Latest / The Director's Chair Network / Mission Impossible - “You Haven’t Seen Me Very Upset” Scene
Transcript
- 0:00 [Music] [Applause] [Music] 0:10 okay and here we are for another episode and uh I'm very excited for this one i 0:15 know I'm excited for every episode but I love talking to these people so much and on this episode I am bringing on friend 0:22 and fellow podcast brother Doug doug welcome thank you Craig it's a pleasure 0:27 being here talking some diploma with you yeah yeah i know that sometimes our schedules don't gel well i know you 0:34 never actually made it onto my Pulp Fiction podcast so uh I'm glad that we were able to make the connection here i 0:40 know i that that one burned me i was really uh I was really hoping to kind of carve out some time but it just didn't 0:47 our stars didn't align goodness hey life gets in the way sometimes and that's what it's all about um so it's funny i 0:52 know that when I started putting out feelers for this show of course I talked to you and Ryan like were probably the 0:59 first two people I talked to about this i think I actually talked about it on uh our show together the uh the show we do 1:05 on the Last of the Action Heroes podcast network but I know you guys are both big fans of The Untouchables but I guess 1:12 since Ryan had sort of already covered a scene from the Untouchables with me you you decided to pivot and we're going to 1:19 be talking about Palama's 22nd film 1996's Mission Impossible so what kind 1:26 of led you to do that pivot from Untouchables to Mission Impossible was untouchable is like your depama gateway 1:31 and Mission Impossible was just sort of seemed like a logical movie to talk about um that's almost exactly the way I 1:39 I kind of approached it i mean yes Untouchables was the first probably the I'm not as deep a Palma guy as you are 1:48 right i there probably very few people that are but uh like so Untouchables 1:55 yeah was probably my intro to the Palma great film you know and I've seen it 2:00 quite a bit but after uh you know after Ryan kind of claimed his his slot on 2:06 that I said you know I don't want to double up on you so I kind of went another direction i said "Well Mission 2:12 Impossible." I said "That's a film that I've probably seen more than The Untouchable is a film that I know 2:19 better." There was quite a few scenes that I could have choose from in that in 2:24 that film yeah and you know what the one you picked when I went back and watched it I said "This is a perfect scene to 2:30 pick." So we're going to be talking about the I guess for lack of a better way to describe it is the you haven't 2:37 seen me very upset scene yes where it's after Tom Cruz's character Ethan Hunt's 2:44 team has sort of been double crossed on a a mission and he's meeting with 2:50 Kitridge who is I guess one of his handlers in the MI whatever they call 2:56 their whatever they their group IMF yes yeah yeah do you know what that stands for by 3:04 the way imf Impossible Mission Force right it's so stupid how cheesy is that 3:09 well it it it is and and that's the funniest thing about this whole series is that the first one came out in 1996 3:15 and they're still you know I think what last summer the the eighth movie came out or whatever and they're not done yet 3:22 and they are just silly films so a little bit of history here is this was 3:28 Tom Cruz's first film that he made when he got his sort of production deal and 3:35 it's interesting to look at this film from a Tom Cruz perspective because he wasn't really Tom Cruz action guy yet 3:44 right and this movie has a lot of firsts for him in terms of establishing him as 3:50 action guy i'm going to do my own stunts guy and in particular this scene but 3:55 Cruz is completely responsible for bringing on the Palama they originally were developing this movie with Sydney 4:02 Lummet I believe and then uh Tom Cruz got Dep's name in his head and he went 4:08 back and watched all Deama's previous films and said Brian Dealama's my guy he has to make this 4:13 film and Doug I don't know if you know too much about the history of this film but they pretty much started filming 4:19 this movie without a script so Deama had a couple of key action sequences that he had sort of come up with or designed and 4:28 they kind of built a story around it yeah that's Yeah they they start that's 4:33 like when does that ever happen where you start with the action scenes but that I mean that that goes to show you that he h he has because the action 4:41 scenes how memorable are they in this film like he has an eye for that and then he hired a team of writers to kind 4:47 of write the story around that and I think the the first team of writers they 4:53 didn't like the story that they had built around it at first so they scrapped the whole thing kept the action 4:58 scenes and wrote a whole another story around that yeah we could get into the whole history of the writing behind it 5:04 but we don't really need to tonight before we dive into the scene I I don't know if you were going to mention the 5:10 failed passing of the torch so to speak from the uh original show cast to the 5:16 the new age Mission Impossible uh in terms of using the Phelps character or is there something else not the Phelps 5:23 like all like everybody all the old the characters the actors from the original series they initially wanted them to 5:30 come in for the opening for the opening scene that went wrong oh to be part of that team be part of that team he killed 5:36 them all off as like a passing of the torch oh wow to the new age but the the 5:42 old actors like when when they heard about that they were like "No." Every single one of them was like "No go screw 5:48 yourself we're not we're not doing that." That's funny i hadn't read that but I do know that this movie from a a 5:54 canle perspective is supposed to take place 6 years after the series six years 6:02 and I do know that Peter Graves the original Jim Phelps was kind of a little upset with what they did to his 6:08 character spoiler alert for almost 30-year-old movie but uh that's the John Voit character he 6:15 returned as Jim Phelps so the great thing about talking about this movie Doug is I know on our Stallone show that 6:22 we we do every five or six weeks or so or however long it is with Ryan is we 6:29 always get caught up in in plot right trying to figure out the plot and the great thing about this movie is you 6:35 don't need to figure out the plot because the more you think about the plot the more frustrated and confused 6:41 you're going to get all we know is that there's this knock list which is supposed to be what the identity of undercover agents and all kinds of 6:48 people want it right uh and basically there's a lot of different sequences in 6:55 this movie that are built around that knock list moving around like a pingpong ball or something yeah well I mean 7:02 there's a decoy list and there's the real list then there's his slight of hand trick where does he have the 7:07 realist is it the decoy list like like who knows you know it is it is it does get convoluted in 7:14 some respects but we actually you know my my main show that I've done is is 7:20 Rocky Minute and part of the uh the minuteby-minute verse uh a buddy of mine 7:26 did uh Mission Impossible Minute Minute Impossible they called it so they they dissected this movie minute by minute o 7:33 and listening to that I mean all the the convoluted plot points and everything like it all comes out in the wash at the 7:40 end where you know I mean minute by minute it's a little different when you're dissecting it that way but it 7:47 comes together in the end oh oh yeah no absolutely it took me a few watches though you know but that's the other 7:53 thing I really like about this movie is you don't have to think about it too much you just know that there's stakes 7:59 involved and that Ethan's the good guy right the list is nothing more than a mcguffin no exactly exactly it's it's a 8:06 way to get us from point A to point B or from action sequence A to action sequence B but the reason I kind of like 8:12 that you picked this sequence Doug is that if we're looking at it as part of the greater whole of the Mission 8:18 Impossible franchise this is really the sequence that the Ethan Hunt in all the other 8:25 movies is built around is somebody who takes his responsibility for members of 8:31 his team extremely personal right and when he loses somebody from his team he 8:36 takes it as a failure on his part right and it's also I I I don't believe it's 8:42 the last time in this series that he's also sort of accused of sort of going 8:47 rogue mhm so the sequence uh it starts with Ethan meeting Kitridge at this 8:54 restaurant and there's glass everywhere and as he's walking up the street you see that big huge tank full of water 9:04 yeah above above their heads yes so I I think if as a movie go you they're 9:12 setting the whole table for you right there and and I I mean I I'm pretty sure that the promotional materials for the film 9:18 ruined or spoiled the sort of the surprise but it's hard not to see that sort of introduction and be like 9:25 "Okay we know what's happening here." Yeah um it's it the background the the set 9:32 piece not background the set piece is is a interesting story too because this 9:38 scene takes place in Prague right so that like this whole the area is the old 9:43 town square in Prague so when it's a a head-on shot of Ethan walking through 9:49 the square towards the restaurant it's on location then when he's walking to the restaurant you see the restaurant 9:55 and Ethan from the back it's at Pinewood Studios in London in London and but what 10:01 they did was they they took that angle of the old town square and recreated it 10:07 and built the aquarium restaurant right in the middle there beautiful so So they really went went all out to make sure 10:14 that that they were accurate in that yeah and you know what that's not surprising to hear based on Brian Dealma 10:20 in the type of filmmaker he is i was watching special features on another one 10:25 of his movies and the practical location didn't work so they ended up doing it on a set and it involved recreating a lot 10:31 of stuff i talked with Seco on our Carry episode about how once Dama gets an idea in his head 10:40 to do something they're going to do it and then it's just a matter of figuring out how to do it whereas other 10:47 filmmakers will say "Okay it's a cool idea but it's not going to work." But 10:52 man he's stubborn enough to be like "No it is going to work and we're going to figure out how to make it work." And 10:58 that's what I really really respect about him as a filmmaker how But it's to be that I don't want to say nitpicky but 11:06 to be that you know headstrong about it about the like the finer details this 11:11 movie still came in under budget and ahead of time like how crazy is that it 11:17 is it's It's remarkable and um I'm surprised that more 11:22 movies don't utilize or more action movies don't utilize filmmakers like uh 11:28 a Brian de Palama if I mean if you really go back and look at it if you look at like some of the great action 11:33 movies that we know and love like you look at Predator and Die Hard those are John 11:39 McTin you know I mean I don't think at his core he was an action director but 11:44 he made great action movies um another one would be 11:49 Walter Hill who made the Warriors and uh uh what 48 Hours uh well McTurn 11:56 was on the short list for this film as well oh that that doesn't surprise me i mean I'd imagine in 1996 there was a you 12:03 know a bunch of different names but again kudos to Tom Cruz for for seeing 12:09 the potential here and I'm trying to remember who I was talking to it might 12:14 have been uh Scott on our Scarface episode 12:19 where I talked about like how you know uh it was great to finally 12:26 see uh him get utilized for his ability to create action sequences and that's 12:32 definitely something that Tom Cruz keyed in on and knew that he would be the guy to execute this vision one other note 12:40 about the sequence is the big tank was Cruz's idea mhm and I don't know if this 12:48 is just legend making or mythmaking but apparently that they attempted the 12:53 sequence uh that we're going to talk about in a little bit with a stunt person and it didn't look right and 13:00 deama decided and Cruz decided that he would give it a shot i think with the amount of water involved they were 13:05 worried that there would be potential to you know just get injured or or drown 13:11 god forbid but this could be the start of you know sort of giving Tom Cruz the the courage and the the motivation to do 13:19 his own sequences so the other thing I really like about this scene is we get sort of the best of both worlds here 13:26 we've got the talking heads where you know there's two people having a conversation but then it culminates in a 13:33 a cool bit of action and some highly stylized action which is a little bit more stylized than I think you know 13:41 Deama normally gets but the thing I love about the sequence is it starts with Kitridge sort of we don't know this as a 13:49 viewer but Kitridge sort of getting Hunt prepared for what's going to happen in 13:55 terms of like him accusing Hunt of being a traitor but he approaches it very sensitively you know he says you know 14:02 you know you've lost your team yeah uh and and the cool thing I love about this 14:07 sequence though is you watch Ethan Hunt start to realize that he's been set up as the 14:14 fall guy here and you see his brain working and he asks why there was another team there and Kitri plays dumb 14:20 and says "What do you mean another team?" And we get those sort of quick cuts to all the different people that 14:26 Hunt noticed yeah yeah and then it starts getting as the intensity level 14:32 goes there's a lot going on the music first of all in this sequence is tremendous but then also as the 14:39 intensity starts to ramp up we start getting those sort of sideways shots yeah the Dutch angle yep cruz tilted one 14:46 way Kitridge tilted the other and it definitely helps ramp up that intensity 14:53 and the suspense of the scene that's funny because I that was something that I noticed long before I ever knew what a 15:00 Dutch angle was or you know I was like wow I mean it's it's disorienting you 15:06 know what I mean when when you see it that way but it it starts I noticed that it starts right when Ethan starts to ask 15:14 Kitrich about the other IMF team exactly why was this other pe other IMF team at 15:19 the embassy and Kitri is like what are you talking about and then he starts to identify them and each time like as the 15:26 scene progresses the the angle gets more and more steep it's like as the intensity ramps up so does like the 15:33 disorientation it's like you're inside Ethan's mind as he's going crazy you 15:38 know right right up until the moment yeah no exactly and I think that's a great tool in the filmmaker's sort of 15:45 belt that that the Palama had in this sequence is he found a way to sort of make us get in the same headsp space as 15:51 Ethan Hunt as opposed to just being an observer of a scene yes it got us 15:57 involved and it started to show us sort of the the intensity of the scene yeah 16:03 it could be like a you know a shot reverse shot or like a a two shot on that scene and a scene like intense like 16:11 that could have could have easily been portrayed very very boringly mhm you know but I mean the way the way 16:18 the music and the angles ramp up you know it's like you feel yourself kind of 16:23 feeling a sense of unease as the scene goes along like it's crazy this is that's one of 16:31 the main reasons why I picked this scene was like because of like the emotion that it like it invokes from the watcher 16:37 oh yeah no no absolutely and and and that's the decision that a director makes is like 16:43 what how do you want the viewer to experience this scene and uh that's the 16:49 one of the main things I love about Dama is he always finds interesting ways to let viewers 16:56 watch a scene and uh this sequence is no different and as Kitridge sort of 17:03 presents evidence as to why he thinks Hunt might have turned what his his father recently died and they give that 17:09 great line about you know it's it's not cheap to die in this country um he says you know your your mother's house was 17:17 going to be foreclosed and there was an influx of cash so you know it's funny 17:22 about that part too it's it's almost like like the uh announcement of Apollo 17:29 Creed as the winner in the original Rocky it's like secondary to what the camera is focused on which is Ethan 17:36 unwrapping that piece of bomb gum yep yep yep uh-huh 17:41 yeah it's It's great it's It's sort of a a James Bond type moment where you know the gum was introduced earlier so u as 17:48 soon as he takes it out of his pocket you know we know what's going to happen here and the funny thing about it too um 17:55 Doug is every other agent in the restaurant knows what's going to happen too yeah they all they all they all saw 18:03 they're like I've seen that gun before they know what's going to happen so yeah that's Ethan planning his escape and you 18:12 know what uh before we move on like another thing I know I just noticed about that too is like he t he unwraps a 18:19 dry piece of gum right yet when he throws it it sticks to the aquarium and 18:25 I and I always like you know it was just like a fleeting thought like how the hell would a dry piece of gum stick like 18:31 that but did you see when he runs his hand through the glasses he gets his hand wet which moistens the gum enough 18:39 oh wow you know I did not but you know what that's a beautiful detail uh yeah he knocks over all those glasses of 18:46 water wine whatever yeah which like I I I I thought maybe like that was just a a 18:52 detail you know the Palma threw in there to explain what how the gum sticks well yeah and and that gets back to me saying 18:58 that it was a little more stylized than I'm used to but the shot was so stylized 19:04 and sort of almost slowed down I think to express that um if maybe if I watched 19:11 the scene one more time I would have I would have picked up on that right it's But that I mean listen just to prepare 19:18 for this I I watched the scene about four or five times okay you know especially like the slow motion parts 19:23 because like when you slow down slow motion you really get to see the finer details you know when you're watching a 19:29 slow motion scene frame by frame and um no that that was one of the things I picked up on i was like "Oh maybe that's 19:36 how like he got that gum slick enough to stick to the aquarium." That's that's 100% it Doug because again um I can't 19:44 wait to go back downstairs and put that scene on and watch that shot again because that shot bugged me 19:50 you know I was like wow it's just it I was like it just seems too actiony and too obvious for the Palama mhm but now 19:58 think you know thinking through it and the rationale for it it was him saying okay this is a detail I want you know 20:05 viewers like Doug to pick up that's amazing oh that's that's so 20:10 cool and that's another reason I love podcasting with people uh especially 20:15 about movies is there's always going to be a perspective presented that you that 20:20 you might not have gotten to for a long time or at all mhm very cool and I love 20:27 the big action moment here um again the score you know fully erupts at that 20:34 point the explosion is glorious yeah cruz jumping out of the the broken 20:39 window with the the water behind him it's almost absurd the amount of water 20:47 and that's another thing I really love about Dama is he knows that we know that we're 20:55 watching a movie so there probably wouldn't have been that much water right 21:01 you know but we get that much water because it looks cool it looks amazing 21:07 it like everything from like the everybody you know Kitrich and and all 21:12 the other members when they take shelter against the water you see the water like flowing over them like the the shot is 21:20 it's in slow motion is spectacular how much detail they got and Hunt jumps over 21:26 a body too yeah it was that guy that's yanked out the window when the explosion goes on he he was a stunt man so the way 21:33 he's like high stepping out of the window which is it's an iconic action shot but there's a reason for it yeah 21:39 because he's trying not to stomp the stunt man and then I love the way this 21:44 sequence ends where we get the reverse shot and we see the water sort of spread 21:50 out on the pavement with uh I think they were lobsters right yeah I think those 21:55 were lobsters and the thing that that's cool about it is it doesn't seem like as much water once it hits the pavement 22:00 yeah but the way it dissipates is it's like like a perfect half moon and that's 22:06 again it it the explosion happens at Pinewood Studios he runs out and then as 22:12 he's sprinting away they just threw like a couple of thousand gallons of water onto the square in Prague and watch him 22:19 run away like it again it's a seamless transition from studio to location 22:24 that's beautiful and then um at that point the movie is off and running and we have a lot more exciting action 22:32 sequences to talk about within it but that's the sequence that we were going over and again I'm so glad we we talked 22:38 about that scene is there any sort of highle thoughts you had that we didn't cover on this sequence 22:45 uh I don't think so i think we uh we were able to kind of hit all all the points that I 22:51 had jotted down that I wanted to cover i mean it's it's not a long scene but 22:57 wallto-wall there's something to talk about oh yeah and that's like I I said when when you know you you kind of gave 23:04 me the pick a scene obviously somebody's going to take the um the vault scene 23:09 somebody's going to take the train the helicopter scene i said I wanted to do something that was like a little little 23:16 more under the radar but still struck me the first time I saw it and and this this was I I was kind of between this 23:22 and like the the opening um the uh the the heist that not the heist yeah the 23:28 the mission gone bad yeah mission gone bad but that that was just way too long in detail i said we'll be talking about 23:34 that for hours no I'm glad you chose this sequence and I'm glad we were finally able to uh sit 23:41 down and chat this was also an interesting movie for Dealama because 23:46 it's really sadly like kind of the beginning of the end for him as a a powerful 23:54 Hollywood guy so he was coming off Caro's way uh which was critically held 24:00 i don't remember how well it did commercially and then he did this which of course was a blockbuster created a 24:06 franchise um he declined to come back for a sequel he wasn't interested in sequels i was going to ask you that was 24:13 Was he ever approached yeah he was i think he was approached to do part two and I think he's the type of guy that 24:19 he's like you know what I've been there done that not interested in doing it again um and then he went on to make 24:24 Snake Eyes which we talked about on the first episode right and then Snake Eyes I I think I said on that episode was his 24:30 like last good film yeah the last high-profile too right yeah i mean after 24:37 that he would pro he made Mission to Mars which I I believe he He did not have a great experience on the Black 24:44 Dalia and that was that was the end um I that was his last American film he made 24:49 some films overseas but it's interesting to see how quickly Deama sort of lost 24:58 whatever power he had in Hollywood and this movie might have given him the 25:05 financial comfort to do that and not play Hollywood's game i really don't know um I haven't done enough research 25:12 behind the history yeah yeah but it wouldn't surprise me i mean I'm sure 25:17 every year he gets a nice Mission Impossible check or every quarter he gets a nice Mission Impossible check 25:22 because again this playing everywhere yeah i mean there's new movies still coming out it's It's on TV all the time 25:30 you know they're constantly repackaging and putting them out in sets when the new movies come out it's like "Oh you 25:36 have you know one through seven now they have to buy one through eight together we had talked our about our Rocky 25:41 collections you know oh yeah like how many different box sets they they've come out with those um Yeah but I you 25:48 know and not not that it was brave of him but you you knew you have your 25:55 diehard lovers of the original series that are going to lambase you if you 26:00 don't handle this movie with care mhm and that's exactly what people did because I mean you got purists out there 26:08 that that of course no no matter what this movie turned out to be they were going to landbased them yeah yeah uhhuh 26:13 and he got lambbased for this i don't know if the palm is the kind of guy that that would you know that would give a [ __ ] about that he doesn't but another 26:20 funny uh detail I I learned researching this is the original director of the the 26:27 original series bruce Geller was it uh maybe not the director he was the creator bruce Geller yeah i I don't not 26:34 not the creator i think it was the director some French French name or some foreign name um the studio wanted him to be on set 26:42 just to like oversee the project so the Palma like allowed it on day one 26:48 to kind of like appease the studio but when he when he got there the Palama went up to the guy and was like "Listen 26:55 this is going to be awkward for for all of us why don't you just scued?" And the guy was like "Thank you for your 27:00 honesty." and [ __ ] off oh that's great um I don't know too much 27:06 about it and I I always sort of love talking about Tom Cruz the filmmaker as 27:13 opposed to Tom Cruz the person because you don't want to really uh get 27:20 too in the weeds with that but two things I really like about Tom Cruz is I've never seen a movie he's made where 27:27 he didn't seem to give a [ __ ] he always gives a [ __ ] and he always 27:33 seems to give 100% of himself to the movie and he also advocates for filmmakers and I think probably a large 27:41 part of the reason that Dama had the flexibility he had on this movie was 27:46 Cruz and Wagner running interference for him but we got a great movie it birthed a franchise and it it brought eyes 27:55 um to uh to Dama as a filmmaker so uh yeah Doug before we wrap things up do 28:01 you want to talk a little bit about what's going on in your podcasting world yeah you know I um 28:09 uh I mentioned before that I'm uh the host of Rocky Minute which is uh a series where we go through the Rocky 28:16 movies uh and analyze one minute of film uh each episode uh life and a global 28:23 pandemic really kind of screwed me during my uh production of Rocky 3 but 28:29 we got two seasons under our belt they're housed on the Last of the Action Heroes podcast network um you know three 28:36 three is still there uh I got some some episodes released some more recorded 28:42 some edited uh I just have to I have to get around to uh to really get 28:48 consistent behind the mic again and in the editing booth so uh well it's well 28:54 it's it's the thing about the minute format is you're for people that aren't really familiar you're taking one minute 29:00 of a a movie per episode and at your peak you were doing five episodes a week 29:06 right yeah for the first first two movies we we went Yeah we did release 29:12 Monday through Friday yeah i mean for people that don't podcast podcasting is a lot more than 29:17 just turning on a mic and talking there's the you know all the prep you have to do and then the post work you 29:24 have to do which includes editing so yeah it's it's it's time inensive i will 29:29 include a link to the to the um the existing seasons that are on the on the network and if you haven't listened 29:36 before uh myself Doug and Ryan who was a guest on episode two um like I said we 29:42 get together feels like every almost every month five or six weeks at the 29:48 most uh and we talk about a different Stallone movie and uh we're running out of movies 29:54 so uh I think that's why we've been taking longer between movies but it's always a good time i I love the 29:59 chemistry we have together uh the three of us and I love podcasting with you guys and I'm so glad we were able to do 30:05 this and Doug this does not have to be the last time we talked to PMA if and when you want to talk an untouchable 30:11 scene I am there uh if you want to talk another sequence from this movie I'm there if you discover another movie and 30:20 want to talk a sequence from that we can do that i'm not sure if you're familiar with uh Casualties of War with Shawn 30:27 Penn and Michael J fox i saw it years ago when it first came out and never 30:32 since so that might be one I would uh like to revisit yeah same here um 30:37 there's a lot of the PMA movies that I' I've seen once or I've never seen another one that might be cool for the 30:43 two of us to do would be um Wise Guys with uh Joe Piscapo and Danny Deo okay 30:49 yeah yeah yeah that one's actually on YouTube there's a channel called the Depalama Archives 30:55 which has probably five or six of his films that are not commercially sort of 31:00 available to stream mhm and they're hard to find on home video and Wise Guys is one of them and I think for two Jersey 31:07 guys uh Wise Guys might be a good movie to talk about that's what struck me about that that that would be a good uh 31:13 good one for us i don't know if you how much you remember about it but there's a whole end sequence that takes place in 31:19 Atlantic City at resorts oh it's at resorts yes i remember it being Atlantic 31:24 City i remember I didn't even I'd probably never even 31:29 been to Atlantic City when I saw that movie yeah no same here it's so funny that and and I know we're at the end of 31:34 the episode but it's so funny cuz every time we used to go down to Atlantic City we would stay um at a place right across 31:41 the street from resorts and to get to the showboat we would cut through the side door of resorts so we didn't have 31:48 to walk outside and then we'd come out on the boardwalk so when when they pull 31:53 up in their limo in Wise Guys I'm like I know exactly where that door is so I 31:58 don't know like the Leonardo DiCaprio meme from uh Yeah exactly the point yeah so we'll definitely find another time to 32:05 talk doug again I always love chatting with you and Yeah uh this was great i 32:10 love talking the sequence that's one of my favorite aspects of the show is letting my guests determine what we're 32:16 going to talk about because um it keeps things fresh for me as well yeah yeah definitely man this was definitely fun 32:23 man i appreciate the uh appreciate the uh opportunity oh you got it and we'll talk again soon all right buddy 32:29 spielberg lived down the street from me and I would often go and have dinner just he and I you know uh as one does 32:36 yeah as one does but I knew him since basically you know I was a kid also and I lived down 32:43 the street and we would go and you know talk about movies which we did you know he would direct a film or you know and I 32:50 would often get him to like screen one of his movies and then we'd talk about it you know I'd get him to walk me 32:56 through every shot and I remember one night I went over and there was Brian Dealma and so we had dinner three of us 33:03 had dinner in his place up the street and we were just talking about movies and there was Brian and I'd seen all of 33:09 his films and I went home that night you know mission was on my mind i was actually preparing also i was prepping 33:15 Interview with the Vampire at that time and working on a few other things and I went home that night and I stayed up for 33:21 about 14 hours and I just got all of his Palama's movies and I restudied all of his films for Jupalama movies we're 33:27 talking about Carrie Blowout yes uh Dress to Kill untouchables untouchables 33:33 okay and I just went "Oh my gosh that he's he's got a direct mission possible