Latest / Movie Meltdown / Late Night Movie Talk with Adam Burke

Transcript

Late Night Movie Talk with Adam Burke · Movie Meltdown

• 0:08
  Speaker 1: Hey, this is Hal Sparks from the Magnum Opus, Dude,
• 0:11
  Speaker 1: Where's My Car? And you're listening to Movie Meltdown.
• 0:16
  Speaker 2: The following feature has been rated R by the Motion
• 0:18
  Speaker 2: Picture Association of America. It is intended for mature audiences
• 0:22
  Speaker 2: and parental discretion is advised.
• 0:34
  Speaker 3: It's showtime, folks. Enjoy the show.
• 0:40
  Speaker 4: Our nuclear reactor pumping out 1 million.
• 0:44
  Speaker 2: Kilowatts of power.
• 1:10
  Speaker 4: What's up?
• 1:10
  Speaker 5: Welcome to Movie Meltdown.
• 1:11
  Speaker 3: I'm Brian and we're coming to you live via digital
• 1:12
  Speaker 3: recording from Gallery K. And with us this week is
• 1:14
  Speaker 3: comedian Adam Burke.
• 1:14
  Speaker 1: Hello.
• 1:39
  Speaker 6: So, I guess, I don't know, are you sick of
• 1:42
  Speaker 6: telling your story at this point?
• 1:46
  Speaker 4: Oh, my superhero origin story?
• 1:47
  Speaker 6: Yeah, your general story, which seems like there was a
• 1:50
  Speaker 6: lot of moving going on at some point.
• 1:51
  Speaker 4: Yeah, yeah, I was born in Australia, and then my
• 1:54
  Speaker 4: folks moved us, when I was a kid, moved us
• 1:56
  Speaker 4: up to Northern Ireland. Then when I was about 10,
• 1:59
  Speaker 4: we moved to London, but I've been in the States
• 2:02
  Speaker 4: since the age of 23, Jesus. So, yeah, I've been
• 2:05
  Speaker 4: in the States for a while, and I'm in Chicago
• 2:07
  Speaker 4: for like 11 years.
• 2:09
  Speaker 6: Yeah, because I started watching footage of you before I
• 2:11
  Speaker 6: knew much about you. And I was like, I just
• 2:13
  Speaker 6: knew Chicago comic. And I'm like, I've been to Chicago?
• 2:16
  Speaker 6: His accent, that Chicago accent's a little off.
• 2:20
  Speaker 4: Yeah, yeah, yeah.
• 2:21
  Speaker 2: I know.
• 2:21
  Speaker 4: I haven't been able to pass.
• 2:23
  Speaker 6: Well, it is. Do you find yourself picking up? Just
• 2:26
  Speaker 6: listening to you talk about the accent on stage earlier,
• 2:29
  Speaker 6: I was like, do you find yourself picking up weird
• 2:31
  Speaker 6: colloquial things as you moved around over the years?
• 2:35
  Speaker 4: Yeah, no, totally. Like I said, totally. Totally. No, it's true.
• 2:41
  Speaker 4: I definitely revert back to a sort of Irish, Anglo-type
• 2:47
  Speaker 4: vernacular when my brother comes around. I'm hopefully going to
• 2:50
  Speaker 4: Ireland in a couple of months, and then I know
• 2:53
  Speaker 4: that I'll come back with all those kind of verbal tics,
• 3:00
  Speaker 4: so to speak.
• 3:02
  Speaker 6: And then I guess, what started you on the road
• 3:04
  Speaker 6: to comedy?
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  Speaker 4: I was working in.
• 3:10
  Speaker 4: I was working in Chicago as a writer and an editor, really,
• 3:14
  Speaker 4: and then someone recommended me to do some freelance work,
• 3:17
  Speaker 4: and the first story I pitched, I'd run into a
• 3:19
  Speaker 4: stand-up comedian, and he was talking about how hard it
• 3:21
  Speaker 4: was to get stage time because at the time, the
• 3:24
  Speaker 4: Chicago stand-up scene wasn't huge. It was not as big
• 3:27
  Speaker 4: as it was now. So I said, well, that sounds
• 3:30
  Speaker 4: fun to write about, so I followed him around for
• 3:33
  Speaker 4: a couple of weeks, and then at the end of it,
• 3:35
  Speaker 4: I decided to do, like, you know, it's always interested me,
• 3:39
  Speaker 4: but I never thought I would get on stage. And
• 3:40
  Speaker 4: then I did like a four minute open mic set
• 3:42
  Speaker 4: and then I just kind of kept doing it.
• 3:44
  Speaker 6: Yeah. It seems, it seems pretty natural at this point.
• 3:47
  Speaker 6: So was there still that getting over the hump in
• 3:50
  Speaker 6: those several years?
• 3:51
  Speaker 4: Yeah. And there still is, you know, it's still, you
• 3:53
  Speaker 4: still have, I mean, I'm, I'm not the, uh, I
• 3:55
  Speaker 4: don't think I'm quite at the stage where it's like
• 3:58
  Speaker 4: second nature, but, uh, you know, I still have the
• 4:00
  Speaker 4: odd bobble and the odd rough show, but, um, I
• 4:03
  Speaker 4: really enjoy doing it. So that really helps. And, uh, um, Yeah, no,
• 4:08
  Speaker 4: but it's definitely, I mean, I think you're first, I
• 4:11
  Speaker 4: think it's different for different people, but there's always, stand-up
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  Speaker 4: is rough because it's kind of easy to trick yourself
• 4:18
  Speaker 4: into thinking you know how you do it, you know
• 4:20
  Speaker 4: how to do it, and then there'll always be a
• 4:22
  Speaker 4: situation to remind you that you don't, in fact.
• 4:25
  Speaker 6: It is, I mean, it's one of those, I've just,
• 4:27
  Speaker 6: from the audience side, it's funny now watching it, how
• 4:31
  Speaker 6: you can see the time logged in, like you watch it,
• 4:34
  Speaker 6: and I went to a show this past year, and
• 4:37
  Speaker 6: it's like, The headliner was somebody who, I won't even
• 4:40
  Speaker 6: name their name, but they've been doing it for like
• 4:41
  Speaker 6: 30 years. And then the woman who was doing the
• 4:45
  Speaker 6: hosting that night, at the beginning, she said, I've been
• 4:47
  Speaker 6: doing this about six months. And she was pretty rough.
• 4:51
  Speaker 6: She was fighting her way. She was doing decent at hosting,
• 4:53
  Speaker 6: but like her joke, she was really kind of fighting
• 4:56
  Speaker 6: her way to get through them. And then the next
• 4:58
  Speaker 6: guy comes up and he's been doing it for like
• 4:59
  Speaker 6: six years. And he's just like, well, he's a little better.
• 5:03
  Speaker 6: The next guy ends like 10 years. years, and he
• 5:06
  Speaker 6: was pretty solid. And then you get to the headliner,
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  Speaker 6: and it's like, it is effortless. There are no jokes.
• 5:12
  Speaker 6: He is just up there just talking. Absolutely, yeah.
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  Speaker 4: Really good stand-ups don't look like they're doing stand-ups.
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  Speaker 6: You can tell when they're logged in that time.
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  Speaker 4: Absolutely.
• 5:22
  Speaker 6: Would you like to sit in with us, sir?
• 5:24
  Speaker 4: Sure, absolutely.
• 5:25
  Speaker 6: We are now being joined by one of the hosts
• 5:28
  Speaker 6: here at Gallery K. Thank you for having us here.
• 5:31
  Speaker 5: Hi, I'm Carl.
• 5:32
  Speaker 1: Thanks for having me.
• 5:33
  Speaker 5: Thank you for letting him perform here.
• 5:34
  Speaker 4: Yeah. So, yeah, contact us. We just finished the show.
• 5:37
  Speaker 4: It was a lot of fun.
• 5:38
  Speaker 1: Yeah, for sure.
• 5:39
  Speaker 4: People were real nice.
• 5:40
  Speaker 1: We've been doing a lot of fun stuff with this space,
• 5:42
  Speaker 1: you know, because what else are we going to do
• 5:43
  Speaker 1: in the meantime? So, yeah, it's cool. It's an old building,
• 5:48
  Speaker 1: so it's real easy to, like, feel cozy no matter
• 5:50
  Speaker 1: what you're walking into in here, I think.
• 5:54
  Speaker 6: Yeah, it's got a good atmosphere.
• 5:55
  Speaker 1: Usually it starts out like kind of, what? But it
• 5:58
  Speaker 1: always ends up like, wow, cool.
• 6:00
  Speaker 3: You know.
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  Speaker 4: That's a great description.
• 6:02
  Speaker 2: Yeah.
• 6:03
  Speaker 4: Yeah.
• 6:04
  Speaker 6: Well, Carl, we've had our discussions on movies, and you
• 6:07
  Speaker 6: just on stage had many nice references, so I figured
• 6:11
  Speaker 6: everybody's kind of.
• 6:12
  Speaker 4: Oh, did I? I don't even... It's weird. I just
• 6:14
  Speaker 4: sometimes don't notice I'm doing it even sometimes.
• 6:17
  Speaker 6: Well, there's one that are pretty deep cuts sometimes, and
• 6:19
  Speaker 6: I'm just like, I always laugh at that stuff, and
• 6:22
  Speaker 6: then I think, The people I know, I don't know
• 6:25
  Speaker 6: if they even get some of the references that people
• 6:27
  Speaker 6: make sometimes. Because I know I do it all the time.
• 6:28
  Speaker 1: There's sort of a generational gap.
• 6:30
  Speaker 2: Yeah.
• 6:30
  Speaker 1: I feel the same way.
• 6:31
  Speaker 4: Yeah. I used to have a bit, but I really
• 6:33
  Speaker 4: loved doing it. I didn't do it very often. I
• 6:34
  Speaker 4: didn't do it for too long. I did a bit
• 6:36
  Speaker 4: about the 1950, I'm going to screw up the, it's
• 6:42
  Speaker 4: like 1956 version of Old Man and the Sea with
• 6:45
  Speaker 4: Spencer Tracy.
• 6:46
  Speaker 6: Yeah.
• 6:48
  Speaker 4: And I used to, I just loved doing it. Because
• 6:50
  Speaker 4: I never, I've never read the book, but I just
• 6:52
  Speaker 4: saw the, have you ever seen That film?
• 6:54
  Speaker 6: No, but it's been a long time.
• 6:56
  Speaker 4: It's really funny because in order to make it look
• 7:00
  Speaker 4: like Spencer Tracy is an old man in the sea,
• 7:03
  Speaker 4: they built a giant tank on a back lot.
• 7:07
  Speaker 5: It's like Matt painting days.
• 7:09
  Speaker 4: Yeah, yeah, yeah. It's real bad back production and he's
• 7:12
  Speaker 4: in this clearly fake ocean. But then there's another scene,
• 7:16
  Speaker 4: there's a pivotal moment in the movie where he gets
• 7:20
  Speaker 4: attacked by sharks and he has to harpoon... the sharks
• 7:23
  Speaker 4: through the face. So in order to recreate the effect
• 7:26
  Speaker 4: of a shark being harpooned through the face, what the
• 7:28
  Speaker 4: filmmakers did was they harpooned a shark through the face. Like,
• 7:32
  Speaker 4: because this is like way, this is before.
• 7:34
  Speaker 1: And just cut it in, huh?
• 7:35
  Speaker 4: Yeah, yeah. And it's like they went out and they
• 7:37
  Speaker 4: filmed like a bunch of footage of like guys killing
• 7:40
  Speaker 4: sharks And it's back when there was no.
• 7:43
  Speaker 1: Have you guys ever been watching a movie like late
• 7:48
  Speaker 1: 80s and you'll see some animal violence and you'll be like, wait,
• 7:51
  Speaker 1: wait a minute. When did that happen?
• 7:54
  Speaker 6: Again, for people who've been listening to this, you can
• 7:58
  Speaker 6: go back and listen. We did an entire episode and
• 8:01
  Speaker 6: it's not even like it's a big Hollywood movie. It's
• 8:04
  Speaker 6: a documentary and it's the first full-length feature documentary that
• 8:10
  Speaker 6: they did about Jacques Cousteau. And it's like late, maybe mid-60s.
• 8:16
  Speaker 6: It is early. He's still relatively young for him. Because
• 8:20
  Speaker 6: we're all used to seeing him old and crusty. He's
• 8:22
  Speaker 6: still got the little beanie cap on.
• 8:23
  Speaker 1: The blueprint for Zissou.
• 8:25
  Speaker 6: Yeah, exactly. You're watching it and you're like, oh, these
• 8:28
  Speaker 6: jokes make sense now. He's exactly like Life Aquatic.
• 8:32
  Speaker 5: Right.
• 8:32
  Speaker 4: So back when we only had shark days.
• 8:34
  Speaker 1: We hadn't made it through the whole week.
• 8:38
  Speaker 6: They were doing a showing of it. We decided, oh,
• 8:39
  Speaker 6: let's all go watch it and then we'll sit down
• 8:41
  Speaker 6: and talk about it. And none of us had seen
• 8:42
  Speaker 6: it before. So like we had no idea what we
• 8:44
  Speaker 6: were getting ourselves into. So at one point they put
• 8:50
  Speaker 6: explosives on a coral reef. Because they need to catalog
• 8:55
  Speaker 6: the fish so they blow it, pull out the dead
• 8:59
  Speaker 6: fish so they can get a good reading of the
• 9:01
  Speaker 6: fish that are in there.
• 9:02
  Speaker 1: That was their method.
• 9:03
  Speaker 6: That one's one.
• 9:04
  Speaker 1: There's someone with a squeaky knee right now going, that's
• 9:06
  Speaker 1: how we used to do it.
• 9:08
  Speaker 6: And the fact that they blew up a coral reef
• 9:10
  Speaker 6: is also like.
• 9:11
  Speaker 4: It's so much easier.
• 9:12
  Speaker 1: We had so many coral reefs back then.
• 9:14
  Speaker 4: I remember, you know, you ever been to the Field
• 9:17
  Speaker 4: Museum in Chicago?
• 9:18
  Speaker 2: No.
• 9:18
  Speaker 4: There's a field museum, and it's very strange to modernize,
• 9:24
  Speaker 4: because you go through, they have a thing where it's
• 9:25
  Speaker 4: just like they have just a shit ton of stuffed animals.
• 9:31
  Speaker 4: They try to catalog all of American animals. I think
• 9:36
  Speaker 4: Roosevelt shot half of these fucking things.
• 9:38
  Speaker 1: They're historic. It's literally bear himself.
• 9:41
  Speaker 4: Yeah, exactly. What's funny about the field museum, it's like
• 9:45
  Speaker 4: you go, and it's just like, I went for the
• 9:47
  Speaker 4: first time with a friend of mine, and we were
• 9:48
  Speaker 4: walking around, and we were getting really creeped out. And
• 9:50
  Speaker 4: I was like, this is just a dead zoo. We're
• 9:53
  Speaker 4: just in a dead zoo. And what's even creepier is
• 9:55
  Speaker 4: that they have, way more dead animals in storage. There's
• 10:00
  Speaker 4: just crates with a 200-year-old.
• 10:02
  Speaker 1: Taxidermed. Actually, that's going into any Cabela's in the nation.
• 10:06
  Speaker 1: Or there's one right outside of Butte. No, I'm sorry.
• 10:10
  Speaker 1: It's like Bass Sporting Goods, but maybe they compete.
• 10:13
  Speaker 6: Bass Pro is like that, too.
• 10:14
  Speaker 4: Yeah. To go up?
• 10:16
  Speaker 3: Yeah.
• 10:17
  Speaker 1: It's Sporting Goods Short.
• 10:18
  Speaker 6: Oh, yeah. It's like a superstore.
• 10:19
  Speaker 1: It's like a mega.
• 10:20
  Speaker 6: The Walmart of Sporting Goods stores.
• 10:22
  Speaker 1: I went to the Cabela's in Buda, Texas. I used
• 10:27
  Speaker 1: to live in Austin for a little while. And it
• 10:29
  Speaker 1: was a short drive. And I had nothing else to do.
• 10:31
  Speaker 1: And I had heard that there was like, there's just
• 10:34
  Speaker 1: countless dead animals inside of it. And I'm pretty sure
• 10:37
  Speaker 1: there was like an example of every animal that you
• 10:40
  Speaker 1: were allowed to like kill. And so there was straight up,
• 10:43
  Speaker 1: there was like a polar bear. There was also an
• 10:45
  Speaker 1: aquarium with some live animals, which I thought was maybe
• 10:47
  Speaker 1: them kind of trying to be like, sorry.
• 10:50
  Speaker 6: Or tasteless, whatever.
• 10:51
  Speaker 4: It'd be great if you could test that.
• 10:52
  Speaker 1: And there was also a gun museum that I didn't
• 10:54
  Speaker 1: get to.
• 10:54
  Speaker 4: Oh, yeah?
• 10:55
  Speaker 1: And an antler rack museum with some of the most
• 10:57
  Speaker 1: impressive dead antler racks that I'd... And I learned all
• 11:02
  Speaker 1: about how you rate a rack of antlers just by
• 11:06
  Speaker 1: walking around.
• 11:07
  Speaker 6: The points.
• 11:08
  Speaker 4: Yeah.
• 11:09
  Speaker 3: Yeah, so.
• 11:10
  Speaker 1: But yeah, Cabela's, if you're into going into places with
• 11:13
  Speaker 1: a lot of dead animals. If you like dead things,
• 11:15
  Speaker 1: Cabela's is the place to go.
• 11:18
  Speaker 6: But that's like Hollywood history. From the earliest days, it's like,
• 11:22
  Speaker 6: we need to run this group of horses off of
• 11:25
  Speaker 6: a cliff.
• 11:26
  Speaker 4: So they did.
• 11:27
  Speaker 5: They just did that stuff.
• 11:29
  Speaker 1: It has to be real. It must look real.
• 11:32
  Speaker 4: Yeah, there's a bunch of people and you watch it
• 11:33
  Speaker 4: and you're like, oh, they probably, that horse is probably fine.
• 11:37
  Speaker 4: It's totally not.
• 11:38
  Speaker 6: Well, and then we just had the Herdian Staten Fest
• 11:41
  Speaker 6: in Lexington here, and they played Cockfighter, which is like mid-70s.
• 11:45
  Speaker 6: It's about cockfighting, and they filmed real illegal. I'm like,
• 11:51
  Speaker 6: you couldn't even conceive.
• 11:52
  Speaker 5: Of this movie today.
• 11:54
  Speaker 4: I mean, that.
• 11:55
  Speaker 1: Well, because probably it was a common thing to be like, well,
• 11:57
  Speaker 1: I don't know. You get your paycheck and you're like, well,
• 11:59
  Speaker 1: save this much for cockfighting.
• 12:00
  Speaker 6: Yeah. For a lot of people.
• 12:02
  Speaker 4: That bull at the end of Apocalypse Now didn't walk
• 12:05
  Speaker 4: away from the end of Bull.
• 12:07
  Speaker 1: Right.
• 12:07
  Speaker 2: Yeah.
• 12:08
  Speaker 4: Go to craft services. That bull was craft services.
• 12:11
  Speaker 1: Who's the inventing the game or what?
• 12:15
  Speaker 6: Who's the French?
• 12:17
  Speaker 1: I'm sorry. It's a French film. I'm sorry. Now I'm
• 12:21
  Speaker 1: reaching because you invited me onto a movie podcast.
• 12:24
  Speaker 6: What all goes around is.
• 12:26
  Speaker 1: Something about the oh okay so it's like a group
• 12:28
  Speaker 1: of people convening at somebody's house because they're all old
• 12:32
  Speaker 1: friends and they're all very wealthy and it turns into
• 12:35
  Speaker 1: a big caper but at some point they go out
• 12:37
  Speaker 1: like pheasant hunting and it's all real footage of just
• 12:40
  Speaker 1: people like shooting pheasants just blowing them out of the
• 12:42
  Speaker 1: sky like feathers flying around and you're like what's going
• 12:46
  Speaker 1: on if you've watched it this late in the game
• 12:49
  Speaker 1: but again the word game is in the title it's
• 12:53
  Speaker 1: one of the greatest films ever made I'm sure.
• 12:57
  Speaker 6: Well, yeah, I was going back to the super old
• 13:00
  Speaker 6: taking horses off a cliff. It did make me want
• 13:03
  Speaker 6: to ask you, Adam, how do you feel comedy translates
• 13:09
  Speaker 6: to film? Because I'm thinking in the old days, almost
• 13:12
  Speaker 6: all of it was comedy. It's other than some westerns
• 13:14
  Speaker 6: and action, like all those early stars were comedians. And
• 13:19
  Speaker 6: it was a different style, obviously, but I don't know,
• 13:21
  Speaker 6: just from that comedic point of view, trying to look
• 13:25
  Speaker 6: at film differently.
• 13:26
  Speaker 4: Well, I guess that's funny, too, where there's less... Yeah,
• 13:30
  Speaker 4: that's interesting, because I really like old films, so I like...
• 13:36
  Speaker 4: You know, Bob Hope was never expected to do his
• 13:40
  Speaker 4: Punch Drunk Love.
• 13:42
  Speaker 3: Yeah.
• 13:42
  Speaker 4: You know what I mean? Like, there was never... You
• 13:44
  Speaker 4: didn't have that thing where, let's take a noted comic actor...
• 13:49
  Speaker 4: and let's have him do his serious turn.
• 13:52
  Speaker 6: And they weren't dying inside to be taken seriously. Bob
• 13:55
  Speaker 6: Hope's like, I'm cashing a check every time, and I'm
• 13:58
  Speaker 6: doing my same skit, and everybody knows that's what I do.
• 14:01
  Speaker 1: I don't know any different.
• 14:02
  Speaker 6: Yeah, and I could care less. I'm making a living
• 14:05
  Speaker 6: doing this.
• 14:05
  Speaker 4: So is your question about how does stand-up comedy translate
• 14:08
  Speaker 4: to film?
• 14:09
  Speaker 6: I guess just from your perspective, like looking at film
• 14:12
  Speaker 6: from the comedic point of view.
• 14:13
  Speaker 4: There's not too many good stand-up films.
• 14:15
  Speaker 6: Yeah, definitely not.
• 14:17
  Speaker 4: Comedian is great. Jerry Seinfeld's comedian is great. King of
• 14:22
  Speaker 4: Comedy is pretty good. The ones that really try are terrible.
• 14:28
  Speaker 4: Punchline is... I re-watched Punchline. That is... hilarious for all
• 14:33
  Speaker 4: the wrong reasons.
• 14:34
  Speaker 6: I don't think I've ever heard a stand-up that liked
• 14:36
  Speaker 6: or couldn't sit through punchline and not be like, lockers!
• 14:39
  Speaker 1: There's no lockers! I've actually never watched it.
• 14:43
  Speaker 4: It's not a locker room. It's written by someone who's
• 14:47
  Speaker 4: never done stand-up. That's the funny thing. There's a locker
• 14:51
  Speaker 4: room Yeah, yeah, exactly.
• 14:53
  Speaker 1: So it's got to be pretty funny to real comedians, right?
• 14:56
  Speaker 4: Oh, it's hilarious to real comedians. And it's Tom Hanks,
• 15:00
  Speaker 4: am I right? Yeah, the whole notion that Tom Hanks
• 15:03
  Speaker 4: is supposed to be this.
• 15:03
  Speaker 1: But did Tom Hanks ever do stand-up?
• 15:05
  Speaker 6: I don't think so.
• 15:07
  Speaker 4: He did it for the film.
• 15:09
  Speaker 5: Yeah.
• 15:09
  Speaker 6: And to me, he pulls it off better than probably
• 15:13
  Speaker 6: most actors would.
• 15:17
  Speaker 4: He's believable as a stand-up. Sally Field, maybe.
• 15:21
  Speaker 6: But she's supposed to be kind of flippant.
• 15:25
  Speaker 4: The way they do Damon Wayans, who has done stand-up,
• 15:28
  Speaker 4: the way they do him is really weird. But it's
• 15:32
  Speaker 4: so funny because what's funny about it is Tom Hanks
• 15:35
  Speaker 4: is supposed to be like the Richard Lewis. He's like
• 15:37
  Speaker 4: the edgy, troubled guy. And his big bit that almost
• 15:42
  Speaker 4: gets him the brass ring, the big, killer, cutting-edge bit
• 15:47
  Speaker 4: he does is about debutantes. He's really angry. He goes,
• 15:51
  Speaker 4: I don't hate debutantes. And he's railing on debutantes. I
• 15:55
  Speaker 4: guess that's the most 80s thing.
• 15:57
  Speaker 1: And every legitimate stand-up comedian is watching this going, what
• 16:00
  Speaker 1: the fuck.
• 16:00
  Speaker 4: Is this guy talking about? Who tells these jokes?
• 16:04
  Speaker 6: But if nothing else, it's funny how much now thinking
• 16:07
  Speaker 6: about it, it does capture that time when it's like,
• 16:10
  Speaker 6: wasn't it like the Carson people were coming that night?
• 16:13
  Speaker 6: Like the big stand-up show.
• 16:14
  Speaker 4: So what they are talking about is a sort of.
• 16:19
  Speaker 4: Five to ten year period in, well, I believe the
• 16:23
  Speaker 4: movie's set in New York, which I don't really think
• 16:26
  Speaker 4: is how that worked. Although, Catch a Rising Star, maybe.
• 16:30
  Speaker 4: But the big place was the comedy store in the 70s.
• 16:33
  Speaker 4: And so that would happen. That's true. And there were
• 16:35
  Speaker 4: guys who were made stars within a few months.
• 16:39
  Speaker 6: That's what I think is interesting. That's gone now.
• 16:43
  Speaker 4: Yeah, that's totally gone.
• 16:44
  Speaker 6: The Carson thing.
• 16:46
  Speaker 6: Just made your career. If you got on there and
• 16:49
  Speaker 6: you killed your set.
• 16:50
  Speaker 4: Which is what King of Comedy is about.
• 16:52
  Speaker 6: Yeah, yeah. So it's like that, there isn't that now. Even,
• 16:55
  Speaker 6: there's a million talk shows now. None of them, if
• 16:57
  Speaker 6: they even have stand-up on anymore, they have no weight.
• 17:00
  Speaker 1: Letterman didn't really give love to comedians? Because I know
• 17:03
  Speaker 1: that music bands, if you could score Letterman, then that was.
• 17:06
  Speaker 4: A big deal. No, he didn't. No, Letterman's really good
• 17:08
  Speaker 4: for comedians.
• 17:09
  Speaker 6: But it was never the Carson ticket. He had favorites
• 17:12
  Speaker 6: that he had on a lot, I felt like. But, yeah,
• 17:15
  Speaker 6: he never really, like, made anybody's career.
• 17:17
  Speaker 4: And also Letterman didn't really– well, I don't believe– I
• 17:19
  Speaker 4: don't know if Carson– it's just different. Carson could put
• 17:24
  Speaker 4: the seal of greatness on you. And there was also
• 17:27
  Speaker 4: levels to go.
• 17:28
  Speaker 1: Carson was a little closer to Walter Cronkite, and Letterman
• 17:31
  Speaker 1: was a little closer to, like– he seemed like he
• 17:33
  Speaker 1: could have come from stand-up.
• 17:34
  Speaker 6: He was such a– Well, he did.
• 17:35
  Speaker 4: He was a stand-up.
• 17:36
  Speaker 1: Yeah.
• 17:37
  Speaker 3: Okay.
• 17:37
  Speaker 4: He was a stand-up. He was a very weird stand-up.
• 17:39
  Speaker 1: But, yeah, he was– Well, how long did it take
• 17:41
  Speaker 1: him to realize, like, I should just be a host
• 17:43
  Speaker 1: or somebody else.
• 17:44
  Speaker 6: Even he said he didn't like towards the end, he
• 17:46
  Speaker 6: never wanted to consider himself a standup comic. He's like,
• 17:49
  Speaker 6: this is what I do now. But I mean, he
• 17:51
  Speaker 6: did a couple of years at least.
• 17:53
  Speaker 4: The thing is about the late night monologue though, is
• 17:56
  Speaker 4: the late night monologue is standup.
• 17:58
  Speaker 3: Yeah.
• 17:58
  Speaker 4: And it's a, it's a very peculiar form of standup
• 18:00
  Speaker 4: because you're selling jokes that you haven't written. Right. Um,
• 18:06
  Speaker 4: and that don't, because real, really great standup, um, bits
• 18:11
  Speaker 4: live forever yeah and really great monologue bits are designed
• 18:16
  Speaker 4: to be forgotten.
• 18:17
  Speaker 6: Have 24 hours yeah yeah they're replaced by another one yeah.
• 18:20
  Speaker 4: Exactly so it's all about the delivery yeah so so
• 18:23
  Speaker 4: in a way i'm gonna say it a good monologist
• 18:26
  Speaker 4: um i don't talk shit about it because i'm certainly
• 18:29
  Speaker 4: on tv but like um um letterman is this outstanding
• 18:35
  Speaker 4: monologist he's really good and he kind of He studied... I.
• 18:40
  Speaker 1: Already miss him.
• 18:41
  Speaker 6: Yeah.
• 18:42
  Speaker 4: Letterman clearly studied Carson more than anyone else because Letterman...
• 18:47
  Speaker 4: Letterman didn't... Doesn't necessarily seem to care about what he's saying.
• 18:52
  Speaker 4: Letterman will make it funny regardless.
• 18:54
  Speaker 5: Yeah.
• 18:55
  Speaker 4: You know what I mean?
• 18:55
  Speaker 1: He's kind of just being himself.
• 18:57
  Speaker 5: It's a tone that I think he realizes.
• 18:59
  Speaker 4: It's totally a tone. Letterman will take a bit... Letterman's
• 19:04
  Speaker 4: sense of humor is he'll take a line from a
• 19:07
  Speaker 4: monologue joke that didn't work, and he'll repeat it throughout
• 19:11
  Speaker 4: the set, and now that line is funny.
• 19:14
  Speaker 6: It becomes the punchline of the night. He will ride
• 19:17
  Speaker 6: the rest of the episode.
• 19:18
  Speaker 4: So he's doing something totally different from Leno, because Leno's thing,
• 19:22
  Speaker 4: Leno's out would be, Leno would call out riders. Leno
• 19:25
  Speaker 4: would go, I told you that.
• 19:26
  Speaker 1: Wasn't going to work. Well, we've heard from Letterman that
• 19:29
  Speaker 1: Leno was kind of a brat anyway, so that was
• 19:31
  Speaker 1: sort of his.
• 19:32
  Speaker 4: Direct ride out.
• 19:34
  Speaker 1: But what I think is, the thing about Letterman is,
• 19:37
  Speaker 1: It seems like if you didn't let him be who
• 19:39
  Speaker 1: he was, he would just force it anyway.
• 19:41
  Speaker 6: Because he was just sort of– Well, we saw that
• 19:43
  Speaker 6: on the Oscars.
• 19:44
  Speaker 5: Yeah, yeah, yeah.
• 19:45
  Speaker 1: They were like, we don't want you to do your stuff. No,
• 19:47
  Speaker 1: you hired me because I am who I am. so
• 19:49
  Speaker 1: yeah you're gonna get you know kind of i don't
• 19:52
  Speaker 1: know like maybe bill murray like his he was on
• 19:54
  Speaker 1: the first episode i think and it seemed like they
• 19:56
  Speaker 1: had a pretty quick chemistry.
• 19:57
  Speaker 4: Oh totally you know they were kind of.
• 19:59
  Speaker 1: Explosive but they both kind of sort of been like
• 20:01
  Speaker 1: all right this guy.
• 20:02
  Speaker 4: Does well he i've yeah i've re-watched that clip the
• 20:05
  Speaker 4: first clip of bill murray on on the letterman show
• 20:08
  Speaker 4: um Yeah, I guess his first Late Late Late Show, yeah.
• 20:13
  Speaker 4: You can kind of see that someone has gone, perhaps
• 20:19
  Speaker 4: David has gone to Bill, you know, we'll just screw around,
• 20:21
  Speaker 4: we'll have a good time. But there is something in
• 20:24
  Speaker 4: Letterman's eyes where he's like, well, let's build the rails
• 20:28
  Speaker 4: before we go off them. You know what I mean?
• 20:31
  Speaker 4: You can kind of see Letterman's like, I want to have.
• 20:34
  Speaker 1: He has a little more patience.
• 20:36
  Speaker 4: Yeah, you can see he's like, I'm I want to
• 20:38
  Speaker 4: have fun, but also this kind of looks like I
• 20:40
  Speaker 4: just lost control of the show.
• 20:42
  Speaker 6: That became his thing. Like all those clips, they just
• 20:45
  Speaker 6: showed that like best of the night before or something.
• 20:48
  Speaker 6: And like all those clips of like him sitting there
• 20:51
  Speaker 6: and it feeling super awkward with Madonna. It's like he
• 20:54
  Speaker 6: let that build for like a half an hour.
• 20:56
  Speaker 1: Have you guys seen his first interview with Madonna in
• 20:58
  Speaker 1: the early 80s? There's crazy sexual tension.
• 21:01
  Speaker 4: It's really, it's.
• 21:02
  Speaker 1: It just sets the pace. If you watch all of
• 21:05
  Speaker 1: them all the way through, you're just like, man, these
• 21:07
  Speaker 1: guys are old friends in a way that a lot
• 21:10
  Speaker 1: of people don't achieve.
• 21:11
  Speaker 4: What would happen if two people with that pronounced it?
• 21:14
  Speaker 4: of a tooth gap? What if they, if they procreated
• 21:16
  Speaker 4: with their kid.
• 21:17
  Speaker 6: Just have, have you seen her now? Like she was just,
• 21:21
  Speaker 6: I think she was just on Jimmy Fallon last week
• 21:23
  Speaker 6: or so.
• 21:23
  Speaker 4: Well, her, her standup.
• 21:24
  Speaker 6: She's well that, yeah, that too. I wouldn't even talk
• 21:27
  Speaker 6: about that. I was just talking about the gap and
• 21:28
  Speaker 6: it's like, I don't think I've ever seen somebody increase
• 21:31
  Speaker 6: their gap. It did not used to look like that.
• 21:35
  Speaker 6: I remember her from the 80s. She had a little gap,
• 21:38
  Speaker 6: but it's like a gimmick now.
• 21:40
  Speaker 1: Well, that was probably record labels. They're like, we're not
• 21:43
  Speaker 1: sure how it is, so don't play it out yet.
• 21:45
  Speaker 1: It's not her iconography yet.
• 21:48
  Speaker 6: So you're saying she's not gifted in the stand-up field?
• 21:51
  Speaker 4: No, I actually liked her stand-up. I thought it was
• 21:53
  Speaker 4: a real cute thing. I thought it was fun. Here's
• 21:55
  Speaker 4: what I liked. Some stand-ups got. pissy about it. I'm going,
• 21:59
  Speaker 4: how dare she? That's all nonsense. What I liked about
• 22:02
  Speaker 4: it was that it's very good. It's very instructional as
• 22:06
  Speaker 4: to how hard stand-up is and how it's a different thing.
• 22:10
  Speaker 4: You can be the most famous person in the world.
• 22:14
  Speaker 4: She has immense amounts of likability and immense amounts of charisma.
• 22:19
  Speaker 1: The thing about Madonna is she attacks. If she decides
• 22:22
  Speaker 1: she's going to do it, then fuck y'all.
• 22:24
  Speaker 6: That's what I took from it. Were the jokes that funny?
• 22:27
  Speaker 6: Not really. But watching her get up there behind the mic,
• 22:31
  Speaker 6: she did not hesitate. I'm like, she is first and
• 22:33
  Speaker 6: foremost an entertainer. And she knows how to do that.
• 22:37
  Speaker 4: I also really liked, I mean, I could be wrong,
• 22:40
  Speaker 4: but ordinarily what you would do in a situation like that,
• 22:43
  Speaker 4: especially someone of her caliber, what you would do is like, hey,
• 22:45
  Speaker 4: I kind of want to do stand-up. And then the
• 22:47
  Speaker 4: Fallon people will go, all right, these nine college grads
• 22:51
  Speaker 4: are going to spend the next 24 hours writing a book.
• 22:54
  Speaker 4: you're writing your stuff.
• 22:55
  Speaker 1: Yeah.
• 22:56
  Speaker 4: And that's clearly not what happened because the stuff wasn't
• 22:59
  Speaker 4: that good.
• 23:00
  Speaker 6: Yeah.
• 23:00
  Speaker 4: And so, which I thought made it better. And it was,
• 23:03
  Speaker 4: she was, it had this real nice thing of like,
• 23:06
  Speaker 4: in that moment, she was kind of, she was just
• 23:07
  Speaker 4: aunt mad. Right.
• 23:08
  Speaker 1: Maybe she just read it and she's like, this is
• 23:10
  Speaker 1: fucking stupid.
• 23:11
  Speaker 4: Yeah.
• 23:12
  Speaker 1: And I might not be good at this, but I'm
• 23:13
  Speaker 1: going to go for it.
• 23:14
  Speaker 6: It was all pretty self-deprecating, too, which I'm like, for
• 23:16
  Speaker 6: somebody as big and kind of overblown as she is,
• 23:20
  Speaker 6: that was one of the better ones.
• 23:21
  Speaker 1: I'll tell you what that is. That's showbiz wisdom. She's
• 23:24
  Speaker 1: lived long enough to where she's like, this is probably
• 23:26
  Speaker 1: a good idea. Because I throw myself under the bus
• 23:29
  Speaker 1: before anyone else can.
• 23:30
  Speaker 4: The fundamental premise of the jokes was funny, is that
• 23:32
  Speaker 4: I have all this artwork, but I date men who
• 23:35
  Speaker 4: are too young to know.
• 23:37
  Speaker 5: Who know who these people are.
• 23:39
  Speaker 4: So that's fundamentally funny. And again, I think some comedians
• 23:43
  Speaker 4: were bratty about it, but I think most comedians were like,
• 23:46
  Speaker 4: that's a good premise. She didn't kill the executioner, but
• 23:50
  Speaker 4: that's funny. That's pretty smart.
• 23:52
  Speaker 6: Just hone that a couple years, you'll have it down.
• 23:57
  Speaker 4: I can't think of it. There aren't that many good
• 23:59
  Speaker 4: stand-up comedians I don't think there's that many good music
• 24:03
  Speaker 4: movies either, like about the music business. What about people.
• 24:06
  Speaker 1: That have crossed the line? Aren't there like, well, no,
• 24:09
  Speaker 1: I guess I'm thinking of like Eddie Murphy doing that
• 24:13
  Speaker 1: party all the time. I won't say that was a success,
• 24:16
  Speaker 1: but are there examples of that?
• 24:18
  Speaker 6: There's a lot more crossover now. It used to be
• 24:21
  Speaker 6: kind of unheard of.
• 24:21
  Speaker 4: There's an old song that comedians want to be rock
• 24:23
  Speaker 4: stars and rock stars want to be comedians.
• 24:25
  Speaker 6: I do hear that a lot.
• 24:26
  Speaker 4: What's his name? Oh. and blanking the thing. Body is Wonderland.
• 24:31
  Speaker 4: What's his name?
• 24:32
  Speaker 6: Oh, John Mayer.
• 24:33
  Speaker 4: John Mayer has tried to do stand-up.
• 24:35
  Speaker 6: Speaking of monologue jokes.
• 24:36
  Speaker 1: Oh, because he was kind of, well, he did some
• 24:38
  Speaker 1: really great bits with Chappelle.
• 24:41
  Speaker 4: Yes.
• 24:42
  Speaker 1: And it made you wonder why Chappelle would be cool
• 24:44
  Speaker 1: with John Mayer, you know?
• 24:46
  Speaker 6: I still wonder why anybody's cool with John Mayer.
• 24:48
  Speaker 4: But if you ever have a chance.
• 24:49
  Speaker 1: Honestly, when you watch John Mayer on the Chappelle skit,
• 24:51
  Speaker 1: you're like, I kind of like John Mayer now. Because
• 24:53
  Speaker 1: how is he friends with Chappelle?
• 24:55
  Speaker 6: Because I watched him when he was filling in when
• 24:57
  Speaker 6: Ferguson left.
• 24:58
  Speaker 4: And those were painful. John Mayer?
• 25:01
  Speaker 2: Yeah.
• 25:01
  Speaker 6: He did like a week. And it was like by
• 25:04
  Speaker 6: day five, I'm like, make this end.
• 25:07
  Speaker 1: He's too cocky.
• 25:08
  Speaker 4: He is. Camille Langeani has a very funny John Mayer
• 25:12
  Speaker 4: story of John Mayer trying to do stand-up in New York. And, yeah,
• 25:19
  Speaker 4: I can't remember what podcast it's on, but you should
• 25:21
  Speaker 4: be able to hunt it down. Nice. But it's a disaster.
• 25:25
  Speaker 4: I'm confused.
• 25:26
  Speaker 1: I can picture it in my head right now.
• 25:27
  Speaker 4: It's evolved into weird racist territory too.
• 25:31
  Speaker 6: That doesn't surprise me either from him.
• 25:34
  Speaker 4: I wonder if there's going to be like, what's the
• 25:36
  Speaker 4: first big podcast movie going to be? Do you know
• 25:38
  Speaker 4: what I mean?
• 25:39
  Speaker 6: They've already tried. Tusk was pretty hitting you over the
• 25:44
  Speaker 6: head with the fact that it was podcasty. Did you
• 25:47
  Speaker 6: see Tusk?
• 25:48
  Speaker 1: Yeah, I watched Tusk. Actually, I felt really.
• 25:54
  Speaker 1: Honored that a friend of mine reminded me that it
• 25:56
  Speaker 1: was coming out this night. Our hometown's not a big town,
• 26:00
  Speaker 1: so we had to drive out of town to do it.
• 26:02
  Speaker 1: But he was like, hey, did you want to catch
• 26:03
  Speaker 1: Toast Call Drive? So yeah, we're both old Kevin Smith heads,
• 26:08
  Speaker 1: but we realized that Jersey Girl happened, so we're willing
• 26:12
  Speaker 1: to give leeway on.
• 26:13
  Speaker 4: Shitty Kevin Smith films. Oh, I tried watching Jersey Girl recently. Yeah,
• 26:16
  Speaker 4: it's tough.
• 26:17
  Speaker 6: I watched Jersey Girl three, four times in a row
• 26:20
  Speaker 6: before Tusk again. Yeah, I had it. I had major.
• 26:23
  Speaker 6: And it wasn't the podcasting hitting you over the head.
• 26:26
  Speaker 6: It was it was so badly done. Just like and again,
• 26:32
  Speaker 6: I loved him when he came out and I think
• 26:34
  Speaker 6: he still is talented. You see pieces of that that
• 26:37
  Speaker 6: are really well crafted and well put together. And then
• 26:41
  Speaker 6: it will switch.
• 26:41
  Speaker 1: You're talking about Kevin Smith?
• 26:42
  Speaker 6: Yeah, Kevin Smith, I think, started from some very genuine
• 26:46
  Speaker 6: and had a really genuine voice.
• 26:49
  Speaker 1: I feel like in the same sense as Lucas, Kevin
• 26:51
  Speaker 1: Smith tends to do what he wants to do anyway.
• 26:54
  Speaker 1: And he's okay if he's not really great at it.
• 26:57
  Speaker 1: He's just going to do it.
• 26:58
  Speaker 6: But it hit a new level with this.
• 27:00
  Speaker 1: So I had no idea about the film. I just
• 27:02
  Speaker 1: went and watched it. But then I later found out
• 27:04
  Speaker 1: that he has a really successful podcast that I recall.
• 27:07
  Speaker 1: And this happened to be like one podcast 45-minute episode
• 27:12
  Speaker 1: that was like, oh, we should make this a movie.
• 27:14
  Speaker 1: And then they did. And my friends were like, well,
• 27:16
  Speaker 1: how was it? And I was like, it sounded, it
• 27:19
  Speaker 1: viewed as if it would have been a brilliant 45-minute podcast.
• 27:22
  Speaker 6: And it was.
• 27:23
  Speaker 1: And an awful hour and a half movie. Like, what
• 27:25
  Speaker 1: the fuck? Like, it just wasn't strong enough. It was.
• 27:29
  Speaker 1: But it was loaded with Kevin Smith jokes. Justin Long?
• 27:34
  Speaker 5: Yeah, Justin Long.
• 27:35
  Speaker 1: So he was pretty spot on. But also, he got
• 27:38
  Speaker 1: Michael Park's Because he was able.
• 27:40
  Speaker 6: To get him.
• 27:40
  Speaker 1: Michael Parks was good.
• 27:41
  Speaker 6: Michael Parks.
• 27:42
  Speaker 1: Because Michael Parks is always going to be good. He's
• 27:44
  Speaker 1: always good.
• 27:45
  Speaker 4: Is Kevin Smith at the point now that... Hasn't he
• 27:47
  Speaker 4: had more misses than hits, though? I don't know that he's...
• 27:50
  Speaker 4: I don't even mean enough financial.
• 27:51
  Speaker 5: It depends on who you're asking, you know?
• 27:53
  Speaker 1: Because his entire, like, base is cult people, so.
• 27:56
  Speaker 6: Yeah, I don't think he's ever had a legitimate hit.
• 27:59
  Speaker 1: Then he's... Really?
• 28:00
  Speaker 4: Yeah.
• 28:00
  Speaker 6: Like, nothing has made money as far as studios are concerned.
• 28:03
  Speaker 4: I don't know, but I... No, I don't know if
• 28:05
  Speaker 4: you guys are Kevin Smith fans, but I re-watched Clerks,
• 28:08
  Speaker 4: and that is a rough re-watch. A re-watch?
• 28:10
  Speaker 1: Oh, really? I love it every time. I probably go
• 28:13
  Speaker 1: right back to, like, 10th grade or whatever.
• 28:15
  Speaker 6: It's rough in the filmmaking part, because he will call
• 28:18
  Speaker 6: himself out for being like, this looks terrible. I didn't
• 28:20
  Speaker 6: know what I was doing. But from a writing standpoint,
• 28:23
  Speaker 6: for as young as he was, I feel like there's
• 28:25
  Speaker 6: still some pretty genuinely funny stuff.
• 28:27
  Speaker 1: Well, and I hadn't seen anything like it when.
• 28:29
  Speaker 4: I watched it. That's true. You know, that is true.
• 28:30
  Speaker 4: I hadn't seen anything like it. Yeah, I think it's weird.
• 28:33
  Speaker 4: I think there are certain... 90s movies, which are like.
• 28:36
  Speaker 1: There was a groundswell of movies like that at that era.
• 28:40
  Speaker 4: There's a great book called... I think it's called Slackers....
• 28:45
  Speaker 6: Are you Slackers and Dykes? Yes, yes, yes.
• 28:49
  Speaker 4: It's a good book, right? It's about the guy who
• 28:51
  Speaker 4: basically got those films into theaters.
• 28:55
  Speaker 6: It was almost all that one guy. Everything filtered through him.
• 29:00
  Speaker 4: Yeah, and it's just.
• 29:02
  Speaker 1: You can't... Well, Jay and Silent Barbara were reading that
• 29:06
  Speaker 1: book in Mallrats just because it was like the– what
• 29:11
  Speaker 1: was it?
• 29:14
  Speaker 2: Mike?
• 29:15
  Speaker 4: Which one?
• 29:16
  Speaker 1: It's like all four of those names are references to
• 29:19
  Speaker 1: specific people, and one of them is Kevin Smith, right?
• 29:23
  Speaker 6: He's the– I think he's just the slacker part.
• 29:26
  Speaker 4: Yeah, yeah.
• 29:27
  Speaker 6: Because there's also Slacker that came out right around that
• 29:29
  Speaker 6: same time. To me, that's the difference. It's like you
• 29:33
  Speaker 6: see somebody that came out at the same time, an
• 29:35
  Speaker 6: equally small budget film like Slacker, and now he's up
• 29:39
  Speaker 6: for Best Picture. He's pulling in these huge movies. Kevin
• 29:42
  Speaker 6: Smith's not going to do that. He, by his own hand,
• 29:46
  Speaker 6: will not do that. He just doesn't want to do that.
• 29:48
  Speaker 1: He decided he didn't want to put the effort in anymore.
• 29:50
  Speaker 6: He was going to stop filmmaking. Totally. That's been a
• 29:53
  Speaker 6: weird 180 degree turn because now he's got seven different
• 29:56
  Speaker 6: movies in the works.
• 29:58
  Speaker 1: Well, but they're all movies based on a fucking 45
• 30:01
  Speaker 1: minute podcast. And it's like, come on, dude.
• 30:03
  Speaker 6: That's what I was going to say. That's almost more interesting.
• 30:05
  Speaker 6: By the time I got, because I watched, I don't
• 30:08
  Speaker 6: think I saw Tusk until it came out on DVD.
• 30:10
  Speaker 6: And I watched the movie and I was angry. Like
• 30:13
  Speaker 6: I was, those scenes with Johnny Depp are perfect.
• 30:18
  Speaker 4: Johnny Depp's in tough.
• 30:19
  Speaker 6: And you won't know it because they won't credit him
• 30:21
  Speaker 6: by name. He's in a secret, hidden, horrible makeup job.
• 30:25
  Speaker 1: Probably because Kevin Smith asked him, hey, I can't afford
• 30:28
  Speaker 1: to pay you at all.
• 30:29
  Speaker 6: He's doing a bad, very fake accent.
• 30:31
  Speaker 1: Just because I'm Kevin Smith, being cool.
• 30:35
  Speaker 6: Well, and now their daughters are friends. So they hang
• 30:37
  Speaker 6: out because their daughters.
• 30:38
  Speaker 1: Because of that scene. Which is always the thing about
• 30:41
  Speaker 1: Kevin Smith. You're like, this movie's terrible. And then you realize... oh,
• 30:45
  Speaker 1: here's a scene based in a convenience store. Fuck, he's
• 30:49
  Speaker 1: referencing himself already, and he's using his offspring in the
• 30:54
  Speaker 1: same scene as Johnny Depp's offspring.
• 30:55
  Speaker 6: And they're turning that into a movie now. Those two
• 30:59
  Speaker 6: girls in a convenience store.
• 31:00
  Speaker 1: That's Lucas-style shit, man. It's just like, yeah.
• 31:03
  Speaker 6: In its own tale at this point. But then after that,
• 31:07
  Speaker 6: he does this, almost as long as the movie, this
• 31:10
  Speaker 6: little documentary thing on the disc that's starting from Clerks,
• 31:14
  Speaker 6: and going to Tusk, and it gives the breakdown of
• 31:17
  Speaker 6: what he was doing. Oh, that sounds awful. No, actually,
• 31:19
  Speaker 6: that was 10 times more interesting than the movie Tusk,
• 31:23
  Speaker 6: because by the end, I was like, I totally supported
• 31:26
  Speaker 6: his reasoning to make Tusk.
• 31:29
  Speaker 1: It's like realizing at the end of the documentary why
• 31:32
  Speaker 1: Jar Jar Binks was such a good idea.
• 31:34
  Speaker 5: Yeah, really.
• 31:35
  Speaker 1: Oh, man.
• 31:36
  Speaker 4: But don't you think Kevin Smith fans like Kevin Smith
• 31:39
  Speaker 4: more than they like Kevin Smith movies?
• 31:42
  Speaker 6: Probably, because that's what sells it at this point.
• 31:44
  Speaker 4: I feel like there's a lot of defensiveness. I can
• 31:48
  Speaker 4: see that. It's kind of like, yeah, but it's his style.
• 31:51
  Speaker 4: I don't know. I don't think Dogma's good. I think
• 31:54
  Speaker 4: I also, and this is one thing you're not allowed
• 31:56
  Speaker 4: to say to Kevin Smith fans. Again, this all under
• 31:59
  Speaker 4: the thing, I've never written a movie and I've never
• 32:01
  Speaker 4: made a movie, but I don't think his writing is
• 32:04
  Speaker 4: as good as people say. I think Clerks has got
• 32:07
  Speaker 4: some clunky shit. It's very simplistic. It's a lot of characters.
• 32:10
  Speaker 4: It's a lot of It's a lot of characters saying
• 32:15
  Speaker 4: their motivations.
• 32:16
  Speaker 6: It's very on the nose. There's no subtlety to a
• 32:18
  Speaker 6: Kevin Smith.
• 32:19
  Speaker 4: I'm not even supposed to be here today.
• 32:22
  Speaker 6: But here's the thing. It got to midway into that run.
• 32:26
  Speaker 6: I'd kind of written him off. Again, that's why I
• 32:28
  Speaker 6: didn't run out and see Tusk. But I started to
• 32:31
  Speaker 6: have faith in him again. Did you see Red State?
• 32:33
  Speaker 1: Yeah, Red State totally turned you back around.
• 32:36
  Speaker 6: Red State was awesome.
• 32:37
  Speaker 4: I don't think I even know that one.
• 32:38
  Speaker 1: Red State's amazing.
• 32:39
  Speaker 6: Red State is so not what he does.
• 32:41
  Speaker 1: Instead of releasing it and busting prints and releasing it
• 32:45
  Speaker 1: in theaters, he made one print and he toured with
• 32:47
  Speaker 1: it and he spoke before. I saw him in Austin
• 32:50
  Speaker 1: with Red State and I mean, you know, my dad
• 32:54
  Speaker 1: bought me the Evening with Kevin Smith DVD, and I
• 32:56
  Speaker 1: was like, oh, I would, you know, this guy looks
• 32:58
  Speaker 1: like he'd be a fun time even if I wasn't
• 33:00
  Speaker 1: watching his movies. He's fun to listen to and talk to.
• 33:02
  Speaker 6: He is a fun guy to listen to.
• 33:05
  Speaker 1: Yeah, and so he did that for a few minutes,
• 33:08
  Speaker 1: and then he played Red State, which everyone had talked about,
• 33:10
  Speaker 1: but nobody had seen, and it fucking blew us away,
• 33:14
  Speaker 1: and it ended with a dick, like a total Kevin
• 33:17
  Speaker 1: Smith-style dick and fart joke, like, I just made you
• 33:21
  Speaker 1: get all dramatic. And then I'm just Kevin Smith, dude.
• 33:24
  Speaker 1: And then he came back out and spoke again and
• 33:26
  Speaker 1: said some really profound shit. And I was like, all right,
• 33:29
  Speaker 1: I'm back on board. He could fuck up a.
• 33:31
  Speaker 5: Couple more times.
• 33:31
  Speaker 6: Well, it was just so it like not only was
• 33:33
  Speaker 6: it not his genre at all, but at the same time, visually,
• 33:38
  Speaker 6: like he'd never done anything visually interesting. He'll be again
• 33:41
  Speaker 6: the first one like I sat on a tripod. I
• 33:43
  Speaker 6: pointed at the guys talking and that was it. Well,
• 33:45
  Speaker 6: that's the start of it. That was the first time
• 33:47
  Speaker 6: I'd really seen him kind of be a director. Like
• 33:50
  Speaker 6: he wanted to shoot specific scenes. He had movement in
• 33:54
  Speaker 6: his scenes, which he never really did before. So, yeah,
• 33:57
  Speaker 6: I had faith in him again. And then he goes right.
• 34:01
  Speaker 1: Maybe he was just doing it to be like, oh,
• 34:03
  Speaker 1: you guys are all worked up about me being a
• 34:05
  Speaker 1: movie maker and I can do it. But it's not
• 34:07
  Speaker 1: what I want to do. All I want to do
• 34:09
  Speaker 1: is tell lame fart jokes, man.
• 34:11
  Speaker 4: I haven't really watched it, but I remember liking Chasing Amy.
• 34:14
  Speaker 4: I remember that.
• 34:15
  Speaker 6: I remember that.
• 34:16
  Speaker 4: I was like, okay, there you go.
• 34:17
  Speaker 6: I think that's possibly his best thing.
• 34:19
  Speaker 1: I mean.
• 34:20
  Speaker 6: Not even possibly.
• 34:21
  Speaker 1: Clerks freak people out because it was just what they
• 34:24
  Speaker 1: would do with their own video camera. And that blew
• 34:27
  Speaker 1: people's minds that it was a big secret underground hit.
• 34:29
  Speaker 1: And then Mallrats hurt everybody's feelings. And then I guess
• 34:34
  Speaker 1: Chasing Amy was right after that. And it had this cultural... Like, whoa,
• 34:39
  Speaker 1: what's going on? And then Dogma went on a bigger level.
• 34:42
  Speaker 1: So I actually, when you said you didn't like Dogma,
• 34:45
  Speaker 1: I really liked Dogma because I was like, dude, this
• 34:47
  Speaker 1: is the kind of movie that it's supposed to be cheesy,
• 34:51
  Speaker 1: lame humor, but it's totally plucking a string all the
• 34:55
  Speaker 1: time while you're watching it about something that we're not
• 34:58
  Speaker 1: supposed to talk about.
• 34:58
  Speaker 6: Dogma, I think you start to see him tripping over
• 35:02
  Speaker 6: himself because I think Dogma would be really interesting and
• 35:05
  Speaker 6: smartly written, but without Jane and Silent Bob. If you
• 35:09
  Speaker 6: take that without forcing his Kevin Smith universe into it,
• 35:13
  Speaker 6: the rest of the characters are pretty interesting.
• 35:15
  Speaker 1: You don't get Kevin Smith without Jane and Silent Bob.
• 35:17
  Speaker 4: That's the whole point. There's a line in Dogma, which
• 35:20
  Speaker 4: I was like, again, I was like, nope, you can't
• 35:23
  Speaker 4: do that. That's not how you tell a story. At
• 35:26
  Speaker 4: one point, George Carlin is playing the bishop.
• 35:31
  Speaker 1: That's the very beginning of the film. I just started
• 35:33
  Speaker 1: laughing as soon as that happened.
• 35:34
  Speaker 4: I was like, But he's having an argument with someone,
• 35:37
  Speaker 4: and I think it's... I can't remember which character it is. Dogma,
• 35:41
  Speaker 4: by the way, it's just a fucking dream cast. I mean,
• 35:43
  Speaker 4: it's got fucking Alan Rickman in it. It's Metrotron.
• 35:45
  Speaker 1: That's him pulling strings, man. He was a name.
• 35:47
  Speaker 4: He was on the list.
• 35:48
  Speaker 6: Fiorentino, who's always overlooked for good roles, and like, damn,
• 35:52
  Speaker 6: she's good when she's on it.
• 35:54
  Speaker 4: Yeah, so someone's having an argument, and then someone says...
• 35:56
  Speaker 4: They're having a theological argument, and someone says something like, yes,
• 36:01
  Speaker 4: but what about the... what about the Catholic Church's tacit
• 36:05
  Speaker 4: approval of Nazi atrocities? And someone says that, and the
• 36:10
  Speaker 4: person who says that would not have said that line.
• 36:13
  Speaker 4: So at that point, just write yourself into the movie.
• 36:16
  Speaker 4: Just walk through with a sign around your neck that says,
• 36:19
  Speaker 4: Director Kevin Smith.
• 36:20
  Speaker 1: Yell that. And as you say, let's be honest, he's
• 36:23
  Speaker 1: probably gotten closer than anyone else at doing that. He
• 36:25
  Speaker 1: puts himself in every film. And he makes himself that
• 36:29
  Speaker 1: character that we all have to fucking put up with
• 36:31
  Speaker 1: no matter how serious he gets with his ideas.
• 36:33
  Speaker 6: Well, and he started off that way because if you
• 36:35
  Speaker 6: watch Clerks, who has all the good lines? It's all Randall.
• 36:39
  Speaker 6: He was supposed to be Randall. He was supposed to
• 36:41
  Speaker 6: play Randall and couldn't be behind the counter.
• 36:44
  Speaker 4: That actor's atrocious.
• 36:45
  Speaker 1: He wasn't as good as Randall.
• 36:47
  Speaker 6: But he has all the good lines, all the funny stuff.
• 36:50
  Speaker 6: Dante just whines the whole time. All the smart-ass lines
• 36:53
  Speaker 6: are Randall's.
• 36:54
  Speaker 4: Oh, sorry, sorry. Randall's actually quite good.
• 36:57
  Speaker 5: Dante's terrible.
• 36:59
  Speaker 6: See, that's what I think. Dude, I went to a screening.
• 37:06
  Speaker 3: Would you like to jump in?
• 37:07
  Speaker 1: Dude, Daniel, come in. No, dude, we're talking about movies
• 37:10
  Speaker 1: and you're an important movie friend.
• 37:14
  Speaker 6: But that's the thing. If you watch that, and maybe
• 37:16
  Speaker 6: that's why it's so good, Randall was not an actor.
• 37:19
  Speaker 6: Randall went to high school with him. And he was like, hey,
• 37:22
  Speaker 6: I can't direct the movie and be here. Can you
• 37:25
  Speaker 6: just go ahead and sit behind the counter and say
• 37:26
  Speaker 6: these lines that I wrote? And they're all the smirky
• 37:28
  Speaker 6: lines that I wrote for myself. because I wanted to
• 37:31
  Speaker 6: be the cool, funny one in the movie. And then
• 37:33
  Speaker 6: he knocks it out of the park. He's got his
• 37:36
  Speaker 6: own dance by the end. Do the Randall, dude. Come on,
• 37:38
  Speaker 6: do it, please. He's so genuine because he's not an actor.
• 37:41
  Speaker 6: He was just that.
• 37:42
  Speaker 4: Guy, obviously. Who's Amy in Chase and Amy?
• 37:46
  Speaker 1: Joey Lauren Adams?
• 37:47
  Speaker 5: Joey Lauren Adams. She used to be married to him.
• 37:49
  Speaker 5: She was dating Kevin Smith.
• 37:51
  Speaker 1: She was married to him.
• 37:52
  Speaker 5: I don't think they got married.
• 37:54
  Speaker 6: Yeah, they were close.
• 37:55
  Speaker 7: But it was during that movie, and I believe they
• 37:57
  Speaker 7: broke up during that movie. I always view it as
• 38:00
  Speaker 7: like Kevin Smith is like you gotta view his career
• 38:02
  Speaker 7: arc as like Clerks genius low budget independent movie Mallrats
• 38:07
  Speaker 7: it was the studio's.
• 38:08
  Speaker 5: Fault it sucked It was. I love Mallrats. Chasing Amy,
• 38:11
  Speaker 5: brilliant social commentary. Dogma, brilliant religious commentary, and then Jay
• 38:18
  Speaker 5: and Silent Bob, huge nosedive.
• 38:20
  Speaker 4: Steady on, steady on. Dogma is not brilliant religious commentary.
• 38:23
  Speaker 1: I completely agree.
• 38:24
  Speaker 6: It's got scenes that could have been.
• 38:26
  Speaker 5: It's a variety magazine.
• 38:29
  Speaker 4: If your brilliant religious commentary involves Matt Damon pulling off
• 38:32
  Speaker 4: CGI wings, you're not going to be taken down to
• 38:38
  Speaker 4: church at any time. You're not fucking Martin Luther.
• 38:41
  Speaker 7: My mom goes to church every Sunday and goes to
• 38:44
  Speaker 7: Holy Hour. She watches over the Eucharist to make sure
• 38:48
  Speaker 7: nothing bad happens to it.
• 38:49
  Speaker 5: Once a week. She loves darkness.
• 38:51
  Speaker 1: He's like, I love to fuck with the clergy, man.
• 38:53
  Speaker 1: You're just like, that's so Kevin.
• 38:54
  Speaker 4: Smith, dude. Yeah. So what's Amy's name? Jennifer Lauren what?
• 38:59
  Speaker 6: Joy Lauren.
• 38:59
  Speaker 1: Joy Lauren.
• 39:00
  Speaker 4: What's happened? Has she been in on the thing?
• 39:03
  Speaker 6: See, that's the thing.
• 39:03
  Speaker 4: Doesn't she look like Jennifer Tilly's stunt double?
• 39:06
  Speaker 5: A little bit.
• 39:07
  Speaker 6: Kind of.
• 39:07
  Speaker 4: She's got some tele- She was in.
• 39:09
  Speaker 1: This really cool film called L.A.
• 39:11
  Speaker 5: Rules.
• 39:11
  Speaker 1: It was like in her, I guess, early, in the 90s,
• 39:15
  Speaker 1: there was like a shit ton of indies because indie
• 39:18
  Speaker 1: was a new alternative.
• 39:19
  Speaker 4: Yeah, totally.
• 39:21
  Speaker 6: That was where all the money went.
• 39:22
  Speaker 1: As long as it was billed as indie, it was
• 39:25
  Speaker 1: a good idea. LA Rules is a small film, but
• 39:29
  Speaker 1: it's pretty good. She's got a small role in it,
• 39:32
  Speaker 1: but it's just one of those ones you find on video.
• 39:35
  Speaker 1: I'm a massive VHS head, I'll just say that, because
• 39:38
  Speaker 1: I want all my tape heads to find me. There's
• 39:41
  Speaker 1: not a lot of us out there, man. We've got
• 39:43
  Speaker 1: to put the beacon out.
• 39:45
  Speaker 6: It's getting to be a bigger following.
• 39:50
  Speaker 3: My love for BHS will go.
• 39:56
  Speaker 5: On I missed my.
• 39:59
  Speaker 1: VCR for so.
• 40:03
  Speaker 3: Long We used.
• 40:06
  Speaker 6: To play and play but no more It's intermission.
• 40:12
  Speaker 1: Time So how about taking a break, get out and
• 40:15
  Speaker 1: stretch a little, and relax before the show begins again.
• 40:19
  Speaker 2: How do you do, ladies and gentlemen? This is Alfred Hitchcock.
• 40:24
  Speaker 2: I must apologize for inconveniencing you in this way. However,
• 40:29
  Speaker 2: this queuing up and standing about is good for you.
• 40:33
  Speaker 2: It will make you appreciate the seats inside. It will
• 40:37
  Speaker 2: also make you appreciate Psycho, You see, psycho is most
• 40:43
  Speaker 2: enjoyable when viewed beginning at the beginning and proceeding to
• 40:47
  Speaker 2: the end. I realize this is a revolutionary concept, but
• 40:52
  Speaker 2: we have discovered that psycho is unlike most motion pictures
• 40:57
  Speaker 2: and does not improve when run backwards. That is all
• 41:01
  Speaker 2: for now. You may continue to amuse yourselves by staring
• 41:05
  Speaker 2: at the back of your neighbor's neck or watching the
• 41:09
  Speaker 2: tactics of that forthright lady who seems determined to elbow
• 41:14
  Speaker 2: her way to the front of the line.
• 41:16
  Speaker 3: Want some music for your ears? Doo-Wop Shop makes it
• 41:19
  Speaker 3: easy to rent for any event, business meeting, or special occasion.
• 41:23
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• 41:25
  Speaker 3: that makes noise, you can rent it from the Doo-Wop Shop.
• 41:28
  Speaker 3: In Louisville, find them either at their Highland Store at
• 41:31
  Speaker 3: 1587 Bardstown Road or in the East End at 2915
• 41:35
  Speaker 3: South Hurstburn Parkway. And look for them online at DooWopShop.com.
• 41:39
  Speaker 3: Doo-Wop Shop. We're serious about music.
• 41:42
  Speaker 1: Doo-Wop Shop.
• 41:52
  Speaker 6: Hi, this is Tom Kane, the voice of Yoda.
• 41:54
  Speaker 4: And listening to Movie Meltdown, you are good.
• 42:06
  Speaker 3: Tweaked Audio, your source for high-performance, noise-reducing earbuds. Available in
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• 42:37
  Speaker 1: What's part of your problem, you know? You haven't seen
• 42:39
  Speaker 1: enough movies.
• 42:40
  Speaker 4: All of life's riddles are answered in the movies. And now,
• 42:45
  Speaker 4: on with the show. Which was worse? The 90s boom
• 43:34
  Speaker 4: of let's all get a 16mm camera and film our
• 43:38
  Speaker 4: friends talking endlessly or the 90s boom of shitty Tarantino knockoffs?
• 43:49
  Speaker 1: The Tarantino knockoffs. Things to do in Denver when you're dead.
• 43:52
  Speaker 1: I love Tarantino.
• 43:54
  Speaker 6: I think there were way more Tarantino. Again, because Tarantino
• 43:58
  Speaker 6: was successful at doing it. Smith was only successful in
• 44:01
  Speaker 6: his little group.
• 44:03
  Speaker 4: Smith was successful in terms of ratios. In terms of
• 44:07
  Speaker 4: how much money the movie made for how much it cost.
• 44:10
  Speaker 4: It's a very high ratio. Ultimately, the movie didn't make
• 44:13
  Speaker 4: that much money.
• 44:14
  Speaker 1: But he was smart to move fast with his popularity
• 44:18
  Speaker 1: in multiple directions. He had an MTV thing and he
• 44:21
  Speaker 1: hyped up his comic book store really quick.
• 44:25
  Speaker 4: I mean, he was the Gen X. Although, you know,
• 44:30
  Speaker 4: Linklater I mean Linklater must have been kicking himself yeah
• 44:35
  Speaker 4: He was probably.
• 44:36
  Speaker 1: Closer to Spielberg in the sense that he was like
• 44:38
  Speaker 1: a filmmaker and he just wanted it.
• 44:40
  Speaker 6: And he got there. So, I mean, it just took
• 44:42
  Speaker 6: him a longer road to do it. But, like, now
• 44:44
  Speaker 6: he's a respected filmmaker.
• 44:46
  Speaker 4: What's that movie? I've seen that movie called Kicking and Screaming.
• 44:48
  Speaker 4: Not the Will Ferrell one. Who's that by, Kicking and Screaming?
• 44:51
  Speaker 7: Although I do think another episode should be focused on
• 44:54
  Speaker 7: the Will Ferrell film.
• 44:55
  Speaker 4: Yeah. Noah Baumbach, I think.
• 44:56
  Speaker 5: Which was a classic.
• 44:57
  Speaker 6: I think it's early Noah Baumbach.
• 44:58
  Speaker 5: It was Noah Baumbach.
• 44:59
  Speaker 4: So, I had friends when I lived down in Dallas, Texas.
• 45:02
  Speaker 4: I had friends. They all went to... quintessential college town
• 45:06
  Speaker 4: called Denton.
• 45:08
  Speaker 5: Denton, Texas?
• 45:09
  Speaker 4: Yeah. A lot of musicians come out.
• 45:11
  Speaker 5: Yeah, there's a mountain goat song.
• 45:14
  Speaker 4: And Polyphonic Spring come out of there. Polyphonic Spring come out. Yeah,
• 45:16
  Speaker 4: lots of bands.
• 45:16
  Speaker 6: And Shocktree.
• 45:17
  Speaker 4: Yeah. So, I had a lot of friends who went
• 45:21
  Speaker 4: to college in Denton, Texas, and they loved the movie
• 45:23
  Speaker 4: Kicking and Screaming. And they showed it to me, and
• 45:26
  Speaker 4: I fucking hated it. I didn't hate it. No, I
• 45:30
  Speaker 4: didn't hate it. I didn't hate it. It was the
• 45:33
  Speaker 4: kind of thing I could... sit there, and I would go,
• 45:37
  Speaker 4: I see why that is funny. I see why you
• 45:39
  Speaker 4: think that's funny. I see why that's funny. I didn't
• 45:41
  Speaker 4: once laugh, but I was like, yeah. It's kind of predictable.
• 45:46
  Speaker 4: There was a boom, and at the time, I loved
• 45:51
  Speaker 4: it too. I loved all these movies too. Still, Reservoir
• 45:54
  Speaker 4: Dogs is probably my top three Tarantino movies.
• 45:58
  Speaker 6: It's amazing how well it.
• 46:00
  Speaker 4: I think Slacker's also... Sorry, Slacker and Dazed and Confused Yeah.
• 46:04
  Speaker 1: Slacker's a little more loose.
• 46:05
  Speaker 4: Yeah, Slacker's a bit more loose, but Dazed and Confused
• 46:07
  Speaker 4: actually holds up very, very well.
• 46:08
  Speaker 6: It's so polished for only being five or six years later.
• 46:11
  Speaker 7: Dazed and Confused is one of those movies that I
• 46:12
  Speaker 7: feel like across the board, anyone enjoys it.
• 46:15
  Speaker 3: Yeah.
• 46:15
  Speaker 1: It's a modern American TV comedy. It's right next to
• 46:18
  Speaker 1: American Graffiti.
• 46:19
  Speaker 5: For different reasons, too.
• 46:20
  Speaker 6: I feel like everybody kind of takes something different from it.
• 46:23
  Speaker 5: Oh, absolutely.
• 46:24
  Speaker 6: Sometimes it's super nostalgic. Sometimes it's just like, I like
• 46:27
  Speaker 6: these films. funny jokes. Sometimes it's like these actors are hot.
• 46:30
  Speaker 6: There's so many different things to pull.
• 46:32
  Speaker 1: The cast is like, wow, all these people leapt forward.
• 46:35
  Speaker 4: Oh, yeah, McConaughey's in that, right? Yep, Matthew McConaughey's in it.
• 46:41
  Speaker 1: The mysterious Ribisi sister who's had a lot of things
• 46:45
  Speaker 1: that everybody loves her.
• 46:47
  Speaker 5: Beck's sister, essentially.
• 46:48
  Speaker 1: And Parker Posey.
• 46:50
  Speaker 6: She's a cult girl herself. Sometimes it's in terrible movies.
• 46:54
  Speaker 1: But I still love it.
• 46:55
  Speaker 4: It's my favorite.
• 46:56
  Speaker 5: A great Jason London, Kevin Smith connection.
• 46:58
  Speaker 4: Dazed and Fused is my favorite Adam Greenberg, Matthew McConaughey vehicle.
• 47:06
  Speaker 5: Out of all of them.
• 47:07
  Speaker 1: They go to the Moon Tower, and I lived in
• 47:10
  Speaker 1: Austin for a while, and I was like, those are real?
• 47:12
  Speaker 1: That's a real... Moon Towers are for real.
• 47:15
  Speaker 4: Yeah, I think that... See, I know it's apples and oranges,
• 47:19
  Speaker 4: and I know that Dazed and Confused definitely had studio
• 47:23
  Speaker 4: backing and all the rest of it. But to me,
• 47:25
  Speaker 4: a little bit, you can kind of go... Clerks was
• 47:29
  Speaker 4: the thing where people were like, we can do whatever
• 47:31
  Speaker 4: we want.
• 47:32
  Speaker 1: Actually, Slacker was like that a lot to me. Slacker's
• 47:36
  Speaker 1: really loose.
• 47:36
  Speaker 4: Yeah, yeah, yeah. But again, I feel like Kevin Smith
• 47:42
  Speaker 4: became the poster boy. And then there's this other guy
• 47:44
  Speaker 4: called Richard Link. Oh, if you might like those. But
• 47:46
  Speaker 4: if you look, I'm sorry, in terms of the quality
• 47:48
  Speaker 4: of the writing and the whole thing, even if you
• 47:51
  Speaker 4: take all the production, if you look at the quality
• 47:53
  Speaker 4: of the writing, Dazed and Confused is doing stuff that
• 47:56
  Speaker 4: Clerks isn't. Clerks is trying to do. And there's that
• 47:59
  Speaker 4: moment where Adam Greenberg has that moment of just complete
• 48:05
  Speaker 4: rage-fueled impotence. And it's just like that's something that no matter...
• 48:12
  Speaker 4: I didn't go to school in America. I would never
• 48:14
  Speaker 4: have to put up with that whole paddling thing. But
• 48:16
  Speaker 4: that moment was like, I'm going to fucking murder them all.
• 48:20
  Speaker 1: That was universal.
• 48:21
  Speaker 4: That's more so, I think, in a way that Clerks
• 48:25
  Speaker 4: doesn't do. You know what I mean?
• 48:27
  Speaker 1: Well, first of all, Clerks is across the counter, which
• 48:30
  Speaker 1: is based on capitalism and just fucking buy shit, consumerism. So, yeah,
• 48:35
  Speaker 1: I'm sure it doesn't strike quite the chord in other countries.
• 48:38
  Speaker 7: I mean, it's almost also like Slacker was just kind
• 48:40
  Speaker 7: of that first kick-down-the-door thing. Like the Sex Pistols come
• 48:44
  Speaker 7: out and do the, just kick down the door and
• 48:46
  Speaker 7: the Clash write the actual songs.
• 48:48
  Speaker 1: Yeah.
• 48:48
  Speaker 5: And it's like.
• 48:49
  Speaker 4: Yeah, I was, so I remember watching Clerks recently, like
• 48:54
  Speaker 4: last year, and I was watching, came back on, and
• 48:56
  Speaker 4: I was, because I was trying to reconnect with the
• 48:57
  Speaker 4: thing that I thought was great about it. And it's
• 48:59
  Speaker 4: got some stuff in it. But I remember.
• 49:01
  Speaker 1: But they're all sort of Kevin Smith-y stuff.
• 49:04
  Speaker 3: Exactly.
• 49:04
  Speaker 4: I remember watching the bit. They don't really get that.
• 49:05
  Speaker 1: Outside of the Kevin Smith realm.
• 49:07
  Speaker 4: Where they have the Star Wars thing. conversation.
• 49:10
  Speaker 5: That's what I was just going to say.
• 49:11
  Speaker 4: And I'm like, you didn't have the balls to just
• 49:14
  Speaker 4: go and do stand-up, you fucking cunt. You just put
• 49:19
  Speaker 4: a stand-up room in your fucking movie.
• 49:24
  Speaker 6: That's the one thing I was going to say that
• 49:25
  Speaker 6: I think still holds up and is possibly the most
• 49:28
  Speaker 6: impressive thing that he did in Clerks. are those conversations.
• 49:32
  Speaker 6: I love his dialogue. Because I'm sitting there in the
• 49:33
  Speaker 6: theater at the time.
• 49:34
  Speaker 5: I love his dialogue.
• 49:35
  Speaker 6: I worked at a video store, and we all left
• 49:38
  Speaker 6: the video store and went and saw the showing of
• 49:39
  Speaker 6: Clerks that night. And I'm like, we've had this stupid
• 49:44
  Speaker 6: Empire's Better conversation. We've had 28 times in the last
• 49:47
  Speaker 6: two months.
• 49:47
  Speaker 1: And listen, Tarantino's dialogues are awesome, but nobody has ever
• 49:50
  Speaker 1: said that shit.
• 49:52
  Speaker 4: Yeah, yeah, yeah.
• 49:52
  Speaker 1: They're watching. They're like, this is why I love this man.
• 49:55
  Speaker 1: But the one in Clerks is like, same reason, but
• 49:57
  Speaker 1: it's like, this is nice.
• 49:58
  Speaker 4: Well, yeah. Absolutely, yeah. Kevin Smith is quoting things that
• 50:03
  Speaker 4: his friends have said about movies. Quentin Tarantino was just
• 50:06
  Speaker 4: quoting movies.
• 50:07
  Speaker 5: Yeah, right.
• 50:08
  Speaker 6: Sometimes word for word. Which I didn't realize until I
• 50:11
  Speaker 6: started doing my homework and going back and going, that
• 50:14
  Speaker 6: exact line is in this movie from 1976. When you
• 50:16
  Speaker 6: watch it, all references.
• 50:18
  Speaker 1: All total fights. He's like the, what's the girl talk?
• 50:22
  Speaker 1: He's like the girl talker.
• 50:22
  Speaker 5: Yeah, I was just about to say. He's like, it
• 50:24
  Speaker 5: makes you think about like, You don't like sampling. Do
• 50:26
  Speaker 5: you like Quentin Tarantino?
• 50:29
  Speaker 4: If anyone listening doesn't know what we're talking about, do this. Again,
• 50:33
  Speaker 4: one of my favorite Tarantino movies, but watch Reservoir Dogs
• 50:36
  Speaker 4: and then immediately watch Kansas City Confidential followed by The Killing.
• 50:43
  Speaker 4: And probably a few Japanese movies. That's all Lucas, actually.
• 50:49
  Speaker 4: What's that?
• 50:50
  Speaker 1: Lucas is all.
• 50:50
  Speaker 4: Sure, sure, sure, sure. Yeah, but it's... Well, again, it's funny.
• 50:54
  Speaker 4: If you are of the generation where you saw Star
• 50:57
  Speaker 4: Wars before you saw Lawrence of Arabia, and then you
• 51:00
  Speaker 4: watch Lawrence of Arabia, and they do those full-screen wipes
• 51:03
  Speaker 4: across the desert, and you went, oh, so you can
• 51:06
  Speaker 4: just take shit.
• 51:07
  Speaker 5: That's cool.
• 51:08
  Speaker 4: Yeah, exactly.
• 51:09
  Speaker 6: But I will say this.
• 51:11
  Speaker 1: I still really, really appreciate the fact that before Star Wars.
• 51:17
  Speaker 1: It was commonplace to show all your credits at the beginning,
• 51:20
  Speaker 1: give credit to all these people at the beginning, but
• 51:22
  Speaker 1: Lucas was like, fuck that. I want to dive into
• 51:24
  Speaker 1: my weird.
• 51:25
  Speaker 5: Space disco film. I heard it was The Miracle Worker.
• 51:30
  Speaker 5: I heard The Miracle Worker was the first film to
• 51:32
  Speaker 5: ever have things before, no, to have things before the credits.
• 51:37
  Speaker 5: The Helen Keller-like movie, The Miracle Worker, because there's this
• 51:40
  Speaker 5: long thing of just like, I don't know, some shit
• 51:43
  Speaker 5: of her being blind. I don't remember. But it was
• 51:46
  Speaker 5: like a bunch of stuff that sets up the whole movie.
• 51:48
  Speaker 5: And then they're like, the miracle worker.
• 51:50
  Speaker 6: Right.
• 51:51
  Speaker 5: And then it all kicks in.
• 51:52
  Speaker 1: Like The Departed. Yeah, yeah. Essentially The Departed. Like a
• 51:55
  Speaker 1: whole chunk of movie. And then like, boom, The Departed.
• 51:58
  Speaker 1: And you're like, oh, that's right. Scorsese started this journey
• 52:01
  Speaker 1: for us. Yeah, yeah, exactly. Kind of smart.
• 52:03
  Speaker 4: But also, yeah, but again, Lucas is a great example
• 52:05
  Speaker 4: of doing something, of lifting something which worked perfectly for
• 52:09
  Speaker 4: his movie.
• 52:10
  Speaker 1: He used.
• 52:11
  Speaker 4: He used something that wasn't meant for movies. It was
• 52:14
  Speaker 4: meant for serials. So this is what happened last week
• 52:18
  Speaker 4: with Buster Crabb. You need to know this. But you'll
• 52:21
  Speaker 4: be back next week. So he said, I'll just do
• 52:23
  Speaker 4: this like these are serials, right? So we'll just have,
• 52:27
  Speaker 4: I mean, it's crazy to think about it now. how
• 52:30
  Speaker 4: well that movie works. And I have to start my
• 52:33
  Speaker 4: big space adventure with fucking four minutes of reading? You asshole.
• 52:38
  Speaker 4: What the fuck are you talking about? But there are
• 52:42
  Speaker 4: so many movies now. I watch them, and they all went,
• 52:47
  Speaker 4: especially 80s movies, and they'll start with fucking a crawl,
• 52:51
  Speaker 4: an expositionary thing, and it's terrible. It's shitty, shitty storytelling.
• 52:59
  Speaker 4: It's awful. They still do it to this day. Or
• 53:02
  Speaker 4: every fucking superhero movie. Yeah, or like the second Thor
• 53:07
  Speaker 4: movie is four minutes of telling me about some bullshit.
• 53:14
  Speaker 4: Can't you tell me that while the story's happening? You
• 53:15
  Speaker 4: know what I mean? Again, Lucas got away with it,
• 53:19
  Speaker 4: but people didn't realize that he got away with it.
• 53:21
  Speaker 4: It's like people went, Oh, that's how you tell a story.
• 53:24
  Speaker 6: No.
• 53:24
  Speaker 1: Well, I think Lucas just was like, I don't give
• 53:27
  Speaker 1: a fuck how you tell a story. This is just
• 53:29
  Speaker 1: how I want to do it.
• 53:30
  Speaker 4: Here we go.
• 53:30
  Speaker 5: In that first movie.
• 53:31
  Speaker 4: Yeah.
• 53:32
  Speaker 6: That's what I... And I've said this a few times lately.
• 53:35
  Speaker 6: I'm like, now that he's not involved, I don't have
• 53:38
  Speaker 6: to be angry with him anymore because I know he's
• 53:40
  Speaker 6: done with it.
• 53:41
  Speaker 1: Finally, some classical ideas of storytelling can come into play.
• 53:43
  Speaker 6: I can go back and look at the first three
• 53:45
  Speaker 6: movies there and be like, oh, you know what? He
• 53:47
  Speaker 6: was actually doing some really impressive... Especially that first one
• 53:49
  Speaker 6: because it's all him.
• 53:50
  Speaker 3: Mm-hmm.
• 53:51
  Speaker 6: But you look at how unconventional Star Wars is. Well, no,
• 53:55
  Speaker 6: I mean, the fact that just like structuring, it's like
• 53:58
  Speaker 6: 15 minutes or so before you sit, like it's almost
• 54:02
  Speaker 6: all robots and guys and costumes like you don't see
• 54:06
  Speaker 6: people are.
• 54:07
  Speaker 7: Confused that was one thing i was fascinated going back
• 54:08
  Speaker 7: as an adult because we'd be in college and we'd
• 54:10
  Speaker 7: come home and it was like kind of like this
• 54:12
  Speaker 7: ongoing thing we come home we put in we got
• 54:14
  Speaker 7: we scored three vhs tapes of the original trilogy and
• 54:17
  Speaker 7: we just put them in like it was like a
• 54:18
  Speaker 7: rule you come over to the bar you put in
• 54:20
  Speaker 7: the star wars tape until like we passed out and
• 54:22
  Speaker 7: um and we just watch it we were always like
• 54:24
  Speaker 7: there's so much like backstory like all of these begin
• 54:27
  Speaker 7: with so much like slow tone setting backstory and then
• 54:30
  Speaker 7: you watch like um the first, like, episode one.
• 54:34
  Speaker 4: Episode one.
• 54:34
  Speaker 5: And it's episode one. It's like, the real crime there
• 54:36
  Speaker 5: is just they did too much backstory. We don't need
• 54:39
  Speaker 5: any of this backstory. They forgot that people have been
• 54:42
  Speaker 5: festering 30 years of their own backstory.
• 54:44
  Speaker 6: Really?
• 54:44
  Speaker 1: We had such a better idea in our hands already.
• 54:47
  Speaker 4: Yeah, yeah, exactly.
• 54:47
  Speaker 5: You forced us to do that.
• 54:48
  Speaker 1: Now you're going to take it away by giving us
• 54:50
  Speaker 1: this fucking shitty backstory.
• 54:53
  Speaker 4: There's always.
• 54:54
  Speaker 1: I thought that was my answer all the time.
• 54:56
  Speaker 6: You need more neck. You need more neck.
• 54:59
  Speaker 4: That was, I always thought it was very telling about disease.
• 55:04
  Speaker 4: I saw some photos online of George Lucas directing the
• 55:06
  Speaker 4: first one and Irving Kirshner directing the second one.
• 55:09
  Speaker 1: Doing a much better job. We were just having this conversation.
• 55:11
  Speaker 1: I was recently having this conversation.
• 55:14
  Speaker 4: Yeah, and it's amazing how much you can tell just
• 55:16
  Speaker 4: from the photographs. Because it's photographs of George Lucas out
• 55:19
  Speaker 4: in the fucking desert fixing a stormtrooper's epaulet. And all
• 55:24
  Speaker 4: the actual actors are over there and he's like, look,
• 55:27
  Speaker 4: and he's fixing... Some shit that no one cares about.
• 55:30
  Speaker 1: He's trying to get so attentive to details.
• 55:33
  Speaker 4: But every shot of Kirshner is him talking to Carrie Fisher, laughing.
• 55:39
  Speaker 4: You know what I mean? It's him having conversations. I
• 55:43
  Speaker 4: want to.
• 55:44
  Speaker 1: Drag people through the emotional rollercoaster.
• 55:46
  Speaker 6: Yeah.
• 55:47
  Speaker 1: How can I tap into your sadness or darkness?
• 55:49
  Speaker 4: Yeah, it's like night and day.
• 55:51
  Speaker 1: This is The Empire Strikes Back. They can't be bright.
• 55:53
  Speaker 4: Yeah.
• 55:53
  Speaker 6: It is really interesting. But I think Lucas had some
• 55:55
  Speaker 6: pretty interesting stuff early. Again, that was his last good movie,
• 55:59
  Speaker 6: I suppose. I mean, he had two. One was American Graffiti.
• 56:02
  Speaker 6: So it's like that one, though, you look at the
• 56:04
  Speaker 6: visuals of the weird, interesting visual that they put together
• 56:09
  Speaker 6: for the Death Star. Or again, back to the structuring.
• 56:12
  Speaker 6: Aside from not having hardly any humans in the first
• 56:14
  Speaker 6: 15 or 20 minutes... It's like 45 minutes in before
• 56:18
  Speaker 6: the story really gets going. Before they even start going
• 56:22
  Speaker 6: to Mos Eisley, it's like 30 minutes in. It's the
• 56:26
  Speaker 6: midway point in the movie when they get to the
• 56:28
  Speaker 6: Death Star. That's what everybody thinks of as the movie.
• 56:30
  Speaker 6: It's halfway in before we even get to that story.
• 56:33
  Speaker 1: But the thing is, people loved it. People lined up
• 56:38
  Speaker 1: around the block to watch it. And I guess maybe
• 56:42
  Speaker 1: nobody had done that before. Maybe nobody had done like
• 56:44
  Speaker 1: a movie where it's like, you know, you're halfway through
• 56:46
  Speaker 1: because I've been dazzling you with like plastic face masks
• 56:51
  Speaker 1: and spray painted cardboard tubes for an hour and a
• 56:54
  Speaker 1: half now.
• 56:55
  Speaker 4: As a director, I think George Lucas is a really
• 56:57
  Speaker 4: good film student because what he did say something that
• 56:59
  Speaker 4: I thought is always very telling. Everyone tried to replicate
• 57:02
  Speaker 4: the success of Star Wars and he said, well, what
• 57:05
  Speaker 4: everyone did was they went and made movies with a
• 57:07
  Speaker 4: bunch of special effects. But like my That movie, it's
• 57:10
  Speaker 4: all Greek archetypes. It's all this very old shit. So
• 57:14
  Speaker 4: everyone thought they were watching something new, but they were
• 57:16
  Speaker 4: all watching something very old.
• 57:18
  Speaker 6: Yeah, a bit of it, really.
• 57:19
  Speaker 4: Well, I think the difference between, again, I think the
• 57:21
  Speaker 4: difference between Lucas and someone like Kirshner as a director
• 57:25
  Speaker 4: is I think if Lucas, you ask him, well, what's
• 57:27
  Speaker 4: this scene about? He'll go, well, it's because the Federation
• 57:29
  Speaker 4: has an embargo on this planet and you're using the
• 57:33
  Speaker 4: THX-1138 to get in here. If you ask Kirshner, he'll go, well...
• 57:37
  Speaker 4: he's about to die and you're really upset. You know
• 57:40
  Speaker 4: what I mean?
• 57:41
  Speaker 1: He's thinking like stage play theater sort of, so it's like,
• 57:44
  Speaker 1: that's his classic storytelling. So things are going to get
• 57:47
  Speaker 1: real dark.
• 57:48
  Speaker 6: That's what I always thought was good about taking Lucas
• 57:51
  Speaker 6: out of the scenario. He had some good ideas, but
• 57:54
  Speaker 6: don't let him get bogged.
• 57:55
  Speaker 1: Down in the minutia of all this bullshit.
• 57:58
  Speaker 6: Which is what the prequels became. But yeah, you watch
• 58:00
  Speaker 6: Kirshner and he is just, like you watch that second
• 58:05
  Speaker 6: movie even compared to the first one or the third
• 58:07
  Speaker 6: and I'm like it is so visually impressive.
• 58:11
  Speaker 5: I was thinking about this earlier today this kind of
• 58:13
  Speaker 5: takes a weird sidebar so I don't mean it okay
• 58:16
  Speaker 5: I was thinking about this earlier in terms of Lucas
• 58:18
  Speaker 5: having other people this was literally earlier today which was.
• 58:20
  Speaker 7: Lucas having other people direct Star Wars and I was
• 58:23
  Speaker 7: like I wonder if it literally came down to Lucas
• 58:24
  Speaker 7: being like I don't want to have to be there
• 58:26
  Speaker 7: to set up every fucking shot I mean like I
• 58:29
  Speaker 7: could just hire someone to set up the actual shots
• 58:31
  Speaker 7: and like talk to the actors and And meanwhile, I
• 58:33
  Speaker 7: can just be there to do, like, all the big
• 58:35
  Speaker 7: picture things.
• 58:36
  Speaker 4: Yeah.
• 58:36
  Speaker 5: And he's like, I bet that would just make me happier.
• 58:38
  Speaker 5: And I could do, like, more things.
• 58:39
  Speaker 4: Uh-huh.
• 58:40
  Speaker 5: And I wonder if at a certain point he decided that.
• 58:42
  Speaker 6: That's kind of.
• 58:43
  Speaker 5: And then I also.
• 58:43
  Speaker 7: Wonder if, like, maybe more people should work in that way. Because, like,
• 58:47
  Speaker 7: that second Star Wars is so amazing.
• 58:49
  Speaker 4: Why did he... No, why did he direct all three...
• 58:53
  Speaker 4: Of the prequels.
• 58:55
  Speaker 6: I think it's because he had no respect anymore. I
• 58:57
  Speaker 6: think he wanted to win himself back as a filmmaker.
• 59:00
  Speaker 6: He didn't do it. But I think that's what it was.
• 59:03
  Speaker 1: He had not done a movie what was his involvement
• 59:05
  Speaker 1: was he just a writer on uh indiana jones yeah yeah.
• 59:10
  Speaker 7: I don't even think he was screened he was a
• 59:11
  Speaker 7: wingman he was story so he's like still he's executive
• 59:14
  Speaker 7: producer uh i had star.
• 59:15
  Speaker 1: Wars but he still hadn't really.
• 59:17
  Speaker 6: No he yeah that's all if you watch those first three.
• 59:21
  Speaker 4: Well he came up he called up spielberg and he
• 59:23
  Speaker 4: said i've had an idea for james bond but better
• 59:26
  Speaker 4: And then, um, he's kind of right. Yeah, yeah, exactly.
• 59:30
  Speaker 5: It was going to be, especially with Raiders.
• 59:31
  Speaker 6: He's really right.
• 59:32
  Speaker 4: Yeah. Again, he's again, as a filmmaker, he's a great film.
• 59:36
  Speaker 6: Yeah, he really is.
• 59:37
  Speaker 4: But he was, yeah, it was going to be Indiana Smith.
• 59:39
  Speaker 4: And I can't remember the name of the, it was
• 59:41
  Speaker 4: a comic book artist. The guy worked for Marvel. He,
• 59:44
  Speaker 4: they called him in and they explained to the characters.
• 59:47
  Speaker 4: And that guy came up with the hat and the bullwhip.
• 59:50
  Speaker 4: And they went, it's an old Charlton Heston.
• 59:52
  Speaker 6: I'm sorry to say that. I've watched that recently. It's like, it's,
• 59:56
  Speaker 6: phenomenal how much is stolen from that. He has the jacket.
• 59:59
  Speaker 6: He has the hat on.
• 1:00:01
  Speaker 1: The entire opening sequence of Temple of Doom is Casablanca.
• 1:00:06
  Speaker 7: It's like you think about someone still had to have
• 1:00:09
  Speaker 7: that in their brain as a child and pull that
• 1:00:12
  Speaker 7: up to be like, that is the perfect tone for
• 1:00:14
  Speaker 7: this movie and the perfect thing for this time period.
• 1:00:17
  Speaker 5: And the perfect thing to rip off.
• 1:00:19
  Speaker 4: That movie still holds up.
• 1:00:20
  Speaker 1: Before Tarantino was doing that.
• 1:00:21
  Speaker 6: Yeah, that's true.
• 1:00:23
  Speaker 1: Lucas was kind of biting on all the sweet history.
• 1:00:26
  Speaker 6: To me, that's what you do.
• 1:00:26
  Speaker 5: No, that's not who it is.
• 1:00:29
  Speaker 4: Yeah.
• 1:00:30
  Speaker 5: Kira Kurosawa. Kira Kurosawa does all the shit Lucas ripped off.
• 1:00:34
  Speaker 1: The Haunted Fortress.
• 1:00:35
  Speaker 5: The Last Samurai. I don't know the name of anything.
• 1:00:38
  Speaker 5: I'm really calling my own bluff here.
• 1:00:40
  Speaker 1: What is the Haunted Fortress?
• 1:00:42
  Speaker 6: The Hidden Fortress. The Hidden Fortress. It's Star Wars, right?
• 1:00:45
  Speaker 5: It's Star Wars, yes.
• 1:00:46
  Speaker 6: Well, but he's also ripping off Wizard of Oz. There's
• 1:00:49
  Speaker 6: very early stuff. Wizard of Oz.
• 1:00:50
  Speaker 5: And there's the whole Triumph.
• 1:00:51
  Speaker 6: Of the Will thing. Yeah.
• 1:00:54
  Speaker 1: Who's the philosopher who was a teacher to Joseph Campbell
• 1:00:58
  Speaker 1: or whatever?
• 1:00:59
  Speaker 6: He sort of jumped aboard that.
• 1:01:01
  Speaker 5: The hero's journey.
• 1:01:01
  Speaker 4: Yeah.
• 1:01:02
  Speaker 1: They were like, he was teaching when Lucas was listening
• 1:01:05
  Speaker 1: and Lucas was like, I'm going to instill some of
• 1:01:07
  Speaker 1: these ideas into my movie. Would you like to be
• 1:01:09
  Speaker 1: famous because of that?
• 1:01:10
  Speaker 4: Yeah.
• 1:01:10
  Speaker 7: It's one of those things like people like Lucas, they're
• 1:01:13
  Speaker 7: kind of, I don't know if this is at all true,
• 1:01:14
  Speaker 7: but I feel like in my mind, they're kind of
• 1:01:16
  Speaker 7: like the first generation of people who studied like film
• 1:01:19
  Speaker 7: as like a thing.
• 1:01:19
  Speaker 6: Oh, no, absolutely.
• 1:01:21
  Speaker 5: New Hollywood.
• 1:01:22
  Speaker 6: It was Coppola.
• 1:01:23
  Speaker 5: The whole New Hollywood thing.
• 1:01:24
  Speaker 4: Yeah.
• 1:01:24
  Speaker 7: So it's almost like Lucas is probably the first person
• 1:01:27
  Speaker 7: who had to grapple with the fact of like, Where
• 1:01:29
  Speaker 7: do I draw the line between creating my own things
• 1:01:32
  Speaker 7: and just taking things.
• 1:01:33
  Speaker 4: That aren't existing? Well, the one who's probably closest to him,
• 1:01:36
  Speaker 4: I think, in that time, is probably Brian De Palma. Oh.
• 1:01:42
  Speaker 6: He's definitely rooted in old films.
• 1:01:44
  Speaker 4: Yeah.
• 1:01:45
  Speaker 6: For sure.
• 1:01:46
  Speaker 4: Because they were all in American Dota, right? It was
• 1:01:48
  Speaker 4: him and Coppola. But I think they, like....
• 1:01:54
  Speaker 1: Scorsese. There's a handful. Kind of all over the place.
• 1:01:57
  Speaker 2: Yeah.
• 1:01:57
  Speaker 1: The Deer Hunter fella.
• 1:01:58
  Speaker 6: For sure. You can't list all of his other movies.
• 1:02:04
  Speaker 4: Yeah, I think Kubrick's interesting because I think Kubrick was
• 1:02:07
  Speaker 4: a guy who's like, I might be wrong on this.
• 1:02:11
  Speaker 4: I think what's interesting about Kubrick is that he stole
• 1:02:14
  Speaker 4: a bit from film, but he stole a lot more
• 1:02:16
  Speaker 4: from everywhere else. Kubrick's like a guy who's like as
• 1:02:19
  Speaker 4: much influenced by like, photography and opera and all this
• 1:02:23
  Speaker 4: kind of shit.
• 1:02:24
  Speaker 1: He started as a photographer.
• 1:02:25
  Speaker 4: Right, right, right.
• 1:02:28
  Speaker 1: I feel like Kubrick, if you know his life story,
• 1:02:31
  Speaker 1: he's always just been one of those dudes who knew
• 1:02:33
  Speaker 1: he was right. He just had a natural talent, and
• 1:02:36
  Speaker 1: somehow he got away with the confidence of like, no,
• 1:02:40
  Speaker 1: I'm just some amateur fucking photographer, but I happen to
• 1:02:43
  Speaker 1: take this amazing photograph that these people noticed and so
• 1:02:47
  Speaker 1: right away he got some praise and he.
• 1:02:49
  Speaker 4: Just sort of there's a movie of his that doesn't
• 1:02:51
  Speaker 4: well I mean I know it's well known but I
• 1:02:53
  Speaker 4: feel like a lot of people when they talk about
• 1:02:55
  Speaker 4: it don't talk about it much but Paths of Glory
• 1:02:57
  Speaker 4: I remember watching that for the first time and the
• 1:03:00
  Speaker 4: way that movie ends I feel like you can watch
• 1:03:03
  Speaker 4: Paths of Glory and the way it ends you can
• 1:03:06
  Speaker 4: feel American movies change because it ends in a very
• 1:03:16
  Speaker 4: specific image where it kind of ends on something which
• 1:03:21
  Speaker 4: seemingly has got nothing to do with the story. And
• 1:03:23
  Speaker 4: it kind of ends somewhat similar to the way Cabaret ends,
• 1:03:26
  Speaker 4: where it kind of says, you've been following these characters,
• 1:03:29
  Speaker 4: and now let's just go over here and watch this,
• 1:03:31
  Speaker 4: and this is the end of your movie. And again,
• 1:03:33
  Speaker 4: if we take someone like Kirk Douglas and you put
• 1:03:35
  Speaker 4: him in this incredibly cerebral position, Where he's playing a
• 1:03:39
  Speaker 4: different kind of action star. Where he fights with his
• 1:03:43
  Speaker 4: mind kind of thing. That movie's so great. It's so good.
• 1:03:47
  Speaker 6: That's right at that time, too. Because I feel like
• 1:03:50
  Speaker 6: you do watch Hollywood take this hard turn. And there's
• 1:03:54
  Speaker 6: a 10, 15 year span. What else is going on
• 1:03:57
  Speaker 6: around that? Because to me, I think that's right at
• 1:03:59
  Speaker 6: the end of the 60s.
• 1:04:02
  Speaker 4: Yeah, sort of mid-60s.
• 1:04:04
  Speaker 6: But you get to Easy Rider and you watch it
• 1:04:07
  Speaker 6: take that turn.
• 1:04:08
  Speaker 1: Did you guys feel like a lot of foreign influence
• 1:04:10
  Speaker 1: was coming in in the 60s?
• 1:04:12
  Speaker 4: Totally, yeah.
• 1:04:13
  Speaker 6: Probably only with those filmmakers, though. Middle America could care
• 1:04:17
  Speaker 6: less about that. But you're watching these guys take it
• 1:04:19
  Speaker 6: and then filter it into their work.
• 1:04:22
  Speaker 4: Those guys watched Truffaut and a lot of Europe was coming.
• 1:04:25
  Speaker 1: Bergman.
• 1:04:26
  Speaker 4: Yeah, yeah, yeah. Oh, you mean with Michael Keaton?
• 1:04:31
  Speaker 5: This just popped my brain out.
• 1:04:32
  Speaker 7: No one ever throws Woody Allen with any of those folks,
• 1:04:35
  Speaker 7: but I feel like in terms of the types of
• 1:04:36
  Speaker 7: influences they were pulling, they were totally pulling from the
• 1:04:40
  Speaker 7: same general areas, but they just kind of went two different,
• 1:04:43
  Speaker 7: I guess maybe it was an East Coast, West Coast thing.
• 1:04:45
  Speaker 4: I don't know.
• 1:04:46
  Speaker 6: Scorsese was East Coast.
• 1:04:47
  Speaker 5: Oh, yeah, you're right.
• 1:04:48
  Speaker 4: Scorsese.
• 1:04:48
  Speaker 5: Kubrick was a Brooklyn boy.
• 1:04:50
  Speaker 1: Woody Allen is, yeah.
• 1:04:51
  Speaker 6: It is weird that he never gets lumped in with them.
• 1:04:53
  Speaker 5: He never gets lumped in with those, but he was
• 1:04:54
  Speaker 5: also totally pulling from Bergman.
• 1:04:56
  Speaker 1: He jetted to England. Kubrick was global at a pretty.
• 1:05:00
  Speaker 5: Oh, yeah, Kubrick.
• 1:05:01
  Speaker 6: Kubrick was his own thing. He was sort of outside
• 1:05:04
  Speaker 6: the Hollywood system and the studios. He just sort of...
• 1:05:08
  Speaker 6: How he got his films made is kind of amazing.
• 1:05:10
  Speaker 6: That was the thing.
• 1:05:11
  Speaker 7: Growing up as a Kubrick fan when I was 14,
• 1:05:13
  Speaker 7: I remember it was like a... thing of like, oh man,
• 1:05:16
  Speaker 7: he's American. Like I always assumed he was British.
• 1:05:18
  Speaker 1: It's like when you realize jazz is from America.
• 1:05:21
  Speaker 5: All these documentaries take.
• 1:05:22
  Speaker 1: Place in America.
• 1:05:23
  Speaker 4: Jazz is American?
• 1:05:23
  Speaker 6: Yeah, his films do not feel.
• 1:05:25
  Speaker 5: Like American films.
• 1:05:26
  Speaker 2: They really don't.
• 1:05:26
  Speaker 5: They all feel like American.
• 1:05:28
  Speaker 6: Even the later ones. He never really felt like an
• 1:05:30
  Speaker 6: American filmmaker.
• 1:05:32
  Speaker 4: Which, yeah, and again, almost because Shining is all shot
• 1:05:38
  Speaker 4: in Britain, isn't it? Yeah.
• 1:05:40
  Speaker 7: You got Shining shot in Britain, then you have a um,
• 1:05:44
  Speaker 7: Clockwork Orange shot in Britain, Barry Lyndon shot in England, which.
• 1:05:48
  Speaker 4: I had never seen Barry Lyndon.
• 1:05:49
  Speaker 1: I've heard it's like, I just recently found it for
• 1:05:52
  Speaker 1: pretty cheap for a quarter.
• 1:05:53
  Speaker 4: Yeah.
• 1:05:55
  Speaker 6: Yeah.
• 1:05:55
  Speaker 5: That's one of those that's like, it's supposed to be
• 1:05:56
  Speaker 5: just beautiful.
• 1:05:57
  Speaker 4: It's the hot, that's the hot deep cut.
• 1:06:01
  Speaker 1: There's a, there's a really great documentary about Kubrick's life.
• 1:06:05
  Speaker 1: Do you know the name of this documentary? I think
• 1:06:07
  Speaker 1: it's called a life in film, Stanley Kubrick. Um, but
• 1:06:10
  Speaker 1: it gets into this, uh, this quirky story and I'm
• 1:06:14
  Speaker 1: probably going to tell it wrong, but he, Kubrick was
• 1:06:17
  Speaker 1: like smart enough to have gotten in deep enough with
• 1:06:19
  Speaker 1: this dude at this studio who was old, you know,
• 1:06:23
  Speaker 1: and he was kind of at the end of his career.
• 1:06:25
  Speaker 1: And he's like, he realized that the cameras they were using,
• 1:06:28
  Speaker 1: they had quit using this kind of camera and kind
• 1:06:31
  Speaker 1: of tucked all those back into this room and started
• 1:06:33
  Speaker 1: using this new kind. And so he calls him up
• 1:06:35
  Speaker 1: and he's like, what are you going to do with
• 1:06:36
  Speaker 1: those old cameras? And he's like, well, she, I don't know. Like,
• 1:06:40
  Speaker 1: I guess not much. And he's like, well, I'll give
• 1:06:41
  Speaker 1: you this much money for those things. And he took
• 1:06:43
  Speaker 1: those cameras and then he took these different lenses and
• 1:06:49
  Speaker 1: he had them retrofitted. He hired people to design something
• 1:06:53
  Speaker 1: that would put this lens on this camera. And it's
• 1:06:56
  Speaker 1: Spielberg explaining it. And he goes, so what he did
• 1:06:58
  Speaker 1: is he dropped the f-stop to way farther than is
• 1:07:02
  Speaker 1: kind of the standard. And he goes, he made the
• 1:07:04
  Speaker 1: entire film look like every frame is like a painting.
• 1:07:07
  Speaker 1: Because there's no depth at all.
• 1:07:09
  Speaker 4: Yep.
• 1:07:10
  Speaker 1: And he's like, only Stan and Kubrick would premeditate that
• 1:07:13
  Speaker 1: that far out and realize what he can do with
• 1:07:15
  Speaker 1: these cameras.
• 1:07:15
  Speaker 6: That's Orson Welles stuff.
• 1:07:17
  Speaker 1: And scam a deal.
• 1:07:18
  Speaker 4: Yeah.
• 1:07:18
  Speaker 6: That's like, I don't know how the technology doesn't exist,
• 1:07:22
  Speaker 6: but I'm going to create it so I can make
• 1:07:24
  Speaker 6: my movie.
• 1:07:24
  Speaker 1: Lucas did that too. Lucas did that multiple times.
• 1:07:26
  Speaker 4: Absolutely.
• 1:07:28
  Speaker 1: All you Jar Jar haters, you can just stop and
• 1:07:30
  Speaker 1: realize this man was not good enough.
• 1:07:33
  Speaker 7: It's those things that happen, and then from that point forward,
• 1:07:36
  Speaker 7: you can't really see how much of an influence it was.
• 1:07:39
  Speaker 7: Ken Burns invented that whole thing of taking a still
• 1:07:43
  Speaker 7: photo and zooming.
• 1:07:44
  Speaker 4: In on it and doing movement on it.
• 1:07:45
  Speaker 5: Ken Burns invented that. Like, he was the first person
• 1:07:48
  Speaker 5: to do that.
• 1:07:49
  Speaker 6: Yeah.
• 1:07:49
  Speaker 5: At least, it's possible.
• 1:07:50
  Speaker 1: People do it.
• 1:07:51
  Speaker 5: I don't know.
• 1:07:53
  Speaker 1: Well, Japanese animation was doing that.
• 1:07:55
  Speaker 4: And there's also some of that in Butch Cassidy and
• 1:07:58
  Speaker 4: the Sundance Kid. Oh, I didn't know that. Yeah, when
• 1:08:00
  Speaker 4: you start off real close, you come wide. In 2001,
• 1:08:04
  Speaker 4: Space Odyssey, you know the pan, when the pan is floating,
• 1:08:10
  Speaker 4: the guys are like that, you know, interstellar line or whatever. And,
• 1:08:14
  Speaker 4: you know, the woman, you're the, Space stewardess, I guess.
• 1:08:17
  Speaker 4: She walks in a circle. Space air flight attendant. And
• 1:08:23
  Speaker 4: then he plucks the pen out of the air and
• 1:08:26
  Speaker 4: then signs. Again, I love shit like this. They just
• 1:08:31
  Speaker 4: taped a pen to a pane of glass and just
• 1:08:36
  Speaker 4: made sure the glass was real clean. And it looks amazing.
• 1:08:42
  Speaker 4: You can never tell.
• 1:08:43
  Speaker 1: From what the documentary said, there had not yet, it
• 1:08:47
  Speaker 1: was before we made it into space and were able
• 1:08:49
  Speaker 1: to take photographs of what the Earth looked like from space.
• 1:08:52
  Speaker 1: So he had to invent this himself. yeah and he
• 1:08:55
  Speaker 1: just made a really good guess.
• 1:08:56
  Speaker 6: Yeah looking at it you're like he's pretty much right on.
• 1:08:59
  Speaker 1: It it's kind of crazy same thing with um because
• 1:09:01
  Speaker 1: he probably put science into it and hired someone the
• 1:09:04
  Speaker 1: uh the cockpit of the plane he did yeah they
• 1:09:06
  Speaker 1: uh it hadn't been like declassified at all and he
• 1:09:09
  Speaker 1: had just seen one picture from like a newsweek article yeah.
• 1:09:11
  Speaker 7: And then he just did that and then he talked
• 1:09:13
  Speaker 7: to other people and he recreated this thing that the u.s
• 1:09:15
  Speaker 7: government at the time was like they kind of did
• 1:09:18
  Speaker 7: a feeler of who leaked this shit to Kubrick. And
• 1:09:21
  Speaker 7: then Kubrick was like, no, I just guessed. And they
• 1:09:23
  Speaker 7: were like, you nailed it.
• 1:09:24
  Speaker 5: You 100% nailed it.
• 1:09:25
  Speaker 1: Well, that's why they say if you fake the moon landing,
• 1:09:29
  Speaker 1: if Wag the Dog was real and you're going to
• 1:09:30
  Speaker 1: pick a director to do it, it's Stanley Kubrick.
• 1:09:34
  Speaker 4: Because 2001 feels more authentic of a space movie than
• 1:09:38
  Speaker 4: a lot of space movies that came after.
• 1:09:41
  Speaker 1: And I saw that. I was in my 20s when
• 1:09:43
  Speaker 1: I saw that. And I grew up with Star Wars.
• 1:09:45
  Speaker 1: And there was shit that I was looking at. I
• 1:09:46
  Speaker 1: was like, That looks just like Star Wars, but this
• 1:09:48
  Speaker 1: is almost a decade before.
• 1:09:50
  Speaker 7: 2001 really captures that awe and we don't know what's
• 1:09:57
  Speaker 7: going on. That we all should feel this space.
• 1:10:00
  Speaker 1: Because it opens up with such a mental piece. You're
• 1:10:03
  Speaker 1: just like, what does this even mean?
• 1:10:05
  Speaker 6: And closes that way. It's bookended very nicely. Like, wait, what?
• 1:10:10
  Speaker 6: He liked doing that to people.
• 1:10:12
  Speaker 1: I watched it again recently. I actually screened it for
• 1:10:14
  Speaker 1: people at a gallery in my hometown in Pueblo, I
• 1:10:17
  Speaker 1: guess a couple years back. That was the last time
• 1:10:19
  Speaker 1: I watched it. But the psychedelic scene, I guess I
• 1:10:22
  Speaker 1: don't remember it being that long, but I was just like, oh, okay,
• 1:10:25
  Speaker 1: we could take a few of these colorful frames out
• 1:10:28
  Speaker 1: and get to the point. But I don't know, maybe
• 1:10:31
  Speaker 1: it makes me wonder, like, maybe he pushed it for
• 1:10:32
  Speaker 1: a reason. Maybe he wanted me to be uncomfortable or whatever.
• 1:10:36
  Speaker 5: You ever see that documentary about, it's about The Shining
• 1:10:39
  Speaker 5: and all the different interpretations.
• 1:10:41
  Speaker 4: Room 237.
• 1:10:42
  Speaker 7: It's one of those things, it's like you really watch
• 1:10:44
  Speaker 7: that and they talk about, there's this part where they
• 1:10:46
  Speaker 7: talk about you play 3D chess, but it's one of
• 1:10:48
  Speaker 7: those things they never quite attribute.
• 1:10:50
  Speaker 5: And they're just like, they just throw it in there.
• 1:10:52
  Speaker 7: And it's one of those things where you watch it
• 1:10:53
  Speaker 7: and you're like, If any director is going to make
• 1:10:56
  Speaker 7: a horror movie that actually is talking about this and
• 1:10:59
  Speaker 7: actually talking about this, it's Stanley Kubrick. That's what makes
• 1:11:04
  Speaker 7: that documentary so believable.
• 1:11:05
  Speaker 1: And there's definitely points where you're like, this is a
• 1:11:08
  Speaker 1: little bit Ancient Aliens. We're reaching a limit here.
• 1:11:11
  Speaker 4: But maybe we're not. There's some great takedowns in the movie,
• 1:11:16
  Speaker 4: in 237. There's even... I mean, if you want to
• 1:11:19
  Speaker 4: fall down this rabbit hole, don't. Online, people go to
• 1:11:26
  Speaker 4: incredible lengths.
• 1:11:27
  Speaker 1: They've written their thesis statements about it.
• 1:11:29
  Speaker 4: Yeah, explaining how they've tried to map the hotel. It's
• 1:11:36
  Speaker 4: great because it doesn't work. It doesn't make any sense.
• 1:11:39
  Speaker 6: Those people have way too much free time. Which many Legos?
• 1:11:43
  Speaker 6: I'm watching that and I'm like, all the other theories,
• 1:11:46
  Speaker 6: I'm like, whatever. Some of this they're kind of reaching.
• 1:11:49
  Speaker 6: The stuff that I'm watching, I'm like, that's real. is
• 1:11:52
  Speaker 6: just the stuff where he starts messing with the audience,
• 1:11:55
  Speaker 6: and in a weird subliminal way, like the office that
• 1:11:59
  Speaker 6: they go to, where it's like you walk through the building,
• 1:12:02
  Speaker 6: it's all like big open areas, and there's no way
• 1:12:05
  Speaker 6: there could be a window in this next room that
• 1:12:07
  Speaker 6: they immediately walk in, there's a window right behind the desk.
• 1:12:09
  Speaker 6: And you're like, within the context of the story, there's
• 1:12:12
  Speaker 6: nothing mentioned about it.
• 1:12:13
  Speaker 1: Was he cheating it, or was he thinking about us
• 1:12:15
  Speaker 1: thinking about that?
• 1:12:16
  Speaker 6: But I think he's messing with the audience, going somewhere
• 1:12:18
  Speaker 6: in the back of your mind, something's going wrong. that
• 1:12:21
  Speaker 6: room's not right. I feel like that's all real. That's
• 1:12:25
  Speaker 6: Kubrick being a weird genius that he was and being like,
• 1:12:28
  Speaker 6: I want to mess with them. I want to keep
• 1:12:30
  Speaker 6: them off.
• 1:12:31
  Speaker 7: Do you think somewhere the ghost of Stanley Kubrick is
• 1:12:34
  Speaker 7: just blushing and being like, these people really.
• 1:12:36
  Speaker 5: Thought I was good.
• 1:12:37
  Speaker 4: Wow.
• 1:12:38
  Speaker 6: They finally get me.
• 1:12:41
  Speaker 5: These people thought I was a genius.
• 1:12:44
  Speaker 4: Well, he thought he was a genius too. He definitely
• 1:12:48
  Speaker 4: thought he was a genius. I mean, apparently he was, yeah,
• 1:12:50
  Speaker 4: there's some great, you know, shots of Jack Nicholson just
• 1:12:53
  Speaker 4: fucking losing his mind because Stanley Kubrick is the Jack
• 1:12:58
  Speaker 4: Nicholson character fucking pounding away at this typewriter writing new
• 1:13:01
  Speaker 4: pages when everyone's like.
• 1:13:03
  Speaker 6: And then you hear the like almost mentally and kind
• 1:13:06
  Speaker 6: of physically amusing Shelley Duvall at some points. I'm like, he's,
• 1:13:10
  Speaker 6: I mean, he takes it a little too far.
• 1:13:12
  Speaker 5: But how smart is that? You ever see a thing
• 1:13:13
  Speaker 5: with his boxes?
• 1:13:14
  Speaker 6: His insane catalog.
• 1:13:15
  Speaker 5: How he would just catalog all these things. You send
• 1:13:18
  Speaker 5: people out to like, like a, there's like a documentary
• 1:13:21
  Speaker 5: on like Vimeo. I don't know if it was actually,
• 1:13:22
  Speaker 5: it was just called boxes.
• 1:13:23
  Speaker 6: Yeah.
• 1:13:24
  Speaker 7: I think it's called like Stanley Kubrick's boxes, but he
• 1:13:26
  Speaker 7: sent out people to take like, um, for eyes wide shut,
• 1:13:28
  Speaker 7: like some red door and he sent out and he
• 1:13:31
  Speaker 7: had people take like hundreds of photographs of all these
• 1:13:33
  Speaker 7: red doors all over like Europe and America and Canada.
• 1:13:35
  Speaker 5: And all these different places. And then he ended up
• 1:13:37
  Speaker 5: just building a red door.
• 1:13:39
  Speaker 4: Here's what he's really good at.
• 1:13:41
  Speaker 1: He's like Damon Alburn from the, the, from blur in
• 1:13:44
  Speaker 1: that sense. Like he's, He's so full of himself and
• 1:13:47
  Speaker 1: so smart that he'll record an entire album and go, no,
• 1:13:51
  Speaker 1: sorry guys. None of you get to be famous.
• 1:13:53
  Speaker 6: Sorry, this is junk.
• 1:13:54
  Speaker 3: Gone.
• 1:13:54
  Speaker 6: That's what's in boxes. There's all these movies that he
• 1:13:57
  Speaker 6: did years of research for that he then scrapped. And
• 1:14:00
  Speaker 6: they're just sitting in a box going, he never made
• 1:14:02
  Speaker 6: this one.
• 1:14:02
  Speaker 4: He's so good at doing a thing where he creates
• 1:14:05
  Speaker 4: a version of something that's so authentic. Kind of what
• 1:14:08
  Speaker 4: you were talking about, the airplane cockpit, where it feels
• 1:14:11
  Speaker 4: more real than the real thing. So if you... If
• 1:14:14
  Speaker 4: somehow the Department of Defense took you into their war
• 1:14:18
  Speaker 4: room and it didn't look like the war room in Dr. Strangelove,
• 1:14:22
  Speaker 4: you'd feel kind of let down.
• 1:14:23
  Speaker 5: You know what's crazy? Gentlemen, you can't fight in here.
• 1:14:26
  Speaker 5: This is the war room. You know what's crazy about that?
• 1:14:28
  Speaker 5: When Bill Clinton– there is no war room.
• 1:14:30
  Speaker 4: Right, right.
• 1:14:31
  Speaker 5: And when Bill Clinton– I think it was Bill Clinton.
• 1:14:33
  Speaker 7: When he was elected president, he was like– they were
• 1:14:35
  Speaker 7: showing him all the facilities and he was like, I'd
• 1:14:37
  Speaker 7: like to see the war room.
• 1:14:38
  Speaker 5: And they were like, that doesn't exist.
• 1:14:40
  Speaker 6: Here's the VHS.
• 1:14:42
  Speaker 1: No, the war room.
• 1:14:42
  Speaker 5: It's got all the maps. And they were like, no,
• 1:14:45
  Speaker 5: that doesn't exist. That's like a fictional thing.
• 1:14:46
  Speaker 4: I made it this far.
• 1:14:47
  Speaker 1: There's no war room.
• 1:14:48
  Speaker 6: Where do they keep the Whopper then?
• 1:14:51
  Speaker 5: So that was a black and white film.
• 1:14:52
  Speaker 1: And you knew it all along.
• 1:14:53
  Speaker 4: It was going to be black and white.
• 1:14:54
  Speaker 5: He made a green table. Because he's like, it should
• 1:14:55
  Speaker 5: be like a poker table.
• 1:14:56
  Speaker 4: That story is kind of who's actually asking for the
• 1:14:58
  Speaker 4: whore room. Oh, he found that. He found the whore room.
• 1:15:02
  Speaker 1: The whore room. I found the whore room.
• 1:15:03
  Speaker 4: That was easy. The toughest thing about Dr. Strangelove is
• 1:15:08
  Speaker 4: Peter Sellers is very, very funny in all three roles,
• 1:15:13
  Speaker 4: but he's still not as funny as George C. Scott.
• 1:15:15
  Speaker 5: He's got to suck.
• 1:15:16
  Speaker 6: You can't touch that.
• 1:15:18
  Speaker 4: It's got to suck. It's like he's playing his heart out.
• 1:15:22
  Speaker 1: Maybe that's why we got– that was a couple of
• 1:15:25
  Speaker 1: years before Inspector Clouseau, so maybe.
• 1:15:27
  Speaker 4: He was like, fuck George C.
• 1:15:29
  Speaker 3: Scott.
• 1:15:29
  Speaker 6: That's the thing with.
• 1:15:30
  Speaker 4: Sellers, though.
• 1:15:31
  Speaker 6: He was kind of brilliant, but he was always trying
• 1:15:34
  Speaker 6: so hard. George C. Scott was just George C.
• 1:15:37
  Speaker 4: Scott.
• 1:15:37
  Speaker 6: And if you gave him the right material, he was amazing.
• 1:15:41
  Speaker 4: Yeah, I wouldn't say we wouldn't get our hair must.
• 1:15:44
  Speaker 1: The way he chewed that gum.
• 1:15:45
  Speaker 4: The gum. Everything he does is so funny. He grabs
• 1:15:51
  Speaker 4: his hair. He's so funny. When he trips, apparently that
• 1:15:54
  Speaker 4: was an accident. When he trips and rolls out of it,
• 1:15:58
  Speaker 4: it's so funny. It's so crazy that you could do something.
• 1:16:05
  Speaker 1: That's just one of Stanley Kubrick's films. That's fucking... He
• 1:16:09
  Speaker 1: made more? You could talk all night about that movie.
• 1:16:15
  Speaker 4: Yeah.
• 1:16:15
  Speaker 6: But I think that's like you're watching people who know
• 1:16:18
  Speaker 6: how to make use. We found this with all these movies.
• 1:16:20
  Speaker 6: It's like Kubrick knowing how to make use of George C.
• 1:16:24
  Speaker 4: Scott.
• 1:16:25
  Speaker 6: Because you watch George C. Scott and stuff later and
• 1:16:27
  Speaker 6: he's kind of that guy in so many movies. but
• 1:16:30
  Speaker 6: it doesn't always work. Sometimes it's like he's just doing
• 1:16:33
  Speaker 6: his George C. Scott thing, and it doesn't click, and
• 1:16:35
  Speaker 6: it's not that.
• 1:16:36
  Speaker 1: Who else does that with movies now?
• 1:16:39
  Speaker 6: As far as what? Finding the right person?
• 1:16:41
  Speaker 1: Does Tarantino let Samuel L. Jackson be exactly who he's
• 1:16:48
  Speaker 1: supposed to be?
• 1:16:51
  Speaker 6: He just takes it up a couple notches, because Samuel L.
• 1:16:53
  Speaker 6: Jackson does that in all of his movies, but when
• 1:16:56
  Speaker 6: you watch him in Django Unchained, you're like, oh shit,
• 1:17:00
  Speaker 6: you're like.
• 1:17:01
  Speaker 4: This is real. I think the Coen brothers do that.
• 1:17:04
  Speaker 4: I think they're very good at going, they're going, let's
• 1:17:08
  Speaker 4: write something for John Goodman and then Walter from, you
• 1:17:13
  Speaker 4: know what I mean? I think they're like, your DNA
• 1:17:17
  Speaker 4: is going to be so hard and fast in this
• 1:17:21
  Speaker 4: in this role that people are going to have their
• 1:17:23
  Speaker 4: socks blown off. But I mean, it really.
• 1:17:25
  Speaker 5: You watch like, Oh brother, where are they?
• 1:17:27
  Speaker 7: And you're like, everyone in this movie is perfectly cast.
• 1:17:29
  Speaker 7: Like I can't imagine them writing. I can't imagine anyone
• 1:17:32
  Speaker 7: else being imagined in this role.
• 1:17:34
  Speaker 1: They're like, well, what if it's a, the lead is
• 1:17:36
  Speaker 1: George Clooney?
• 1:17:37
  Speaker 4: Like what if, right, right. Exactly.
• 1:17:39
  Speaker 2: Yeah.
• 1:17:39
  Speaker 3: Yeah.
• 1:17:40
  Speaker 1: Yeah. Yeah.
• 1:17:40
  Speaker 6: Yeah.
• 1:17:41
  Speaker 5: Right.
• 1:17:41
  Speaker 6: But you can see that again, taking that actor and going,
• 1:17:44
  Speaker 6: this is what you need to do. We know you
• 1:17:46
  Speaker 6: had the lead in King Ralph. But you know what?
• 1:17:49
  Speaker 6: We think you can do better than that. And they
• 1:17:51
  Speaker 6: just take it up a couple notches. And you're like,
• 1:17:53
  Speaker 6: these directors understand why this actor is so good and
• 1:17:57
  Speaker 6: how to use it.
• 1:17:58
  Speaker 1: You look like you want to be this, but we
• 1:18:01
  Speaker 1: want to put that encompassed in this guy.
• 1:18:04
  Speaker 6: It's like, that's fine.
• 1:18:05
  Speaker 1: How's that sound?
• 1:18:05
  Speaker 6: We can use some of this.
• 1:18:07
  Speaker 4: It's why Steve Buscemi is so good in The Big
• 1:18:12
  Speaker 4: Lebowski is that They were almost like, for a couple
• 1:18:15
  Speaker 4: of movies, like, well, I mean, you'll be the modern-day
• 1:18:19
  Speaker 4: Peter Lorre. You'll be the creep. But what if... Because, again,
• 1:18:23
  Speaker 4: Steve Buscemi has that sort of like just working Joe,
• 1:18:25
  Speaker 4: regular guy part.
• 1:18:27
  Speaker 1: He's not real big on the spotlight.
• 1:18:29
  Speaker 4: Yeah, so let's just do that guy. And then Donnie
• 1:18:33
  Speaker 4: almost steals the movie.
• 1:18:35
  Speaker 6: Especially because at that point he was known for being
• 1:18:38
  Speaker 6: this fast talking. And like, he'd come in, you look at,
• 1:18:40
  Speaker 6: you know, Mr. Pink, and like, that's all he does
• 1:18:43
  Speaker 6: is talk, talk, talk. So then you get him in
• 1:18:45
  Speaker 6: Big Lebowski and you're like, shut the fuck up.
• 1:18:48
  Speaker 1: That's every scene.
• 1:18:50
  Speaker 6: He just barely gets a line out before they tell
• 1:18:52
  Speaker 6: him to shut up. Again, using what you're known for
• 1:18:56
  Speaker 6: and then kind of tweaking it a little bit.
• 1:18:58
  Speaker 4: Real quick on Kubrick, do you think he set out
• 1:19:00
  Speaker 4: consciously to try to make... Who else has as many
• 1:19:06
  Speaker 4: movies in the top five of each genre as Kubrick.
• 1:19:11
  Speaker 1: Because Bilberg can get up there because I at one
• 1:19:20
  Speaker 1: point I was writing a review for a film that
• 1:19:21
  Speaker 1: I was gonna show and it was I wrote the
• 1:19:23
  Speaker 1: line blah blah blah blah Kubrick but would we even
• 1:19:27
  Speaker 1: have Kubrick without Hitchcock yeah and you know like ever
• 1:19:31
  Speaker 1: since I wrote that funny movie The Trouble with Harry.
• 1:19:37
  Speaker 4: But it's not going to be in the top five
• 1:19:39
  Speaker 4: in the way that.
• 1:19:40
  Speaker 5: Because Kubrick, it's like you've got Strangelove.
• 1:19:42
  Speaker 4: Strangelove.
• 1:19:43
  Speaker 6: Hilarious.
• 1:19:44
  Speaker 5: You've got Shining, like really creepy.
• 1:19:46
  Speaker 4: You've got Sci-Fi 2001.
• 1:19:48
  Speaker 5: Sci-Fi 2001. You've got Clockwork Orange. I don't even know
• 1:19:51
  Speaker 5: what you call it.
• 1:19:52
  Speaker 1: Sort of ahead of Tarantino in the sense that he
• 1:19:54
  Speaker 1: chose a genre and.
• 1:19:55
  Speaker 5: Knocked it out of the party.
• 1:19:57
  Speaker 1: That's the thing I find fascinating with The.
• 1:19:58
  Speaker 7: Shining is like an angle you kind of take with
• 1:20:01
  Speaker 7: it is like a Stanley Kubrick who's accomplished everything.
• 1:20:04
  Speaker 5: Barry Lyndon is like, I will make anything I want
• 1:20:07
  Speaker 5: come to be. And then he's like, I guess I'll
• 1:20:09
  Speaker 5: just take horror. I haven't done horror.
• 1:20:11
  Speaker 6: Let's knock out horror. That's part of that changing times.
• 1:20:16
  Speaker 6: I think you see... You see Kubrick break out of
• 1:20:19
  Speaker 6: that in that 60s, 70s era when the rules went
• 1:20:22
  Speaker 6: out the window. Hitchcock was older, and he was part
• 1:20:24
  Speaker 6: of that studio system, and he hated the studios, but
• 1:20:27
  Speaker 6: he was like, again, it was back to the work ethic.
• 1:20:29
  Speaker 6: This is my job. This is my genre. I am
• 1:20:32
  Speaker 6: the master of it, and they have named me that.
• 1:20:34
  Speaker 1: It's going to be more about how I do it
• 1:20:35
  Speaker 1: rather than me doing whatever I want to do.
• 1:20:37
  Speaker 4: I will say his sort of crossover period, the sort
• 1:20:44
  Speaker 4: of Gaumont into Hollywood- The 39 Steps and The Lady Vanishes.
• 1:20:49
  Speaker 4: Those pure Hitchcock. I'm going to entertain your fucking dick off.
• 1:20:55
  Speaker 4: Those are... I love Rebecca. Rebecca, yeah, all of those.
• 1:20:58
  Speaker 6: And he hated Rebecca because he fought with Selznick the
• 1:21:01
  Speaker 6: whole time.
• 1:21:02
  Speaker 4: But he was like, I'm going to do, like, you know,
• 1:21:06
  Speaker 4: Vertigo and stuff. Where he started kind of believing his
• 1:21:10
  Speaker 4: own press. I'm tapping into Deep Psych. Those are all
• 1:21:13
  Speaker 4: great movies. But when Hitchcock was in pure... you're going
• 1:21:18
  Speaker 4: to have a fucking great time for 90 minutes. It
• 1:21:21
  Speaker 4: was that period right when he came over from England.
• 1:21:23
  Speaker 6: And just started getting back into America.
• 1:21:25
  Speaker 1: It's like the Beatles moved from England to America. He
• 1:21:28
  Speaker 1: was like, wow, we came here for a reason.
• 1:21:30
  Speaker 5: I can never remember which way he went.
• 1:21:32
  Speaker 6: He made tons of movies in England, most of them silent,
• 1:21:36
  Speaker 6: but he still was kind of revered as a great
• 1:21:38
  Speaker 6: director there. But when he came here, He took it
• 1:21:41
  Speaker 6: up a notch, and then studios gave him money, and
• 1:21:43
  Speaker 6: they were like, go ahead and make your thing.
• 1:21:45
  Speaker 1: He became his own genre. He started making his.
• 1:21:47
  Speaker 6: He still is.
• 1:21:48
  Speaker 4: He was making movies in Britain under, with a, Gaumont
• 1:21:53
  Speaker 4: was the name of his production company, and what he
• 1:21:55
  Speaker 4: was doing, he was making British movies that were making money,
• 1:21:58
  Speaker 4: like a lot of money, which was unheard of, and
• 1:22:01
  Speaker 4: the ones, like Foreign Correspondent, 39 Steps, Lady Vanishes, you
• 1:22:06
  Speaker 4: all watch those. Those are just, A fun fucking time
• 1:22:10
  Speaker 4: at the movies. They're just really fun. So then what
• 1:22:13
  Speaker 4: was weird is, I think it was Selznick, you know, goes, oh,
• 1:22:17
  Speaker 4: let's get this guy over.
• 1:22:18
  Speaker 6: He lured him over.
• 1:22:19
  Speaker 4: He goes, let's get him over and let's give him this,
• 1:22:21
  Speaker 4: give him something that can't fail, which was the DeMario novel, Rebecca,
• 1:22:25
  Speaker 4: which was, you know, it's basically, basically filming, not that
• 1:22:30
  Speaker 4: it's as bad as this, but you're basically filming, you know,
• 1:22:32
  Speaker 4: Fifty Shades of Grey. Because it's already that big.
• 1:22:35
  Speaker 6: It can't lose.
• 1:22:35
  Speaker 5: It's huge.
• 1:22:36
  Speaker 6: It can't lose. Everybody loves this.
• 1:22:39
  Speaker 4: And so he was like, Hitchcock came out, Hitchcock demanded
• 1:22:43
  Speaker 4: all of the money. And Selznick was like, well, we're
• 1:22:47
  Speaker 4: taking a chance on you. He was like, no, I'm
• 1:22:50
  Speaker 4: fucking Alfred Hitchcock. I'm making money in Britain. No one
• 1:22:54
  Speaker 4: is making money. And he also, yeah, as you say,
• 1:22:56
  Speaker 4: he hated the thing. And Selznick was really annoyed.
• 1:23:01
  Speaker 1: Have you guys seen the biopic? I haven't seen it,
• 1:23:03
  Speaker 1: but Apparently, he's a fucking can of worms.
• 1:23:06
  Speaker 4: Oh, yeah, yeah, totally.
• 1:23:08
  Speaker 6: Yeah, he was hard to deal with, but again, to me,
• 1:23:12
  Speaker 6: he didn't cross the line of actually, because Kubrick gets
• 1:23:16
  Speaker 6: kind of iffy there, but he was kind of a
• 1:23:18
  Speaker 6: dick to his actors, and he said that. He is like,
• 1:23:22
  Speaker 6: actors are just cattle. Actors are what I bring in
• 1:23:25
  Speaker 6: to make my movie. I've already written the movie. Actually,
• 1:23:28
  Speaker 6: I've already shot the movie in my head. I know
• 1:23:30
  Speaker 6: exactly what I'm doing. All you have to do is
• 1:23:32
  Speaker 6: stand there and say my line.
• 1:23:33
  Speaker 4: Someone asked him about that once. He said, did you
• 1:23:35
  Speaker 4: say actors were cattle? He said, no, I did not
• 1:23:36
  Speaker 4: say that actors were cattle. I said they should be
• 1:23:38
  Speaker 4: treated like cattle.
• 1:23:39
  Speaker 6: Exactly. So, I mean, he had no problem being a dick.
• 1:23:43
  Speaker 1: Talk about toilet humor, you know, before Kevin Smith at all. Like,
• 1:23:47
  Speaker 1: if you watch his little, when he started to, like,
• 1:23:49
  Speaker 1: He was definitely popular enough in America to host his
• 1:23:52
  Speaker 1: own whatever shows. And the beginning is really just him
• 1:23:55
  Speaker 1: trying out his trashy humor. It's pretty much across anything
• 1:24:00
  Speaker 1: he put out.
• 1:24:00
  Speaker 5: Like the Afro-Hitchcock theater or whatever.
• 1:24:02
  Speaker 4: The silhouette thing. Toilet humor. Psycho is the first toilet
• 1:24:08
  Speaker 4: in an American film. Oh yeah, Psycho is the first.
• 1:24:10
  Speaker 6: They couldn't show it before then.
• 1:24:13
  Speaker 3: It's very weird.
• 1:24:14
  Speaker 1: Well, I mean, Psycho is the one. I'd give it
• 1:24:18
  Speaker 1: another checkmark.
• 1:24:18
  Speaker 5: First and last. Only toilet ever been shown.
• 1:24:25
  Speaker 6: Mr. Mom suffered.
• 1:24:27
  Speaker 1: Do you know how hard it was for them to
• 1:24:29
  Speaker 1: do Mr. Mom without a toilet?
• 1:24:31
  Speaker 4: I had actually never seen Psycho up until a few
• 1:24:35
  Speaker 4: years ago. I've never seen it. It's one of those
• 1:24:39
  Speaker 4: great movies. There's very few great movies where you kind
• 1:24:42
  Speaker 4: of go you'll go and you think you know it
• 1:24:44
  Speaker 4: because it's so in the zeitgeist. I had the same
• 1:24:48
  Speaker 4: thing with The Godfather, actually, which I only saw within
• 1:24:51
  Speaker 4: the last 10 years. And try not to read anything
• 1:24:54
  Speaker 4: about it before. When you go and see it, it
• 1:24:56
  Speaker 4: will actually surprise you.
• 1:24:58
  Speaker 1: It actually doesn't matter what you do before you watch Psycho.
• 1:25:01
  Speaker 1: When you watch Psycho, you'll know that you watched Psycho.
• 1:25:03
  Speaker 6: It still works and it still surprises you. It is
• 1:25:05
  Speaker 6: to me, it's sad that the main twist is It's
• 1:25:09
  Speaker 6: ruined for everybody. It's just pop culture at this point.
• 1:25:11
  Speaker 6: Everybody knows what's coming. But that first audience that went
• 1:25:16
  Speaker 6: in there, think how much their mind was blown.
• 1:25:18
  Speaker 4: Can you imagine not having the previous position? The way
• 1:25:23
  Speaker 4: it is set up, If you didn't know anything about Psycho,
• 1:25:25
  Speaker 4: you would have no idea what this movie is about.
• 1:25:28
  Speaker 4: The first 20 minutes of the movie, it's telling a
• 1:25:31
  Speaker 4: completely different story.
• 1:25:33
  Speaker 1: That's actually kind of full circle of what we were
• 1:25:34
  Speaker 1: talking about earlier, right? Sort of telling a story before
• 1:25:37
  Speaker 1: you even get into the story.
• 1:25:39
  Speaker 4: But see, again, Hitchcock was like, he knew the rules
• 1:25:43
  Speaker 4: so well that he was like, I'm going to fucking
• 1:25:46
  Speaker 4: break them. Well, he made half of the rules anyway.
• 1:25:49
  Speaker 6: It's like he wrote them to begin with and then went.
• 1:25:51
  Speaker 4: That's what I call a MacGuffin.
• 1:25:53
  Speaker 6: It's like, now we're going to change it.
• 1:25:55
  Speaker 4: Hitchcock is the greatest. I was thinking about this about
• 1:25:58
  Speaker 4: Bob Zemeckis, but Hitchcock is so good about objects. He's
• 1:26:04
  Speaker 4: very good at showing you something and going, remember this key.
• 1:26:09
  Speaker 4: It's going to be very important later on.
• 1:26:11
  Speaker 1: Like the top in... what's the, you have to have
• 1:26:14
  Speaker 1: a token in that, what's that movie?
• 1:26:15
  Speaker 5: Inception?
• 1:26:16
  Speaker 4: Inception, yeah, yeah, yeah. Yeah, yeah, yeah. But there's, in Notorious,
• 1:26:20
  Speaker 4: there's a key that they need, you know, there's a
• 1:26:24
  Speaker 4: sort of a spy espionage movie and there's a key
• 1:26:26
  Speaker 4: that they need.
• 1:26:27
  Speaker 5: I thought you were talking about the Biggie biopic.
• 1:26:29
  Speaker 6: Yeah, yeah, yeah.
• 1:26:29
  Speaker 4: There's one in there too.
• 1:26:31
  Speaker 6: Hitchcock was also in Notorious.
• 1:26:32
  Speaker 5: Particular microphone.
• 1:26:33
  Speaker 4: So there's a, there's a, there's a scene at a
• 1:26:36
  Speaker 4: ball and Ingrid Bergman is in the ball and he
• 1:26:40
  Speaker 4: starts the camera on the balcony and the camera comes
• 1:26:43
  Speaker 4: up And, like, falls down. And then you just see
• 1:26:46
  Speaker 4: her with a key in the back of her head.
• 1:26:49
  Speaker 4: There's no fucking dialogue. And you're just like, and then
• 1:26:52
  Speaker 4: you're like, okay, so I just need to follow this key.
• 1:26:54
  Speaker 4: You know what I mean? He's brilliant. He's the master
• 1:26:58
  Speaker 4: of making you care about things.
• 1:27:00
  Speaker 6: Well, and he was just doing, like, again, inventing the shots. Like,
• 1:27:03
  Speaker 6: watching those really early movies of him where he, like,
• 1:27:07
  Speaker 6: zooms in. Is it Lady Vanishes? Then he comes in
• 1:27:10
  Speaker 6: on that hotel and it's all a miniature. He built
• 1:27:14
  Speaker 6: that and nobody was doing that kind of stuff then,
• 1:27:16
  Speaker 6: but he zooms in and then it cuts into a
• 1:27:19
  Speaker 6: real scene of a real room. Nobody did that stuff.
• 1:27:22
  Speaker 4: All that early, the Lady Vanishes, he does it a lot.
• 1:27:26
  Speaker 4: There's a lot of that in 39 Steps. That's all
• 1:27:30
  Speaker 4: that Wes Anderson's referencing in Budapest.
• 1:27:34
  Speaker 1: It's all that.
• 1:27:36
  Speaker 6: Speaking of another one who's taking pieces from other people's
• 1:27:38
  Speaker 6: stuff and then recreating it in his own weird version
• 1:27:42
  Speaker 6: of it that is sort of all his own.
• 1:27:43
  Speaker 1: I'll tell you what, he can do that only once
• 1:27:45
  Speaker 1: because I love Wes Anderson.
• 1:27:46
  Speaker 4: That Budapest movie.
• 1:27:50
  Speaker 6: I think he's getting better and better. I think that
• 1:27:52
  Speaker 6: one's kind of the best thing he's done.
• 1:27:54
  Speaker 4: That's almost where he's gone the other way. He started
• 1:27:57
  Speaker 4: off in the Hitchcock thing of like, I'm a genius
• 1:27:59
  Speaker 4: and I know all these things about film. I'm going
• 1:28:01
  Speaker 4: to put them all in now. And now with Budapest,
• 1:28:03
  Speaker 4: I'd almost say like the Fantastic Mr. Fox, he's like,
• 1:28:06
  Speaker 4: What happens if I just try to fucking tell a yarn?
• 1:28:09
  Speaker 4: You know what I mean? Like, what does that look like?
• 1:28:11
  Speaker 4: And I can still do all my stuff.
• 1:28:13
  Speaker 5: I thought Fantastic.
• 1:28:14
  Speaker 1: Yeah, yeah, yeah.
• 1:28:16
  Speaker 5: I love all his movies.
• 1:28:17
  Speaker 6: Because by now, people just want to see his sequence.
• 1:28:18
  Speaker 1: You know what I mean? They want to see a
• 1:28:19
  Speaker 1: little bit of animation. They want it to feel like
• 1:28:23
  Speaker 1: a 90s music video.
• 1:28:25
  Speaker 4: You know? But the plot, the fundamental plot of Budapest
• 1:28:29
  Speaker 4: is just great. And it's so much fun.
• 1:28:31
  Speaker 6: And I feel like he doesn't get caught up so much.
• 1:28:33
  Speaker 6: Because in some of those other ones in the middle there,
• 1:28:36
  Speaker 6: he gets so caught up in his own little quirky
• 1:28:38
  Speaker 6: for the sake of quirky and like, characters doing things
• 1:28:42
  Speaker 6: just because it's a Wes Anderson movie. And I feel
• 1:28:44
  Speaker 6: like none of that, like.
• 1:28:45
  Speaker 1: Give me an example.
• 1:28:46
  Speaker 6: There's all of them. Like they all, like I got
• 1:28:49
  Speaker 6: in the middle run there where I was like, I,
• 1:28:52
  Speaker 6: You're telling a good story, but I'm not connecting with
• 1:28:54
  Speaker 6: these characters because they're so quirky. And by the time
• 1:28:57
  Speaker 6: you get to Budapest Hotel, I'm like, I care about
• 1:29:00
  Speaker 6: these people again. I really care about these main characters.
• 1:29:03
  Speaker 1: I cared about Zissou.
• 1:29:06
  Speaker 6: I felt like that was a hard one because hardly
• 1:29:08
  Speaker 6: anybody liked that.
• 1:29:09
  Speaker 1: I'm in the beginning where I like all of his movies.
• 1:29:12
  Speaker 1: Tenenbaums and Rushmore was all the splinter characters.
• 1:29:15
  Speaker 5: I watched Rushmore as a 14-year-old. I got it from
• 1:29:18
  Speaker 5: a VHS from the library. I watched it. I got
• 1:29:22
  Speaker 5: it at like 3 p.m. coming home from school from
• 1:29:24
  Speaker 5: the public library. I watched it that afternoon, and then
• 1:29:27
  Speaker 5: I watched it that night before I went to bed,
• 1:29:28
  Speaker 5: and then I came home from school the next day,
• 1:29:30
  Speaker 5: watched it, and then returned it that afternoon. I watched
• 1:29:32
  Speaker 5: it three times in 24 hours.
• 1:29:34
  Speaker 4: So I think there's almost a leap between the Moonrise
• 1:29:37
  Speaker 4: Kingdom and Budapest.
• 1:29:38
  Speaker 5: I forgot about Moonrise Kingdom.
• 1:29:39
  Speaker 4: Because Moonrise Kingdom is like, do you see how I've
• 1:29:41
  Speaker 4: done this sweeping dolly thing and all the rest of it?
• 1:29:44
  Speaker 4: And it's kind of like, again, you're like, oh, that's nice,
• 1:29:46
  Speaker 4: but I don't know what the story's about yet. But with,
• 1:29:50
  Speaker 4: I remember watching Budapest and I was so into the story.
• 1:29:53
  Speaker 4: I remember like two-thirds of the way into the movie,
• 1:29:55
  Speaker 4: I realized that he was using the ratio when he
• 1:30:00
  Speaker 4: was flipping back between times. He was using the ratio.
• 1:30:03
  Speaker 4: So like the modern part of the story was in
• 1:30:06
  Speaker 4: 70 mil. The old part of the story was, yeah, three, four.
• 1:30:10
  Speaker 4: Like he was using all three of them. And then
• 1:30:12
  Speaker 4: I hadn't noticed it. And then when I did notice,
• 1:30:14
  Speaker 4: I was like, motherfucker. Like that's cool, but it doesn't matter.
• 1:30:17
  Speaker 4: Because the story, like, that's a cool, nice thing.
• 1:30:20
  Speaker 6: Because that was my thing with Moonrise Kingdom. I was like,
• 1:30:22
  Speaker 6: I like it all. And I was really kind of
• 1:30:25
  Speaker 6: drawn to the kids. The kids are pretty entertaining. But
• 1:30:27
  Speaker 6: I'm like, all the adult characters, I'm like, they just
• 1:30:29
  Speaker 6: seem like a caricature, really. And they're funny.
• 1:30:31
  Speaker 1: Do you think he did that on purpose, though? To
• 1:30:33
  Speaker 1: make you focus on the main characters?
• 1:30:35
  Speaker 6: Maybe. But I feel like there's so much of his
• 1:30:37
  Speaker 6: other ones that are like that.
• 1:30:39
  Speaker 5: In my memory, I think I've only seen it once.
• 1:30:40
  Speaker 5: I only saw it the first time I saw it.
• 1:30:41
  Speaker 5: I think I just saw it that one time.
• 1:30:42
  Speaker 7: And I think it was like, I feel like it
• 1:30:44
  Speaker 7: was just so much of the motions. Whereas Budapest, he
• 1:30:46
  Speaker 7: was like, I'm going to make a kick-ass movie. I'm
• 1:30:48
  Speaker 7: going to use all of my skills and my classic
• 1:30:52
  Speaker 7: Wes Anderson-ness to make an awesome movie.
• 1:30:54
  Speaker 4: Did he just throw my cat out the.
• 1:30:58
  Speaker 6: Window?
• 1:30:58
  Speaker 1: I mean, Pat Finney, man, he just nails it. I
• 1:31:02
  Speaker 1: just want to watch another movie all about that guy.
• 1:31:05
  Speaker 4: What's so great about Budapest, too, is that it's the
• 1:31:09
  Speaker 4: bit where he gets his fingers taken off.
• 1:31:15
  Speaker 2: Yeah.
• 1:31:15
  Speaker 4: It's not really that gory, but I've watched it with
• 1:31:18
  Speaker 4: multiple people, and if they have never seen it before
• 1:31:20
  Speaker 4: the first time, it freaks them the fuck out, because
• 1:31:24
  Speaker 4: it's so unexpected.
• 1:31:25
  Speaker 6: It's all delivery.
• 1:31:25
  Speaker 7: And he builds that, like, he builds his own tone,
• 1:31:28
  Speaker 7: and then within his own tone, that is ridiculous.
• 1:31:31
  Speaker 6: Yeah, yeah, yeah.
• 1:31:31
  Speaker 7: It's like, the style we're used to is so non-violent,
• 1:31:36
  Speaker 7: that the even.
• 1:31:37
  Speaker 5: Suggestion of that is crazy.
• 1:31:40
  Speaker 1: And then he just moves right past it.
• 1:31:41
  Speaker 4: Yeah, yeah, yeah. Yeah.
• 1:31:44
  Speaker 6: I've still got more story to tell.
• 1:31:44
  Speaker 1: Why are you so worried about it?
• 1:31:46
  Speaker 2: Yeah.
• 1:31:46
  Speaker 5: It's like a weird children's book that you're flipping through
• 1:31:48
  Speaker 5: at inappropriate speeds.
• 1:31:51
  Speaker 4: Did anyone notice the Clooney cameo the first time they
• 1:31:54
  Speaker 4: saw it? I don't know. I don't even know that
• 1:31:55
  Speaker 4: was a thing.
• 1:31:56
  Speaker 6: He's one of the, because they keep cutting all those
• 1:31:58
  Speaker 6: different guys.
• 1:31:59
  Speaker 4: No, it's ridiculous how small his cameo is. The shootout
• 1:32:04
  Speaker 4: in the balcony, he comes out of the door and
• 1:32:06
  Speaker 4: he shoots and then that's it.
• 1:32:09
  Speaker 3: No.
• 1:32:10
  Speaker 4: It's literally a second.
• 1:32:11
  Speaker 6: But he likes being that, I think, because he's also,
• 1:32:14
  Speaker 6: I mean, he's the dog on South Park. Clooney did
• 1:32:18
  Speaker 6: the barking noise for the dog on South Park.
• 1:32:22
  Speaker 1: Because he's so smooth, people liked him, and because people
• 1:32:26
  Speaker 1: liked him, he just took advantage of being a normal
• 1:32:29
  Speaker 1: dude and just said, Yeah, I love those guys. I
• 1:32:33
  Speaker 1: like to watch that show. I want to be in that.
• 1:32:35
  Speaker 1: He's just a yes man.
• 1:32:36
  Speaker 4: It just seemed like he was like, they must have said,
• 1:32:39
  Speaker 4: would you want to do a thing? He was like,
• 1:32:40
  Speaker 4: how funny would it be if I was in for
• 1:32:42
  Speaker 4: two seconds? Yeah, yeah. I remember watching it at the time.
• 1:32:45
  Speaker 4: It goes, Jesus, that guy looked like George Clooney. And
• 1:32:47
  Speaker 4: it's literally, he comes out.
• 1:32:48
  Speaker 1: Of course, he judges himself immediately.
• 1:32:50
  Speaker 4: He comes out.
• 1:32:50
  Speaker 1: He's kind of known for that, though.
• 1:32:51
  Speaker 4: Does that, and then it's.
• 1:32:53
  Speaker 6: Yeah, that's what I think is kind of cool about him.
• 1:32:55
  Speaker 6: Because immediately he became the hot male actor. And they
• 1:32:58
  Speaker 6: were selling him as this big, smooth suave. And he's like, yeah,
• 1:33:01
  Speaker 6: I don't really want to be.
• 1:33:02
  Speaker 1: I mean, he is.
• 1:33:04
  Speaker 6: But I'm like, the fact that he was like, I
• 1:33:06
  Speaker 6: don't really care about that. He's like, I'll be completely
• 1:33:10
  Speaker 6: unseen in this. I'll be the most unlikable character here.
• 1:33:14
  Speaker 6: He just does what he wants to do.
• 1:33:16
  Speaker 1: He just wants to be part of it.
• 1:33:17
  Speaker 4: Which one?
• 1:33:17
  Speaker 6: Tomorrowland. Not yet. It looks.
• 1:33:20
  Speaker 4: Such a letdown.
• 1:33:21
  Speaker 3: Is it?
• 1:33:21
  Speaker 6: Yeah. See, that was my thing. I was just watching
• 1:33:23
  Speaker 6: that first trailer. I'm like, this could really work or
• 1:33:27
  Speaker 6: it could go way off the rails. It looked like
• 1:33:29
  Speaker 6: there was no middle ground there.
• 1:33:31
  Speaker 1: What's the genre?
• 1:33:33
  Speaker 4: It's a Brad Bird sci-fi movie.
• 1:33:35
  Speaker 6: Which that also gave me a little hope.
• 1:33:37
  Speaker 4: He's a good director. It's one of those, without giving
• 1:33:41
  Speaker 4: too much away, it doesn't spend anywhere near enough time
• 1:33:45
  Speaker 4: in Tomorrowland. It's a weird movie. Again, it's a movie
• 1:33:51
  Speaker 4: based off a Disney attraction.
• 1:33:54
  Speaker 6: But they found kind of a clever way to do it.
• 1:33:57
  Speaker 6: So again, I was like, this could be promising.
• 1:34:00
  Speaker 4: It's sort of the notion of this 1950s hugely optimistic
• 1:34:04
  Speaker 4: version of the future where we all have jetpacks and
• 1:34:07
  Speaker 4: we're all working together.
• 1:34:08
  Speaker 1: Like Epcot Center.
• 1:34:09
  Speaker 4: What's that?
• 1:34:10
  Speaker 1: Epcot Center.
• 1:34:12
  Speaker 6: It's kind of like that World's Fair thing. Like the future.
• 1:34:15
  Speaker 4: Yeah, exactly. Yeah, so it's all about that. And then
• 1:34:18
  Speaker 4: you never go there in the movie.
• 1:34:20
  Speaker 5: And it's like, what the fuck?
• 1:34:22
  Speaker 4: Why am I here?
• 1:34:23
  Speaker 6: That seemed like a missed opportunity. Tomorrowland.
• 1:34:28
  Speaker 1: And that's a new Clooney film.
• 1:34:29
  Speaker 6: Yeah, well, by now it's probably on DVD. It's been
• 1:34:33
  Speaker 6: three weeks.
• 1:34:34
  Speaker 1: It's definitely a red box.
• 1:34:36
  Speaker 4: It's a red box. Yeah. It's too bad.
• 1:34:39
  Speaker 6: Have you seen anything else recently? I did just see
• 1:34:42
  Speaker 6: Jurassic World.
• 1:34:44
  Speaker 4: That's all Lincoln.
• 1:34:44
  Speaker 6: How was that?
• 1:34:45
  Speaker 4: A few years ago.
• 1:34:47
  Speaker 6: That's as recent as you've gone, Lincoln.
• 1:34:48
  Speaker 3: Oh, yeah.
• 1:34:48
  Speaker 1: Dan was just talking about how long it's been for.
• 1:34:51
  Speaker 4: I've got a bunch of catching up to do this summer.
• 1:34:54
  Speaker 4: I think the last thing I saw in the theaters
• 1:34:56
  Speaker 4: was Mad Max Fury Road.
• 1:34:59
  Speaker 6: Which kind of held up to the hype.
• 1:35:01
  Speaker 4: Yeah, it was a lot of fun.
• 1:35:03
  Speaker 6: And that was my thing. I think it got so
• 1:35:05
  Speaker 6: much hype in the beginning that I saw it that
• 1:35:07
  Speaker 6: first time and went, okay. Like it was good, but
• 1:35:10
  Speaker 6: it was like, it's almost sold to be more than
• 1:35:12
  Speaker 6: it is. And then later after I was done, I
• 1:35:14
  Speaker 6: thought about it. I'm like, well, it's just an awesome
• 1:35:16
  Speaker 6: action movie, but I'm.
• 1:35:17
  Speaker 4: Like, it's also, it's also, I mean, I suppose you
• 1:35:21
  Speaker 4: could say there's a bit of people might, but I
• 1:35:23
  Speaker 4: don't think that many people, I know lots of people
• 1:35:25
  Speaker 4: want to see it. They loved it, but they weren't
• 1:35:27
  Speaker 4: actually familiar with the other movies.
• 1:35:28
  Speaker 5: Yeah.
• 1:35:29
  Speaker 4: Mad Max Fury Road. The, um, the exposition is something
• 1:35:34
  Speaker 4: like a voiceover that goes, my, my world is, um,
• 1:35:38
  Speaker 4: pain and fire, whatever it is, and staying alive. That's
• 1:35:41
  Speaker 4: all you get. You're never told why there's been an apocalypse.
• 1:35:45
  Speaker 4: You're never told. Everything is done, like, diegetically. It's all
• 1:35:49
  Speaker 4: done with, you know, you kind of have to piece
• 1:35:51
  Speaker 4: it together for yourself.
• 1:35:52
  Speaker 6: You really don't get that in the other sequels, though. Like,
• 1:35:54
  Speaker 6: even Road Warrior, if you hadn't watched that, you're just
• 1:35:57
  Speaker 6: thrown in the middle of insanity for.
• 1:35:59
  Speaker 4: An hour and a half. But again, I think that's like, again,
• 1:36:02
  Speaker 4: it's kind of like Lucas got away with doing it
• 1:36:03
  Speaker 4: in Star Wars, but he did it wrong.
• 1:36:05
  Speaker 3: Yeah.
• 1:36:06
  Speaker 4: You know what I mean? Every other week, so many
• 1:36:08
  Speaker 4: other weaker sci-fi movies go, 40 years from now, there's
• 1:36:12
  Speaker 4: been a shortage of honey, or whatever the fuck it is.
• 1:36:15
  Speaker 4: You know what I mean?
• 1:36:16
  Speaker 6: Wait, write that down.
• 1:36:16
  Speaker 4: We need to make this movie. What about my tea?
• 1:36:19
  Speaker 6: We need the poo.
• 1:36:20
  Speaker 3: The movie.
• 1:36:21
  Speaker 4: Yeah. Yeah. All the Waterworld, they all do. If you're
• 1:36:27
  Speaker 4: telling a good story, I'll figure it out. I don't
• 1:36:30
  Speaker 4: need to know. Yeah.
• 1:36:31
  Speaker 6: Yeah. I've said that with a lot of them and
• 1:36:32
  Speaker 6: I keep bringing back the, you brought up superhero movies.
• 1:36:35
  Speaker 6: I'm like, that's my thing with like the beating the
• 1:36:37
  Speaker 6: origin story to death. I'm like, you don't have, like,
• 1:36:40
  Speaker 6: if you just give us a good story, we'll figure
• 1:36:43
  Speaker 6: it out. Or, or if you don't, you're just pandering
• 1:36:46
  Speaker 6: to stupid audiences. I'm like, just, Make them do a
• 1:36:49
  Speaker 6: little work for it and you'll get a better movie
• 1:36:52
  Speaker 6: and you'll bring in smarter audiences in the long run.
• 1:36:55
  Speaker 6: Studios don't want to hear that because it's not going
• 1:36:57
  Speaker 6: to make money.
• 1:36:57
  Speaker 1: But in the long run.
• 1:36:58
  Speaker 6: That's what the trim masters do.
• 1:36:59
  Speaker 1: They're like, oh, where can we trim the fat? And
• 1:37:01
  Speaker 1: then they go like on a cerebral level. They're like, oh, no,
• 1:37:04
  Speaker 1: we don't even have to explain that.
• 1:37:05
  Speaker 6: You don't see that with Bay.
• 1:37:06
  Speaker 1: Let's just trust people's imaginations.
• 1:37:08
  Speaker 6: They're two and a half hours long to drag it
• 1:37:11
  Speaker 6: out more and explain every stupid thing to the stupid
• 1:37:13
  Speaker 6: audience that they bring in.
• 1:37:14
  Speaker 1: Then we could spend more time on what decor.
• 1:37:17
  Speaker 4: It looks like. Yeah. Are you comic book guys?
• 1:37:22
  Speaker 1: Yeah, I would say so.
• 1:37:24
  Speaker 6: I watch more of the movies now.
• 1:37:25
  Speaker 4: Than the reading. More classically, yeah. I don't want to
• 1:37:29
  Speaker 4: say it because I don't want to get it wrong,
• 1:37:30
  Speaker 4: but there's a great run of... I'm not really a
• 1:37:33
  Speaker 4: huge superhero comic guy anymore, but there's a run of
• 1:37:36
  Speaker 4: Superman called All-Star Superman. And the first page of that is,
• 1:37:40
  Speaker 4: I think, five panels. And each panel just says two
• 1:37:43
  Speaker 4: or three words, and it's Superman's entire art. It just says,
• 1:37:46
  Speaker 4: a dying planet, last hope... a fleeing ship, and then
• 1:37:52
  Speaker 4: adoptive parents. It's four panels. If you don't know this,
• 1:38:00
  Speaker 4: you'll figure it out. It's fucking Superman. You know what
• 1:38:04
  Speaker 4: I mean?
• 1:38:05
  Speaker 1: Right, and it's like, dude, how old? From the 50s?
• 1:38:08
  Speaker 4: How do you not know Superman?
• 1:38:10
  Speaker 1: How is it that you picked up a Superman book
• 1:38:12
  Speaker 1: and you don't already know a lot.
• 1:38:13
  Speaker 4: Of his details?
• 1:38:14
  Speaker 6: They keep rebooting Spider-Man, and I'm like, Go watch the
• 1:38:17
  Speaker 6: animated show. The theme song tells you all of the
• 1:38:20
  Speaker 6: backstory you need to know.
• 1:38:21
  Speaker 4: You don't need the rest of this.
• 1:38:24
  Speaker 1: And in a much catchier way. that someone got paid
• 1:38:27
  Speaker 1: to write.
• 1:38:27
  Speaker 6: The jingle for. Use the Ramones cover. You're all good.
• 1:38:30
  Speaker 1: Maybe it's Oingo Boingo if you're lucky. So we just
• 1:38:35
  Speaker 1: got done showing cartoons for this because the art show
• 1:38:40
  Speaker 1: has been Saturday morning cartoons this month. I've been every
• 1:38:42
  Speaker 1: Saturday morning. I've been just watching a big box of
• 1:38:45
  Speaker 1: my old VHS collection. And the thing about being a
• 1:38:48
  Speaker 1: VHS collector is, for a long time now, you realize
• 1:38:51
  Speaker 1: that you are able to buy them much faster than
• 1:38:53
  Speaker 1: you're able to watch them. And, you know, they're so
• 1:38:57
  Speaker 1: cheap that I'm just looking for reasons to actually watch
• 1:39:01
  Speaker 1: some of these tapes. And so, a Saturday morning cartoon
• 1:39:06
  Speaker 1: regular marathon for a month was a good idea. And
• 1:39:09
  Speaker 1: at the end of it, which was last Saturday, I
• 1:39:11
  Speaker 1: came to the conclusion that I was like, man, the
• 1:39:14
  Speaker 1: 80s were fun and I remember them fondly, but the
• 1:39:18
  Speaker 1: things I remember the most about them are mostly just
• 1:39:21
  Speaker 1: like idiot shit, like sugar and bright colors. There's not
• 1:39:27
  Speaker 1: a lot of substance. This is Saturday morning. If you
• 1:39:29
  Speaker 1: go back and watch these cartoons, they're super entertaining. They're
• 1:39:33
  Speaker 1: really effective in that sense. But if you watch cartoons
• 1:39:36
  Speaker 1: that are made currently, they're not only going for multiple audiences,
• 1:39:40
  Speaker 1: they're going for children, which is their base demographic, but
• 1:39:43
  Speaker 1: they're also children. want to impress the parents who have
• 1:39:47
  Speaker 1: grown up on cartoons because parents have to watch cartoons
• 1:39:50
  Speaker 1: no matter what now that they have kids. So they're
• 1:39:51
  Speaker 1: going to pick the ones they're entertained by as well.
• 1:39:54
  Speaker 1: So it's two generations. And on top of that, you
• 1:39:59
  Speaker 1: learn Spanish or you still get really good morals instilled
• 1:40:05
  Speaker 1: instead of He-Man saying, don't do that. I'm the good guy.
• 1:40:08
  Speaker 4: Well, am I wrong?
• 1:40:09
  Speaker 2: No.
• 1:40:12
  Speaker 4: Strangely, they're less about selling toys now.
• 1:40:15
  Speaker 6: Oh, yeah, yeah.
• 1:40:15
  Speaker 1: There's way less marketing.
• 1:40:16
  Speaker 6: Well, it's because kids don't buy those toys anyway. The
• 1:40:19
  Speaker 6: only people that buy toys now are grown-ups like us
• 1:40:21
  Speaker 6: that are being super geeks and, like, leaving them in
• 1:40:25
  Speaker 6: the package.
• 1:40:25
  Speaker 1: Well, this was the 80s, though. It was a massive
• 1:40:28
  Speaker 1: influx of buy shit.
• 1:40:29
  Speaker 4: Right.
• 1:40:30
  Speaker 1: But that's what those toys were for.
• 1:40:32
  Speaker 6: It was for kids, you know, and you played with
• 1:40:34
  Speaker 6: those then.
• 1:40:35
  Speaker 5: Mommy, can I have an app?
• 1:40:37
  Speaker 2: Yeah.
• 1:40:38
  Speaker 6: That's true. That's where kids are. Because I was watching
• 1:40:40
  Speaker 6: that today. I'm watching kids watching videos on YouTube today.
• 1:40:44
  Speaker 6: And they're like six years old. And they're just like
• 1:40:47
  Speaker 6: entranced by this.
• 1:40:49
  Speaker 1: YouTube is about as much attention span as any of
• 1:40:53
  Speaker 1: us have left.
• 1:40:54
  Speaker 6: And I sat there watching because there's two kids. One
• 1:40:57
  Speaker 6: of them is like three and one of them is six.
• 1:40:59
  Speaker 6: And they're both watching separate little iPads. And they're both
• 1:41:02
  Speaker 6: watching their own weird little videos. And I'm sitting there
• 1:41:04
  Speaker 6: and I look across and I go... This generation, I'm like,
• 1:41:08
  Speaker 6: I want to see what becomes in 20 years.
• 1:41:11
  Speaker 1: Oh, no, you don't.
• 1:41:12
  Speaker 6: I kind of do, just out of morbid curiosity, because
• 1:41:15
  Speaker 6: I'm like, we're already messed up enough coming out of, like,
• 1:41:17
  Speaker 6: 80s and 90s and all of that.
• 1:41:18
  Speaker 1: Yeah, but none of us have the drive, because we
• 1:41:20
  Speaker 1: were pampered by our.
• 1:41:22
  Speaker 4: How long is it before, like, an 18-year-old goes into
• 1:41:26
  Speaker 4: an art gallery and just swipes right on the canvas
• 1:41:31
  Speaker 4: to sit on it?
• 1:41:32
  Speaker 2: Yeah.
• 1:41:33
  Speaker 6: I'm done with this one. God. Next artwork, please.
• 1:41:37
  Speaker 1: And none of it sells, right? Because who's going to
• 1:41:40
  Speaker 1: buy it? We don't have time to pay for shit
• 1:41:42
  Speaker 1: like that.
• 1:41:44
  Speaker 6: You can just download it.
• 1:41:45
  Speaker 4: Yeah.
• 1:41:46
  Speaker 6: You can steal it off the internet. That's also killing
• 1:41:48
  Speaker 6: our entertainment.
• 1:41:49
  Speaker 1: So I will say this. One of the videos that
• 1:41:50
  Speaker 1: I bought because it was She-Ra, and I don't have
• 1:41:53
  Speaker 1: any copies of She-Ra, which is, you know, she's He-Man's sister.
• 1:41:56
  Speaker 6: Oh, yeah.
• 1:41:57
  Speaker 1: And I was just psyched to find a VHS tape
• 1:42:00
  Speaker 1: of She-Ra, but I didn't realize it was until I
• 1:42:03
  Speaker 1: put it in and watched it, it was a golden
• 1:42:06
  Speaker 1: book release of She-Ra, which instead of being the cartoon,
• 1:42:10
  Speaker 1: I'm pretty sure this is a video made by the
• 1:42:14
  Speaker 1: same company that before they made the video, they made books,
• 1:42:18
  Speaker 1: like children's books based on the cartoon. And so because
• 1:42:22
  Speaker 1: they own the rights to the images that they had
• 1:42:25
  Speaker 1: already marketed and sold in these books, all they had
• 1:42:28
  Speaker 1: to do was pan across some of these images and
• 1:42:32
  Speaker 1: hire some voiceover actors.
• 1:42:33
  Speaker 4: Oh, that's crazy.
• 1:42:34
  Speaker 1: And now they're in the cartoon business as well. So
• 1:42:37
  Speaker 1: I'm watching this video going, I've seen the She-Ra movie,
• 1:42:40
  Speaker 1: and it's awesome, and I'm looking forward to when she
• 1:42:43
  Speaker 1: realizes He-Man's her brother. I'm looking for cartoons here. And
• 1:42:48
  Speaker 1: it was like, do you guys remember when they finally
• 1:42:52
  Speaker 1: put out the movie version of The Watchmen, and Zack
• 1:42:55
  Speaker 1: Snyder was like, listen, I understand everyone's going to be
• 1:42:58
  Speaker 1: worked up about this, my goal is really just to
• 1:43:02
  Speaker 1: keep it from being a complete piece of shit rather
• 1:43:04
  Speaker 1: than to actually try to make this a movie. And
• 1:43:06
  Speaker 1: I get that we're not going to be able to
• 1:43:08
  Speaker 1: do that.
• 1:43:08
  Speaker 6: Black freighter stuff.
• 1:43:09
  Speaker 4: Yeah.
• 1:43:10
  Speaker 1: But so then what they did was they, I have
• 1:43:13
  Speaker 1: a feeling that they realized that there's no way they
• 1:43:16
  Speaker 1: were going to make a live action impact that the,
• 1:43:19
  Speaker 1: that the comic book was. So as a sidebar, let's,
• 1:43:23
  Speaker 1: animate let's motion these already still images and that was
• 1:43:26
  Speaker 1: the last time I saw like an example of this
• 1:43:29
  Speaker 1: quote unquote animation now I'm watching it on She-Ra and
• 1:43:32
  Speaker 1: I was just like like I'm sitting here like trying
• 1:43:36
  Speaker 1: to figure out why a company would even make this
• 1:43:38
  Speaker 1: because it's cheap you know I.
• 1:43:40
  Speaker 6: Was like wow and they already own the material.
• 1:43:43
  Speaker 1: And then I was like what kind of patience does
• 1:43:44
  Speaker 1: it take to watch this as a child what if
• 1:43:47
  Speaker 1: if I was me and I had already seen a
• 1:43:49
  Speaker 1: fully animated She-Ra there's no way I'm going to put
• 1:43:51
  Speaker 1: up with this shit wow You know, but that's just me. Like,
• 1:43:56
  Speaker 1: this is still the 80s where it's like, just put
• 1:43:58
  Speaker 1: it in and set the kid in.
• 1:43:59
  Speaker 6: Front of the TV.
• 1:43:59
  Speaker 1: Bright colors, lots of movement. They're going to recognize the images,
• 1:44:03
  Speaker 1: and there are only three, so they're into it. And
• 1:44:05
  Speaker 1: now we could, you know, now we could call our
• 1:44:07
  Speaker 1: friends on the phone. That's very good. We were the
• 1:44:10
  Speaker 1: beginning of the generation raised by the tube.
• 1:44:14
  Speaker 6: We've spiraled all over the place in these conversations, which
• 1:44:16
  Speaker 6: is what I like. I like just getting people together.
• 1:44:19
  Speaker 6: Thanks for inviting me. Talking movies and where it all
• 1:44:22
  Speaker 6: goes to.
• 1:44:23
  Speaker 1: Just let it be what it is.
• 1:44:24
  Speaker 5: Yeah.
• 1:44:25
  Speaker 6: So thank you guys for sitting in. Adam, thank you
• 1:44:27
  Speaker 6: for joining us.
• 1:44:29
  Speaker 4: Thank you for having me.
• 1:44:30
  Speaker 1: This was fun.
• 1:44:30
  Speaker 4: Yeah, this was great.
• 1:44:31
  Speaker 6: If nothing else, tell people where to find you and
• 1:44:34
  Speaker 6: what all you've got coming up in the future.
• 1:44:36
  Speaker 4: ATPBURKE on Twitter. AdamBurkeComedy.com has all the details. I'll be around.
• 1:44:44
  Speaker 1: You got, like, tour dates and stuff?
• 1:44:46
  Speaker 4: Yeah, mostly in Chicago at the moment, but, yeah, I'll
• 1:44:49
  Speaker 4: be performing around. This is cool.
• 1:44:51
  Speaker 3: Definitely.
• 1:44:52
  Speaker 6: Thanks for sitting in, man. Thank you, guys.
• 1:44:55
  Speaker 1: Yeah, man, thanks. Come to Gallery K for, what is it?
• 1:44:58
  Speaker 1: What's the next show?
• 1:45:00
  Speaker 5: Wednesday, June 24th, Max Fine from Atlanta, Georgia.
• 1:45:05
  Speaker 1: Oh, too soon? Too soon.
• 1:45:07
  Speaker 6: Upcoming? Just come here in general. How about that?
• 1:45:09
  Speaker 1: Gallery K at Facebook. All the events are listed on
• 1:45:12
  Speaker 1: the Facebook page. Thanks for listening. Thanks for having us.
• 1:45:16
  Speaker 3: No problem.
• 1:45:17
  Speaker 6: Otherwise, that about does it. We will return next time.
• 1:45:19
  Speaker 6: Same geek read. Thanks for listening.
• 1:45:44
  Speaker 5: I was raised on television.
• 1:45:48
  Speaker 1: I had no supervision.
• 1:45:50
  Speaker 2: A delinquent kid, no matter what I did, I didn't.
• 1:45:53
  Speaker 1: Need no one's permission.
• 1:45:55
  Speaker 6: Now TV is our prison.
• 1:45:59
  Speaker 1: It helps us make decisions. We sit and stare with
• 1:46:04
  Speaker 1: dilated pupils.
• 1:46:06
  Speaker 4: While they teach us what they want us to know. Well,
• 1:46:12
  Speaker 4: Nobody wants to be.
• 1:46:17
  Speaker 1: Free Where did the people go? The child inside our
• 1:46:27
  Speaker 1: TV screens There's no one getting out of here.
• 1:46:46
  Speaker 2: People's misconceptions are changing the direction.
• 1:46:50
  Speaker 1: The evolution is my institution.
• 1:46:55
  Speaker 6: I'm losing my direction. We're sitting there, staying up all night.
• 1:47:01
  Speaker 1: Like the walking.
• 1:47:03
  Speaker 5: Dead coming back to life.
• 1:47:05
  Speaker 4: In a state of comatose, it looks like you have
• 1:47:08
  Speaker 4: seen a ghost.
• 1:47:09
  Speaker 6: In a cell block.
• 1:47:10
  Speaker 4: With remote control.
• 1:47:14
  Speaker 5: The one is a talk show host.
• 1:47:52
  Speaker 2: I was raised on television Raised on television Raised on
• 1:47:57
  Speaker 2: television Raised on television.
• 1:48:00
  Speaker 5: Where in the world are we?
• 1:48:02
  Speaker 1: Nobody wants to be free Where did the people Where
• 1:48:18
  Speaker 1: did the people go?
• 1:48:23
  Speaker 6: Tapped inside all TV screens.
• 1:48:26
  Speaker 1: There's no one getting out of here. Raised on television
• 1:48:58
  Speaker 1: Raised on television.
• 1:49:32
  Speaker 6: And they have no attention span for more than a
• 1:49:36
  Speaker 6: 12-minute video clip, if that long. At this point, it's
• 1:49:39
  Speaker 6: also like you're... What are the different apps they have?
• 1:49:45
  Speaker 3: Tinder.
• 1:49:47
  Speaker 6: Not for kids. Don't try that at home, kids.
• 1:49:49
  Speaker 3: This episode is a production of Movie Meltdown, produced and
• 1:49:52
  Speaker 3: edited by The Oddity Studios, with opening music performed by
• 1:49:55
  Speaker 3: The Empires. For more on how to sponsor or support
• 1:49:58
  Speaker 3: the show, email producer at moviemeltdown.com.
• 1:50:01
  Speaker 1: Talk hard!