's sort of the most interesting aspect of the film.
• 49:22
  SPEAKER_00: I just it doesn't help it doesn't hurt to have a trigger warning if that bothers someone.
• 49:27
  SPEAKER_00: I don't know.
• 49:28
  SPEAKER_00: If someone someone forgets my name and at a party, I don't really care.
• 49:33
  SPEAKER_00: Some people get really offended by it.
• 49:35
  SPEAKER_00: So, you know, put a trigger warning.
• 49:37
  SPEAKER_00: I'm about to forget your name.
• 49:39
  SPEAKER_00: Or, you know, but let's have a trigger warning about, you know, a spoiler.
• 49:43
  SPEAKER_00: I mean, it's you know, that's helpful.
• 49:45
  SPEAKER_00: But I and again, I don't I don't even really think it was a spoiler to say that this film was, you know, in had these two two, three meta moments, really.
• 49:54
  SPEAKER_00: It would be more interesting.
• 49:56
  SPEAKER_01: In a way, it speaks poorly of the filmmakers if they felt they had to keep this part of the film away from that it would ruin someone's viewing experience if they knew that that was gonna happen.
• 50:08
  SPEAKER_01: I mean, is that all they can say for their film?
• 50:10
  SPEAKER_01: There's this very clever meta moment.
• 50:13
  SPEAKER_01: I mean, that's kind of pathetic, is it is it?
• 50:17
  SPEAKER_00: I yeah, I I guess so.
• 50:19
  SPEAKER_00: I'm I'm again if it was if it was truly an arthouse film, smaller, less yelling and bombast and bombastic casting, I might have liked it.
• 50:30
  SPEAKER_00: Okay.
• 50:32
  SPEAKER_01: If it wasn't the film that it was, maybe it would have been if it was a completely different film without Tom Cruise.
• 50:38
  SPEAKER_01: Maybe it would have on a smaller budget with just John Goodman, John Goodman playing Digger, he'd be a good digger.
• 50:45
  SPEAKER_01: He would have been better in that role, don't you think?
• 50:47
  SPEAKER_00: He would have been a great digger, actually.
• 50:49
  SPEAKER_01: He'd be a good digger.
• 50:50
  SPEAKER_01: Um, you're not gonna see Days of Thunder uh part two, I guess.
• 50:57
  SPEAKER_01: What was the last Tom Cruise film you saw?
• 50:59
  SPEAKER_00: Re rewatched um a few good men.
• 51:03
  SPEAKER_01: Oh, that's going back a few years, okay.
• 51:05
  SPEAKER_00: And it was a rewatch.
• 51:06
  SPEAKER_00: Do you remember the film Vanilla Sky?
• 51:09
  SPEAKER_01: Yeah.
• 51:10
  SPEAKER_00: Once again, hiding behind uh a disguise, a prosthetic.
• 51:16
  SPEAKER_00: It was a it was kind of this profound moment.
• 51:18
  SPEAKER_00: I think he was maybe at the height of his career, and and what a hunk.
• 51:23
  SPEAKER_00: You know, he was just this heterosexual, maybe homosexual, teen, you know, uh the theatrical idol, and he messed up his face.
• 51:32
  SPEAKER_01: Remember, it was I yeah, I would I would say vanilla sky, which was directed by Cameron Crow, was the best trailer of a terrible film I've ever seen.
• 51:44
  SPEAKER_01: I I bought the DVD secondhand at a charity shop just for the trailer because I love the trailer, and there's some there's some music in the trailer that's not in the film.
• 51:54
  SPEAKER_01: It's better, it's a great film in two minutes.
• 51:57
  SPEAKER_01: That the you watch the trailer, but you can see it on YouTube for free.
• 52:01
  SPEAKER_01: I recommend people skip Vanilla Sky, the film, but check out that trailer, it's absolutely brilliant, and then you'll if it makes you see the film, you'll be sorely disappointed.
• 52:11
  SPEAKER_01: Uh, but that's an interesting reference point.
• 52:14
  SPEAKER_01: Yeah.
• 52:15
  SPEAKER_01: Okay.
• 52:16
  SPEAKER_01: Uh, all right.
• 52:16
  SPEAKER_01: Well, I think we'll probably leave it there.
• 52:19
  SPEAKER_01: Uh, sadly, not a recommend, but um, but uh an interesting try and a good subject.
• 52:27
  SPEAKER_01: Boy, please.
• 52:28
  SPEAKER_01: Will some filmmaker please make a film about climate change, about the climate crisis that's watchable, that people will actually go see, right?
• 52:38
  SPEAKER_00: Can you say that?
• 52:39
  SPEAKER_00: You know, I I wonder I wonder at some point this will all behind us, be behind us.
• 52:45
  SPEAKER_00: I I just climate change and pray that things are going to change because we've we've kind of forgotten about the climate crisis because of every other outrage.
• 52:55
  SPEAKER_00: I mean, um Carol came into the the bedroom yesterday with with a video in her hand of Trump admiring someone's ass on the campaign trail.
• 53:07
  SPEAKER_00: It's just the distractions are far and that was that was an interesting development.
• 53:13
  SPEAKER_01: Uh well, here we just got news in the UK that um uh Andy Burnham, our new prime minister, has okay drilling in the North Sea again, which we don't, we really the planet does not need, does not need.
• 53:28
  SPEAKER_01: So we're going in the wrong direction.
• 53:30
  SPEAKER_01: We are going, you know, and now we have a president leading us in the wrong direction, right?
• 53:33
  SPEAKER_01: Who is uh de-emphasized um, you know, alternative um uh you know energy and it doesn't like solar, doesn't like wind, uh it wants more drilling, you know, we are going in the wrong direction.
• 53:47
  SPEAKER_01: We need a film to point this out, and unfortunately, it wasn't Digger.
• 53:50
  SPEAKER_00: Yeah, actually, maybe the film is about how influential a president can be in our lives, you know, voluntarily or non-voluntarily influential.
• 54:00
  SPEAKER_00: I mean, I I don't think would Andy Burnham made that announcement if not for the chaos around us and the the the rampant corruption and uh you know accelerated lassez-faire business practices that we see.
• 54:16
  SPEAKER_01: I think he wouldn't have made that announcement if he didn't feel the right wing kind of snapping at his um at his heels.
• 54:23
  SPEAKER_01: Um, we don't need a film about how influential the president is because we live that film every day.
• 54:30
  SPEAKER_01: Yeah, uh, I would say.
• 54:32
  SPEAKER_01: But we do need a film about climate change.
• 54:34
  SPEAKER_01: We absolutely do.
• 54:35
  SPEAKER_01: And and uh and Dr.
• 54:37
  SPEAKER_01: Strangelove prevented uh nuclear um annihilation, right, 60 years ago.
• 54:42
  SPEAKER_00: We can say that film worked on a certain level, it did for a period of decades, but we're now looking at new nuclear reactors.
• 54:50
  SPEAKER_00: Um they're they're in progress as we speak.
• 54:54
  SPEAKER_00: And and back to Andy Burnham.
• 54:56
  SPEAKER_00: I mean, if if he feels, as you pointed out, pressure from from the right wing, what happens?
• 55:02
  SPEAKER_00: How does that play out in parliament?
• 55:05
  SPEAKER_00: Does he get points?
• 55:06
  SPEAKER_00: Does he can he build a coalition because this go-ahead to drill in the North Sea?
• 55:12
  SPEAKER_01: Uh, that is a good question.
• 55:14
  SPEAKER_01: Uh, it's prime minister's questions.
• 55:16
  SPEAKER_01: Uh PMQ's today is today Wednesday.
• 55:19
  SPEAKER_01: Yeah, every Wednesday at noon.
• 55:21
  SPEAKER_01: Uh the Prime Minister is grilled by the leader of the opposition.
• 55:25
  SPEAKER_01: Um, and maybe she'll bring it up.
• 55:27
  SPEAKER_01: But but yeah, um, but Kemi Badenok, who's the head of the Tories, is gonna be probably in favor of North Sea drilling as well.
• 55:34
  SPEAKER_01: It's the Greens.
• 55:35
  SPEAKER_01: We have uh more parties than you have.
• 55:37
  SPEAKER_01: The Green Parties.
• 55:40
  SPEAKER_01: Uh, the Greens are gonna uh assail him, and I maybe the Lib Dems.
• 55:45
  SPEAKER_01: Um, so far, it doesn't seem like a popular decision, but I read The Guardian.
• 55:50
  SPEAKER_01: That's uh that's a lefty paper.
• 55:52
  SPEAKER_01: So maybe, maybe I don't know what how much now we we will see in the next few weeks.
• 55:56
  SPEAKER_00: Go back to your go back to your liberal bubble, Mr.
• 55:59
  SPEAKER_00: Miller.
• 56:00
  SPEAKER_01: And I don't need lefty bubble.
• 56:02
  SPEAKER_01: I will.
• 56:02
  SPEAKER_01: My happy place.
• 56:04
  SPEAKER_01: Shall we go to headquakes?
• 56:06
  SPEAKER_01: Um, all right.
• 56:07
  SPEAKER_01: Yes, do you have one?
• 56:08
  SPEAKER_00: I I uh I developed one through this through this discourse, and it's back to Neil Young.
• 56:15
  SPEAKER_00: I'm gonna quote him quickly because you will approve.
• 56:18
  SPEAKER_00: Part of his review of Digger was to say that um Digger was the last film released by Warner Brothers before it was merged with Paramount, and then he wrote, as such, it is a great example of our times.
• 56:32
  SPEAKER_00: That's not the full headquake.
• 56:34
  SPEAKER_00: The full headquake is this.
• 56:36
  SPEAKER_00: Did you know that Neil Young has an online newspaper?
• 56:41
  SPEAKER_00: No, I didn't know that.
• 56:42
  SPEAKER_00: Uh it's called it's called the Neil Young Archives Times Contrarian, and it's it's in this sepia print.
• 56:51
  SPEAKER_00: It looks like a faded old newspaper, maybe a little like out of the wild west.
• 56:56
  SPEAKER_00: It has this sort of interesting typography.
• 56:59
  SPEAKER_00: It's robust, filled with I hate the word content, but great articles, interesting left-wing articles.
• 57:07
  SPEAKER_00: It looks a little like something you might have seen in an underground newspaper in the 1960s.
• 57:14
  SPEAKER_00: It looks a little like the Freak Brothers or an R.
• 57:17
  SPEAKER_00: Crum Kitchen Sink Press.
• 57:20
  SPEAKER_00: Oh wow, you're selling it to me.
• 57:22
  SPEAKER_00: You're selling it.
• 57:23
  SPEAKER_00: Well, and you know that I I took a look at it this morning in the lead story.
• 57:27
  SPEAKER_00: He has freelancers, he has a staff of people who are contributing.
• 57:32
  SPEAKER_00: You should think about it.
• 57:33
  SPEAKER_00: I'll think about it.
• 57:33
  SPEAKER_00: The lead stories by Robert Reich.
• 57:36
  SPEAKER_00: So oh wow, yeah.
• 57:38
  SPEAKER_00: So got God bless Neil Young and the the you know, the Neil Young Yield Neil Young Archives Times Contrarian.
• 57:45
  SPEAKER_00: And we can find that online for free.
• 57:48
  SPEAKER_01: Absolutely.
• 57:48
  SPEAKER_00: Yeah, no paywall either.
• 57:50
  SPEAKER_01: I will check that out because that sounds interesting.
• 57:52
  SPEAKER_01: Well, that's a very good headquake.
• 57:53
  SPEAKER_01: Mine was just the death of the of the of the film studios.
• 57:57
  SPEAKER_01: I'm a film nut, classic film fan.
• 58:00
  SPEAKER_01: So I I really um I really bemoan the loss of Warner Brothers and Paramount, and Disney bought Fox, and there's no 20th century Fox studio anymore.
• 58:13
  SPEAKER_01: Amazon owns MGM, which hasn't been a proper studio in a while, but it was essentially James Bond and and the letters MGM.
• 58:22
  SPEAKER_01: Uh, we're going through the death of the studios, but not the end of film.
• 58:27
  SPEAKER_01: And hopefully uh people will still go to the movies like we did, you and I did, uh, in our respective locations.
• 58:36
  SPEAKER_01: Much as I would discourage people from seeing Digger, I would encourage people from to go to the go to the cinema, go to your local cinema, support your local movie theater, or we will lose these.
• 58:47
  SPEAKER_01: And um, there'll be better films coming along soon, right?
• 58:51
  SPEAKER_00: I paid eleven dollars for popcorn, so I did my part.
• 58:56
  SPEAKER_01: You certainly did eleven dollars for popcorn for one person?
• 59:00
  SPEAKER_01: It was a medium alone?
• 59:01
  SPEAKER_00: I I decided to splurge and get the medium, the small would have been eight.
• 59:04
  SPEAKER_01: Oh my god.
• 59:05
  SPEAKER_01: How much was your ticket that was free?
• 59:10
  SPEAKER_00: Well, I will submit it to the IRS as an expense, but uh I think I paid$18.
• 59:16
  SPEAKER_01: Oh wow, really?
• 59:17
  SPEAKER_01: I paid 11 pounds, which is probably about the same.
• 59:20
  SPEAKER_01: Yeah, um, all right.
• 59:21
  SPEAKER_01: Well, more better movies to come.
• 59:23
  SPEAKER_01: We will be reviewing new releases in the upcoming months.
• 59:26
  SPEAKER_01: To me, all the serious good films come out in the fall, sometimes not until Christmas or afterwards, because they're um competing for Os, they want to get Oscar nominations, so they release them at the end of the year when they can be fresh in the mind of the Academy voters.
• 59:42
  SPEAKER_01: So better films, I'm sure, coming down to Pike.
• 59:44
  SPEAKER_01: Let's look forward to them.
• 59:45
  SPEAKER_01: I'm JB Miller in Cold Rainy London.
• 59:48
  SPEAKER_00: And you savvy man, I'm Jim Jelamis here in New York.
• 59:53
  SPEAKER_00: All right, thanks.
• 59:54
  SPEAKER_00: Bye bye.