Latest / Houselights: A Film Director Podcast / Spartacus (1960) - Stanley Kubrick | Houselights #123

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Spartacus (1960) - Stanley Kubrick | Houselights #123 · Houselights: A Film Director Podcast

0:03
Welcome to the nerd Party. Hello everybody at home, and welcome to Houselights
0:23
House of Kubrick. That's right. We're taking on the Master, Stanley Kubrick,
0:27
and we're focusing on his films from the nineteen sixties, and we are
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starting tonight with nineteen sixty itself with Spartacus, and for most of us,
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if not all of us, I think this is the first time we've seen
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it as a group and as individuals. Is that right? Yeah, this
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is definitely my first time seeing it. Absolutely. I don't know how that's
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possible that all of us who are huge film buffs, some of us went
0:56
to film school, and all of us are in the arts, and I
1:00
just don't understand how we could have passed up on this. And we're all,
1:03
you know, for for better or for worse, fans of Stanley Kubrick.
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I'm not like a Kubrick, you know, aficionado. I'm not a
1:12
diehard fan, but I like a lot of his work and so it's really
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crazy to me that all of us missed out on this one. But I'm
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really glad that we're going to be talking about it tonight, and something that
1:23
I'm also glad of is that you guys are going to go to the nerdputty
1:26
dot com and check out all of other shows. We got nerd Party content
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coming at you every single day of the week. We got Star Trek show,
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previous directors that we have encountered and analyzed and dissected. By going to the
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nerdputty dot com. You can also find us on Twitter and Facebook and Instagrams
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by searching the party. All Right, So I am your co host,
2:02
Tristan Riddel, and with me as always is John Mills and Darren Moser.
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So, John, I want to know from you. Let's get right down
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to it. Let's let's uh, let's hit this wicket. What were you?
2:17
Obviously we all know about the pseudo ending. We all know about the
2:22
I'm sparticus. I'm sparticus. You know, like it's so ingrained in our
2:24
culture that it's hard to know what did you know about this movie before you
2:30
watched it. What were you expecting when you watched it? I was expecting
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an overblown nineteen sixties era historical epic with a lot of extras and a basically
2:50
very sort of like old school you know, like you know, the old
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school sort of like Cleopatra Ben hur sort of vibe going on. You know,
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Ten Commandments, all that sort of stuff, where it's like it's all
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about the big, overblown production values that can be brought to you. It's
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shot and technical, you know, all that sort of stuff that they used
3:07
to do, where it's like when the whole idea of simply going to the
3:13
movies was the marketing experience was they were simply selling you on the idea that
3:16
you were going to see something that could not be seen elsewhere. That's what
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I was looking for. Knowing that it was directed by Kubrick, I can
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also say that I was extremely curious as to how that translates, because a
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big, sprawling historical epic sort of thing is not what I'm used to seeing
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from Stanley Kubrick. I'm used to seeing much more small, personal sorts of
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stories, things that are much more contained, much more along the Lines of
3:46
the Shining or even Doctor Strangelove. You know, it's it's a defined cast
3:51
of characters. Very I don't talk about that movie full Metal Full Metal Jacket,
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you know, that sort of thing, Like it's very focused, it's
4:00
very controlled, it's very contained. So it's very curious to see what we
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would see about Kubrick reflected in something on that massive a scale, because even
4:12
two thousand and one, two thousand and one is interstellar travel and it's still
4:16
basically two dudes floating around for a while in space. And it's like,
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you know, that's a very contained, linear sort of thing, and that
4:27
movie is actually still going on. It's never finished. It's it's it's if
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you started it on your DVD player, it's still running. Um. Actually
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very true because I consider two thousand and ten an underrated sequel, and so
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if you if you work those two together, two ten is a lot of
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fun. It is, isn't it? It really really is. It is
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like it's definitely completely totally different than two thousand and one. But I mean,
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I'm also a person who's read all four of the books, so same,
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same, and I think that the um what's really interesting is I'm not
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comparing artistic result. But twenty and ten in terms of that tonal difference you're
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talking about, it's sort of like Aliens versus alien where it's like these are
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technically in the same franchise and I have sort of to do the same thing,
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but it's very obviously two different approaches to the material sorts of But anyway,
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that's enough about twenty and ten. Yeah, you know, I mean,
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I was just curious to see what that looks like when Kubrick establishing himself
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is put in that massive a scale sort of thing. What is that?
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What comes out of that? Doctor sci Fi? Darren? What did you
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What did you know about Spartacas? What did you expect before you came into
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this. Honestly, it was probably just that, like you said, Tristan,
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the I am Spartacus. You know, everybody stands up and says it.
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It happened a lot earlier in the movie than I was expecting. I
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kind of expected it to be like the climax in the very end, and
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there was quite a bit of movie after that. But I don't think I
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even knew that he was a gladiator. I didn't know. I mean,
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it's been several years since Gladiator came out, and obviously when that movie did
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with Russell Crowe, and there were a lot of references and talk about Spartacus
6:12
because it's kind of the other big budget Gladiator type movie. But it's been
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so long since then. Yeah, I didn't know practically anything, although I
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did know that the running time for two thousand and one, A Space Odyssey,
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is less than Spartacus. So if you're going to make jabs about movies
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still playing, Tristan, uh, well, okay, Well, while you
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are technically right, which is the best kind of correct, how long does
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it feel? Exactly? I guess I hear how long does it feel?
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Spartacus doesn't feel anywhere near as long as two thousand and one, Like whenever
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you watch two thousand and one, you just feel like the life is being
6:53
sucked out of you. But Spartacus, there's there's a preview of the rating
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that Tristan will be bringing to our two thousand and one discussion in a few
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episodes four weeks. Yeah, way to tip your hand there, Tristan.
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I'm hoping I get a different experience upon this re one. Hey, listen,
7:12
Christopher Nolan loves the movie, and therefore you should too. But anyway,
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Yeah, I mean Spartacus is interesting too, because like we're talking about
7:19
the length and everything, and I think it's been released in three different lengths.
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There's like the original theatricals, then there was a rerelease that was like
7:26
twenty three minutes shorter, and then when they did the restoration in nineteen ninety
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one, they added those twenty three minutes back in and then added five more
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minutes. So the version we all saw was the complete extended version, as
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they would if they release it today. This would be extended version of Blue
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Ray only sort of thing. Okay, exactly, I'm just going to jump
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right into that. I'm gonna jump right into it since you brought it up.
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One thing, like, I'm so glad that, like I got to
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watch the four K version, you know, hdr fully fully complete extra edition,
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Bestavision for Days, Division for Days. You know, I got to
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see that edition, and it was beautiful. It was absolutely beautiful. It
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was It was a beautiful remaster. And one thing I really appreciated about the
8:15
remaster is that it had credits at the end for the remaster, like it
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said, like, oh, the nineteen ninety one part of the movie now
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if you think about it, Yeah, I really like that. I really
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think that we should we should do that more often, like the like these
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are the people that worked on the remaster, here you go, here you
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go, and then like the two and then it had like the four K
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you know, upgrade, like here are the people who worked on that.
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I want to know that stuff. I really appreciate that kind of thing.
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But anyway, the reason why I'm bringing it up is because it's so funny
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that we are further away from the anniversary edition in nineteen ninety one than the
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Anniversary Edition was from the theatrical release in nineteen sixty and that kind of math
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just blows my mind. But there was one scene. There was one scene
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in particular, and I this is I know, I'm getting right into it.
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I should have had a little bit of four play first. But there's
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there's a scene between um Crassis and played by Laurence Olivier and Tony Curtis's character
9:18
Anton, Thank you Anton, Ninas And in the in the bath where Laurence
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Olivia goes into the bath and Tony Curtis is there and like washing him and
9:28
everything like that. And as I'm watching it, I'm just like, oh,
9:33
wow, this this this is a one shot. This is this is
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they put the camera on the sticks and they're not cutting away, and I'm
9:41
like, oh, oh oh, this is gay, Like this is gay.
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And I was super surprised to see it from from a movie in the
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nineteen sixties. And then as I was watching, and as as I was
9:56
listening, I was like, man, Laurence Olivier sounds exactly like Anthony Hopkins.
10:01
It's so weird, Like this is really weird. He sounds he sounds
10:07
exactly like Hannibal. And and then as soon as there's a reason for interesting,
10:13
Yeah, as soon as the movie was done, I looked it up
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and that scene was not included in the original theatrical cut because it was so
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overtly homosexual. And they're like, like, listen to this. The Production
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Code Administration and the Legion of Decency both objected. Have you ever heard of
10:37
anything more? Just more? What's the word I'm looking for? Like,
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why do I believe that there's an organization nineteen sixty called the League of Decency,
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like the Legion the Legion of Decency, Like that is just you know
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that they were down with some evil stuff. But they objected it to it
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and cut it out, and in nineteen ninety one they wanted to put that
11:01
scene back in, but the audio was trash. He was gone. They
11:05
didn't have the audio, and so Tony Curtis was sixty six at the time.
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They're like, oh, Tony, you know, could you could you
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do this? And he does and they had just to pitch just a little
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bit so that he doesn't sound like a sixty six year old. He sounds
11:18
like, you know how he did in nineteen sixty and you know Olivia was
11:22
dead by then, or like, what are we going to do? And
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so they got Anthony Hopkins to do his best Olivia impression and that's how they
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used it. And I just thought it was so fascinating. That's really impressive.
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Like that's dedication to restoring a scene. It's like, because I feel
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like anybody else I shouldn't say, it's like in the restoration and remastering of
11:48
Next Gen, that's like having Brent Spiner do his best Patrick Stewart in a
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scene for some reason because he couldn't come to the mic. I mean quite
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that bad, but like that's yeah, that's a lot, No that that's
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pretty great, that's that's like, as you know, Brent Spiner does an
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amazing Patrick's through an impression. But I think you're I think you're spot on
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with that. It's it's it was so interesting because there I read an article
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about it where they're just like, oh, if you weren't looking for it,
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you would never know it was an Anthony Hopkins. I was like,
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no, no, we we knew it was Anthony Hopkins. But I mean
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anyway you knew because you mean we you know voices even more. But yeah,
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I guess I had looked it up and I knew that, but I
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in the moment, I wasn't paying attention enough. It wasn't jarring enough to
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pull me out and be like, wait, that's Anthony Hopkins. So you
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didn't even know it was a wonder Yeah, okay, that that that's interesting
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because like it to me, yeah, it's just it's it just it just
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struck out to me like like a sore thumb. But uh, it was
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interesting because it was cut because of you know, the Legion of decency.
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But at the same time, it doesn't really add anything to the plot.
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It really doesn't. Like you you could have cut it and you would have
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no no idea that it was gone. It's not on the Senate floor,
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it's not some speech by Spartacus. It's honestly even what why it's even in
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there except for having something that's kind of like pushing the limit, Like why
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else would you even have this scene? It's very much like gay Code in
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in nineteen sixty. Well, I mean, you know, the writer is
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um Dalton Trumbo, who was blacklisted during McCarthy era, and so I feel
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like this was very much like a an fu to the to the to the
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establishment done by Trumbo to put that scene in. But I thought at Trumbo
13:54
again, looking in the history of the film, I think that Kirk Douglas
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public speaking out that Tremble was the author or was the screen writer, helped
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him like kind of I mean in history they're saying, oh, and that
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itself caused the blacklist to go away. I'm like, I'm sure it wasn't
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quite that clean cut, but still it was a It was a person of
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you know, high stature standing up for someone on the list, and I'm
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sure that had repercussions, which is good because you know that blacklists is not
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a it's not a good thing. Yeah, not at all, and so
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it's yeah, I mean like it doesn't like like we talked about, it
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doesn't really add anything to the plot. It's not really needed. It was
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nice to see in the rerelease just just because of the history behind it in
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the way that they brought it about, but it didn't do anything for the
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story. No, I mean it's never brought up again Tony Curtis and Laurence
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Olivier, you know, like they don't have that kind of sexual tension again.
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So it's it's it wasn't really needed. But you know, but see,
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I think this is I would say needed. No, but I think
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that where I think people look at the scene through one angle and they fail
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to look at it from the angle that Crassis is. I mean, he's
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exercising power over a literal slave. He's basically saying a slave, like this
15:24
is a really uncomfortable situation. This is basically like a boss coming on to
15:28
an employee, only even worse. And so like that's the angle that I
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think everybody seems to skip over when they talk about the scene, like it's
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really uncomfortable, because what's going on here is basically like he feels he has
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his little pet trapped, who he obviously recruited to work for him for this
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reason. And it's like, there are some really uncomfortable things from that angle
15:50
that are completely overlooked, And you know, I actually think it's it's not
15:58
funny, but I think it's really in a sense clever the way that the
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scene resolves itself, where he you know, he walks off. He thinks
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he's got Tony Curtis basically corn Antonitis cornered, and he's like, oh,
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well, this is just the way Rome is, this is the way you
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have to be. And he turns around Tony Curtis is it's almost like there's
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uh the bugs, Bunny cartoon, dust cloud, He's just disappeared. Yeah,
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and it's like and he goes off too, and it's like, so,
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I think the scene does work, and it's interesting, but I think
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I think it's interesting more from that angle than any other. You know,
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I think I think you're absolutely right. I never really thought of it that
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way, but you are absolutely right. I think that's an interesting take in
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an important take, and I think that alone really gives it the the weight
16:45
to kind of keep it in the film. So you you totally changed my
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mind. On that one. But speaking of behind the scenes stuff, Kirk
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Douglas was a producer on this film and he is the one who hired Kubrick
17:03
after falling out with the original directors. I think it was Anthony Man if
17:10
I'm correct, if I'm remembering correctly, and I think the only thing that
17:14
he directed that made it into the film was the salt mines scene, and
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everything else was done by Kubrick. So one thing that we haven't asked so
17:22
just like one and sorry, a solo at the very beginning when they're in
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when they're in the salt mines. You know, yeah, exactly. Um.
17:32
So, one thing I want to ask you guys, which we haven't
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asked each other in a very long time because sometimes we don't get to delve
17:38
deep into directors because we don't get to either maybe they're not as well known
17:44
as some of the masters, or they don't have a distinct style like Wes
17:48
Anderson. But I think we can ask each other this question. Now,
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where do you guys see Kubrick? And I'm going to go first because where
18:00
I saw it, because this is this is nineteen sixty this I think Kubrick
18:04
is like thirty four here thirty three something like that, And this isn't his
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first film. He did a lot of work in the fifties and I you
18:15
know, stuff that I haven't seen. And so he's not green at thirty
18:21
three years old. He's not green, and he takes on this epic And
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so to me as I'm watching it, it's right before them the revolt,
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right before Spartacus like loses his mind and just starts going after the slave master.
18:40
It's where they're walking into the like it's not at ten, but they're
18:45
they're walking into the into the dining area, to the food area. But
18:48
right before all the slaves and gladiators make it in, the slave master picks
18:52
up an axe and then throws it into one of the pillars, one of
18:57
the wooden pillars. He like picks it up, throws it in there,
19:00
and so it's sticking out. And then a little bit later on we see
19:06
the camera track and it reveals like as it tracks to the left, we
19:12
see that we see that axe just staying there in the pillar. And then
19:21
later on during the revolt, when everything's going crazy, it's just absolute chaos.
19:25
People are getting killed, people are getting slaughtered. A person who's trying
19:29
to get out of a jam, pulls out the axe from the pillar and
19:33
uses it as a weapon against the one of those las. Yeah, it's
19:38
Chekhov's ax exactly. And for some reason, to me, I'm like,
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that's Kuberuck right there. He's introducing something early on that you think is nothing
19:48
but then is pivotal towards a character's journey. It wasn't even Spartacus who used
19:56
it, but it was it was somebody else this journey, and it's just
20:00
like, for some reason, like as I'm watching him, just like,
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Yeah, that's him, that's Kubrick. That's the attention to detail that we
20:04
know and love from one of the masters of film. And so John,
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I want to I want to want to ask you, like what do you
20:11
think about that? And also and or you know, where do you see
20:15
Kubrick in this film? I see Kubrick in those moments where it's obvious that
20:21
he cares most um, which I know seems like an odd way, but
20:26
there's there's this strange disconnected nature to some of the big wide stuff. Like
20:30
I felt like there were a lot of the stuff we're like you see all
20:33
the slaves, h you know, when they've joined together as a giant force
20:38
and they're moving across the desert. There's just something about the way the camera's
20:42
place in the way to light it, Like you look at it, you're
20:45
like, oh, this is second Uni photography. This doesn't this doesn't look
20:48
like Stanley Kubrick and it it. It's odd because every movie has second Uni
20:53
photography in it. Every movie has you know, different you know, different
20:59
shots. They have a production schedule to keep up and everything like that,
21:02
but then when you get for instance, you know, just to offer supplemental
21:07
stuff. We already talked about the bath scene. I think that's that's very
21:10
much a Kubrick You lock the shot and you're peering through the veil like that
21:15
felt like a Stanley Kubrick movie to me that I'm watching. But also when
21:21
I'm in the Senate and I'm seeing the strict sense of balance and light that's
21:26
going on, like when Grabis has failed and he's standing there and he's the
21:29
guards are specifically equidistant and he's center shot, and there's a very like all
21:36
of the things we're going to come to expect from Kubrick later about the way
21:40
that things are composed in the shots and how balanced and structured everything is.
21:45
Those moments really shine through. And I'd say even in the gladiator fight that
21:51
that Spartacus is in, I can see Kubrick in that, and I know
21:56
I'm sort of like jumping all over the board, but it's specifically because there
22:00
are moments, including in my opinion, the I Am Spartaca scene, where
22:07
I feel like Kubrick is just there, He's just okay, I'll just do
22:11
what I have to do to get this out there. I know that he
22:14
disagreed. One of the disagreements between him and and and Douglas was about the
22:22
I Am Spartaca scene because I think Kubrick said, I think this is silly
22:26
or something like that. And it's really interesting to me because I I struggled
22:33
to think of a movie, any other movie I've seen recently during doing this
22:37
show, or anything else where I can see such a clear difference between first
22:44
and second unit as I do in this movie, or what I presume to
22:48
be. But like, there are a lot of things where just I see
22:51
the Kubrick touch, I see the balance, I see the structure, and
22:55
then there are other things where I can just tell he's just there and he's
22:59
just get the job done, which I would expect from a young director.
23:03
That's just sort of keeping things moving. But that's my lengthy, long winded
23:07
answer. Sorry, no, no, I love to hear this stuff,
23:11
and I love answers are specialty, John. That's true. That's a good
23:15
point. That's a good point. Yeah, you know, this is smartness
23:18
is interesting because I'm looking at at Kubrick's filmography right here, and he didn't
23:22
write it, and he didn't produce it, and so I mean he did
23:27
a little bit of rewriting with like Lalita, but pretty much beyond that,
23:32
he has written, directed, and produced every single thing he's done. So
23:37
he's absolute controlled over everything. So this was the you know, you know,
23:41
hail Mary called Kubrick, bring him in. We we've already started shooting.
23:45
You need to get up to speed. So yeah, it's it's I
23:51
mean, like you had said, trust and he has done stuff before this,
23:55
but a lot of things that he had also written. So I think
23:57
that's going to add a little bit of an aspect. And maybe that's partly
24:02
why we get kind of the prime unit second unit vibe, like John was
24:07
saying, is because you know, he didn't have as much control over the
24:11
story or the writing as he apparently is used to. One one scene that
24:17
I felt was very Kubrick was like John was kind of saying as he went
24:22
through all the main uh sections and less before I could get to him.
24:26
Now, but I know the in the in the gladiator scene, Um,
24:30
two parts of that one. There's the kind of we're above you, you
24:37
know, discussion of the nobles and the and the you know, the Romans,
24:41
and then the gladiats are in the pit and you know when they're I
24:45
mean even before the gladiator scene where they're literally like picking a slice of beef,
24:52
you know, to to eat, like it's it's so degrading, but
24:56
it's shot so well. Um but my favorite part of the gladier scene is
25:00
the through the door moments where and because it's it's it's it's gutsy like you're
25:10
you're spending you know, you got some star power. I mean obviously your
25:12
star is on this side of the door, so it works, but um
25:15
yeah, but to not show and just here the first fight was gave so
25:23
much tension and suspense for the second fight, like way more than anything we
25:29
would have seen. I think it was the perfect decision to really just because
25:36
these people, especially how they had set it up where they aren't. They
25:40
were told like, when we're training you, you're not going to fight to
25:44
the death because your product, you know, we're going to sell you.
25:48
And so to be forced to kill basically your kind of slave brother in arms
25:53
like that is literally what sparks the rebellion is you know that one to vision,
26:00
So yeah, that that part with the fight behind the door, and
26:04
just in general, I'd say Kubrick has a really good eye for conveying frenetic
26:14
scenes, but you still know exactly what's going on, like the entire uprising,
26:18
all of the main battles, just all these things where there's a lot
26:23
of pieces, a lot of extras. No we're digitally going to replace that
26:27
group over there later or oh we're gonna you know, cgi this out like
26:32
that didn't exist. But he has such mastery over these moments, and I
26:38
never felt lost at all. There's no shaky cam, there's no like what's
26:42
going on, but you still feel the sense of you know, weight of
26:48
this, but it's not It's different than like Swashbuckle. It's different than like
26:52
Errol Flynn or you know, those kinds of movies where they're trying to create
26:57
a phonetic energy. I think he has a way of creating that energy,
27:03
but in a I can tell what I'm looking at, you know, which
27:07
is appreciated. I appreciate that, you know. What's what's interesting is that
27:11
looking at the way Kubrick approaches the material here, I think it's also an
27:18
early tell that Kubrick is not incredibly comfortable with couples in a film that have
27:27
function like an actual love for each other. Like if if you look at
27:33
his other films, they're all about dysfunctional relationships, specially marriage in a couple
27:37
of cases, and then here we have just like that sort of like pure
27:42
heroic love between the male and the female lead. And if anything, it's
27:48
very awkward. I'm so glad that you brought that up. It's so awkward.
27:53
It felt like a studio note, yeah, where they're just like throwing
28:00
some romance so that the ladies will want to come and see this too.
28:03
Like that, That's what it felt like. It's I mean, I don't
28:10
want to knock it because I really I like the idea. Or it could
28:14
be Douglas, That's my guess. If he's your leading man. He's also
28:17
a producer. Of course he's going to say I need enough scenes where I'm
28:21
being the leading man, you know, And I mean, what do you
28:26
think, John On? Like you said, it felt awkward, But I
28:32
actually kind of liked the way the narrative went in the fact that he did
28:37
fall in love with the girl. It wasn't oh, I'm a slave.
28:41
You're a slave, so we're gonna get it on, like you know,
28:45
Like I think they kind of partly did that because it's just he's the white
28:48
hat, so we have to give him the virtue. But do you feel
28:52
like that part of the story worked or did it just feel ham fisted the
28:57
entire way through? No? I did. I thought it was stilted.
29:00
I thought I thought it was written fine, I just didn't I again,
29:06
I think this was one of the parts where I could tell that Kubrick was
29:08
just backing away from it and he just he's like, Okay, well,
29:12
this is part of the script and therefore it will be in here, and
29:17
that's cool. But I think that if Kubrick had complete control of the story,
29:21
we would have seen something more along the lines of they never got together,
29:25
but she still wept it the foot of his of his cross because she
29:30
realized the life they should have had. That that's a Kubrick movie to me.
29:33
There's something really despondents had, you know, the Lost Life. I'm
29:41
gonna agree and disagree with you at the same time. John, please do
29:47
it's what you do. I can tell find the look on your face,
29:48
Tristan, what you're about to say. So with that in mind, I
29:53
think I do agree with you that I think it's awkward and that it's weird,
29:59
and that Cubri had no interest in it because he loves the dysfunction.
30:03
I mean, just look at his movies. Oh my god, you know
30:06
he loves the dysfunction between adults and consenting adults in them. And how you
30:12
know, screwed up marriage can be, in relationships can be. But I
30:17
think what really works is the relationship before the revolt. After the revolt,
30:22
when they see each other again, that's when it gets weird and like in
30:29
cheesy nineteen sixties, yes, kind of agree, but before the revolt,
30:34
when like good lord, like like this. This movie did such a good
30:40
job of recognizing the time of nineteen sixty and showcasing the horrors of slavery without
30:49
you know, like being able to show you like something like with Amistad.
30:55
You know when Amistad, Like I wept when I watched Amistad because it showed
31:00
you the horrors of slavery, and within nineteen sixty you're not able to be
31:04
as honest and as upfront as you are with something like in with Spielberg and
31:10
Amistad. But with this one, there was there were scenes of like,
31:14
you know, Darren, you kind of mentioned this, like when they're like,
31:15
oh, yeah, we're like you're not going to fight to the death
31:18
because you're a product we're gonna sell you, Like, oh, you know,
31:22
like this this like in like with this scene with when we first see
31:26
Crassus Lawrence Olivier and like the women that are with them are saying like,
31:30
oh, well, we want to we want to fight to the death,
31:33
and they say that they're going to have to fight their brother, Like that's
31:36
when they realize we have no free will, like we are nothing but a
31:41
slave. The battle of choice and freedom was just kind of there in the
31:48
fact that they were respected and treated semi decently, like there were rules and
31:52
if you follow the rules, this is what you expect. And then they
31:56
broke that, they broke that covenant, and then you get rebellion, and
32:00
then we see a scene where like, that's the male perspective, that's the
32:07
glad Eater male perspective, but then we see the female perspective where they're in,
32:12
you know, they're inside, and then there's just this line of women
32:15
and they're just they're just like like, Okay, you're going to name,
32:20
You're, you're gonna go to what's You're You're gonna go to this guy,
32:22
You're gonna go to Crixus, You're gonna go to Marcus, You're gonna go
32:25
to Drama. You're gonna go you know, you're gonna go here. You're
32:30
gonna go to Spartacus. And and the beginning of this love was, oh,
32:35
well, Spartacus didn't rape me, so maybe he's a cool guy,
32:39
you know, And I'm not I'm not trying to be funny, but it's
32:43
it's ridiculous when you say it out loud. And and then once we go
32:46
past that, and Spartacaus you know, doesn't want to do this, he
32:51
doesn't want to treat her like a slave girl. Uh, we have this
32:57
really touching romance where where Spartacus is concerned about her safety, like when the
33:05
next day when she goes to another man forcibly, you know, he says,
33:08
he's like, did he hurt you? And she's like, no,
33:10
I'm fine. That's their relationship. It's just like this, this, this
33:15
look this, this, this, this miniature gives me um princess Princess bride
33:23
vibes, just from the very beginning act when he's not outwardly saying his love,
33:29
but the way he acts as expressing as you wish means I love you.
33:32
I think. I mean, obviously one is slavery, one is not,
33:36
which is very different. But I think Spartacus is in the same boat
33:39
where you know, I mean, gosh, I heard that theme so many
33:45
times in this movie, that the love you know, Spartacus theme, they
33:50
really love theme, into your into your hand. But you know, you
33:53
could tell he was trying to be tender and caring and but he was still
34:00
carrying and tender, but still powerless. He's still a slave, he still
34:04
has very little say I M yes, I agree with all of this.
34:14
I agree with what you're saying Tristan as well about you know, the relationship
34:19
works and does have a tenderness to it up until after a certain point,
34:22
I'm you know, and in the totality, it's that second half that sort
34:27
of just derails the whole thing for me, because this is a long film.
34:30
So i'd say, like, pre intermission, yeah, okay, you
34:35
absolutely got a point. Post intermission, you know, I think I think
34:38
we're picking up what I'm laying down. But I'll go ahead and ask that
34:44
straight straightforwardly. I would be very curious to see the nineteen sixty seven rerelease
34:51
version and wonder if it addresses all of these issues in the sense that if
34:57
you spend less time sort of dwelling on certain moments, or you get from
35:06
A to B quicker, if some of these flaws are less apparent. I
35:09
mean, we're all in love with the idea that an extended or director's cut
35:14
is always going to be the better thing, but there are times when it
35:17
is not. I love to trumpet the case of Highlander two the quickening,
35:22
where I refer to the renegade cut as fifteen minutes worse, which is the
35:27
first time I've ever used a unit of tying to describe how bad it was.
35:30
And I think with this I would be really interested to see that in
35:35
nineteen sixty seven rerelease, because I wonder if that means you can if it's
35:45
twenty three minutes shorter, it's just as long as two thousand and one,
35:47
So we're good. That's fine. But but I mean, seriously, let
35:53
let's just address that head on. Do you think that a shorter cut of
35:58
this film would resolve some of the shortcomings that we see here? Well,
36:04
to kind of jump ahead to the end of what I think of the film,
36:09
I think that I think this is a great film. I think this
36:13
is this is masterfully done. I think it's it's the characterization is great.
36:19
I mean, Charles Lofton as Gracchus, holy crap, Peter Ustinov as Ustinov
36:27
the Oscar with good reason. Yeah, he's a phenomenal I want to talk
36:30
about Peter for a second, because I knew him first from We're No Angels,
36:36
which is a Humphrey Bogart Christmas movie, and man, the acting chops
36:43
on this guy, Like, you give him any role, You could plug
36:45
him into any role in this movie and he would soar, and he soars
36:50
as I can't even pronounce it with Batilla bust Beatilius. Yes, that guy.
36:58
He oust just boost it off. Yeah, it's easier to say,
37:01
but he was so good and has that like you know, used car salesman
37:09
of the gladiatorial era kind of charm where you know he's kissing, but he
37:15
knows he's kissing, but everybody knows it, but they are like, but
37:20
you're so good at it, We're just gonna go along with what you're doing,
37:22
you know, from you know, oh, well, surely a person
37:28
wanting this would pay twice as much, you know. And just but I
37:30
loved him every everything he had. I love that he stayed throughout the story.
37:35
I love that, you know, he continued on every time he was
37:37
on screen. I was just but I totally believe you could plug him in
37:44
to practically any role in this movie and he'd do just as good. Although
37:47
I'm glad the role that he I don't know, almost every almost every I
37:52
don't think he works as Sparta kiss too. Okay, well you know we
37:55
know that's not happening. Yeah, he doesn't have the the chin dimple enough
38:00
to be spied. The first time I saw him was in Robin Hood the
38:06
animated pictures as Prince John, which is que and the scenery. Yeah,
38:15
but John, I remember texting you while watching this and saying, holy crap,
38:22
this script is electric. And the reason why I texted that to you
38:28
was because of the scenes between Peter Ustinov and Charles Lofton. Those scenes are
38:36
just phenomenal. I mean, the writing by Trumbo is is is next level.
38:42
And the way that these guys, these guys, these guys um the
38:45
way that you know Ustinov and Lofton, what they bring to the table and
38:51
the conversational atmosphere that they give. I mean, not to mention the senate
38:57
scenes. Part of that has to do with the fact that Euston off and
39:04
basically they would sit there and they would rehearse a lot together, and Kubrick
39:09
would come over and see them, you know, see their rehearsals, and
39:13
they were oftentimes where they would do a rehearsal and you would say, that's
39:15
what we're going to do. That that's what works. So I think what
39:19
you see is you see a great example and one that I think it's lost
39:24
very much over time, is when you have actors who are used to being
39:31
stage performers, they understand the value of that chemistry and if it doesn't exist.
39:39
You have to build it. You have to sit there, and you
39:42
have to work with somebody night after night, and you have to find your
39:45
way to what's going to work for the production. And I think that you
39:49
get Loften and you get Euston Off together, and they're old pros by this
39:53
point and there they know what they got to do to get where they got
39:58
to go. And I know that seems terribly reductive, but I think that's
40:01
why those scenes come alive. I think that's why you have a situation as
40:07
well where these two are a classic example of It's one thing to have a
40:14
great actor in a role. It's another thing to have a great you know,
40:19
somebody with a long professional resume of live theater in a role because they
40:24
are always going to work to get to that, because they're not used to
40:29
having to lock into one take or one read of something. They want to
40:35
get there and they want to find the best and they're used to finding it
40:38
every night sort of thing. And a script is great on paper, and
40:45
a script is a great script no matter what. But a script only comes
40:49
alive when you have performers who can make it breathe. You say the word
40:55
consummate professional yeah, basically basically. So jumping off of that, I want
41:04
to talk about the Senate scenes with Gracis. I mean, these were usually
41:07
led by Gracis. We had a little bit of Caesar and um, it
41:13
was just interesting to see Caesar before he became Caesar, before he got his
41:17
groove back. But those were some of my favorite scenes. Which is so
41:23
crazy for a movie called Spartacus about you know, a slave turned gladiator,
41:30
gladiator turned rebel, which was you know, which was well performed by Kirk
41:35
Douglas and it has a lot of great scenes, but to go to the
41:39
stodgy Senate scenes, those were some of my favorites, just the way that
41:47
it was acted, the way that it was reacted, the way that they
41:52
they held themselves and what they were talking about, and how they had a
41:57
little bit of Nix of the House of Commons in the know where people are
42:00
snarky back and forth. What did you guys think about the Senate scenes,
42:05
Darren? What did you think about the Senate scenes? Now? I enjoyed
42:07
the Senate scenes. I was at first I was trying to think, Okay,
42:10
why why are we seeing this? Because you initially you'd think, oh,
42:15
well, I could just tell this story from the point of view of
42:17
Spartacus, and it's his name is the title, of course, So why
42:22
are we spending so much time on the politics of Rome in this era?
42:28
But it hit me that you absolutely have to have that because well, one,
42:34
you're you're constructing the opposition force against Spartacus, and especially with the way
42:39
the story ends, where like because i mean Spartacus is like he's like ninety
42:46
percent of the way there to freedom through like he's winning battle after battle,
42:52
and it's only through the Senate being like we got to put our money where
42:55
our mouth is and stop this revolt, this uprising or or Rome is done.
43:02
And so yeah, seeing the inner play the oh, I'm not going
43:07
to march inside the city because that's the rule, and I'm you know,
43:10
you're in charge of this and I'm in charge of that, and it was
43:14
it was really interesting. I mean I could remember a single one of their
43:17
names because that's just you know, this era of history. But beyond that
43:23
though, Yeah, the political entry was really interesting. I thought that Kubrick
43:30
was very interested in it, and I was very interested in it. I
43:34
thought the production design fell down a little bit during it, but it was
43:38
it fell down in that very well put epic. Yeah, that very sort
43:43
of like this is what I expected to look like from an air from something
43:46
of that time, Like the failure to weather things properly, the failure like
43:50
everything's lit like you're watching a stage production. It's like, yeah, okay,
43:52
I expect this. But I think that Kubrick is very interested in it.
43:59
And I think I mean, listen, Rome, I love, love,
44:02
love watching movies about reading about studying, you know, antiquity and Roman
44:10
government and culture specifically. It's a fascinating time. It's absolutely fascinating. It
44:17
was a terribly complex and layered and hypocritical and hideous and beautiful and wonderful and
44:27
atrocious society. And I think it just draws certain people like a moth to
44:32
the flame. And so I was more interested in that part of it that
44:38
I'm always more interested in senate scenes. That's just how I'm wired. And
44:43
I think that because there are so many layered relationships going on, and we
44:49
see the people speaking in the back, and that we have that that little
44:52
tease of having Caesar there and you know it's Caesar, and so you get
44:58
that little giggle of oh, yeah, we know what he's going to do
45:01
in a little bit, you know, that sort of thing like oh,
45:05
you know, and you see him as this noble guy where you're like,
45:08
oh, okay, Caesar was all right, he was doing all right,
45:10
and then at the end it's revealed he's like, yeah, I paid attention
45:15
to you. I'm going with the tide here and sorry, you know,
45:19
and it's like oh wow, yeah, okay, That's exactly how it would
45:22
have been. He would have been a political climber, and he would have
45:24
known what side his bread was buttered on, and he would have he would
45:29
have picked the winner. And I think it's very great as well because by
45:35
building it, by showing the dysfunction at the governmental level, it's very important
45:39
to show the stakes. You understand if Spartacus is successful, how primed Rome
45:49
was even by that point to fall, and why they're so desperate to stop
45:52
him is because they know that if they don't, they're screwed. They're absolutely
45:58
screwed. Um. And I think there were three. I think Spartacus was
46:02
actually the third Servile War or something like that, so like this wasn't a
46:07
problem that like came up once. It happened a lot with Rome, and
46:10
I mean I could bore everybody to tears, but I will. Um,
46:16
you know, I can just make some book recommendations at some other point about
46:20
what what what great books you can read about, you know, the Fall
46:23
of Rome and stuff like that. But um, yeah, I think that
46:29
I think that the the senate scenes. I think that the wheeling dealing scenes,
46:32
the back room scenes, that that really pops, that really works throughout
46:38
the entire film. Well, this this movie is so long and there's it's
46:43
so dense and there's so much to it. Uh. One thing I do
46:46
want to talk about briefly. Briefly is the music. So I think this
46:52
was not just because I remember not just the love Thing, but was nominated
46:59
maybe one the Academy Award. I could be wrong, but I was just
47:04
looking at that. It won like four Academy Awards. Yeah, yeah,
47:08
it won usenov one, Best Supporting Actor. I think it won Art Direction,
47:13
Costumes, art Direction, costume design, and Best Cinematography, which is
47:17
a funny story in and of itself because the cinematographer was effectively fired and so
47:22
Kubrick won the award, but it was given to the other guy. So
47:28
hooray for the other and then in the parking lot, Kubrick's like, okay,
47:30
you got something that belongs to me. Well, I think at one
47:35
point he told I think it was Russell Medi is the guy's name. He
47:38
told Medi. Just sit down and shut up and I'll do it. Okay,
47:43
just just take the credit. But to be clear, it won Best
47:45
Cinematography Color because apparently that was a subcategory in nineteen. It was a distinction.
47:53
Yep, it was a distinction. So with the music, I want
47:59
to say something that's weird. That's something that occurred to me, Like while
48:04
I was watching it, I was I was perplexed by the music. I
48:07
didn't like the music, and I was perplexed by it because as I'm watching
48:12
it and listening, I'm like, this music is a mixture of the Ten
48:17
Commandments and the Wizard of Oz and am I off base here? Does that
48:25
bring true? It is? Yeah, it's It's mean. It's a long
48:32
movie. It's got to have a lot of music to fill all these minutes.
48:36
It needs a lot of it. It's a curious score to me because
48:43
it's striving for something that doesn't quite totally fit the film. And if I
48:50
were Kubrick, I probably would have disowned it too on that basis, but
48:54
I think that it just doesn't fit the character of the film, not overall.
49:02
And I feel weird saying that specifically because it's revered. The American Film
49:12
Institute has it on their list of greatest or at least it was nominated for
49:15
the list of Greatest Film scores. I don't hear it. There are so
49:21
many things from the time period. Yeah, I know, and I know
49:24
that people do, in fact revere the score, they love it. I
49:30
don't hear it, though, and it's just it's just odd. I don't
49:37
this very much feels like a score from the era of film where the director
49:44
didn't pick the composer and didn't have a lot of input on the score.
49:49
This feels like a score that was done and then bolted onto the movie.
49:53
Yeah, it does. It does. It's just like, oh, I
49:55
made a love theme, so let's let's slap that on there, and then
49:59
like this is the one that you know, like moves like when they're marching
50:02
through you know. Yeah, I totally hear what you're saying. Okay,
50:07
So, like before, as we're rounding third, I do want to get
50:12
to our ratings because We're at the fifty minute mark, and I feel like,
50:15
even though this movie is super long, I feel like we could keep
50:16
bringing up stuff about it. One last thing on the score. I feel
50:22
this kind of sums it up. Looking at North's filmography for Best Score or
50:29
Song, everything is just nominated, street car named Desire, Rainmaker, Spartacus,
50:36
you know, Bite the Bullet, Dragon Slayer, everything. His only
50:39
win is an eighty six of an Honorary Oscar for Memorable Achievement for Distinguished Motion
50:46
Pictures. So it was like it was always kind of like just good enough
50:52
to be nominated, but not enough to win. Like in his entire career,
50:58
he was sort of like Randy Newman till Randy Newman finally won. So
51:01
at least Newman crossed that hurdle. True, true. He was the Susan
51:06
Lucci of film composers. You're losing You're losing me, John, You had
51:13
me, John, Oh, I know, I know. So one thing
51:20
that I thought was interesting and I don't even think we need to spend that
51:22
much time on it. One thing that was interesting because when you think Spartacas,
51:25
you think swords and sandals, you know, you think fight scenes and
51:29
battles but we have the gladiator fight, the revolt, and then the final
51:34
battle. That's pretty much it. Right, Like, as I'm watching this,
51:39
I mean there's a little bit of when they take out the legion that's
51:44
up against a cliff, but we don't really see that. We see like
51:46
the aftermath. Yeah, it's like the very very tail end. But that's
51:52
it. You're right, there's like four battles in this entire movie, not
51:55
not even really, it's like it's like three and a half. Yeah,
51:59
that's true. And for a movie that's this long and kind of like is
52:04
a man holding a sword you know in the on the poster, you'd think
52:08
that this would be action packed. But it makes me wonder like, was
52:13
this was this how the book was? Is this how Trumbull originally wrote it,
52:17
or was this kubric where it was just like, no, let's make
52:20
it more character focused. Did you guys notice that? What did you think?
52:24
Honestly, I think it's just characteristic of the time. When I go
52:30
back to the old sword and sandal stuff, it's always here's the big crescendo
52:37
battle and then we have a lull and people talking and people talking, here's
52:40
the big crescendo. Battle, and then we have people talking and people talking,
52:45
and I think it's just reflective of the time. It's all I do.
52:49
I think for the time, it's a it's a type of pace that
52:52
you have that you expect from these You expect an introduction and an intermission,
52:59
and it's going to hey, you're going to be sitting in that chair for
53:00
a couple hours, Like I can't. No editor is going to come in
53:05
and be like, you know what, I think we could get this to
53:07
like under two hours. Let's just we're gonna make it fast and quick.
53:12
No, that's just not what you did in nineteen sixty. But see one
53:16
thing that I I just wish that they would bring intermissions back. I do.
53:23
I would be okay with intermissions. If you're going to release a three
53:27
hour or three hour plus movie, an intermission is in fact called for.
53:31
Back then, it was called for so everybody could get a lucky strike break
53:35
and get a couple of smokes before they go into the theater, and get
53:38
a couple of drinks, you know, and go to the bathroom and everything.
53:43
It was also the days before central air was really a thing, so
53:45
you had to probably air that joint out a bit. But it was really
53:52
odd having an intermission again because I realized that I missed that I missed that
54:00
era of film. And I think that we're so slavishly devoted to the idea
54:06
that it's just got to be unbroken. Let's have an intermission with the next
54:09
Avatar movie. Go for it, James, go nuts. Have three and
54:14
a half hours, but you know, give me fifteen minutes to go stretch
54:15
my legs, maybe get another, you know, a refill on my soda,
54:19
without thinking what am I gonna miss? Sort of well, and nowadays,
54:22
with the fact that you buy a specific seat, like you know where
54:27
your seat is, like it's perfect, there's no reason to not feel free
54:30
to get up roam about the cabin, you know, get some more.
54:34
I mean, heck, movie theaters would love it because they'd sell more concessions.
54:38
So but good for it. But to be fair, I understand that
54:43
the practical reason is because this is back when they're when a movie house was
54:47
one giant screen and you played ah movie. And now we have you know,
54:53
AMC Disney Springs two thousand and twelve screens. You know, we have
54:59
multiplexes. Try to hump in as many showings as possible, Well, you
55:02
have to play Avengers Endgame twenty four hours straight for three weeks, so everybody
55:07
can have a shot at seeing it. So okay, So I feel like
55:13
we could keep going, and I have a few more things that I'd like
55:15
to talk about, but I'll bring that up at the end when I give
55:19
my ratings, because we're reaching the hour mark. And I'm totally stoked to
55:24
hear your guys's ratings because I think we all have good things to say about
55:28
it. We also all have criticisms. We're very honest with this movie.
55:34
And so Darren, I'm going to start with you how many I'm trying to
55:40
be cute but also not gross at the same time, I don't I don't
55:43
don't know, like how many how many swords? I guess swords are safe.
55:47
Yeah, swords are safe because I could say, like, you know,
55:50
crucifixes, But how many swords are you giving this this film? So
55:57
yeah, it's I'm never more have I wanted to give a half star,
56:02
but like in a good way, but yeah, this because it's a good
56:08
movie. It's a I mean you can see. I mean we went to
56:12
Universal Studios, Hollywood a little bit ago and they have the studio tour,
56:15
and they have in the queue they have posters from all of the big universal
56:20
movies, and they had like a huge, you know, cornerstone one for
56:23
Spartacus because this movie, you know, did really well for them. I
56:30
don't think, I mean, you look at the box office. I don't
56:31
think it did as well on paper, but I think for the company it
56:37
and it definitely did, you know, didn't hurt Kubuck's career. Yeah,
56:42
it's part of It's just I'm not a sword and sandals guy. It is
56:49
not my genre. Not that I can't appreciate it, but it is not
56:53
what I lean into. I don't, you know, crack open a soda
56:57
and be like, ah, Spartacus, here we go Friday Night. So
57:02
I am going to give this a solid three. I enjoy it. It's
57:08
do I see. Do I think I'm gonna watch it again? Probably not.
57:12
I think I'm good until I watch it in the education of my children,
57:16
to show them, you know, when they're older of like this type
57:19
of story. If they're into stuff like that, maybe compare it with Gladiator
57:23
or something. You know, this is a little couple of years down down
57:27
the line. So I'm going to give it three swords, but make sure
57:31
you only go for the kill shot here on the chest, on Kirk Douglas's
57:37
sparkling chest. All right, Doctor sci Fi gives it a three. I
57:42
wouldn't say sparkling. I'd say greasy, greasy, greasy, oiled up kessel
57:47
junkie. How many sandals are you giving this film? It is surprisingly difficult
57:55
because a movie like this you almost you feel obliged, where you think,
58:00
I don't want to give this five stars? What's wrong with me? Everybody
58:02
tells me this is an incredible classic, and so I wind up, honestly,
58:08
with this reflexive fear of being the contrarian. So, Darren, I
58:13
thank you for your bravery, for being the first one to step out onto
58:15
the field. Here. I had my review behind the door. You couldn't
58:19
see it, but you could hear it. I could give you the strength
58:22
for your battle. I'm about to charge up there. I am torn.
58:30
I am going to wind up splitting the difference and giving it a three and
58:34
a half because in terms of enjoyment, I'm about it at three because we
58:38
didn't even while we're talking about the great acting, one of the most baffling
58:43
miscastings in that. I can recall of a movie I've seen recently. Happened
58:49
with Tony Curtis. In this movie. I don't know what the hell he
58:52
was doing in this movie. It makes no sense when he pops up on
58:55
screen. It's just like and Tony Keurtis, Yeah, come along, ladies,
59:00
see him as and to Ninus, and even the scene I think it's
59:05
part of what sort of like cuts the knees out from the scene where you
59:08
know Spartacus is there with him and he's had to kill his friend, and
59:13
it's this brotherly love moment where they're really together. They're in it together,
59:16
and you're supposed to be feeling really sad. And I'm sitting there and I'm
59:21
thinking, man, there are a whole lot of other actors in that era
59:23
that would have done better with this. I don't know. I don't know
59:27
why Tony Curtis is in this scene. And I feel terrible for saying that,
59:30
because who am I. People don't know my name, people won't know
59:35
my name, people know Tony Curtis, So who am I to offer that
59:37
criticism? But put them with Jack Lemon in a good comedy. I'll go
59:44
watch it. But technically, I think there are things that are just brilliant
59:51
about how this is shot. The moments where I can see Kubrick, I'm
59:53
like, damn, he was thirty four when he did this. Yikes.
59:59
That is like talk about just absolute raw skill and craft and talent on display
1:00:06
in the shots that work. Wow. So I'll split the difference. Three
1:00:10
and a half is where I end up with Spartacus. So I hope Darren,
1:00:16
I hope neither one of us is like thrown into the ring, you
1:00:20
know, to fight or anything. I would have if I was giving a
1:00:22
half points, I would probably have given a three and a half as well,
1:00:27
Like it's all right, yeah, so we're we're good. We're good.
1:00:30
We'll make Tristan fight to the death. Okay, yes, we are
1:00:35
safe. Let's see what happens. We all, yes, got the trident.
1:00:39
I don't think. You don't know. You don't know what I'm going
1:00:43
to rate this. You don't know. Um, so okay. One thing
1:00:52
that really killed the movie for not killed, but one thing that really hurt
1:00:59
the movie from me was the ending. This was like the Return of the
1:01:05
King for me, where I'm just like, holy crap, where is the
1:01:09
ending? Going to happen. There's so many great things happened at the end,
1:01:15
like with Tony Curtis dying with you know, with him seeing his son
1:01:22
for the first time with them, with Crassis discovering um Spartacus's wife, you
1:01:30
know, like everything, Like so many interesting things happen at the end.
1:01:34
But once you get past the I'm Spartacus now I'm Sparticus, it feels like
1:01:38
one long epilogue where you're you're watching it and just like why is the movie
1:01:45
not over yet? And that's that's a big knock against it. But to
1:01:52
me, like this movie really connected with me. I feel like I watched
1:01:55
it at the right time, at the right age and the right mood.
1:02:00
This. I loved this movie. I love the performances, you know,
1:02:05
like, but I'm with you John about Tony Curtis. Uh this I the
1:02:10
script is the best thing about this This this movie. The cinematography is fantastic,
1:02:16
the music is like cluster. But I feel like where Lawrence Olivier,
1:02:22
Charles Lofton, Peter Ustinov, we're all just above and beyond, Kirk Douglas
1:02:29
is Spartacas. Yeah, I feel like a lot of people probably could have
1:02:34
been spartacas, but you know, the things that worked really worked, and
1:02:38
the things that were you know, didn't kill it for me, even though
1:02:45
like Kubrick is absolutely wrong with the I'm Spartaicas scene. I literally got chills.
1:02:50
And when Douglas when we when we fade out on Douglas's single tier,
1:02:54
I'm like, God, dang it, that's movie making right there. And
1:03:00
so I'm giving this a four and a half. I love this. I
1:03:04
think this is great and I am not disagreeing with you guys with what you
1:03:09
have said. I think you guys have gave some really great points. And
1:03:15
you know, should I have given this a four, probably, but I
1:03:17
think because what I like works so well, I got to bring it up
1:03:22
to a four and a half and just knock off half star for all those
1:03:25
false endings. So thank you everyone so much for listening. We really do
1:03:31
appreciate you. We appreciate you guys emailing us. We've gotten so many emails
1:03:35
from you guys for directors to talk about in the future, and we're going
1:03:38
to try to get to as many as we can. Remember to go to
1:03:42
the nerdparty dot com for all of our backlogged episodes and Please tune in next
1:03:45
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