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EP166 - The Sixth Sense · Thirsty For More - Movie Review

• 0:09
  Their Well, Hello everyone, and welcome to Planet Bruce. I have course,
• 0:22
  I'm your host, Malenko Alex. Nice to meet you. And today
• 0:26
  we have a very very special guest. Today we have the one, the
• 0:31
  only would you introduce yourself to this? Yeah? Hello, my name is
• 0:37
  Kays vanderst I'm a producer on the Thirsty for More podcast, and today we're
• 0:43
  here to talk about m Night Shyamalan's The Sixth Sense nineteen ninety What year was
• 0:50
  this was the greatest year of movies ever? Ninety nine? I think kind
• 0:57
  of peak movies ninety nine really, but can I say like it's kind of
• 1:02
  like it's the nines because seventy nine was also an incredible year for movies.
• 1:06
  Fair eighty nine, I mean, maybe it is. I don't know,
• 1:08
  maybe just good two thousand and nine, Transformers, Dark Side of the Moon.
• 1:12
  Dude, two thousand and nine, Oh my god, yeah, dude,
• 1:15
  best year two thousand and nine. But you know, so, like,
• 1:19
  one thing that we agreed on for the season of Bruce is that when
• 1:23
  we have guests on that are going to be on full episodes, it's going
• 1:27
  to be only left familiar. It's only going to be producers and trusted partners.
• 1:33
  So looking at this is a very exciting moment. And it's also we
• 1:40
  have to say, we have to say that this is happening out of order.
• 1:44
  Yeah, dude, it's because of me. We are jumping ahead in
• 1:47
  the future to record an episode because circumstances lined up and we've got case and
• 1:53
  we wanted to record this episode with KS for since we've been talking about this,
• 1:57
  like for like a couple of seasons now, right, Yeah, dude,
• 2:00
  like like probably since like the JCVD season. Like once it was clear
• 2:05
  that we were going to do Bruce Willis, I was like, I got
• 2:07
  to do the sixth sense. It's the only one. Like, oh,
• 2:10
  I care about a lot of them, but I mean, this movie is
• 2:14
  easily one of my favorite films of all time, like top top pen for
• 2:17
  sure, one one of the most viewed films of my life. So I
• 2:22
  had I had to do it. You could say it's my cliffhanger, dude.
• 2:25
  Well listen, I want to say it's interesting that you have that experience
• 2:34
  with this movie, because I can. Can we start off first by talking
• 2:38
  about our individual experiences of this movie? Yeah? Please, I think that's
• 2:42
  a great idea. Yeah please, you asshole. Okay, So I knew
• 2:46
  about you know, like I knew about this movie. I saw it when
• 2:50
  it came out, and the twist worked on me, and it was good,
• 2:53
  and it was a really good you were on a twist? How did
• 2:55
  you know? You were? My man? And I didn't want to think
• 3:01
  about it after it kind of had that whole like vibe of like m night
• 3:07
  Shyamalan of like, listen, it's good when you know when you see the
• 3:12
  twist, but then when you know the twist, it doesn't matter anymore.
• 3:15
  And now, like I watched it for the second time last night ever,
• 3:23
  but obviously this movie became like such a cultural meme and such a like a
• 3:27
  big zeitgeist thing, and like, so it's very in my blood. It's
• 3:30
  I would consider it pantheon, but I think I've only seen it twice,
• 3:35
  and so watching it with like knowing all of the things, I was kind
• 3:39
  of like, I mean, like, this movie really falls apart, like
• 3:44
  really quickly when you know the twist more. I could not disagree more disagree.
• 3:51
  Well, let's let's talk about it. I mean, maybe maybe I
• 3:53
  don't mean falls apart. I think arguing mil means Kathleen Kennedy produced it,
• 4:01
  therefore it's too woke for him. Yeah, dude, woke agenda Malenko would
• 4:09
  Yeah, but what Marshall also, what do you mean she she's the person
• 4:15
  who who, like people always blame for Star Wars being bad because it's like
• 4:20
  she took over and it's like, yeah, but she's been producing for like
• 4:24
  forty years. She also I think she also produced the Indiana Jones movies too,
• 4:29
  like that. People like she's legendary. Dude, she's a legendary producer,
• 4:34
  and some people have not been happy with her take on on on Lucasilm
• 4:40
  projects in the last few years. Well, I don't know. I mean,
• 4:44
  I love this movie. I don't love it any less, but I
• 4:47
  like I do think, Okay, we'll talk about it because I think I
• 4:51
  want to be convinced by you guys, and I feel like I already am.
• 4:54
  Well, I mean, it's it's just it's just interesting to like fall.
• 4:58
  What do you mean by falls apart art? It doesn't it just like
• 5:00
  falls apart in the sense of like, oh, like yeah, I mean,
• 5:05
  my my running joke throughout watching it was the man was so like not
• 5:11
  in touch with his feelings that he was dead and didn't even notice ignoring his
• 5:15
  wife. Yeah, totally bad, bad, bad child therapist Bruce Willis,
• 5:20
  Yes, terrible child therapists Bruzillis, But it works for the movie. It
• 5:26
  his type of child therapy where he follows a kid around all the time,
• 5:30
  on buses, in churches, at hospitals. You're like, wait, why
• 5:33
  is this child therapist always around talking a child? Listen, listen, what
• 5:40
  what is the deal with Bruce Willis playing bad therapists? Because this isn't the
• 5:46
  first time we've seen him play a bad therapist. That's Color of Night,
• 5:49
  legendary bad therapist performance, classic classic film Color of Night. Yeah. Can
• 5:55
  I talk about my experience of this movie really quicker? Do you want to
• 5:58
  please? Please? Yeah? No, I want to know. I want
• 5:59
  to know. So I remember when this movie came out it was such a
• 6:05
  like and I was in Portal Bernie obviously where I am recording this right now,
• 6:11
  and we just had like one movie theater so it never would ever come
• 6:15
  here. So when it came out on VHS and like hit the video stores,
• 6:20
  I remember that was when like it became a sort of like cultural like
• 6:25
  it hit a sort of cultural fever. Pitch and in my in my small
• 6:28
  town of Portal Bernie, BC. And I remember my aunt being like,
• 6:31
  have you watched the documentary after the credits about like all of the clues,
• 6:36
  And I remember being like, the clues, there's clues about this, Like
• 6:42
  what is this movie about clues? Dude? And I didn't know that.
• 6:46
  I didn't know the twice so I begged it because I wasn't allowed I wasn't
• 6:49
  allowed to watch horror movies or scary movies at that time, but I wasn't
• 6:55
  an allowed to watch The Simpsons at that time. But because of this movie
• 6:58
  is surprising Christian Elements, Oh dude, I couldn't wait to talk about Element,
• 7:03
  My my, my, my dad, Like my mom and dad watched
• 7:06
  it and they loved it. So I was like, Okay, I'm gonna
• 7:09
  watch it. So I watched it with my parents, and I remember being
• 7:15
  like so like young enough, being so into it. Knowing there was a
• 7:19
  twist, I was like looking for it and I was like, well,
• 7:21
  he just got shot in the fucking stomach, so he's probably dead, like
• 7:26
  they just leave him like, but boy, once the twist was revealed,
• 7:31
  it was like okay, fine for me and it's the movie I watched multiple
• 7:36
  times a year and have watched multiple times a year probably since like my early
• 7:42
  twenties. It has to me, it hasn't. It's it's a better watch
• 7:47
  after the twist, because it's really this movie, this movie is a film
• 7:50
  about communication. And it's not just because it's about like, oh, he
• 7:57
  talks to dead people, but it's like it's about being open to communicate things
• 8:01
  about like things that's going on in your life, like no matter what,
• 8:05
  and trusting that the people in your life are going to people to like receive
• 8:09
  that information. So like it yeah, because and and you know, when
• 8:15
  I was in my early twenties, like the whole Cole and his mom relationship
• 8:20
  was something that like really would strike me really really hard. And I mean
• 8:24
  one of the their last scene together at the end of the movie, not
• 8:26
  to jump ahead, but when he sees the investment hit by the bicycle and
• 8:31
  he talks about like her talking to her mom, like her his grandma,
• 8:37
  Like dude, just that used to destroy me. And I used to just
• 8:41
  think it was like beautiful. As I've gotten older, and you know,
• 8:45
  we're all husband gang hashtag husband gang talking on this podcast, and like as
• 8:52
  I've gotten older, I've actually found the Bruce willis h and Olivia Williams stuff
• 8:56
  even more moving. And his final scene is like just just unbelievably like beautiful.
• 9:03
  This this film is insanely well directed. Yes, it's well written,
• 9:07
  it's it's it's it's you know, it's his best movie. It is his
• 9:11
  best movie. He's never going to come close to doing anything like this.
• 9:16
  Again. I like Shyamalan a lot. I'm a big Shyamalan defender, but
• 9:20
  this movie is something like really truly special. And like even though it's like
• 9:24
  very memed and it's like, oh, he's dead. He's dead the whole
• 9:26
  time. He was wearing that many clothes the night he died come on,
• 9:31
  but like totally totally but like it's like at the same time, it's like
• 9:35
  this is a very very like just compelling film and Bruce goes so hard in
• 9:43
  it in such like a subtle way, Like his performance is so good.
• 9:46
  Tony Collette is so good in this movie. We all wanted to talk about
• 9:54
  how but like the kind of kind of like innocence and ignorance to be able
• 10:01
  to like like, oh yeah, like I could teach this person about the
• 10:05
  world, you know what, also were complex? Totally Yeah, I agree.
• 10:11
  I agree, there's something very compelling about her. She's a really full
• 10:16
  fully fledged character, which is amazing. But I do think this movie deserves
• 10:20
  the like full treatment. Do you want to talk about what your experience of
• 10:24
  this movie was, Alex, I mean, my experience with most of m
• 10:30
  Nighthamalan has been a love hate relationship, just because the ride of having two
• 10:37
  really successful movies happened so closely together, and then and and me only being
• 10:46
  down with one of them, which is the sixth sense, and then recently
• 10:50
  relooking at at Unbreakable and being like, oh yeah, like that was pretty
• 10:54
  basically looking at science and being like, yeah, man, but my daughter
• 11:03
  is important, but my woking is important. His walking was so important,
• 11:09
  so important that we're going to be doing a Mel Gibson season next I'm kidding.
• 11:16
  Oh man, yeah, totally, but oh my god, my daughter's
• 11:22
  important. But but honestly, like it just it feels like I'm still pretty
• 11:30
  middle of the road on Unbreakable. This one's like, this one fell for
• 11:35
  me because of the fact that when I watched Signs, I was really disappointed
• 11:39
  and I like, this is what happened. Unbreakable was mid for me.
• 11:46
  Sixth Sense made me love Unbreakable, and then watching Signs made me hate both
• 11:50
  of those, and then I came back to Signs are Unbreakable. God six
• 11:56
  cents, way way later, like years after. I mean, it's really
• 12:01
  it's interesting actually doing this movie out of order and seeing Bruce get like a
• 12:05
  little more worn down Bruce, and like, you know, where for terror
• 12:09
  Bruce like some some you know, like he's he looks he looks older,
• 12:13
  he looks he markedly older, but he's also the type of character. I'm
• 12:18
  glad we're talking about Bruce first because I we need to focus on to Collet's
• 12:22
  performance in this entire movie and also one o everything. His voice is my
• 12:28
  favorite. Been having bad dreams, have been having bad dreams like he is.
• 12:41
  It's an incredible we'll talk about it, we'll talk about but Bruce Willis
• 12:46
  is amazing in it because there is he's playing the glimmer of somebody so well,
• 12:54
  like where it's just in his eyes. He used to be majestic.
• 12:58
  Kayla is bringing that out of him, and he's remembering how to be like
• 13:05
  again what K said, communicative and joyful in his life, but at the
• 13:09
  same time, he's playing it in such a way where he does feel dead
• 13:15
  throughout the entire movie. Yeah, and I think that we'll talk about that
• 13:18
  throughout. And I think that's what really is the magic of this movie and
• 13:22
  what makes the twist work, because like the twist, you guys are right,
• 13:24
  the twist is really good, and knowing the twist makes the movie better.
• 13:28
  You're right, And Olivia Williams has a really really hard I realized how
• 13:33
  difficult her job is in this movie to experience the sadness and dread of one
• 13:41
  context of grief and then the sublimating the twist and understanding that going through grief
• 13:48
  also feels like going through a bad marriage. Totally you're feelings, Yeah exactly.
• 13:56
  Yeah, Yeah, that's a great that's a great point. And the
• 14:00
  like the thing too is that, like and I cherr performance is amazing in
• 14:03
  this movie, but like the cool thing too is like if she wasn't able
• 14:07
  to sell sell that, like she's she's in a bed marriage, she's grieving
• 14:13
  her husband, she was able to kind of sell both at the same time.
• 14:16
  Totally twists completely fall the seeds so pantacies they they plant the seeds in
• 14:22
  the beginning, and like, I think that's a good like segue into speaking
• 14:26
  of planting seeds at the beginning. One beautiful scene is with of course the
• 14:33
  best character actor Donny Wolberg uh and and and it sets he sets up two
• 14:37
  things really well, not just the twist, not just the tone of the
• 14:41
  movie, but when he when they hear something upstairs and they're like freaking out,
• 14:46
  Olivia Williams and Bruce Willis and they just the window. Can we talk
• 14:50
  about the Can we talk about first? I want to set up I'm glad
• 14:54
  you're talking about that, but I want to set up first that she talks
• 14:58
  to him about this award. He's gone, Yeah, they've just gotten back
• 15:03
  from a gala and they they're they're drunk, and like they've gone. She
• 15:05
  goes down into that cellar and there's that great moment where she's in the cellar
• 15:09
  and you can see that she's feeling like a little unsettled being in that cellar.
• 15:13
  And she goes up and and they're drinking some wine together and Bruce Willis
• 15:18
  is talking like doctor Seuss, I do that that That whole scene is so
• 15:28
  like it's so like I think, like the Donnie Wahlberg stuff is a little
• 15:35
  bit to the dialogue is really bad. Like, the dialogue is really good
• 15:39
  in the movie overall, but like the dialogue that Donnie Wahlberg has is really
• 15:43
  bad. But so it kind of always like it's the opening is somewhat like
• 15:46
  my least favorite part of the movie because of Donnie Wahlberg. Sorry Donnie,
• 15:50
  sorry, Mark, Wow, that's a hot take. But I think he's
• 15:56
  right about the terrible don't you remember for me? Hero? Yeah? Do
• 16:03
  you know? But what's the line when he's like, I do I do?
• 16:07
  That's amazing? Yeah, I know, is really bad. He but
• 16:12
  it's a very du it's it's it's very pred it's it's like it's basically Lawrence
• 16:23
  Kasdan saw that and it was like, oh, the Stephen King adaptation about
• 16:29
  blood but butt weasels I'm gonna need I'm gonna need Donnie Wahlberg's comedic silence.
• 16:36
  Yeah, Donnie Wahlberg's face acting. Donny Walberg is like, look at his
• 16:41
  face. I know, I know, I know, he looks who does
• 16:44
  he look doesn't he kind of look like Maya Gordy Bodies. He kind of
• 16:47
  looks like Mark Wahlberg a little bit if you squint, he kind of looks
• 16:49
  like Dook like they might be related, ud, but how old, Like
• 16:55
  he's like almost Bruce's age. No, or he's not. She's supposed to
• 16:59
  be like in his like in his like late twenties, thirties. But yeah,
• 17:04
  he he looks old. He looks old, but he's like he's like
• 17:10
  that kind of old where it's like, oh, he was institutionalized. So
• 17:12
  do you think that do you think that the nipples weird? The beginning?
• 17:18
  Oh, the nipple ring, like that's the okay, so like I saw
• 17:22
  it in HD this time obviously, Uh, And I don't think I ever
• 17:26
  noticed the nipple ring. Do you think that that was like that was like
• 17:29
  a choice on m Night Shyamalan's part that he wanted the character to have a
• 17:33
  nipple ring or do you think that's just Donnie Walberg's nipple ring? Think No,
• 17:37
  I think it's a character choice. I think it's a character choice.
• 17:40
  Dude. It was like it was very evocative to me because and it has
• 17:44
  been every I noticed it every time, and I'm like, obviously, you
• 17:48
  see this dude at like the worst moment in his life, right, But
• 17:52
  like and it's embarrassing. So there's so many scene. Well, I think
• 17:56
  what I was going to say was basically that like the Nipple Ring to me,
• 18:02
  said a lot about who he was as a character and like what he
• 18:06
  did outside of like this intense trauma that he that he was constantly dealing with.
• 18:11
  Like get the sense that like he was maybe into like you know,
• 18:17
  alternative scenes, like maybe into the kink scene, maybe into like BDSM.
• 18:22
  You get the sense that he's kind of like a very like self punishing and
• 18:26
  someone who's into flagellation. He he, he kind of gives off someone who's
• 18:34
  like looking for distractions and pain and almost hell raiser like quest for for the
• 18:42
  ultimate distraction. That's what the Nipple Ring evoke to me, is that happened
• 18:48
  in this movie that are pitch perfectly embarrassing for the characters and it's so vulnerable.
• 18:52
  Tony Kollett is number one at doing it because she's the type of person
• 18:56
  who's trying to understand, like was what's happening, but she's a little bit
• 19:03
  not educated enough to understand. It's like her and energy, very mum energy.
• 19:10
  But Bruce Willis's performance in this scene where he's like he doesn't want to
• 19:12
  say anything because of the shame and sadness that he does feel that he knows
• 19:18
  that he did fuck up this person, but like is like himself ashamed of
• 19:22
  it, and the whole series of events is just awkward and embarrassing. But
• 19:27
  the thing that I wanted to mention, which is like the setup of of
• 19:32
  Donnie is just him walking by and you just see his shadow. And most
• 19:37
  of the quote unquote jump scares that happen in this movie are just very casual
• 19:41
  to people like walking by or things happening, and they are scary psychologically scary.
• 19:48
  Yeah, I'm really glad you brought that up, Alex, because like,
• 19:51
  the the thing that I love about this movie is that there aren't really
• 19:55
  any jump scares, and the scares in this movie are super unconventional and it's
• 20:00
  more about like like it's more about like the trauma of the moment total and
• 20:06
  it's like seen someone in your bathroom in their underwear with a nipple ring would
• 20:10
  be scary, but it's like, dude, like something like when when Cole
• 20:15
  not to jump ahead, but this is this is a scare in the movie
• 20:17
  quote unquote scare that always stuck with me. But when he finds the battered
• 20:22
  wife in the in the kitchen and she's like, look what you made me
• 20:26
  do, Howard, And she like has cut her wrists, like, oh,
• 20:29
  that's my worst. That's so terrifying. That's the most terrifying part because
• 20:33
  it's like you're dealing with someone else's trauma and like it's crazy. And that's
• 20:40
  what scar the scaries of this movie are, is like experiencing other people's trauma,
• 20:44
  like the guy stuck in the guy stuck in the pantry, not the
• 20:48
  pantry, but like the cut crawl space at Tommy's at Tommy's house, in
• 20:52
  the attic. Misha Barton's character every every ghost, Mischa Barton. Oh my
• 21:00
  god, I can't believe that was her. Such a good job. Pos
• 21:03
  shoutout Misha Barton. She should be on the show, me che If you're
• 21:07
  listening to this, come on the show and to do our listeners. Also,
• 21:11
  please remember to subscribe to The Thursday from our Patreon. I'm just gonna
• 21:15
  put the drop in now because I think we're gonna We're gonna get deep,
• 21:18
  please your asshole. We get to South Philly. Obviously, it's canon that
• 21:23
  Rocky exists in this university. Of course. I was like. As soon
• 21:26
  as we were South Philly, I was like, oh yeah, they go
• 21:30
  to dinner at at at Adrian's Dude, that's where they are, like,
• 21:36
  Rocky has Rocky has just left the table. It's like, hey, are
• 21:40
  you alone? Listen? My wife died too. Uh you know, life,
• 21:45
  life changes, you know, or no, she he would be like,
• 21:48
  oh, you know, my husband died too. I hope you he
• 21:52
  was treating you good because you know I could guy like me, you know,
• 21:56
  like I'm a hard worker. Now I got a guy who uh,
• 22:06
  you know, my brother in law he focks a robot. But we don't
• 22:07
  judge him for that. You know, we're an open family, you know.
• 22:12
  Plus you know that's the plus. He's fucking the robot. It's a
• 22:15
  plus sign. Have you met my step son steps Uh, he's he's a
• 22:23
  he's a dishwasher here because you know, he needs to learn character, you
• 22:27
  know character. Malcolm starts stalking Hailey Joel Osmond after he puts on his cool
• 22:34
  glasses from his dad and man, his glasses were cool, His glasses were
• 22:41
  super cool, and he stalks him too the church where he sees that Hailey
• 22:47
  Joel Osmond is having Yeah, totally, Hailey Joe has been having bad dreams.
• 22:53
  Hailey Joel is the dream child from part five of Freddy Part Time.
• 23:00
  Haley Joel Osmond is is such a Freddie actor. Also totally am I Shyamalan
• 23:04
  What to Do a really good nightmare? Alm Street Movie Dudema hold On as
• 23:11
  the director and writer, Kevin Bacon as Freddie, and Hailey Joel Osmond as
• 23:18
  some sort of therapist who is trying to figure out Man the old like now
• 23:26
  the only Hailey Joel Osmond that exists. It is like a really beautiful boy
• 23:33
  though, like he really is like uh like look he does have such a
• 23:38
  like he doesn't look like he would have aged into a person with a small
• 23:42
  face and a big head. Yeah. His dude, his pained his really
• 23:47
  pained like performance like you knew a kid like this in when you were like
• 23:52
  going to school like he just I mean I think I was, like I
• 23:55
  think I was like this dude. I mean Tony Collette basically plays my mom.
• 23:59
  Yeah and yeah a little a little I don't know, man, just
• 24:07
  such a working working class like she's just like this working class woman that likes
• 24:12
  to go to the bar. Definitely, like calls definitely an accident. She
• 24:17
  was never like planning on having a kid in this situation, but loves him
• 24:21
  so much, so much. Yeah, and they seem to like like Daddy
• 24:26
  was around and him the kids stealing toys, of stealing statues and toys and
• 24:30
  ship that was awesome. Like little stuff like that that I noticed because I
• 24:34
  haven't watched as much as asks, Like I've seen him maybe four or five
• 24:37
  times, but Bruce Willi is coming home to like one dinner plate happening,
• 24:45
  uh, and then like trying to open the door with the red handle,
• 24:48
  uh and not being able to go go into the basement, just kind of
• 24:52
  drifting into the basement because becaust he's a ghost. We don't ever see.
• 24:56
  He just kind of floats in. He'll float like. It's It's interesting because
• 25:03
  we don't talk about scary movies a lot on this show, but then we
• 25:07
  will be talking about more scary movies because we'll be doing Thirsty for Gore season
• 25:11
  two and this episode will probably come out around Halloween. Oh, very exciting,
• 25:22
  but also like it just scenes where like practical effects will happen where Tony
• 25:26
  Collette is throwing everything in the Who don't you mean Tony. Yeah, when
• 25:37
  Toni Collette is like doing laundry and putting her clothes on, and she's like,
• 25:41
  col come in, get your fucking food. And she goes back into
• 25:45
  the kitchen gives them food and then goes back into the laundry and then comes
• 25:49
  back and all the doors are open, and it's just like stuff like that,
• 25:52
  that's like spooky. That. It's the best part about scary movies is
• 26:02
  you have to have a balance of scary and spooky, because too much scary
• 26:07
  is just like okay, dudey leave us alone. Yeah, and too much
• 26:10
  spooky is like, this is so boring, it's too happy, it's too
• 26:15
  childlike, right, And that's why you need the goofy ship. And that's
• 26:18
  why you need the embarrassing ship because it grounds it in reality, that that
• 26:23
  when you a spooky thing happens, you're like, oh, oh no,
• 26:26
  that is spooky. Weki the first interaction in the church, did we kind
• 26:33
  of skip over then? No? No, we're we we talked about it,
• 26:37
  but but but we can talk about it more. Yeah, let's talk
• 26:38
  about it more. I mean the cover scene that you were just talking about
• 26:42
  Alx, I love that scene so much and I think what you just said
• 26:45
  is perfect. When then in the church in the beginning, like their first
• 26:48
  interaction, it's like, man, this kid is so insufferable. Like if
• 26:55
  I was Bruce Willis to be like, are you fucking like quoting Latin at
• 26:57
  me? And when he's like when he's like when he's like, it's it's
• 27:00
  called Latin, It's called And it's like Bruce plays having this hairline and being,
• 27:11
  oh my god, like such a good wig, like the way you
• 27:15
  can see the makeup around, like how they tried to blend the lace,
• 27:21
  but it's very it's well done. It's so well done, and the kind
• 27:25
  of balding that it is so far like peninsula really nice. And also you're
• 27:33
  right, he is insufferable, but he Bruce Willis plays patients so well in
• 27:38
  this because little smiles that he gives the little bit like God, I know
• 27:45
  this kid. I was totally this kid too, you know, because he
• 27:48
  seems like he connects with him in that way too, where it's like,
• 27:52
  specially I'm excited to talk about the Yeah, excited Bruce. But like they're
• 28:00
  like there's like little moments like their relationship in this movie is what makes this
• 28:04
  movie incredible. Talking about his dad, talking about the glasses not having lenses
• 28:10
  and being like the lenses hurt my eyes. Yeah, and like him getting
• 28:15
  sort of the dadness from Bruce Willis and Bruce Willis getting the sort of like
• 28:19
  surrogate kid vibe but also kind of like an apology to his wife vibe.
• 28:25
  And also it's about so many things for him, like making it making it
• 28:30
  right with this kid is about everything for him because he lost his life and
• 28:34
  his wife lost a husband, Like why did you go away? Right?
• 28:40
  Like it's his obsession also that made him go away. So like this movie
• 28:45
  is, like you said, very much about communication. It's about like,
• 28:48
  like you know, kind of making someone think that because you can be alive
• 28:52
  and be like this right exactly exactly, which is why the setup is so
• 28:56
  nice. To get back to the kitchen scene for a moment that part.
• 29:03
  Just to talk about the direction of the movie, one of my favorite.
• 29:06
  Two of my favorite directorial pieces in the movie are one the first scene where
• 29:11
  the award is in front of Olivia Williams and Bruce Willis and you can see
• 29:17
  them talking in the reflection of the Award, like whether in front of the
• 29:22
  fire and talking about it. It's in the shadow of his career. Yeah,
• 29:26
  exactly. And then this scene where Haley Joel Osmond grabs the pop tarts
• 29:32
  and leaves and it cuts to the handprint on the table that's like clearly been
• 29:38
  like he's like so scared and hot and the room is cold enough to have
• 29:45
  condensation that like you see the handprint disappear and the whole thing just disappears before
• 29:51
  it cuts. Such a two amazing choices that am I Chumalon makes in his
• 29:56
  new movies, but they're so wild and weird and inappropriate now that it's like,
• 30:02
  what is this person thinking? How is this person writing at all?
• 30:07
  Yeah? But no, dude, I love that moment. And there's like
• 30:10
  there's little things like that like throughout this movie where it's like it's just that
• 30:14
  it's so considerate. You know, he he's he's thought about this. You
• 30:21
  can tell that he's been dreaming about he was dreaming about making this movie and
• 30:26
  he had like thought about it and thought about it and thought about it,
• 30:29
  and that's why it's so good. And and it's kind of like it's like
• 30:33
  Jordan Peele with Get out right like get out. That's what I literally was
• 30:36
  gonna say. It feels like get out. It feels that's how much thought
• 30:41
  and and like humanness was thought about throughout the entire thing for every character,
• 30:51
  Every piece falls in place the world. It works totally circular within its own
• 30:56
  world. It's incredible. It's incredible. Even the where he walked Haley Joel
• 31:00
  walks out and the kid puts his arm around him and he's like, do
• 31:06
  you like that? I threw that in It's called improvisation. He's starting fish
• 31:12
  insufferable and like the like it was really interesting how with small details, small
• 31:19
  visual cues, M N. Traumalan is like communicating so much to the audience.
• 31:25
  Yeah, even like the the Ultra Ultra Wides where he's very small in
• 31:30
  frame and then walks into the school, and then you see after he goes
• 31:33
  into the school, bam, it cuts to Bruce Willis not talking to the
• 31:38
  mom, not talking. Also in also Hailey Joel in Wide coming into the
• 31:45
  house. Well that this is what I was gonna say before. I think
• 31:48
  that it's really interesting watching how much Bruce Willis is having these therapy sessions in
• 31:55
  such unconventional places with this kid, So it's really more like he's just having
• 31:59
  a disembodied from time and space relationship where they're just hanging out with each other.
• 32:06
  Yeah, in random places a lot of the time, and you can
• 32:07
  feel that you can feel pregnant pauses though, like like you can you can
• 32:12
  you can sense that they're like it feels like they were having a conversation enough
• 32:15
  totally, Like Tony walk in, like it seems like he had just said
• 32:20
  something really like intense or hard for her to hear or or vice versa.
• 32:23
  So when Cole walks in, you're just like you feel that moment of like
• 32:29
  he's kind of cutting through this like really tense moment between these two people.
• 32:32
  But of course that didn't happen. It's just there's so much inference that happens
• 32:37
  in this movie. Yeah, like the way that Tony Colletes like didn't be
• 32:39
  ready in an hour, says it in a way that makes it seem like
• 32:43
  after the hour you have allotted with Bruce Willis, but she doesn't say anything
• 32:46
  about that, so it's kind of like a tic and also her just being
• 32:53
  so flirtatious and understand but knowing that that's like a different part of her history
• 33:00
  in herself as a different person in her life is really incredible because it's like,
• 33:07
  man, she just did such an amazing job. And dude, the
• 33:10
  scene that they have in this like this moment where where they talk about their
• 33:14
  fake really good days, Yeah, god, beautiful, it's so beautiful.
• 33:20
  It's so beautiful. It's so it's so like sad in in like a really
• 33:24
  like uncomfortably real way, and her her day is is like you know,
• 33:32
  she has all these pancakes or whatever something like that. It's it's so beautiful.
• 33:38
  And Cole's day about like being thought, which is funny because at the
• 33:42
  end it happens, yeah totally, which is which is go ahead, Oh
• 33:47
  sorry, go ahead, No, I was just going to say it was
• 33:50
  amazing. Man. Bruce Willis's playfulness in this scene where he's like predicting,
• 33:59
  he goes like he's gonna predict so that he can bring Cole in to like
• 34:05
  want just take one step every time I get an answer right, And this
• 34:07
  whole scene playing out in a way of like how therapy works in a way
• 34:15
  that's like about trust, how apparent should be in terms of trust. The
• 34:20
  things that Bruce Willis got right the first time and the things he got wrong
• 34:23
  the first time, exactly like how Johnny Wolberg also spoke to ghosts. Yeah,
• 34:30
  totally, because he guess he guesses things, but the things he doesn't
• 34:32
  guess are specifically about the ghost stuff. Yeah. And this is the running
• 34:37
  thing throughout the movie is because these people are dead and they don't know they're
• 34:40
  dead. And it's kind of like a comment. It's like a very nineteen
• 34:44
  ninety nine comment on societies, like people don't know they're dead. Man.
• 34:47
  Ye, you're consumers. You're a product of consumers culture, man, Starbucks.
• 34:54
  I made fight Club the best Gen X movie of all time, the
• 35:00
  Matrix. Yet so they don't know that they need to like that they're red
• 35:02
  pilled. So they're red they're so primed them. This movie, among other
• 35:08
  nineteen ninety nine movies like fight Club, primed them to realize how red pilled
• 35:13
  they are and they can start their own fight club. And then the parallel
• 35:17
  disappointments with Bruce Willis cutting two scenes where he's coming in to not just disappoint
• 35:25
  himself by not being able to help Haley Joel, but like coming to dinner
• 35:30
  again to see his wife, seeing how at a restaurant this time instead of
• 35:37
  at home. Yeah, and how she silently says got the anniversary in a
• 35:42
  passive aggressive in what seems like a passive aggressive way, but also could seem
• 35:45
  like a tragically grieving kind of but also him trying to explain his day and
• 35:51
  also feeling ignored. I'm assuming that it must be very traumatical. On we
• 35:55
  talked about himself, Brusilis did, it was like, but that's what I
• 36:01
  was saying, Like I was, like, I was saying, he was
• 36:04
  so avoidant that he didn't even like he was so avoidant in his own relationship
• 36:08
  that he didn't realize that he was dead totally. And also but also it
• 36:13
  must be a kind of weirdly traumatic to be, like, I'm dealing with
• 36:16
  traumatized children all the time, you know what I mean, especially if,
• 36:21
  like if if the two the two people that we see are one who killed
• 36:25
  him, who he couldn't help, and this kid who's like been having bad
• 36:30
  dreams. I mean, this kid's been having bad dreams. You know.
• 36:34
  A friend of mine, I won't say his name because I want to I
• 36:37
  don't want to adoc him, but a friend of mine is a child social
• 36:40
  worker in Vancouver and he works with children, like young teens in the downtown
• 36:45
  east Side area, and like he is like one of the usually like he's
• 36:52
  he's a lot like Bruce Willis actually in this movie, where like he's very
• 36:54
  calm and like reserved and he like he has fun, but like he has
• 37:00
  somewhat of a sadness about him all the time. We went out for dinner
• 37:01
  with him once and he was like kind of quiet, and I was like,
• 37:06
  I was like, yo, man, what's going on. He's like,
• 37:07
  oh, well, one of my kids killed themselves today. And we
• 37:15
  were like Lauren and I were like, oh my god, dude, and
• 37:17
  he was like it's okay, it's okay. Like we had a really beautiful
• 37:21
  day yesterday, so I'm just really shocked it happened. And then we went
• 37:24
  on to have a great night out and we had drinks and all that sort
• 37:27
  of stuff. But I think about that, and I thought was thinking about
• 37:30
  that in the context of this movie, is that like he's he's been conditioned
• 37:35
  to like push things out and push things out and not deal with like the
• 37:38
  emotions because he's trying to like keep it separate. But like it gets messy,
• 37:43
  right, Yeah, of course, of course speaking of it getting messy,
• 37:46
  and that perfectly dovetails into the next scene where uh, Bruce Willis is
• 37:52
  weirdly stalking this child to school. Uh, and he tells him like,
• 37:58
  uh, he doesn't the kid doesn't want want his mom to know that he's
• 38:00
  a freak. And he's like, you're not freak. That's bullshit, right,
• 38:05
  And he gets like really emotional about it because it's like, not only
• 38:07
  does he have like grown up swearin that, oh yeah, totally. And
• 38:13
  he's like, you said the S word. Yeah. I remember when when
• 38:15
  one time some daycare teachers were in front of us and I was old enough
• 38:20
  to spell, and she's like and there were two like caretakers talking to each
• 38:23
  other and one of them turned to the other one and I just said to
• 38:27
  him, I don't give an s h I t yeah, And I was
• 38:30
  like, I know what that means. Been having night terrors, been like
• 38:40
  totally it was all the trauma. Yeah, I like whatever, had bad
• 38:45
  dreams, he had night es and they were like that's okay. I talk
• 38:51
  in my sleep and walk in my sleep. Do you walk in your sleep?
• 38:54
  No? Not usually I don't. I don't want to. I get
• 38:59
  I get sleep prolysis. Sometimes I get it. Sometimes it's so scary.
• 39:04
  The demons, dude, I don't see the demons when I have sleep paralysis.
• 39:07
  But I just feel like I just feel like very like I feel dead,
• 39:09
  Like I feel like I can't move my body but my mind. So
• 39:13
  for me, it's like I'm never gonna be able to move again. I'm
• 39:15
  never gonna be able to move again. I have to move now. I
• 39:16
  have to move right now. I have to move right. That's what I
• 39:20
  think. That's exactly what I think. Can I answer you guys a question
• 39:22
  before we get really deep into the movie? What's it? Like? What
• 39:27
  are your thoughts on on death? You know, just to start with a
• 39:30
  really like a chill question, like what are your thoughts on like what happens
• 39:32
  after death? Like do you guys believe in the supernatural? Do you believe
• 39:37
  in in spirits or anything like that? You know, Like I've had I've
• 39:43
  had enough like weird experiences that I'm like, Okay, there's probably some kind
• 39:49
  of rational explanation for all of this and like whatever. But I'm like,
• 39:52
  maybe there could be a rational explanation to ghost now. I don't have that
• 39:57
  explanation, and I don't think that, you know, like my rational brain
• 40:01
  doesn't think that that's true. But I've had like ghostly experiences that were very
• 40:07
  spooky, very spooky and very like scary and not like and they weren't like
• 40:13
  I was sleeping. They were I was awake and with other people, and
• 40:17
  like, so I believe that something can happen. I don't know. I
• 40:22
  kind of like I watched the movie Ghosts recently and I kind of wanted to
• 40:25
  talk about it on the podcast, but odome dude. But but like I
• 40:30
  kind of feel like that's what death is, maybe like trying to be just
• 40:37
  a version of it. It's a version of it because I feel like there
• 40:39
  could be something that keeps a restless spirit to this world. And I feel
• 40:45
  like there could be like a trauma thing for sure. And I feel because
• 40:47
  that seems uniquely interesting to me that like trauma does stay with you in kind
• 40:54
  of a magical a paranormal way, right, And so like to tie trau
• 41:00
  to like death and so much about the way we're born as traumatic, in
• 41:04
  the way that we die as traumatic, and what we do in our lives
• 41:07
  is traumatic, so that I feel like there is a kind of mystical force
• 41:10
  to it. So I understand what the movie's doing by tying the two together,
• 41:15
  like conflating the two, and I do think something blah blah blah mystical,
• 41:20
  but my rational brain is like it's all bullshit and stupid. I mean,
• 41:23
  like to me, it's like you don't have to necessarily fill in gaps
• 41:30
  of knowledge with something that's just comes from you know, popular culture, right,
• 41:37
  like yeah, it ghosts and all that kind of stuff could have irrational
• 41:40
  or they could not exist at all, but it's like it's the jumping to
• 41:47
  conclusions that that bothers me. D yeah, exactly exactly. You took the
• 41:53
  words right out of my mouth. It just it feels a little bit like
• 41:58
  when there is so much in the real world, why do people need X
• 42:05
  thing? But people do you know? I I need movies, people,
• 42:08
  other people need religious people more, and people need for it to Like I
• 42:13
  was, OK, that's interesting that you mentioned that, like because I was
• 42:15
  having an argument online the other day about zodiac signs and uh, it's like
• 42:22
  I don't like the guy was like, it doesn't it's not real and I'm
• 42:25
  like, yeah, okay, but like your need to say it. I
• 42:30
  don't know. It just seems like it's rooted in like just ruining someone else's
• 42:36
  fun rather than like and somebody else's interest or somebody else's excitement about something.
• 42:40
  It seems like, I don't know, people need to believe in something like
• 42:45
  that, so like some people don't. Some people need to believe in religion
• 42:49
  some people, and like, yeah, people treat it like it's real.
• 42:52
  But people treat a lot of stupid, not real things like they're real.
• 42:54
  Yeah, Like people just need like sometimes sports, Uh, what's a superstition
• 43:04
  and superstian Yeah, superstitions, that's perfect word for it. Like people treat
• 43:07
  that as though it's real. That's just as as wacky as any any of
• 43:14
  it exactly. It's like's like you there are definitely things that you do in
• 43:19
  your life that are like zodiac. Yeah, well that is that is literally
• 43:23
  irrational thoughts happening and and you need something to stop them, you know.
• 43:30
  Yeah, So like I don't know what about you, Case, what are
• 43:34
  you? I've been raised in a very like well I had a surprising yeah,
• 43:39
  but but so my mom. I'm named after my grandfather, Cornelis.
• 43:47
  His nickname was Case. He died when I was about like a year and
• 43:51
  a half and my mom had put me in my crib for the night,
• 43:54
  and like she woke up and she says, she's like, yeah, I
• 43:58
  woke up, and you would somehow gotten out of the crib. You'd gotten
• 44:01
  on the bed, somehow on the bed and you were on my chest and
• 44:07
  you just said, Opah's gone. And then the phone rang and it was
• 44:10
  my grandmother telling my mom that that my grandfather had passed. So like that
• 44:17
  was something that's always kind of stuck with me. But like I feel like
• 44:20
  whether it's dreams or whether it's just like you're kind of spirit kind of like
• 44:23
  having to process like losing someone in a certain way, I like to think
• 44:28
  that it's real. I like to think I like, I'd rather ghost be
• 44:30
  real than aliens be real, to be honest, Old me too, me
• 44:35
  too, Dude's spooky. It's like, let's live in Halloween all the time.
• 44:37
  When my my uncle was passing away, he had been with my aunt
• 44:42
  for since they were fourteen years old, and he was about fifty years old
• 44:45
  when he passed away, and like my aunt was like super devoted to him,
• 44:50
  like incredibly devoted to him, and she was like there at the hospital
• 44:53
  all the time, all the time, right, And the nurse looked at
• 44:59
  her and it's like, you know, you you need to go home.
• 45:00
  He's very stable, Just go right. And she she got home, she
• 45:06
  put got into bed and she was like still fully dressed. She's planning going
• 45:08
  right back to the hospital. And she put her phone on loud right next
• 45:14
  to her ear. And when she fell asleep and she woke up and she
• 45:20
  saw my uncle in the room with her, just standing like in the room,
• 45:24
  dressed normally. And he sat down on the bed and she's like he
• 45:29
  reached down and he like touched my foot and he said, Babe, gotta
• 45:32
  go, I gotta go. But Joanne, Joanne's here. Joins my mom,
• 45:38
  Joanne's here. And he got up and he walked out and he opened
• 45:43
  the door, closed the door. My aunt woke up and she had twelve
• 45:50
  miss phone calls in the hospital, like completely missed, even though it was
• 45:54
  on loud. Sat up, there was a banging on the door, opened
• 45:59
  the door. It was my mom and she was like, bubb passed away.
• 46:04
  The hospital's been trying to get a hold of you. Yeah, And
• 46:07
  when I when I think about that sort of stuff. It's like, yeah,
• 46:12
  man, I like, I like, I think that there's something very
• 46:14
  romantic in that idea that like, you know, our spirits communicate with the
• 46:17
  ones that we love. It's a really beautiful idea, you know, not
• 46:22
  totally you know, not like you know, old Victorian ghosts running around in
• 46:25
  a spooky house like that's that's kind of sullying, goofy. No, just
• 46:30
  a just a just the feeling of love being able to transcend things that may
• 46:37
  be perceived as more scary, like the finality of death. Well, I
• 46:42
  mean, I mean, I know this is like a much less you know,
• 46:45
  like it's not about a human but but but recently my cat died,
• 46:50
  Simon, friend of the show, and like the night that that that it
• 46:53
  was happening, he wasn't dead yet, but like, you know, I
• 46:57
  don't know, Like I don't usually up in the middle of the night,
• 47:00
  and I don't usually check my phone in the middle of the night, but
• 47:05
  like I woke up in the middle of the night and I checked my phone
• 47:07
  in the middle of the night, had miss call from Alex who was like
• 47:10
  here taking care of Simon while I was in Serbia, And like, I
• 47:14
  don't know, you know, like it's it's it's weird, right, Like
• 47:19
  it's like a weird thing that that that it happened, and it feels like
• 47:22
  it has like a mystical quality to it that I was like, for some
• 47:24
  reason pulled on that night to look at my phone rather than you know,
• 47:30
  and if that hadn't happened, like we probably I don't know, we might
• 47:32
  not have gotten to see Simon and say goodbye or whatever. You know.
• 47:37
  Yeah, speaking of mystical qualities. In the next scene, after Bruce Willis
• 47:43
  inappropriately is doing therapy sessions on the street, Tony Collette is doing laundry again
• 47:51
  and she's wearing a big sweater and she turns up the heat, which is
• 47:54
  a great little touch for like ghosts being cold. And then when she sees
• 48:00
  the pictures of Haley Joel growing up and then like little like spots of light
• 48:07
  and orbs. Uh. That's a really interesting, interesting choice to make because
• 48:15
  of the fact that like she is a person, this lady seems like a
• 48:20
  person who's like irrationally has mama qualities where she'll be missed. Yeah, totally
• 48:29
  the se them she's Yeah, she's definitely like very mystified by it. When
• 48:34
  she sees the orbs and I mean, like the thing that seems really cool
• 48:38
  to it would be unsettling to realize that there's like an orb in every single
• 48:43
  photo with your kid, Like yeah, for sure, you would just think
• 48:46
  that you don't know how to It's like Lens Flair, you don't know,
• 48:50
  you're just bad at taking photos. But what I like about the scene is
• 48:53
  that it's intercut with what's his name Bruce Willis telling Haley Joel to do the
• 49:01
  auto writing or whatever and him explaining it to her and then her cleaning up
• 49:08
  the place and then seeing all the writing is really interesting because it's like he
• 49:14
  figured out to do it on his own, at least from her perception and
• 49:21
  he but it's actually a professional telling him to do it, and then her
• 49:25
  getting influenced from the other world as well by like having this through line of
• 49:32
  like fear get introduced of like oh no, like what's wrong with him?
• 49:37
  Why is he writing all these insane things really scary things but not scary and
• 49:43
  like I'm going to kill I'm going to kill this person or like there's demons,
• 49:46
  but like in like sort of like just intense something like like really traumatic,
• 49:52
  like really just like someone from like a really in a traumatic and like
• 49:55
  in a being traumatized headspace. Dude. That's a cool thing about this with
• 50:00
  you is like all of the ghosts, with the exception of Misha Barton,
• 50:06
  but kind of Misha Barton, like they're all like in in sort of trauma
• 50:10
  response in a lot of ways totally, and because it's like they're kind of
• 50:15
  living in this these final moments of like complete and total panic and fear and
• 50:21
  like all these overwhelming emotions, and it's just it's just such a good choice
• 50:25
  to kind of stick with that rather than being like ooh, jump scare or
• 50:30
  ooh, this deformed ghost when he does play with gore, like the boy
• 50:36
  who blew his brain whose blames it brains out, it's like really shocking.
• 50:39
  And that's my favorite, Yeah, because because because the sound does the jump
• 50:47
  scare for you without it being a jump scare, but it's so awesome because
• 50:52
  you're like you're you're thinking something's gonna happen, and what it does is like,
• 50:55
  oh my god, it is scary. It is Yeah, yeah,
• 51:00
  i'd be scary to see a shotgun head but like it's interesting, it's interesting
• 51:04
  to actually the way that Bruce Willis ends up dealing with the problem, and
• 51:08
  that is to be likes to be like, yeah, yeah, just listen
• 51:14
  to them, we'll get it. We'll we'll get to that. But Bruce
• 51:16
  Willis first realizing that his wife is having an affair is also cool because he's
• 51:22
  in the basement, can't go, he has to drift into it. I
• 51:30
  love that you're picturing that he's drifting picture. I'm picturing it in the same
• 51:35
  way that I picture a friend other friend of the show, Simon when I
• 51:38
  yell at him him like kind of disintegrating into dust. But yeah, the
• 51:45
  fact that they show this character be kind of frustrated for not like like being
• 51:51
  able to like hook up or not even hook up. He seems like a
• 51:53
  nice guy. He just like feel it feels like he's not able to express
• 51:59
  himself. He's frustrated. He's frustrated, and he's frustrated with her and and
• 52:04
  you're like, why is he f But like once again, like to talk
• 52:07
  about like the balancing ale, Yeah, to talk about the balance, it's
• 52:10
  like like that's hard, Like that's a really that's really it's signed a really
• 52:14
  good direction. Is that, like you can he's having like all these other
• 52:17
  characters essentially giving two meetings at once exactly, and if the actors weren't able
• 52:24
  to sell that and and have the feelings be valid in each round, it
• 52:30
  wouldn't be a rewatchable movie because it would just be just hinging on the twist.
• 52:34
  Right, you were on my you were you were on my twist?
• 52:37
  How did you know you were on my mist twist? Quist quist twist?
• 52:49
  You were on? This twist is also a really great scene where the teacher
• 52:57
  does anyone want to see teacher study part time? Surry Stanley Sury say this
• 53:05
  scene that this scene is amazing, It's amazing, it's so scary, and
• 53:09
  it is a scary scene. It's a scary scene. And talking about playing
• 53:14
  two emotions at once. The the Stanley, the teacher having this moment with
• 53:22
  Cole raising his hand seemingly for the first time, having confidence to be a
• 53:28
  guy who's like, oh, like he's opening up. That's great, and
• 53:31
  Daddy's flattering. Immediately I thought of that scene after this scene, of course,
• 53:38
  but but Stanley being like, oh, maybe I've done something to help
• 53:44
  this kid open up a little bit, and then what he goes They used
• 53:47
  to hang people here and him being like I don't know how to deal with
• 53:53
  this. Yeah uh, and then and then like the kid like him being
• 54:02
  like they used to hang people here, and then everybody being like, whoa
• 54:06
  dude, that's fucked Like one, how do you know that? You guess?
• 54:09
  But then but then Stanley being like almost in real time making the decision
• 54:15
  like these kids are too young to hear about this. I'm gonna pivot and
• 54:20
  be like that's not true. He did such a good job and he did
• 54:22
  an amazing job. And then the other pivot into stutter extending stutter exten like
• 54:29
  he weirdly knows like shit about him, like because he knows seems like he's
• 54:35
  like from ghosts he's a medium, yeah, dude, And I like that,
• 54:40
  like like he makes choices like like I think I feel like a cheeseball
• 54:44
  director would be like that'd be an insert of like some ghost whispering into Haley's
• 54:49
  angel osmin but like to be like to be once again inference that like someone
• 54:53
  someone, something is in the room with him telling him this information is it's
• 55:00
  oh unsettling, and henchel Osman's performance this is for me when his performance is
• 55:05
  getting like really good and because he sells like little kid freak out so well
• 55:13
  in a way that's like not pandering and not like over the top, but
• 55:16
  is still like really intense, Like the little was really the pinnacle of little
• 55:22
  kid acting. I would say totally him and Dakota we were peak, both
• 55:28
  of them seemingly either cutting their hair off or putting a wig on to play
• 55:32
  each other in a movie. But what what's incredible about stuttering Stanley and the
• 55:38
  scene in general is not only is it revealed how scared he Haley Joel Osmon
• 55:45
  is and how scared he can make adults around him given his behavior, but
• 55:51
  the power that he has is realized in this moment. The ability to communicate
• 55:57
  with the dead is such a powerful thing to do because of the it's almost
• 56:01
  like being invisible, like you could see into somebody else's life. Uh,
• 56:07
  and and his life, Stanley's life is revealed by the fact that he does
• 56:10
  start stuttering, and it's like he knows, freak yeah, and he's like,
• 56:16
  dude, his response is so genuine it feels so it feels like such
• 56:21
  a genuine response from the from the T shirt and it's like dude, Like
• 56:24
  he's like he's so caught off guard and he's hit. He's kind of like
• 56:29
  tapping into like the trauma being bullied as a youth, so he kind of
• 56:32
  gets into an activated headspace and and and he starts freaking out and it's like
• 56:37
  dude, and like all the great cuts into like the kids, like the
• 56:42
  other like the classmates all staring at him. Yeah. Is It's just it's
• 56:46
  just really remarkable direction. There were there were really bizarre moments in this movie
• 56:53
  that I don't know if you guys captured that like kind of gave it a
• 56:57
  little bit of a like a maybe it was like reference Terry Gilliam, Like
• 57:00
  some silly qualities like when everyone picks up their camera to like film the yeah,
• 57:06
  simultaneously set up their cameras. Yeah, yeah, it's He had this
• 57:12
  incredible and unique ability to balance what he thought were very realistic dialogue and camera
• 57:22
  choices that make a very real place surreal that now all of his movies are
• 57:30
  so surreal that they occupy a different space, which I think is still valid
• 57:36
  as like a filmmaker. I just don't necessarily like you you don't like it,
• 57:40
  you know. I just wish that he stuck on this more than anything
• 57:45
  else. But even in the next scene where Bruce comes back, the implication
• 57:51
  of cutting from one scene to another is the school called his counselor or therapist
• 57:55
  or whatever he is, you know, and now they're just in the scene
• 58:00
  together, as opposed to Bruce drifting in through the wall and being like,
• 58:04
  hey, how's it going. You must be stuttering sadly, I heard all
• 58:07
  of it. Hey, after you're diddy Bletter's letter's braids all over the wall.
• 58:13
  Well, the editing, too, is really good, and the editing
• 58:16
  sells the trick too, right, like for exactly the reason you just said,
• 58:22
  Alex, because you could kind of for Cole and his experience, because
• 58:27
  in a way, a lot of the movie is from Cole's perspective. It's
• 58:30
  like these these ghosts do, like these spirits do just drift into his life.
• 58:35
  They're just there, right, And it's like it's like he would He's
• 58:39
  just in a scene and then boom, like he's there, and I wonder.
• 58:44
  I think the biggest question, the question I often think about now when
• 58:46
  I rewatch the movie is does Cole always know? That's an interesting question,
• 58:53
  does Cole know? I think that's why he's scared of Bruce. I think
• 58:58
  he knows the whole time I'm about Bruce. Maybe I that's the feeling I
• 59:02
  have. That's why he's so skeptical of him. And so because he knows
• 59:06
  he just happens to be in his house. He didn't talk to his mom,
• 59:08
  didn't talk to him about it. You know, he notices, and
• 59:12
  he notices all the things that Bruce doesn't notice because he says, they don't
• 59:15
  know they're dead. That's maybe maybe In this scene, Bruce does the the
• 59:22
  what's the most You've ever lost on a coin? Tok? And he does
• 59:28
  it like a little party trick for him. But what I love about this
• 59:30
  scene in general is that not only does he do the party trick to like
• 59:36
  try and and like, not only is it like a levity scene for Bruce,
• 59:42
  because he has a lot of like pretty true, there's a lot of
• 59:45
  like yeah really sad, Yeah totally. But levity is nice for Bruce because
• 59:52
  in this scene, especially because his sort of old madness like helps a lot
• 59:58
  with that because he is kind of out of an out of touch dad trying
• 1:00:00
  to make his kid happy. And this scene is the first scene where I
• 1:00:07
  feel like he Hailey Joel does realize his power post having this kind of trauma
• 1:00:14
  experience, and also when Hailey Joel does the scene does the same trick later.
• 1:00:20
  It's also him trying building up his confidence throughout the movie, and that's
• 1:00:24
  what Bruce is doing for him too, which is what a dad should do,
• 1:00:27
  and she should build up a kid's confidence and self assurance, right,
• 1:00:31
  and he does, and then it cuts to Bruce back into his own house
• 1:00:38
  with his wife watching wedding videos. Yeah, the wedding video, the amazingly
• 1:00:45
  well shot and believable looking wedding video totally totally looks totally real, and yeah,
• 1:00:52
  it's it's I think it's the scene where like the maid of honor is
• 1:00:57
  talking, right and she's crying talking about their relationship. So like it was
• 1:01:04
  such a beautiful choice to to to do exposition in a way like that where
• 1:01:08
  it's like, Okay, like we've seen this couple together when he was alive
• 1:01:12
  in the beginning, and you can tell that they were in love, but
• 1:01:14
  you could tell that there was maybe something something was beginning to fade, maybe
• 1:01:20
  resentments were starting to form. Well, she says, you put even your
• 1:01:23
  career before even before our marriage. But she says it in a way that's
• 1:01:28
  like, that's like when when your wife says something that like she's heard about
• 1:01:31
  but she doesn't want to be mad about it, but she's heard about it.
• 1:01:36
  Yeah, Yeah, she said. It's like a college where like you
• 1:01:37
  could push on it if you wanted to, but like it's better maybe to
• 1:01:42
  just let it go and make a mental note that you've hurt your wife or
• 1:01:45
  your behavior's hurt your wife. Oh Man. And the wife part of this,
• 1:01:50
  the like struggling relationship part of this I related to so much in this
• 1:01:54
  moment. Not to reveal too much or anything, but like just be like
• 1:01:59
  I was like watching this being like, oh man, like the like resentments,
• 1:02:05
  the quiet, the subtleties, and like the beautiful direction with like that
• 1:02:10
  parallel idea of like they are simultaneously how grief is like grieving within a failing
• 1:02:19
  relationship, and the reveal of her taking antidepressants. At first, when I
• 1:02:25
  first saw this, I was like, man, a little bit judgmental about
• 1:02:28
  antidepressants. But what's actually happening is because he's a therapist, a good one
• 1:02:34
  in this movie, he understands that what the actual thing that's the problem isn't
• 1:02:40
  that she's on antidepressants? Is that he wasn't told she was on antidepressants?
• 1:02:45
  Yeah, And that's like a big, a shitty thing to experience. It's
• 1:02:51
  like, imagine your partner telling not taking something that's for like an ailment that
• 1:02:58
  you might not know about. That's a sad thing to experience, you know.
• 1:03:02
  And then it cuts to the party where Haley Joel Osmond is talking to
• 1:03:07
  the kid who is like, also seems like an outcast. Kid was so
• 1:03:16
  good, but I felt like this kind of out guest where I was like,
• 1:03:21
  well enough, liked by everybody, but still weird that it was like
• 1:03:25
  as opposed to a complete outcast totally, like the kind of outcast that still
• 1:03:30
  could have friends. That was me too. It was like where it was
• 1:03:32
  like, oh man, there's still people that I could bully. Yeah,
• 1:03:37
  Joel, I totally Haley Joel Haylee Joel definitely kind of a bully in this
• 1:03:43
  movie. Totally totally. And also, I mean this is the classic sort
• 1:03:46
  of breakdown of this movie where every time a ghost appears, there's there's a
• 1:03:52
  big significant red thing in the shot, whether it be the balloon, whether
• 1:03:55
  it be his shirt, whether it be the stairs that have trumpets, the
• 1:04:00
  tent, the tents list, the knob, the doorknob, and then this
• 1:04:09
  shitty totally an actor kid playing an actor kid in the movie he did playing
• 1:04:16
  an actor kid. He did such a good job, did an incredible job.
• 1:04:20
  Let's go fucking bully that kid. Have you ever seen a real job?
• 1:04:27
  Have you ever seen mean Creek? Oh, his daddy splattered his brains
• 1:04:30
  all over the wall, dude, that's what we were quoting that coded,
• 1:04:33
  I mean peaking so long, dude, daddy's fun of his brains over the
• 1:04:39
  whole. That's really good at Mean Creek as well. Kid is really good.
• 1:04:45
  He's really good. And then hot dressed in totally two thousand's uh garb
• 1:04:51
  uh Tony freaking out she she did this is a amazing performance. When she
• 1:05:00
  is like trying to open the door and like rattling the thing and then freaking
• 1:05:05
  out and then trying to calm down and quietly going do you have the keys
• 1:05:10
  for this? Like you know that panics response of like I know the people
• 1:05:15
  are going to freak out. Like the look where she like stops and just
• 1:05:18
  like looks in like exasperation, like like what's going on? Yeah, and
• 1:05:24
  I don't know. I don't know. So her reaction in that scene,
• 1:05:28
  the kid's reaction in that scene of like deer in the headlights, paralysis of
• 1:05:31
  like oh, no, freaking up, we've done something bad. We're now
• 1:05:35
  what adult is freaking This is the scene that scared me the most as a
• 1:05:40
  kid. Yeah, dude, it's so scary because like the way it's up
• 1:05:44
  that big staircase, and is this racially tinged? No, I think I
• 1:05:51
  have always said no, I don't think that it couldn't you know what,
• 1:05:55
  though, it could be. It could be. It's not a it's not
• 1:05:58
  a black voice. It sounds like a very white voice to me. And
• 1:06:00
  I've always thought it. I've always thought if you're saying makes it seem like
• 1:06:05
  it's like I swear I didn't take the Master's horse, right, like old
• 1:06:11
  like eighteen hundred's ghosts. I mean like, yeah, like what is that?
• 1:06:16
  It's so and like the trauma response so like that dude is like he's
• 1:06:21
  so scared. Like the ghost sounds so scared. The ghost is scared.
• 1:06:26
  What the ghost says? Oh what is the ghost? The ghost says,
• 1:06:29
  I took I swear I didn't take a Master's horse. Yeah, probably let
• 1:06:32
  me out of here. If you don't let me out of here, I'll
• 1:06:34
  break out and I'll grab you and i'll pull you in here. And it's
• 1:06:38
  like, oh my god, it's like scary, like and like he told
• 1:06:43
  you're right case. It's totally what someone traumatized would say. Yeah, and
• 1:06:47
  like so panicked, Like the ghost is so panicked, and like you don't
• 1:06:53
  see him and there's no reveal and like when he goes in, there's nothing
• 1:06:56
  in there, and like like once again, like a cornball direct would show,
• 1:07:00
  which is like here's the spooky ghost. And it's like it's so much
• 1:07:04
  more fright career that they don't that they don't and mystically unlatches stop screaming and
• 1:07:13
  you get and you get like the post production slow the hand. I love
• 1:07:19
  I speaking of post production slowmom in this next scene. I loved that he
• 1:07:28
  showed up like it's his only good performance. Is such a good job.
• 1:07:32
  Every other performance is there's there's speaking of twinkles and eyes every time every other
• 1:07:40
  movie he shows up in there like hey guys, it is me. I
• 1:07:45
  know. It's it's so annoying because he he wasn't and like I said to
• 1:07:50
  Anna, it's and she was like, no, it isn't. He does
• 1:07:56
  look very different. Brothers can't sing. But this scene where Tony is like
• 1:08:02
  talking to Emmalan and him being like, well, it wasn't a seizure and
• 1:08:10
  she's like, what is it? Just tell me what it is? Like
• 1:08:14
  the frustration of totally okay, I know, you can tell me all you
• 1:08:18
  want. What it wasn't, what is it? And when he asked about
• 1:08:24
  the bruises too, and and her like her feeling extremely judge from sports.
• 1:08:30
  They're from sports. Of course, of course this kid plays sports, ma'am.
• 1:08:34
  There's no way that I believe this weird goth team plays. She's going
• 1:08:41
  moderately dressed team, she's going, she's going off the lie that like not
• 1:08:45
  the lie, but like they're fake really good days. Cole talks about playing
• 1:08:49
  sports right and going the goal so like, but that shows that she's like,
• 1:08:55
  even though they know they're lying to each other, she's choosing to believe
• 1:08:58
  in in the lie because because it's too much for her to like understand just
• 1:09:02
  how you know, alienated. Her son is also like just not not to
• 1:09:09
  go backwards. But that one scene when she's at the party and she's having
• 1:09:13
  a hard time dealing with the other moms. Like you can tell like that
• 1:09:15
  she's just not fitting in with the other moms. But it's like not like
• 1:09:18
  it's not a scene really, it's just you can just tell that she's not
• 1:09:21
  she herself as an outcast. She herself feels a little like not accepted in
• 1:09:27
  the community and a little alienated. Really really great, like just subtle,
• 1:09:31
  like so subtle. She she comes from Rocky's neighborhood that she moved into after
• 1:09:39
  her husband died and left some money. It was it was her, it
• 1:09:42
  was her that was walking with Rocky. Uh to the She's little Marie,
• 1:09:46
  dude, canonically she's little Marie. Canonically little Marie. I love that.
• 1:09:51
  Yeah, And and they changed it because Rocky six was too woke. They
• 1:09:57
  had to change it from Haley Joel Osmond to steps Steps Steps also dead people
• 1:10:04
  do. But what I like about the scene too is that they they just
• 1:10:09
  cut to Bruce does. He doesn't say anything, and then he drifts into
• 1:10:14
  Haley Joel Osmond's role and like comes into the next scene. This is obviously
• 1:10:18
  the most iconic iconic scene I see that, and it's so well directed that's
• 1:10:27
  so well acted. No wonder people like tied like because people have the like
• 1:10:32
  kind of response. The natural response, of course to something that's so well
• 1:10:38
  done and serious is meming it because it's like, oh my god, dude,
• 1:10:41
  it's amazing. Well it's like this, and the reason it's funny is
• 1:10:46
  because it's amazing. Oh yeah, and also very vulnerable too, and like
• 1:10:51
  the whole number one what it feels like to be scary. Yeah performance in
• 1:10:58
  the scene when like tell him the story, yeah, like like him him
• 1:11:03
  trying to tell the story is embarrassing of like trying to invent a story,
• 1:11:10
  and then him being like, tell me a story about why you're sad.
• 1:11:13
  Uh and and and Bruce willis laughing in this scene too and trying to be
• 1:11:18
  like okay, like something obviously really intense happened, like let's let's try and
• 1:11:25
  make him laugh and stuff like that, and then him being like, I'm
• 1:11:27
  not really in the mood to laugh. Tell me a real thing, but
• 1:11:30
  through a story maybe, uh And then he tells the story of dund it's
• 1:11:35
  of course, but he tells the story of of of Donny Walllberg uh and
• 1:11:44
  and it's he's so Bruce Willis is so upset about it. He's so sad,
• 1:11:50
  and it's interesting that he's doing crazy eyes, but sad crazy eyes,
• 1:11:56
  dude. Like the thing I was gonna say is it's interesting that he he
• 1:12:02
  It's kind of introduced earlier in the movie when he does say ship in from
• 1:12:05
  the kid. He's willing to kind of be more real with the kid and
• 1:12:11
  like the kid is the only person that he's actually truly honest with about any
• 1:12:15
  any emotions that he has. He's actually the therapy is for him. He's
• 1:12:19
  doing the thing that all he realizes all of the other ghosts are doing.
• 1:12:24
  He is like asking for help, but he also discovers that that's what the
• 1:12:28
  ghosts are doing by trying the tooth with the tape from Donnie when when Donnie
• 1:12:31
  was a kid he listens to a ghostly tape. Do you think that ghostly
• 1:12:35
  phenomenon can be captured on our technology? Dude? Yeah, I think so.
• 1:12:41
  I think so. Definitely the analog stuff, like like an old tape,
• 1:12:45
  for sure. Never digital digital digital is terrible. Digital filmmaking is terrible,
• 1:12:53
  dude. It's all got to be on film. Movies made. Real
• 1:12:57
  movies are only made on film. I'm Christopher Nolan, and there's no effects
• 1:13:00
  in my in my nuclear explosion at all. Yeah, no, none at
• 1:13:04
  all. When when when Bruce Willis first hears I see dead people, man,
• 1:13:13
  he's so hurt. He's so sad and hurt for this boy that's just
• 1:13:18
  possibly schizphrenic. But like he he knows he feels bad because he knows the
• 1:13:24
  kid is experiencing it on whatever level. He feels like he's experiencing it,
• 1:13:29
  and he feels terrible about it. And and and they don't know that they're
• 1:13:34
  dead. And but also you kind of feel like Bruce understands in this moment
• 1:13:39
  that he's dead. Totally. The camera on Bruce, Dude, the camera
• 1:13:42
  is on Bruce, like and what a ballsy choice to give, or the
• 1:13:47
  twist like that to have. He's like, he's like, they they continue
• 1:13:50
  living their lives. They don't know that they're dead, and he wants the
• 1:13:57
  audience to feel it though, he wants the because that reveal at the end
• 1:14:00
  hits really hard. And it even though I knew it, it hit really
• 1:14:04
  hard when I watched it, it worked. Yeah, it was so good.
• 1:14:09
  Both of them are amazing, amazing, performers totally deserved the Oscar nominations
• 1:14:16
  for I think Tony Collette also got nominated. She didn't she should have man,
• 1:14:23
  because she's so good in this movie, like just she's so good,
• 1:14:26
  possibly schizophrenic. And then when she takes him home, uh, and she
• 1:14:30
  like sees the holes in the shirts and then lifts up the shirts and like
• 1:14:35
  there's cuts on him to a man when she calls the mom and she's like,
• 1:14:40
  you have your son fucking stay away from my kid. Maybe you should
• 1:14:44
  we should talk about how keep his fucking hands on such a brilliantly like angry
• 1:14:51
  lady. Would I mean, I've heard Mama talk like this. It's like
• 1:14:56
  you are setting Yeah, totally. She totally had trump son. What did
• 1:15:02
  you say? Trump? Mama? Kind of Trump? But yeah, dude,
• 1:15:10
  I know and I've seen it too. It's and I think it's like
• 1:15:15
  such a valid like validated like anger, but it's just so fucking crazy.
• 1:15:20
  Oh yeah, totally. It's just like where you're embarrassed but also happy that
• 1:15:26
  she was defending things as you're saying them, and you're just kind of like
• 1:15:30
  it's like this man, this scene though, this next scene where the kid
• 1:15:36
  goes, come on, I'm sure you. My dad's good, and the
• 1:15:43
  puppy like is in the is in the laundry room and he and she can't
• 1:15:47
  get the puppy to come out totally totally, but like what do you like,
• 1:15:51
  like, dude, like once again like sets sets it up in a
• 1:15:56
  way where it's like that's that is unsettling. I would be unsettled if my
• 1:15:59
  dog, if Griffin was like hiding from something, I would be unsettled.
• 1:16:04
  Why is my dog? Why is my cat afraid? Right now? And
• 1:16:09
  you're gonna puts you in that. He does so much prep for each of
• 1:16:13
  his scares, but not in like a traditional like Okay, we got to
• 1:16:16
  you know, we gotta do this. We're gonna like set up like the
• 1:16:18
  Gore here, We're going to set up that. He's setting them up in
• 1:16:21
  an emotional way so like you're so like you're open to to it, you're
• 1:16:27
  feeling it emotionally, and every scare is kind of kicking in that emotional in
• 1:16:32
  that emotional headspace, and it'll it'll have the most both the most impact and
• 1:16:38
  the most set up. I mean, let me just explain what the scene
• 1:16:41
  is because Haley Joel gets put into bed, and then he wakes up to
• 1:16:45
  pee and he does such good I have to pee acting, but also I'm
• 1:16:48
  too scared to go because there might be ghosts. Man, I've run.
• 1:16:53
  He runs but has to be still, and then it cuts as as there's
• 1:16:58
  the shot of him pee, it cuts to the the not odometer, the
• 1:17:05
  like temperature temperature thermostat, the thermostad goes down, and then he finishes peeing,
• 1:17:13
  and then the lady walks in front of the camera and it's just like
• 1:17:16
  yeah, and it's just like him turning around knowing something happened and then being
• 1:17:21
  too scared. And then it's the battered woman that's like yeah, and then
• 1:17:29
  him crying in the in the red tent, and then the surprisingly Christian elements
• 1:17:32
  showing up again to see these kinds of like scary, is really scary,
• 1:17:38
  dude, to see someone's trauma of them being beaten, and then you're scary
• 1:17:43
  because you're the one being beaten. And the rage, the rage, she's
• 1:17:49
  so mad, she's so mad. It's just it's just so intense. It's
• 1:17:57
  so fucking frightening. Uh amazing. Also, why are there so many plays
• 1:18:02
  in this movie? There's two plays I guess it happens twice a year maybe,
• 1:18:09
  but yeah, you're right, there is that aspect where all the cameras
• 1:18:14
  come up, which is hilarious. It's very cute. I like it.
• 1:18:17
  I'm glad, but it doesn't they remind you of like a like a like
• 1:18:20
  a burden move or like a oh yeah, yeah totally so you see in
• 1:18:24
  Brazil. Yeah, he's clearly influenced. Now that you mentioned Terry Gillian,
• 1:18:29
  that is an interesting parallel because I do think they have something that's very similar
• 1:18:35
  about each other, just in different ways, in different focal focal points.
• 1:18:42
  And also, why is this dude coming to this kid's play Like it's weird?
• 1:18:45
  It is weird, it's bad, it's bad therapy. Yeah, I
• 1:18:50
  think like he's the same kind of therapist that he is in Color of Night,
• 1:18:56
  but in this one, I think it's more justified because it's like he's
• 1:19:00
  also a pseudo father figure. They take on this unique relationship that is believable
• 1:19:05
  in this magical kind of way. And that's why I do think that they
• 1:19:09
  reveal the dead people thing early on, subliminally, because like, this is
• 1:19:15
  the dead person who doesn't know that he's dead, you know, yeah,
• 1:19:16
  totally. And and then when where they're walking and talking in the hallway and
• 1:19:21
  then he has had his trauma response of shutting down and you see the people
• 1:19:28
  hanged. Yeah, and Bruce upset and and it's really upsetting, but also
• 1:19:32
  Bruce has his yeah, yeah, they need help the first time here where
• 1:19:39
  where it's like it's not quite yeah yet, it's it's still concern trolling.
• 1:19:45
  It's it's very it's very Louis judgementally judgment judgmental, but like empathetic, pathetic.
• 1:20:00
  And then and then man like when they're going they're coming out Tony Collett
• 1:20:04
  and and Haley Joe Losmon are coming out from shopping and like if she starts
• 1:20:10
  to run and he like sticks his hands up and he's having so much fun.
• 1:20:14
  Sweet moment. It's such an awesome moment because it's like it's so real
• 1:20:16
  between them and she like loves making him happy and she he loves enjoying time
• 1:20:24
  with her. Yeah, they both want to keep each other safe in a
• 1:20:27
  way. It's interesting because she does love each other so much, right,
• 1:20:30
  they do, and and that's why like when there's like these kind of tension
• 1:20:34
  points between them, it works so much and dude, like shout out m
• 1:20:39
  night for including a scene like this in a No, you're absolutely right.
• 1:20:46
  In fact, people go out of their ways to now just chat top t
• 1:20:50
  fucking movies where it's like, well, this is just extraneous, but it's
• 1:20:55
  like it's so important, like it doesn't matter to the plot, but like
• 1:20:59
  it had her so much to characters like yeah uh and then her like Haley
• 1:21:08
  Joel Osmond in the next scene wearing the gloves because it's so cold in the
• 1:21:11
  house, trying to sooth. But also it's like it also makes reference to
• 1:21:15
  like they're probably poor and it's probably to do it totally, like I got
• 1:21:19
  that too. They're probably in South Philly. They probably are like the neighbors
• 1:21:23
  with the you know a little Maria used to walk her home, you know,
• 1:21:29
  oh man. And then this scene to contrast with them having fun with
• 1:21:32
  the worry that she feels but doesn't know how to talk about, and being
• 1:21:36
  like, did you move grandmother's pendon? Mom's not going to be mad,
• 1:21:43
  oh man, but they know how important, you know, how important that
• 1:21:45
  is to me, and and him being like afraid because he because he sounds
• 1:21:50
  so afraid in the moment in a way that's like like, oh, I'm
• 1:21:55
  in trouble, and but like also just like knowing that, like he can't
• 1:21:59
  explain to her what is going on. He doesn't feel ready yet to tell
• 1:22:02
  her what's going on, but he knows the answer, so he's having to
• 1:22:05
  take the fall for it. There's a trust in communication issue between the two
• 1:22:12
  of them as well, right, Yeah, and that's what makes that's what
• 1:22:15
  makes the moment when he reveals to her at the end that it is actually
• 1:22:17
  her grandmother that's been taking the dependent is like so weirdly emotional because it's about
• 1:22:26
  their relationship. The ghosts almost like take a background moment to it, and
• 1:22:30
  it's a breakthrough in their relationship. Yeah, totally, and her being like
• 1:22:34
  she's honest with him first by being like I need help, Like you're not
• 1:22:43
  helping me, you are. I need to know what's happening because I'm your
• 1:22:46
  mom, Like there's nothing I can do, and then her being like her
• 1:22:50
  being like, tell me what happened, and him being like I don't,
• 1:22:55
  I don't know, and then her her just being like go just go,
• 1:23:00
  just go, like and being mad about but then the scene after sorry sorry
• 1:23:06
  be the scene after when she's like, look at my face because he's he
• 1:23:11
  becomes then terrified about something, and even though she doesn't understand him, she's
• 1:23:16
  like, okay, you of course you can stay with me. Yeah,
• 1:23:19
  like I can see that you're scared. And like he comes in, he's
• 1:23:23
  literally shaking and she's like, oh my god, you're shaking. Like these
• 1:23:26
  moments are really amazing, amazing, yeah, really incredible. And then and
• 1:23:31
  I gotta say this, Danny mulroon kid who's like show me, let me
• 1:23:35
  show the worst actor of the movie. He's a bad actor. Oh I
• 1:23:39
  like that kid because he's kind of seventies addressed. He's very seventies as bad
• 1:23:44
  as child acting was in the seventies. Maybe they're making a reference. Dude,
• 1:23:50
  Yeah, wait where are we in the movie now? With that kid
• 1:23:55
  who shoots himself in the head. I want to I want to show you
• 1:24:00
  my dad's good. Look at my dad's good. It's like it's like dam
• 1:24:08
  wait, but did did somebody else shoot him? Because how did he shoot
• 1:24:11
  him? It implies that he shot it, like like he threw his face
• 1:24:15
  his mouth, and which is like it's kind of like whoa dude, Like,
• 1:24:19
  why are you philating? This gun's dangerous. He's just a queer kid
• 1:24:25
  wanted to give something a blowdrop. But also this scene where like kid he
• 1:24:30
  of course, uh, he sees that kid and then is like scared,
• 1:24:34
  but it's also sad that he made his mom sad. And then when he
• 1:24:39
  goes to be like, I'm scared to sleep with the boy who shot himself
• 1:24:43
  in the head. Uh, he asks his mom if they can sleep in
• 1:24:45
  the same bed, and she's like, look at my face, of course
• 1:24:48
  you can. And it's like, yeah, are you too mad? Are
• 1:24:51
  you too mad at me for me to sleep something like that? I forget
• 1:24:56
  how he words it, but it's like, no, I'm not mad at
• 1:24:59
  you. I would. I mean, like he says, are you very
• 1:25:01
  mad? And it's like it's it's heartbreaking, sad. Yeah, it's heartbreaking
• 1:25:05
  and it's very it's it's well done, and like, yeah, it builds,
• 1:25:11
  It builds this their relationship so much so that at the end that moment
• 1:25:15
  when when she's crying in the car, man, it's so touching. It's
• 1:25:18
  the most emotionally cathartic moment for me. I mostly connected to it more than
• 1:25:26
  I did to Bruce Willis, but I connected to Bruce Willis too and no,
• 1:25:29
  of course, because it's like a person who wants who wants things to
• 1:25:34
  be okay but doesn't know how, Whereas Bruce has a calm confidence that like
• 1:25:42
  obviously he's got his own troubles and trauma and stuff like that, but like
• 1:25:46
  like she, I think my favorite character is Tony Kollett in Theire. She
• 1:25:51
  does the I think the best job. I think she does the role of
• 1:25:55
  the most justice because of the ability to not be over written, to not
• 1:26:00
  have to explain to the audience what's happening. And she's such a lived in
• 1:26:03
  character. She's such a lived in character like you like you like you can
• 1:26:10
  kind of like Bruce Springsteen in her life a little bit like you're like,
• 1:26:13
  oh, she she's she works at a bar down the road. Yeah,
• 1:26:16
  she works. She could also she could also fully be a character to have
• 1:26:24
  an entire movie on her own that could be an off of this movie.
• 1:26:29
  They would watch it, that wouldn't have to have any sort of ghosts in
• 1:26:32
  it, and it would just still be interesting watch a prequel of her life.
• 1:26:36
  Fascinating. She was even hotter, very lived in character. She like
• 1:26:42
  it showed out to her for playing for playing Unhinged Moms for the past thirty
• 1:26:45
  years. You be a great double feature with you know, it would be
• 1:26:51
  a great Devil Baba Duke. Can you imagine what I was thinking that?
• 1:26:57
  I was thinking that that that that that this entire time, I keep wanting
• 1:27:00
  to mention that this movie that they remind me of each other because it is
• 1:27:05
  like, obviously, the mental illness is the trying the tooth of Bubba Duke,
• 1:27:10
  but her mental illness, but here it's the kid's mental illness. So
• 1:27:14
  it's like different because it's like she's trying. The mom is still in the
• 1:27:17
  kid's corner in every total aspect here, not as like the other in Babba
• 1:27:23
  Duke, where the mom is like not in the best interest of the kids.
• 1:27:29
  Totally totally. The levity that this next scene brings also is pretty great
• 1:27:34
  because there's a lot of like uh, not quite Knemni chanmal on trauma porn
• 1:27:40
  now, but like there is a lot of like a bit of an exhaustingness
• 1:27:45
  to it. So to have this like Indian couple try and get this ring
• 1:27:49
  from Olivia Williams and then it's like like, well, I don't know,
• 1:27:58
  I mean, it's really expensive. You didn't like this scene, I loved
• 1:28:02
  it. Oh you love this, I thought. I thought it was like
• 1:28:04
  really great that that they they they put a point of levity in like this,
• 1:28:09
  and also like sort of like gives you an idea of the state of
• 1:28:13
  mind of of Olivia. Olivia's character because she's like kind of standing there and
• 1:28:18
  she's wistful and sad about this couple full of promise in life and like she
• 1:28:25
  knows that she doesn't have that, but then she tries to have it with
• 1:28:28
  this dude where she gives him the book uh, and like the dude the
• 1:28:31
  frust the blue ball dude is like, oh man, he's like significantly younger
• 1:28:38
  than her. He's like in his twenties and she's like in her forties,
• 1:28:41
  which I thought was really cool that it was like a May December relationship or
• 1:28:45
  whatever. I really like this too because it also it also has this part
• 1:28:51
  where Bruce Willis uh smashes the window. Oh tries to try too. But
• 1:28:58
  what's cool about that is learned the ghost technique. Learned the ghost technique that
• 1:29:02
  that that guy gives to Patrick Swayzee. But then also he's also holding his
• 1:29:10
  side where the bullet went through, so like the memory pain is uh a
• 1:29:18
  physical one as he's leaving, and he also has the like he's also so
• 1:29:26
  mad at Haley Joel Osmond because he kind of also knows that he's dead and
• 1:29:30
  he's like age Europist anymore. He's not he's not ready to confront it yet.
• 1:29:34
  He's not ready to to he's like he's in total avoidance and he's just
• 1:29:40
  trying to like keep things going and keep things his own relationship. He's totally
• 1:29:45
  trying to ignore, Yeah, but also the way we talk to each other,
• 1:29:50
  the way we couldn't do anything else, you know, like the narration
• 1:29:54
  that he's doing, uh, the narration that that happens, but he's actually
• 1:30:00
  talking to Hailey Joel Osmond and then it cuts to him. It's such a
• 1:30:03
  great like connecting tissue for a scene. HM totally completely completely, and Haley
• 1:30:13
  Joel is crushed by the fact that they can't you can't be the doctor anymore,
• 1:30:15
  and he pushes the penny towards him to do the penny trick. Well,
• 1:30:19
  like, I thought that was like the most direct Ghost reference. How
• 1:30:26
  can you help me? His wife Demi Moore was in the movie Ghost with
• 1:30:29
  the Penny. They're both ghosts. They are both We do need to do
• 1:30:39
  ghosts. That's how I keeps saying. It's a good movie, dude.
• 1:30:44
  It holds up really scary, spooky, crappy shadow demons. What what are
• 1:30:51
  the best parody movies? The sucker Burbs, the Suckers ever? Did we
• 1:30:56
  should do it? Dude? Yeah? The Clay scene is le uitimately so
• 1:31:00
  hot. The yeah, totally like you're saying, you watch it recently,
• 1:31:03
  MALINKO, I've recently watched it with on. I feel like we could probably
• 1:31:10
  it's so it's so sexy, man, it's such a sexy scene. Continue,
• 1:31:15
  Yeah, where where were we? Bruce is just broken up with Haley
• 1:31:18
  Joel Osmond and is now thinking about Vincent Gray aka Dot It's a Ka Marky
• 1:31:26
  Mark and the Funky Bunch, And he's re listening to the tapes because ghosts
• 1:31:32
  only communicate through tapes and old media, and he starts to listen to himself
• 1:31:40
  and and Vincent yeah, Vinny g dude you yeah, of course uh and
• 1:31:46
  and he left him alone in the tape and then is like like kind of
• 1:31:54
  like, oh, what is happening? What's going on? And they're laughing,
• 1:31:59
  like they're laughing together before he has to take the call too. Yeah,
• 1:32:02
  totally totally, like like just like these little moments of like setting the
• 1:32:06
  stage like kind of like kind of like being like like kind of like letting
• 1:32:10
  you ease into everything that you're about to hear, giving like context to like
• 1:32:15
  their relationship in like a really brief and subtle way, totally and giving more
• 1:32:20
  context for Haley Joel Osmond in his relationship. And then that moment where Bruce
• 1:32:26
  Willis does even more eye acting than he's been doing, where he like just
• 1:32:30
  kind of exhales and it's like I've figured it out. I know what he
• 1:32:33
  can do, or at least he knows that this He didn't help this kid
• 1:32:39
  in the right way because he didn't know what was wrong, but now he
• 1:32:42
  does know what's wrong and he can genuinely help him, and they go back
• 1:32:45
  to the church where they had surprisingly Christian elements. Yeah, but he also
• 1:32:51
  realizes about himself kind of partially more that he's dead and that he's like,
• 1:32:56
  oh, I need help. These ghosts need help people in the trauma.
• 1:33:00
  And also once again the ghost on the tape like so afraid, so so
• 1:33:06
  scared, like pleading with this kid right, like and I think he's speaking
• 1:33:11
  Spanish, the ghost of speaking Spanish, and and like, oh man,
• 1:33:15
  I always what was that line? They just want help, even the scared
• 1:33:20
  one, such a great line. Yeah, I keeps saying the lion.
• 1:33:25
  He's like like, help me, Senora, and it's just like he keeps
• 1:33:28
  saying it, and it's just it's I don't know the lion. I don't
• 1:33:30
  speak Spanish. Man, I remember, I'll put it in California, California.
• 1:33:40
  Here we go. Okay, cool, but yeah, this is this
• 1:33:46
  was such a cool part in the movie. And he turned it up to
• 1:33:48
  ten and I love the hissing and it goes red so you can he can
• 1:33:53
  see it, dude, Yeah, exactly, the power of arms. Like,
• 1:33:56
  oh man, it's so good. It's really cool. It's really cool,
• 1:33:59
  and like it was it was really well done. I think that,
• 1:34:04
  I mean that Goes was talking pretty loudly that you could turn it off to
• 1:34:08
  ten and you can hear that. Well, yeah, totally like a surprise
• 1:34:13
  no one else heard. But yeah, this is this is the scene where
• 1:34:18
  he gets yeah, yeah, they just need help, even the scary ones
• 1:34:25
  so majestic. Yeah, yeah, it's interesting, how simple the plot is
• 1:34:32
  of this movie totally. It's like it's like literally like like the Misha Barton
• 1:34:36
  stuff is essentially like the climax of the movie, like the movie too emotional,
• 1:34:43
  too emotional climaxes, and that's like the real fireworks. But like in
• 1:34:46
  terms of resolving the narrative issue, like Misha Barton is like what what I
• 1:34:50
  said? Yeah, dude, Munchausen by proxy totally unus and by proxy not
• 1:34:56
  just Munchausen by proxy. But in the next scene we get cocked Bruce.
• 1:35:00
  Oh, the guy, the young guy leaves hey hey, hey, Yeah,
• 1:35:05
  tries to tries to get over the he just drives away. Yeah,
• 1:35:09
  totally because he's a ghost. Ude. He doesn't see him. They just
• 1:35:12
  hadn't They just had like a not so satisfying rendezvous. Like and he's feeling
• 1:35:16
  very breaked up. And you you you know that you know that this guy
• 1:35:21
  doesn't like he's pretty. He's hes pretty insellly in this movie, Like he
• 1:35:27
  seems like really forceful, like he really wants it to happen, and he's
• 1:35:30
  he's pushing it, and he's being very ignorant of her feelings and her her
• 1:35:36
  like why she might be trying to keep things slow. It's a very young
• 1:35:41
  guy move, like not understanding having the emotional intelligence yet to to kind of
• 1:35:45
  like have compassion for someone. That's why it's cool that they've aded a May
• 1:35:49
  December relationship. What's what's interesting about the next scene after is you get Haley
• 1:35:57
  Joel who's in the red tent and and he goes to comfort his mom who's
• 1:36:02
  having bad dreams. And then what's nice about this is that we get a
• 1:36:08
  similar sort of setup to when Haley Joel had to pee and they're a bad
• 1:36:13
  actor little boy shot his own head, But it's got that same sort of
• 1:36:19
  structure because you know something bad is going to happen, and the scare comes
• 1:36:24
  from the fact that like, not only do you know that this little girl
• 1:36:27
  is dead, the Munchausen by Proxy girl, but the throw up and the
• 1:36:31
  visceral grossness of that and being scared better yeah better now, and then like
• 1:36:40
  being sort of understandably scared, but then having having this like really yeah,
• 1:36:46
  totally having this really sad moment of like, Okay, I'm gonna be brave
• 1:36:51
  enough to confront this, and he is really brave in this scene. You're
• 1:36:57
  going to tell him afraid. He is, but he's like, he's like,
• 1:37:00
  I need to do I just need to talk to her. Yeah,
• 1:37:02
  totally, And she's she's close enough to his age that it's like, okay,
• 1:37:06
  she's a kid, so it's like what can a kid do to another
• 1:37:10
  kid? But it would still be scary vomiting kid. But he is scared,
• 1:37:15
  but he's also really sad. He's like, oh no, this person
• 1:37:20
  needs help. And then they go and they go together to her funeral,
• 1:37:29
  which is like weird, weird, it is weird, but it's it's I
• 1:37:35
  mean, this is like an amazing scene. Also, dude, like the
• 1:37:40
  clothes pins popping off the top of the town. Oh yeah, so you
• 1:37:44
  know it's funny. Real sorry, realizing that Bruce Willis is not actually there,
• 1:37:49
  So this kid is just alone at this funeral. But what's amazing about
• 1:37:53
  the writing of this is that it like drifts in the background, drifts in
• 1:37:58
  the background, but like you're in a situation where you can feasibly do this.
• 1:38:04
  The feasibility of the movie is what's the selling point. You said earlier
• 1:38:11
  that it falls, that it falls apart. But what's interesting about falling apart
• 1:38:15
  is that Jurassic park also falls apart at the end because how did the fucking
• 1:38:20
  dinosaur get into the building. But at the time, at that point it
• 1:38:24
  doesn't matter, You're right. That's the interesting thing about this is that,
• 1:38:29
  yeah, it is weird that a kid shows up, but it makes sense
• 1:38:31
  that he would be able to kind of slink away. It's on the background.
• 1:38:35
  It's also a funeral for a child, so exactly it could be a
• 1:38:42
  friend, like they wouldn't know, right, Okay, just seeing when he
• 1:38:46
  goes into when he goes into the bedroom, man, when he goes into
• 1:38:50
  the bedroom. I just want to talk about this iconic shot of the low
• 1:38:54
  angle wide of Bruce Willis and Haley Joel Osma. And if you look at
• 1:39:00
  the doorknob, he gets this sister. If you look at the doorknob,
• 1:39:03
  you don't see the reflection of Bruce Willis, even though you could you could
• 1:39:08
  probably see the reflection of Bruce Willis in that doorknob, which is such a
• 1:39:14
  great little nod to like, yeah, Bruce isn't there. He's not there.
• 1:39:18
  And then the videotapes and the dolly that he's gonna give to he gives
• 1:39:25
  this sister the yeah, dude, the Dad's performance, Oh my god,
• 1:39:31
  the like barely holding it together, like when he approaches him, just barely
• 1:39:38
  holding it together, talking to people like he's so just on the verge of
• 1:39:42
  falling apart, and he's the dad is actually the best Danny Mulron in the
• 1:39:46
  movie. He's such a good Daniel. And the little girl pushing the tape
• 1:39:51
  in front of Hailey Joel and he doing this kind of like walking, are
• 1:39:56
  you afraid of the dark, just like doesn't need to be scary about it,
• 1:40:00
  but just could She's just doing her best goosebumps and pushed forward. But
• 1:40:06
  also it's one of the only scenes where it is like forced kind of scary
• 1:40:12
  rather than the rest of the movie, which is so well directed scary.
• 1:40:16
  And this this uh dead unrealistically low lit. And he's he is an incredible
• 1:40:28
  Danny more roon. This woman who's pouring the poison, it's so over the
• 1:40:31
  top, lowers her entire body to pick up the tray. It's she was
• 1:40:43
  like a funny Danny old Room because like she was such a good Danny Room
• 1:40:45
  too, because like you know, like you could tell that she was like
• 1:40:48
  I've got some speaking lines in this one, and uh yeah, she poured
• 1:40:54
  the hell out of that. Uh the pine sal Oh my god, don't
• 1:41:00
  flavor honey dud dude, also letting the tape once again, letting the tape
• 1:41:05
  play like a minute or two before that reveal, so you're show yeah,
• 1:41:13
  and then you're seeing him laugh at his daughter being funny and you're like,
• 1:41:17
  oh, man, like, oh, that's so sad. And and like
• 1:41:23
  the Lion said, the mom has to where she's just like she's like,
• 1:41:26
  you know, don't tell me it tastes funny. You know, I don't
• 1:41:28
  like it when I don't like hearing that. Yeah, making them And it's
• 1:41:32
  such like you if you're married to someone like this, you must have some
• 1:41:38
  inkling that this is true. Maybe that's why he realizes that it's true.
• 1:41:41
  So quick, Yeah, so quickly, also do an important setup. But
• 1:41:45
  like when they're walking up to the bedroom, you hear a partygoer say,
• 1:41:47
  yeah, it's starting to happen with the young one now too. I heard
• 1:41:50
  that, yeah yeah, So it's just just like a quick little thing to
• 1:41:55
  be like, oh, like she's now going to kill the there's a future
• 1:41:58
  threat. That's why Barton's reaching out right, She's trying to save her sister.
• 1:42:02
  Yeah, yeah, yeah, stuttering Stanley interrupts Hailey Joel Osmond uh talking
• 1:42:09
  to a teacher about makeup while having disgusting burnt face makeup. Oh yeah,
• 1:42:16
  and then him being like who are you talking to and the burnt face.
• 1:42:21
  Yeah. He becomes psycho good good at lying. He becomes confident. He
• 1:42:28
  becomes psycho good at lying because he now has to hide things in his life.
• 1:42:31
  He knows that people will never accept him as a fucking freak. You
• 1:42:36
  freak man's like, I don't know any I don't know. But he also,
• 1:42:43
  like stuttering Stanley, you could tell in this scene that he actually feels
• 1:42:45
  really bad for what he did, and he actually really does like him.
• 1:42:49
  Lottley's a good guy. He's he was like him sister dude. Yeah,
• 1:42:55
  he gets his sister and then Hailey Joel Osmond gets to be uh in the
• 1:43:00
  play and the Danny maul Roon kid is like silence idiot to do the like
• 1:43:08
  uh, the the actor kid and he feels so cooked. The actor kid
• 1:43:14
  like acts like being so upset while also bad acting, bad acting. Yeah,
• 1:43:19
  we didn't talk about his commercial, did we, Like, we didn't
• 1:43:21
  show Oh, we did show the commercial yeah. And when they show the
• 1:43:25
  commercial and he's kind of bad in the commercial, but in that little kid
• 1:43:28
  way. Yeah, but he Hailey Joel Osmond is playing Arthur who pulls the
• 1:43:34
  sword from the stone, which is such a great metaphor. There's also the
• 1:43:39
  red the red stone in the actual sword, and it cuts to Bruce willis
• 1:43:43
  smiling because he's a ghost, and everybody's laughing and they fall over and it's
• 1:43:47
  it's very cute. It's very cute. And and while in the next scene,
• 1:43:53
  while Haley Joel is playing with the sword and stuff, like, you
• 1:43:56
  could tell that Bruce is actually feeling happy and also fulfilling his like ghostly duties
• 1:44:03
  of being helped. Yeah, super like, I guess my job here is
• 1:44:06
  done. It's so yeah, I always remember you. Yeah, totally,
• 1:44:15
  totally. And this is the scene where where we have the first climax of
• 1:44:23
  the getting into a car crash and Tony Collet being so mad that she's stuck
• 1:44:28
  in traffic, the most mama mad stuck in traffic. Oh man, And
• 1:44:34
  like the quick shot of the bicycle guy, Biga goes, oh, yeah,
• 1:44:40
  totally, I love that, and she and she just walks by and
• 1:44:43
  dude, I love too, like when when he's like someone died and she's
• 1:44:46
  like, can you see that from really like rubber decking, Yeah, like
• 1:44:53
  trying to look and this this scene is so like just incredible before romances from
• 1:45:00
  both of them. That's sort of like like and like such a beautiful story.
• 1:45:06
  Like when he talks about how he reveals this like long held resentment that
• 1:45:13
  she had, and like he's just kind of putting that at ease and saying
• 1:45:16
  like no, like your mom was there, your mom saw that, Yeah,
• 1:45:23
  yes, her mom yeah yeah. And it's like it's so like intensely
• 1:45:30
  cathartic. And he's not just using the ghost to help the ghosts. He's
• 1:45:35
  using the ghost to help people now, totally helping people. He's become like
• 1:45:42
  a conduit of like helping people find closure and movie, he's gonna be the
• 1:45:46
  next Brown. He's gonna be the next Brown. He's gonna who's that like
• 1:45:50
  celebrity? Yeah no, not long he's this hollow call me psychic, No
• 1:46:00
  sorry, go ahead, No, No, it's okay. We're just gonna
• 1:46:03
  talk about grifters. It's fine, a grif Yeah. So like I think
• 1:46:12
  that you know the moment when he says the answer to her question was every
• 1:46:17
  day, and his the emotional kind of like breaking pitch in his voice when
• 1:46:24
  he says every day, And how she pauses to cry in that moment was
• 1:46:31
  like so authentically touching and like made me cry, Like I was, I
• 1:46:36
  was very very touched by this seed. It was like really well acted by
• 1:46:41
  all parties, and no wonder this kid was like so revered because like to
• 1:46:45
  be able to channel this like it's hard, right, because like nobody knows
• 1:46:50
  what a kid is, like, you know, there's always a sense that
• 1:46:55
  someone's writing for a kid. But the fact that this kid is playing somewhat
• 1:46:59
  of a grown up kid, and that's the vibe it kind of does sort
• 1:47:03
  of like it gives you the feeling as a viewer too of like, man,
• 1:47:06
  this is kind of a freak, you know, like this kitty is
• 1:47:10
  a little bit of a freak. You know. Yeah, totally one hundred
• 1:47:14
  percent. And and I think that's good because it makes it makes the kid
• 1:47:18
  acting really really work the like strangely good kid acting really good. Yeah,
• 1:47:26
  yeah, cool. And he's able to communicate with his mom now right,
• 1:47:30
  yes, and and and that's like that's the payoff of this whole movie is
• 1:47:33
  like communication, being honest, saying what you feel, what your fears and
• 1:47:40
  anxieties are. It's like really a really good message, really really like beautiful
• 1:47:46
  theme for the film. So I think people often forget, you know,
• 1:47:51
  like this movie has become such a meme and it was such a cultural lightning
• 1:47:56
  rod when it came out that like people forget just how well made this film
• 1:48:00
  is. Like it's just a really incredible, beautiful all Timer ghost story movie,
• 1:48:06
  like All Timer for sure. Yeah, yeah, Like just like the
• 1:48:10
  fact that the like the scares aren't that scary and they don't happen like that
• 1:48:15
  too many times. It's really just about the relationships and the like feelings of
• 1:48:21
  the movie. Like it's such an interesting movie to watch because it's like it
• 1:48:26
  really is like just a whole bunch of conversations, right, yeah, I
• 1:48:29
  mean it's it's it works so well because of the fact that in the in
• 1:48:32
  the same way that violence feels so much more violent when it happens less because
• 1:48:38
  we know violence doesn't happen that often in our real life, right it's just
• 1:48:42
  but when it does happen, it's so shocking and memorable that you're like,
• 1:48:45
  does that shock you to a crowd of black people in uh, when you've
• 1:48:49
  just been racist. Yeah, I mean, I'm sure it shocked Michael Richards
• 1:48:54
  when he did that. But this this final scene, the other climax of
• 1:48:59
  the movie, when she's fallen. Olivia Williams has fallen asleep to watching their
• 1:49:06
  wedding video again and Joel Osmond had told her, try talking to your wife
• 1:49:12
  when she's asleep. She's asleep. Yeah, yeah, he knows, because
• 1:49:15
  he does know. He knows, he knows, he does. And so
• 1:49:21
  what he's giving he's giving him away to get closure. He's he's helping him.
• 1:49:28
  Yeah. Amazing, man. I love I love when she drops the
• 1:49:30
  ring and it just out and he notices that it's not still his hand.
• 1:49:35
  But what's amazing is you notice that earlier on when he tries to grab the
• 1:49:41
  bill from the restaurant and he doesn't have the wedding ring on. It's on
• 1:49:44
  your left hand, right, I think, Yeah, he doesn't have his
• 1:49:46
  wedding ring on. And the shock that he goes through and and he looks
• 1:49:51
  at her wedding ring. Uh, and then you hear his the voiceover that
• 1:49:57
  Hailey, Joel Osmond, I see people I you know, they don't know
• 1:50:00
  they're dead. And like you see the desk in front of the door,
• 1:50:03
  the cellar door, yeah, oh, where he couldn't go in. But
• 1:50:10
  what was also awesome is that you see I see people. I see people.
• 1:50:15
  And then it cuts the bruce and then it cuts back to Haley Joel
• 1:50:19
  Osmond and then he says, I don't know they're dead. They don't know,
• 1:50:24
  they don't know they're dead. And then he like it's it works so
• 1:50:28
  well as him remembering as opposed to a reveal is happened, you know what
• 1:50:32
  I mean? And then it cuts back to the opening scene when he's been
• 1:50:38
  shot and he's lying and she's looking at the bullet hole and he's just like,
• 1:50:43
  you know, it doesn't it doesn't even it doesn't even hurt anymore.
• 1:50:46
  It doesn't even hurt. And she like turns him over and he's like bleeding
• 1:50:49
  so much. Yeah, and like remembering the little moments of of not noticing
• 1:50:58
  would live in that house. I know, I know, I don't.
• 1:51:00
  But also it's probably really expensive, you know, Rocky just moved into the
• 1:51:09
  neighborhood and up the value of all of the gendrifying. Uh. And then
• 1:51:16
  and then her like you just see the breath happening, and it's very cold,
• 1:51:23
  and he's so sad. He's so sad that he found this out.
• 1:51:27
  He's so sad, but there's a like sad acceptance, and the way he
• 1:51:30
  talks to her is like, Hey, I'm finally ready to pay attention to
• 1:51:34
  some things that I haven't been paying attention to. And it's sad that it
• 1:51:39
  took him realizing that he's dead to like pay attention to his wife. Yeah,
• 1:51:44
  I have to go now. I just had to do a couple of
• 1:51:45
  things like still ignore your wife. You were, but like when he's like
• 1:51:50
  he's saying, I want you to know like you were never second. Yeah,
• 1:51:55
  yeah, I mean even though it makes me emotional, like she clearly
• 1:52:00
  was definitely she said she was, But it's more it's more about like in
• 1:52:05
  his heart, the truth of his heart. Yes, yes, I and
• 1:52:09
  I can very much agree with that and relate with that. I think that
• 1:52:13
  you know, sometimes you forget like or you like take for granted, or
• 1:52:18
  you you know, it happens in life, and like, I think that
• 1:52:21
  it's it's really profound to see it on screen, to see it performed dramatically
• 1:52:28
  like this movie is you know, I'm not Shyamalan is really like tapping into
• 1:52:31
  a lot of like deep human emotions through like some like you know, sometimes
• 1:52:39
  very on the nose symbolism, but I don't know. It just works so
• 1:52:42
  well because it's such a human story and it's about ghosts, like which is
• 1:52:46
  like everybody's intrigued by spooky ghosts. So like tying those things together like trauma
• 1:52:53
  and like human like sadness and the way we hurt each other and how we
• 1:52:57
  treat each other, tying that all together through communication. And then you get
• 1:53:01
  like the brief glimmer of their wedding video as they kiss, and that's like,
• 1:53:06
  that's a there is a reality to saying you're not second best. But
• 1:53:13
  I just made a mistake. Yeah you know what I mean, because he
• 1:53:15
  does understand that he made a mistake, don't you know. Yeah, and
• 1:53:19
  then fade to white. Dude, Yeah, dude, the fade to white,
• 1:53:23
  which is really nice and and yeah, I mean that's the movie and
• 1:53:28
  a what a movie. Also, I love that we didn't talk about it,
• 1:53:30
  but I love the shot when the party at the funeral of the party
• 1:53:33
  confronts the mom and she's wearing the red dress, and no one says anything,
• 1:53:38
  but she just kind of like realizes people are looking at her, and
• 1:53:41
  she has like this weird unhinged like just like she straightens her body and like
• 1:53:46
  crooks her head and it's like so like monstrous in like a really like subtle
• 1:53:53
  way where you're like, oh my god, this person is so unhinged.
• 1:53:57
  And then we didn't talk about how Then it cuts to Cole talking to the
• 1:54:01
  little girl too and gives her the doll. Oh yeah, like yeah,
• 1:54:06
  yeah, yeah, your mom's not gonna be making you sick anymore. She's
• 1:54:09
  gonna go away for a while. He's lost your mom and your sister.
• 1:54:12
  You lost your sister. But your dad seems like a nice guy. He's
• 1:54:15
  he's very much a Danny maulroon, yeah, and he maybe you're gonna make
• 1:54:18
  it. Maybe he'll be more involved in your life now and not let your
• 1:54:21
  mom feed you dreino total. That would hurt. It would hurt to drink
• 1:54:27
  train o, dude, Yeah, it would. I would want to drink
• 1:54:30
  draino. Personally. Do you think that ghosts like go to another side and
• 1:54:38
  then they stay in purgatory on earth to finish your job and then they ascend
• 1:54:42
  to heaven once that job is complete. Probably maybe maybe he's reborn, dude,
• 1:54:47
  He's he's reborn as a as a as a as an oil and oil
• 1:54:54
  rig owner who has to go to space to destroy an asteroid. Totally.
• 1:54:59
  If you ever straw and I have a stroll there, it is in my
• 1:55:04
  straw of course a cruis are you branded? My child's great performance? Great,
• 1:55:15
  great performance. But anyway, so sixth cents, dude, m night,
• 1:55:23
  Okay, yeah, let's let's let's do the rating. And will we
• 1:55:25
  ever do it with sham Malamathon? Dude, I mean we could. I'm
• 1:55:29
  down, okay, I mean, you guys are doing Unbreakable and like,
• 1:55:31
  well, actually you're not doing Unbreakable for a while, but when the when
• 1:55:36
  the audience is listening to this, Hello, Hello audience, Hello, Hello
• 1:55:41
  listeners, Hello, Rye, Hello Keith, Hello, Christma, Hello Brandy.
• 1:55:48
  If you're still listening to the show, friends of the show, Friends
• 1:55:51
  of the show, Hey, we love you, thanks for listening. Hello,
• 1:55:55
  Jake, Jason best Jake, Jake, Yeah, Yeah, Hey hi
• 1:55:59
  Jake, Jake, Jue true anyway, yeah, you guys have some great
• 1:56:06
  movies to get through. I can't wait for you guys to do the Siege.
• 1:56:11
  Dude, dude, you guys are gonna fucking love the Siege. I
• 1:56:14
  can't wait. Shalub season, dude, Tony Shalub dude. Yeah, okay,
• 1:56:19
  so let's let's let's do that before we before we drift. Let's let's
• 1:56:25
  just do the ratings. How many bruces? Uh, how many I'm gonna
• 1:56:29
  go first. How many bruceses? How many m Knights, how many Haley
• 1:56:32
  Joels? Fuck we get Yeah, there's a lot, there's a lot to
• 1:56:38
  get to. I would say that I would give it a solid nine bruces.
• 1:56:42
  I would give it a nine bruces. Yeah, I very much agree.
• 1:56:47
  I would give it a solid nine bruces. The only thing that I
• 1:56:51
  would uh take away is the fact that it's a little bit. It's such
• 1:56:58
  a it's such a subtle performance. It's amazing. But maybe we're missing too
• 1:57:04
  much. But I just I like, you know, it's it's not really
• 1:57:09
  about him, ultimately, It's a lot of it is about I know,
• 1:57:13
  he knows how to gracefully be so good at being a van dam and totally
• 1:57:17
  totally but somehow not. Yeah, it's very generous actor. Yes, I
• 1:57:25
  love that about him too, absolutely, and like we got to give it
• 1:57:29
  a ten out of ten lace fronts. Dude, that hairline is perfect,
• 1:57:34
  kays, what about you? How many? How many? I think?
• 1:57:38
  I mean, I would give it a ten. I don't want to give
• 1:57:44
  it a ten because it feels very like maximalist to be like ten. But
• 1:57:48
  it's one of his best performances in my opinion, Yeah, I agree,
• 1:57:53
  it's It's like it's one of his definitive and defining performances. It's like one
• 1:57:57
  of the most important movies I think in like the pantheon of his career.
• 1:58:00
  I think it really maybe we're being stupid by not giving it a ten.
• 1:58:03
  Maybe why am I giving it a nine? I'll because like the thing is
• 1:58:08
  is that he this movie came out at a time where he was like such
• 1:58:12
  a huge star, and it was like people had kind of forgotten like obviously
• 1:58:16
  people forgot about the Color of Night and like a lot of his kind of
• 1:58:19
  forgotten woes. So like when this movie came out, like Armageddon had come
• 1:58:21
  out the previous year, he had a bunch of like huge movies come out
• 1:58:27
  nine to nine two thousand. He was like one of the biggest movie stars
• 1:58:30
  in the world. This came out, and it was like very much like
• 1:58:32
  an against type role and for a low budget role, and like it was
• 1:58:36
  like when you think about like his career, like he's constantly trying to do
• 1:58:42
  things for him, Like he's very drawn to certain projects that he thinks could
• 1:58:45
  be good and he's not worried about, like totally if they'll make money,
• 1:58:48
  Like he just wants to be like a part of a certain project, and
• 1:58:50
  he takes bets or takes risks, like working with certain directors and m Knight
• 1:58:56
  obviously like really really worked out because I would out Bruce Willis. There's no
• 1:59:00
  way that this movie would have gotten made, you know, and it's so
• 1:59:04
  much better for for for having him in it. And like the casting was
• 1:59:09
  really fantastic, but it really is Haley Joel that everything kind of centers around
• 1:59:14
  and you could tell that that was their most important casting and and it's no
• 1:59:17
  wonder that it was such a like a breakout role for him too, because
• 1:59:23
  like to to do something like that is like you're gonna be remembered for the
• 1:59:28
  rest of your life as that fucking kid. But he didn't really, he
• 1:59:30
  didn't really do anything, you know, like he did pay it like in
• 1:59:33
  this immediate afternoon, he didn't pay it forward and didn't pay it forward with
• 1:59:38
  like of course, like yeah, and then gets shanked and the yeah John
• 1:59:49
  places dad, we had we had to watch that in school want in school
• 1:59:55
  too, weird school movies? Oh man, Yeah, Okay, So Tony
• 2:00:00
  Koll, it's like absolutely ten out of ten. I think that's across the
• 2:00:03
  board, if I am I not wrong, gentlemen, Yeah, absolutely,
• 2:00:08
  yeah, So I think that Haley Joel's obviously ten out of ten. He's
• 2:00:15
  amazing and even though he's been having bad dreams, he's been having a bad
• 2:00:18
  dreams dude, so like and it works and I believed him and like he
• 2:00:21
  didn't really done the movie nine. I'll just give it a nine. Yeah,
• 2:00:26
  yeah, I mean it's one of my favorite movies all times, ten
• 2:00:30
  dude, So I'm going to give it a ten because it's it's a movie
• 2:00:32
  I watched literally multiple times a year. It's like a it's a major comfort
• 2:00:38
  movie for me if I need a good if I need to cry, like
• 2:00:42
  if if I ap feel like cathartic, like this movie doesn't the last twenty
• 2:00:45
  minutes of this movie just like destroy me emotionally, and it's good. It's
• 2:00:50
  like sometimes I listen to Landslide by Fleetwood Mac and that makes me cry as
• 2:00:55
  well. That's a beautiful song. You know. Great great movie, great
• 2:01:00
  movie, guys. I'm glad that we we could kind of break up the
• 2:01:03
  format and uh and jump ahead and do this. And I hope that when
• 2:01:08
  the viewers are listening this, they're having a spooky Halloween and they're like they're
• 2:01:12
  in it. So for thirsty for go? Are you doing Saw right movies?
• 2:01:17
  Very excited to do. No, We're just gonna do the Saw movies.
• 2:01:20
  The new Saw movie is coming out around that time too. I know.
• 2:01:24
  That's why I think we want to like try and like we want to
• 2:01:27
  line it up up like new hairline. Oh dude, guys, my monoxical
• 2:01:31
  journey. I've started it, guys, just so you know. On this
• 2:01:34
  podcast. Apparently, no, I didn't. It's I didn't say that.
• 2:01:39
  I didn't say that. I never said that. I never said that.
• 2:01:43
  I'm thinking I'm thinking of sorry, dude, Oh dude, make your hairline
• 2:01:46
  even thicker, dude, I think No, I don't have any chest hair,
• 2:01:50
  so people use it for body hair yeah, people use it to thicken
• 2:01:56
  their beard up like a natural swimmer. Dude, Like I just slide into
• 2:02:00
  the water like I'm just like it's so nice. I've got a lot of
• 2:02:05
  drifts and drag. That's okay. We love you, We love you.
• 2:02:12
  Yeah. Yeah, the podcast is over now. And you fucking dix kidding,
• 2:02:18
  you're not dicks. But you know, listen, these guys work really
• 2:02:21
  hard, man. You know what fucking hard it is to have, like
• 2:02:25
  have partners and to have full time jobs and mortgages and just like you know,
• 2:02:31
  live in your life, and then you have to take you know,
• 2:02:34
  maybe two hours out of your week to watch like some random Bruce Willis movie
• 2:02:39
  and then then then sit in a room and talk to your brother for for
• 2:02:44
  one to two hours about that Bruce Willis movie, and then to edit that
• 2:02:48
  Bruce Willis conversation over the course of maybe six to seven hours across a couple
• 2:02:53
  of days. That's a lot of fucking work. And these guys work really
• 2:02:56
  hard. So you know what you need to do. You need to you
• 2:02:59
  need to hit that like and subscribe button and leave a review, leave a
• 2:03:03
  review on their Apple podcast. If you're too cheap not to not to pay
• 2:03:08
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• 2:03:11
  like this content and you're listening to it and you're like, yeah, that
• 2:03:13
  was a great episode. That was a very insightful episode about nineteen ninety nine's
• 2:03:16
  the sixth Sense. Well, you know, if you thought that, give
• 2:03:18
  these guys fucking three dollars, four dollars, five dollars, give them one
• 2:03:21
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• 2:03:29
  you don't have a Patreon subscription, you should be fucking a shamed. I'm
• 2:03:34
  kidding. You don't have to be ashamed of yourself, but you should feel
• 2:03:36
  bad if you don't. For more Presents on Instagram at more Thirsty on Twitter,
• 2:03:42
  and guys, you heard it here from Kaz himself, producer of the
• 2:03:45
  show. Thank you so much for tirelessly staying on top of our shit and
• 2:03:54
  giving us feedback, like creatively directing the show, putting the Jones doctor Jones,
• 2:04:03
  Google doctor Jones. Indeed, Yeah, let's see you guys next week.
• 2:04:09
  Of course I like Jimmy Hendrix, of course, of course all right,
• 2:04:13
  goodbye guys. Cue the Shorts of Music. All Right, I'm stopping
• 2:04:19
  recording now.