Latest / Movie Meltdown / 170: I dont know much about TAXI DRIVER... but Id like to

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170: I dont know much about TAXI DRIVER... but Id like to · Movie Meltdown

• 0:00
  Speaker 1: Listen, you fuckers, you screwheads.
• 0:03
  Speaker 2: Here is a man who would not take it anymore.
• 0:07
  Speaker 1: A man who stood up against the scum, the cunts,
• 0:09
  Speaker 1: the dogs, the filth, the shit.
• 0:11
  Speaker 2: Here is someone who stood up.
• 0:15
  Speaker 3: The following program is a proud member of the Palover
• 0:17
  Speaker 3: family of podcasts.
• 0:19
  Speaker 4: Check out all the shows over at palaver.com. That's P-A-L-A-V-E-R
• 0:23
  Speaker 4: dot com.
• 0:25
  Speaker 5: The following feature has been rated R by the Motion
• 0:28
  Speaker 5: Picture Association of America.
• 0:30
  Speaker 6: It is intended for mature audiences and parental discretion is advised.
• 0:44
  Speaker 7: It's showtime, folks.
• 0:46
  Speaker 8: Enjoy the show.
• 0:49
  Speaker 9: Our nuclear reactor, pumping out 1 million kilowatts of power.
• 1:24
  Speaker 10: Are you talking to me?
• 1:27
  Speaker 11: Are you talking to me?
• 1:28
  Speaker 2: And who else are you talking to? Are you talking
• 1:35
  Speaker 2: to me?
• 1:37
  Speaker 10: Well, I'm the only one here.
• 1:39
  Speaker 2: So you must be talking to me.
• 1:44
  Speaker 12: And you are lying!
• 1:46
  Speaker 6: Now catch Moose and Squirrel and next time use the
• 1:49
  Speaker 6: CDI on them.
• 1:55
  Speaker 13: Way down among Brazilians, coffee beans grow by the billions.
• 1:59
  Speaker 13: So they've got to find those extra cups to fill.
• 2:04
  Speaker 13: They got an awful lot of coffee in Brazil.
• 2:09
  Speaker 2: What's up and welcome to Movie Meltdown. I'm Brian.
• 2:12
  Speaker 11: I'm Greg.
• 2:13
  Speaker 4: I'm Lucy.
• 2:13
  Speaker 8: I'm Fred.
• 2:14
  Speaker 12: And I'm Ben.
• 2:16
  Speaker 2: So, yes, we would like to welcome Ben. This is
• 2:18
  Speaker 2: your first time, and your friend may have set you
• 2:22
  Speaker 2: up and thrown you into this trap. We're actually a cult,
• 2:25
  Speaker 2: and we just lure people in here. Oh, wow.
• 2:27
  Speaker 12: Well, I've never been to a cult that serves delicious coffee.
• 2:32
  Speaker 2: So that'll be a first. There's an upside, you know.
• 2:34
  Speaker 12: I'm definitely happy to be here, though.
• 2:37
  Speaker 2: So, yes, we would like to welcome you into the
• 2:39
  Speaker 2: mix here, and... To anyone else who is checking out
• 2:43
  Speaker 2: the show for the first time because you actually heard
• 2:45
  Speaker 2: about it at the showing of Taxi Driver recently, welcome.
• 2:50
  Speaker 2: Thank you for listening. And my advice to you is,
• 2:54
  Speaker 2: before you get too far into it, just let me say,
• 2:57
  Speaker 2: I think we're in acquired taste. So stick with it.
• 3:02
  Speaker 2: I think the first episode, you might not know what
• 3:03
  Speaker 2: to think, but, you know, once you're like 10 episodes in,
• 3:06
  Speaker 2: I think you'll grow to love us. I mean, once
• 3:09
  Speaker 2: you get attached to Fred and... Lucy says wonderful things.
• 3:14
  Speaker 2: Nobody really cares about you or I, Greg, so it's okay.
• 3:17
  Speaker 2: But once you get in and you meet the rest
• 3:19
  Speaker 2: of the cast, you'll just be attached. So just stick
• 3:21
  Speaker 2: with us. We're an acquired taste. That's all I'm saying.
• 3:24
  Speaker 2: So with that, it is time for another episode of
• 3:27
  Speaker 2: the Caffeinated Movie Geek.
• 3:28
  Speaker 8: Cappuccino on my butt.
• 3:29
  Speaker 11: I still drink coffee.
• 3:31
  Speaker 1: The last fucking thing you need is another cup of coffee.
• 3:35
  Speaker 8: It's time for the Caffeinated Movie Geek.
• 3:39
  Speaker 2: We are coming to you live via digital recording from
• 3:41
  Speaker 2: Nancy's Bagel Grounds, where we get together, drink coffees, talk movies,
• 3:44
  Speaker 2: and someday we'll wash away all the scum off the streets.
• 3:49
  Speaker 3: Right.
• 3:49
  Speaker 2: So, with the previously mentioned delicious coffee, Lucy, I ask you,
• 3:57
  Speaker 2: what blend of coffee are we drinking this week?
• 4:00
  Speaker 3: We're enjoying Pacific Blacktail right now.
• 4:03
  Speaker 2: Ah, nicely delivered, by the way.
• 4:06
  Speaker 8: Let's back away slowly. Everybody just back away slowly.
• 4:11
  Speaker 2: Nobody's saying anything ridiculous.
• 4:14
  Speaker 12: Let it pass.
• 4:14
  Speaker 2: Let it go. So before we get too far into
• 4:18
  Speaker 2: the movie, I also, while we're asking Lucy weird questions,
• 4:23
  Speaker 2: we were going to throw it to you and let
• 4:25
  Speaker 2: you tell people what you've got planned. I think long
• 4:28
  Speaker 2: ago we probably mentioned you actually are involved in co-creating.
• 4:33
  Speaker 2: Is that true? The Lexington Film League?
• 4:36
  Speaker 4: I'm actually a lead camera to the Lexington Film League,
• 4:39
  Speaker 4: but I am one of the co-directors.
• 4:40
  Speaker 2: We're going to give it to you. You created it.
• 4:42
  Speaker 12: Yes, I created everything.
• 4:44
  Speaker 2: Invented Lexington. Yes, I invented film. So along those lines,
• 4:52
  Speaker 2: you guys.
• 4:52
  Speaker 3: I did, however, create, out of my obsession possibly, we'll go.
• 4:57
  Speaker 4: Ahead with that.
• 4:58
  Speaker 3: That actually might be a kind term. For Harry Dean Stanton,
• 5:01
  Speaker 3: the Harry Dean Stanton Fest was born. And we just
• 5:05
  Speaker 3: finished programming it for this year. So we're very excited.
• 5:08
  Speaker 3: This is actually kind of breaking news. I don't think
• 5:10
  Speaker 3: I've said this publicly. So do you want me to
• 5:13
  Speaker 3: give you a rundown.
• 5:13
  Speaker 14: Of the festival?
• 5:14
  Speaker 2: You might as well. If anybody's in this part of
• 5:17
  Speaker 2: the country, you know, we've got.
• 5:18
  Speaker 4: Yes, or other countries.
• 5:19
  Speaker 2: Or other countries, fly over. But yeah, if it's, you know,
• 5:22
  Speaker 2: in Lexington, Kentucky... I'm going to go ahead and call it.
• 5:25
  Speaker 3: The International Heritage Standard.
• 5:27
  Speaker 2: You might as well.
• 5:28
  Speaker 14: Yes.
• 5:29
  Speaker 4: So it's May 18th through May 20th.
• 5:31
  Speaker 3: Opening night will be Friday night and we're going to
• 5:34
  Speaker 3: show Pretty in Pink outside at Triangle Park in beautiful
• 5:37
  Speaker 3: downtown Lexington.
• 5:39
  Speaker 4: And then Saturday.
• 5:40
  Speaker 3: Afternoon we're going to show Straight Time at the Library Theater.
• 5:44
  Speaker 3: And then Saturday night we're going to have a Repo
• 5:45
  Speaker 3: Man event. We're going to show the film at the
• 5:48
  Speaker 3: Green Lantern and then The band The Palisades are going
• 5:52
  Speaker 3: to play the soundtrack, beginning to end.
• 5:54
  Speaker 4: Lots of fun, special guest vocalists.
• 5:56
  Speaker 5: Nice.
• 5:57
  Speaker 3: And then Sunday afternoon, we're going to do the director's cut,
• 6:00
  Speaker 3: never before seen outside of his living room, I think,
• 6:04
  Speaker 3: Tom Thurman's film Crossing Mulholland. which was a KET production.
• 6:10
  Speaker 3: It's like an hour and a half. It's going to
• 6:11
  Speaker 3: be fantastic with all kinds of footage nobody's seen before.
• 6:15
  Speaker 3: And then Sunday night is going to be Pat Garrett
• 6:17
  Speaker 3: and Billy the Kid at the Kentucky Theater. And we're
• 6:19
  Speaker 3: going to have Donnie Fritz, who, among other things, other
• 6:23
  Speaker 3: than being a fantastic singer-songwriter, is one of Harry Dean's
• 6:27
  Speaker 3: bestest friends ever. So he's got amazing stories about him.
• 6:31
  Speaker 4: Hanging out with Harry Dean and working with Sam Peckinpah.
• 6:34
  Speaker 4: I think it's going to be a good night.
• 6:35
  Speaker 2: I want those stories. How come I don't get those?
• 6:37
  Speaker 4: Well, you get to share in them.
• 6:38
  Speaker 2: No, I want to take them.
• 6:39
  Speaker 4: There's a store at Kentucky Viet.
• 6:41
  Speaker 2: Or I want to start them. So we need to
• 6:42
  Speaker 2: start hanging out with Harry Dean Stanton. And I'm going
• 6:44
  Speaker 2: to have to work with Sam Peckinpah, which is a
• 6:46
  Speaker 2: little more of a challenge. A little more. I'm going
• 6:50
  Speaker 2: to work on it. Zombie apocalypse is coming.
• 6:53
  Speaker 11: We are a cult.
• 6:55
  Speaker 2: Yeah, we are a cult. That's one of the many
• 6:57
  Speaker 2: things we do here. Revive people with coffee or something
• 7:00
  Speaker 2: like that. My other question is, Friday night, are we
• 7:03
  Speaker 2: allowed to yell out obscene things about Molly Ringwald?
• 7:07
  Speaker 4: I mean, whatever you're comfortable doing in front of children.
• 7:11
  Speaker 2: Oh, who are you talking to? Have you heard this
• 7:14
  Speaker 2: show before?
• 7:16
  Speaker 8: Molly Ringwald.
• 7:17
  Speaker 2: It's a good thing Harry Dean's in that movie.
• 7:21
  Speaker 4: I don't even want to know what that means.
• 7:22
  Speaker 2: I have to fight my Molly Ringwald annoyance.
• 7:25
  Speaker 8: Oh, okay.
• 7:26
  Speaker 3: I thought you were going in a different direction with that.
• 7:30
  Speaker 2: I'm not sure which direction you were going. Sorry. But, yeah,
• 7:36
  Speaker 2: Harry will make up for the fact.
• 7:37
  Speaker 7: That Molly's in.
• 7:37
  Speaker 9: I think the obsession repulsion is we were trying to
• 7:41
  Speaker 9: figure out which line you were going down.
• 7:43
  Speaker 2: Harry Dean's awesome. Molly, eh. That was always my feeling,
• 7:47
  Speaker 2: even when she was popular. I'm like, I don't get it. Eh,
• 7:50
  Speaker 2: no thanks. Get me messed up Ally Sheedy any day.
• 7:53
  Speaker 3: Yeah, I feel the same way. I was actually talking
• 7:56
  Speaker 3: to somebody about that recently. I'm very excited that little
• 7:58
  Speaker 3: girls get Emma Stone now. Like, I feel like we
• 8:01
  Speaker 3: got stuck with Molly Ringwald and probably worked an entire generation.
• 8:05
  Speaker 12: We got stuck.
• 8:06
  Speaker 2: I don't know.
• 8:07
  Speaker 8: I don't know.
• 8:10
  Speaker 5: She was okay.
• 8:12
  Speaker 8: And we had Ally Sheedy, too. Not that I was
• 8:15
  Speaker 8: a young girl at that time. I was just thinking
• 8:18
  Speaker 8: about it.
• 8:18
  Speaker 2: This is like the Brat Pack version of the Ginger
• 8:21
  Speaker 2: Mary Ann argument. Yeah. Which do you want?
• 8:24
  Speaker 8: Yeah, see, that was my generation.
• 8:25
  Speaker 2: Yeah, which I still, you know, I'm on board for
• 8:27
  Speaker 2: Marianne either way. Oh, yeah, me too.
• 8:29
  Speaker 11: At that time, I was more of a Elizabeth Shue
• 8:31
  Speaker 11: kind of guy.
• 8:32
  Speaker 2: See, I'll give you that one. Adventures in Babysitting kind
• 8:36
  Speaker 2: of changed my life.
• 8:37
  Speaker 11: At that point.
• 8:37
  Speaker 2: Karate Kid.
• 8:38
  Speaker 11: Karate Kid.
• 8:39
  Speaker 2: Karate Kid.
• 8:40
  Speaker 8: Yeah, but Emma Stone is awesome.
• 8:42
  Speaker 2: She is very cool.
• 8:44
  Speaker 4: She's a badass.
• 8:45
  Speaker 2: Yeah.
• 8:45
  Speaker 6: Yeah.
• 8:46
  Speaker 7: And funny.
• 8:47
  Speaker 4: And hilarious and smart.
• 8:48
  Speaker 12: Yeah.
• 8:49
  Speaker 4: So, she's the redhead of this generation.
• 8:51
  Speaker 2: We have all your goals. No, thanks. Can we send
• 8:55
  Speaker 2: her back?
• 8:55
  Speaker 12: And we got Molly Ringwald.
• 8:56
  Speaker 2: And we got Molly Ringwald. Damn it.
• 8:59
  Speaker 4: Oh, God. I may want Molly Ringwald for the festival sometime.
• 9:02
  Speaker 3: Oh, yeah.
• 9:02
  Speaker 11: Just retract all of that.
• 9:04
  Speaker 2: Yeah. We'll forget about it. That's like a couple years off.
• 9:07
  Speaker 2: That's fine.
• 9:08
  Speaker 11: Maybe you could just get Ally Sheedy.
• 9:13
  Speaker 2: No, just Ally Sheedy, tell us what you think about it.
• 9:17
  Speaker 8: It was like there was a redhead for every generation.
• 9:22
  Speaker 8: For every generation, there is a redhead.
• 9:24
  Speaker 2: She's like the slayer. Born unto every generation, there is
• 9:27
  Speaker 2: a redhead, and she will kill vampires.
• 9:29
  Speaker 11: Or there's like a highlander.
• 9:31
  Speaker 8: Is there one endangered species now? Are you getting any protections?
• 9:37
  Speaker 8: I heard that was a rumor. That's not really true,
• 9:41
  Speaker 8: that redheads are going to go extinct.
• 9:43
  Speaker 4: As long as Claire all exists, I don't think she will.
• 9:46
  Speaker 2: Then you don't have to worry about it because if
• 9:48
  Speaker 2: now we have Emma Stone, that means she decapitated Molly Ringwald.
• 9:51
  Speaker 2: You don't have to worry about getting her for the show.
• 9:54
  Speaker 8: There can be only one.
• 9:58
  Speaker 12: All right.
• 9:59
  Speaker 2: On that, I think we should take a break and
• 10:00
  Speaker 2: then come back and get into this week's movie.
• 10:04
  Speaker 15: Doing the things that they want to do. It reminds
• 10:18
  Speaker 15: me of the movies Marty made about New York.
• 10:20
  Speaker 10: Doing the things that we want to. Those frank and
• 10:25
  Speaker 10: brutal movies.
• 10:29
  Speaker 11: That are so brilliant.
• 10:30
  Speaker 10: Doing the things that we want to.
• 10:32
  Speaker 2: True love, meet.
• 10:35
  Speaker 16: The rage and go.
• 10:36
  Speaker 10: Doing the things that we want to.
• 10:37
  Speaker 15: They're very inspirational, I love the things they do.
• 10:42
  Speaker 10: Doing the things that we want to.
• 10:43
  Speaker 11: Doing the things that I want to.
• 10:55
  Speaker 10: There's not much you hear on the radio today. But
• 11:02
  Speaker 10: you can still see a movie.
• 11:04
  Speaker 2: Or a play.
• 11:08
  Speaker 10: Here's to Travis Bickle and.
• 11:10
  Speaker 16: Here's to Johnny Boy.
• 11:14
  Speaker 10: Growing up in the mean.
• 11:16
  Speaker 16: Streets of New York.
• 11:19
  Speaker 10: I wrote this song because I'd like to shake your hand.
• 11:40
  Speaker 6: At our refreshment stand, your wish is our command. So
• 11:44
  Speaker 6: the coffee we serve there is pure perfection. There is
• 11:48
  Speaker 6: nothing mean about what the critics have to say about
• 11:51
  Speaker 6: mean streets. Mean Streets deserves attention as one of the
• 11:58
  Speaker 6: finer American films of the season. An unequivocally first-class film,
• 12:03
  Speaker 6: says the New York Times. Rolling Stone magazine calls it
• 12:07
  Speaker 6: the most original American movie of the year. Doesn't just explode,
• 12:12
  Speaker 6: it erupts with volcanic force. Newsday finds it exquisite, savage,
• 12:18
  Speaker 6: and brilliant. While Pauline Kael of the New Yorker acclaims
• 12:21
  Speaker 6: it as a triumph of personal filmmaking. Mean Streets triumphantly
• 12:26
  Speaker 6: heralds the arrival of director Martin Scorsese. De Niro's vivid
• 12:30
  Speaker 6: performance should be preserved in a time capsule, says Newsweek.
• 12:34
  Speaker 6: Mean Streets, from Warner Brothers. Rated R under 17, not
• 12:38
  Speaker 6: admitted without parent.
• 12:40
  Speaker 7: Coming May 26th and 27th. Wonderfest. In this, their 22nd year.
• 12:47
  Speaker 7: Wonderfest is still the annual expo for model and toy collectors,
• 12:50
  Speaker 7: with a huge display and competition for plastic kits and
• 12:54
  Speaker 7: garage kits. This year, in addition to all the events,
• 12:57
  Speaker 7: they are also welcoming actress Joanna Cassidy from Blade Runner
• 13:00
  Speaker 7: and Who Framed Roger Rabbit, as well as Bill Moseley,
• 13:03
  Speaker 7: Julie Adams from Creature in the Black Lagoon, and designer
• 13:06
  Speaker 7: and illustrator Eric Chu, who redesigned the Cylons, Raiders, Vipers,
• 13:10
  Speaker 7: and much of the universe for Battlestar Galactica. Plus lots
• 13:14
  Speaker 7: of other guests and activities, So go to wonderfest.com and
• 13:17
  Speaker 7: check it out yourself.
• 13:19
  Speaker 12: It's time for Sofa Theater.
• 13:24
  Speaker 5: De Niro. In Bang the Drum Slowly, the critics called
• 13:28
  Speaker 5: him a brilliant new talent. After Mean Streets, they said
• 13:32
  Speaker 5: he was a genius. For his performance in The Godfather
• 13:35
  Speaker 5: Part II, they gave him the Academy Award.
• 13:38
  Speaker 8: Come on, man.
• 13:39
  Speaker 4: Just get me out of here, all right?
• 13:41
  Speaker 5: Now, Robert De Niro creates a terrifying portrait of life
• 13:46
  Speaker 5: on the edge of madness.
• 13:49
  Speaker 15: David, just forget about this.
• 13:50
  Speaker 2: It's nothing.
• 13:51
  Speaker 5: Taxi Driver, a film by Martin Scorsese.
• 13:54
  Speaker 1: People do anything in front of a taxi driver.
• 13:57
  Speaker 2: I mean anything.
• 13:59
  Speaker 1: People are too cheap to rent a hotel room.
• 14:01
  Speaker 6: Don't drive a hurry up, will you?
• 14:03
  Speaker 8: People want to embarrass you.
• 14:05
  Speaker 2: It's like you're not even there.
• 14:06
  Speaker 1: It's like, you know, like a taxi driver doesn't even exist.
• 14:08
  Speaker 11: This city here is like an open sewer, you know?
• 14:11
  Speaker 7: It's full of filth and scum.
• 14:13
  Speaker 14: I think I know what you mean, Pallas.
• 14:15
  Speaker 11: But it's not going to be easy.
• 14:19
  Speaker 5: The taxi driver is looking for a target. Getting ready.
• 14:24
  Speaker 5: Getting organized. Preparing himself for the only moment in his
• 14:30
  Speaker 5: life that will ever mean anything. That taxi driver's been
• 14:35
  Speaker 5: staring at us.
• 14:36
  Speaker 11: You talking to me?
• 14:40
  Speaker 2: You talking to me?
• 14:41
  Speaker 11: I don't know who's weirder, you or me.
• 14:43
  Speaker 7: You talking to me?
• 14:48
  Speaker 11: Who the hell are you talking to?
• 14:50
  Speaker 2: You talking to me?
• 14:50
  Speaker 8: Well, I'm the only one here.
• 14:53
  Speaker 4: I don't believe I've ever met anyone quite like you.
• 14:57
  Speaker 12: Oh, yeah?
• 14:57
  Speaker 5: You will never see a more chilling performance than this.
• 15:04
  Speaker 5: Robert De Niro in Martin Scorsese's Taxi Driver.
• 15:15
  Speaker 17: I come from a long way away. And I know
• 15:26
  Speaker 17: a fine thing when I see it.
• 15:29
  Speaker 2: See it!
• 15:32
  Speaker 18: For the same reason no one ever pointed a telescope
• 15:37
  Speaker 18: at the sun.
• 15:40
  Speaker 17: Talking about the red angels of NY City.
• 15:43
  Speaker 10: Who shot the shot?
• 15:45
  Speaker 11: Who got us tonight?
• 15:47
  Speaker 10: Who shot the shot?
• 15:57
  Speaker 16: Not even five enforcement.
• 16:03
  Speaker 18: Agencies can save their own.
• 16:07
  Speaker 11: Never mind the people.
• 16:11
  Speaker 18: Tonight it's raining on the angels of the city. Did
• 16:16
  Speaker 18: anyone prophesize these people? Only Travis.
• 16:21
  Speaker 16: Coming, Travis.
• 16:25
  Speaker 11: All the animals come out at night.
• 16:27
  Speaker 10: Queens, fairies, stokers, junkies, sick, fetal.
• 16:33
  Speaker 11: Someday a real.
• 16:34
  Speaker 8: Rain will come and wash all the scum off the streets.
• 16:37
  Speaker 11: We've got shots at night. We've got shots at night.
• 16:49
  Speaker 6: Wait, what's the movie?
• 16:51
  Speaker 11: It's right there.
• 16:52
  Speaker 2: Taxi. Remember? We're going to watch.
• 17:17
  Speaker 8: Yes.
• 17:17
  Speaker 2: You guys all watched Taxi, right? With Jimmy Fallon and
• 17:20
  Speaker 2: Queen Latifah.
• 17:21
  Speaker 12: Oh, yes.
• 17:22
  Speaker 2: Yeah, I mean... Oh, that existed. We are going to
• 17:25
  Speaker 2: have a lengthy discussion.
• 17:27
  Speaker 11: It doesn't anymore.
• 17:28
  Speaker 2: They erased it.
• 17:30
  Speaker 11: It was all new.
• 17:31
  Speaker 2: A lengthy discussion on the stellar acting, the social commentary,
• 17:35
  Speaker 2: the visuals. I mean, it's... Oh, man. I'd rather watch.
• 17:38
  Speaker 11: That than that... Baseball movie he.
• 17:42
  Speaker 2: Made with Drew Barrymore or whatever.
• 17:45
  Speaker 12: Fever? Fever pitch. It wasn't that like.
• 17:49
  Speaker 4: A fairly good or somebody did.
• 17:51
  Speaker 8: It that shouldn't have done it.
• 17:52
  Speaker 2: Who did it?
• 17:53
  Speaker 12: The father of those.
• 17:54
  Speaker 11: Everybody that shouldn't have done it.
• 17:56
  Speaker 2: Jimmy Fallon, Drew Barrymore, take your pick.
• 17:59
  Speaker 11: I don't have high expectations for Drew Barrymore.
• 18:03
  Speaker 2: No. Alright, welcome back to Movie Meltdown's Sofa Theater. This
• 18:08
  Speaker 2: week's Sofa Theater feature is Taxi Driver. The year is 1976.
• 18:12
  Speaker 2: Director Martin Scorsese. The plot, and this is according to IMDb,
• 18:17
  Speaker 2: a mentally unstable Vietnam War veteran works as a nighttime
• 18:21
  Speaker 2: taxi driver in New York City where the perceived decadence
• 18:24
  Speaker 2: and sleaze feeds his urge to violently lash out, attempting
• 18:28
  Speaker 2: to save a teenage prostitute in the process. Oh, okay.
• 18:32
  Speaker 2: I mean, most of that stuff happened. It's oddly put together,
• 18:36
  Speaker 2: but it's not wrong, I guess. With that spoiler alert...
• 18:40
  Speaker 2: For God's sakes, if you haven't seen Taxi Driver and
• 18:42
  Speaker 2: you're listening to a movie show, what the hell is
• 18:45
  Speaker 2: wrong with you? With that, yeah, go watch Taxi Driver.
• 18:49
  Speaker 2: You should already be watching it most days of the
• 18:51
  Speaker 2: week anyway. All right. I again would say, where would
• 18:56
  Speaker 2: you like to begin? But I think this one, that
• 18:58
  Speaker 2: very first shot, the taxi emerging from the steam, I
• 19:03
  Speaker 2: think already you're in for an amazing movie. Just that
• 19:08
  Speaker 2: opening shot. It's pretty damn depressing.
• 19:12
  Speaker 11: I don't know how they do it, but they made
• 19:14
  Speaker 11: it so that the steam looks dirty.
• 19:16
  Speaker 8: Well, everything in this movie looks dirty. Wasn't it just
• 19:20
  Speaker 8: filmed in the 70s? In New York City, in general.
• 19:25
  Speaker 2: So to me, it was just like, if you didn't
• 19:28
  Speaker 2: know what you were watching, that opening shot could be
• 19:30
  Speaker 2: some horrible medieval monster movie. I mean, it looks like
• 19:33
  Speaker 2: a big beast rolling out of the steam, which, again,
• 19:37
  Speaker 2: as the movie goes on, kind of works. Because, yeah,
• 19:40
  Speaker 2: it just looks like really impending doom rolling at you.
• 19:45
  Speaker 8: Yeah, then there's that sound yeah which i mean they
• 19:50
  Speaker 8: have the little lilting part later and it's interesting that
• 19:55
  Speaker 8: the music that a pimp puts on to chill down
• 20:01
  Speaker 8: to romance is the same music they've been playing for
• 20:04
  Speaker 8: us um yeah.
• 20:07
  Speaker 2: We're all like that i haven't really thought.
• 20:08
  Speaker 8: About that before but the other sound they have that
• 20:11
  Speaker 8: just it's the sound i think of a giant beige
• 20:19
  Speaker 8: filing cabinet just sitting there It's this big institutional hum
• 20:28
  Speaker 8: that just comes and goes. There's something about it.
• 20:31
  Speaker 2: Nice.
• 20:32
  Speaker 8: I've just forgotten the soundtrack.
• 20:35
  Speaker 4: I had, too, and I was thinking about it.
• 20:36
  Speaker 3: I was like, man, if I were a cab driver
• 20:38
  Speaker 3: in New York City, I would totally make sure I
• 20:39
  Speaker 3: played that in my cab. Even if they didn't really
• 20:44
  Speaker 3: consciously know.
• 20:45
  Speaker 2: What was going on. It's funny.
• 20:46
  Speaker 8: I was walking by Lynn's Paradise Cafe in my neighborhood today.
• 20:51
  Speaker 8: And the sound coming out of it was the sound
• 20:53
  Speaker 8: of the Madison dance in A Band Apart. Which was
• 20:59
  Speaker 8: just like... I wanted to look over there and see the...
• 21:04
  Speaker 8: I had tried to force my kids to learn that
• 21:06
  Speaker 8: dance if they had known it. They could have just.
• 21:10
  Speaker 2: But they never did. I....
• 21:13
  Speaker 9: Got sick of the saxophone yeah it is a little
• 21:18
  Speaker 9: syrupy isn't it yeah yeah it feels like it feels
• 21:23
  Speaker 9: i don't know when you're back in the cab with
• 21:25
  Speaker 9: them the music's playing and you're driving around town you
• 21:28
  Speaker 9: feel almost that you know that coffee buzz late at
• 21:34
  Speaker 9: night you're forcing yourself to stay awake you don't like
• 21:37
  Speaker 9: where you are everything about it yeah and and If
• 21:42
  Speaker 9: it weren't for the soundtrack, it wouldn't feel the same way.
• 21:45
  Speaker 9: But it's dirty, it's.
• 21:48
  Speaker 2: Unpleasant.
• 21:49
  Speaker 12: I don't know what the case was, how Martin Scorsese
• 21:54
  Speaker 12: approached Bernard Herrmann. If he just wanted to have that
• 21:58
  Speaker 12: one long track as the entire score for the film,
• 22:01
  Speaker 12: or if Bernard Herrmann was just like, nah, this is all...
• 22:04
  Speaker 12: Just gave it a little thing, didn't feel like doing
• 22:06
  Speaker 12: anything more. So they had to keep.
• 22:07
  Speaker 11: Looping that over and over.
• 22:09
  Speaker 12: And they just had to pass off. I was like, no,
• 22:11
  Speaker 12: it's supposed to represent the vicious cycle of city life.
• 22:15
  Speaker 12: It's like, no, this is all he gave us.
• 22:16
  Speaker 2: I'm sorry, guys. He's a legend, but he was stingy
• 22:21
  Speaker 2: for some reason. Stingy nothing. He died. He recorded this,
• 22:26
  Speaker 2: and that night he died. Literally, that is what happened.
• 22:30
  Speaker 2: He went through a two-day recording process. He came in,
• 22:33
  Speaker 2: he conducted the first day. The second day, they brought
• 22:35
  Speaker 2: in another guy, but he was still on hand, and
• 22:37
  Speaker 2: they completed it. And that night, Christmas Eve, he died.
• 22:41
  Speaker 8: Dang.
• 22:43
  Speaker 2: And that's why... My work here is done. This was
• 22:46
  Speaker 2: his last score, and that's why the movie is dedicated
• 22:49
  Speaker 2: to him at the end there. This was the last
• 22:51
  Speaker 2: score he ever did, literally that day.
• 22:54
  Speaker 8: It's his last wall.
• 22:55
  Speaker 11: He said, I'm going to finish this, or it's going.
• 22:58
  Speaker 8: To kill me.
• 23:00
  Speaker 19: Both.
• 23:02
  Speaker 2: Well, I think it's, I think it's really good. I just,
• 23:05
  Speaker 2: I agree with you on the sax part. It's like,
• 23:07
  Speaker 2: there's two different halves. Like the rest of it is
• 23:10
  Speaker 2: so Bernard Harmon and is so like amazing. Like that,
• 23:14
  Speaker 2: that just, that sort of like banging, pulsing thing that's
• 23:18
  Speaker 2: sort of driving him in the movie. And yeah, it's,
• 23:22
  Speaker 2: it's very like fits everything so well. And I think
• 23:25
  Speaker 2: even the sax part fits a little bit. Like, At
• 23:29
  Speaker 2: the beginning, maybe cruising the streets, and definitely when you
• 23:31
  Speaker 2: get the Sybil Shepard slow motion shot, it's supposed to
• 23:35
  Speaker 2: be there. That's kind of the whole reason he wrote that,
• 23:37
  Speaker 2: I think, was for that scene. But then as it
• 23:40
  Speaker 2: goes on, it does just sort of loop around a
• 23:42
  Speaker 2: little too much. But I think the rest of it
• 23:44
  Speaker 2: is amazing. I think, yeah, without that sax part, the
• 23:47
  Speaker 2: rest of it's just impressive.
• 23:49
  Speaker 8: Well, I don't know that I object to the... To me,
• 23:53
  Speaker 8: it kind of has that sickly sweetness that he kind
• 23:57
  Speaker 8: of refers to Like, he's got those flowers sitting around
• 24:01
  Speaker 8: his apartment forever, and he talks about just feeling the
• 24:05
  Speaker 8: smell of it makes him feel queasy. And then I
• 24:10
  Speaker 8: was thinking, why is this music got that kind of quality?
• 24:14
  Speaker 8: And then when, what's his name, puts it on for,
• 24:20
  Speaker 8: I'm like, okay, all right.
• 24:25
  Speaker 11: That's lovely.
• 24:27
  Speaker 12: I just like that shot where he, he's just, you know,
• 24:31
  Speaker 12: pulled off the massacre and everything at the end. And
• 24:33
  Speaker 12: like the camera just is kind of the, the cops
• 24:35
  Speaker 12: arrive and he's just, you know, sitting there covered in
• 24:38
  Speaker 12: blood and everything. And he's doing the, the gun motion
• 24:41
  Speaker 12: and making the sound effects. He's here though. Those xylophone
• 24:44
  Speaker 12: just like zooming back.
• 24:45
  Speaker 15: Oh yeah.
• 24:46
  Speaker 12: And that just gives the effect. Like this guy is nuts.
• 24:49
  Speaker 12: Like when you hear that xylophone just going up and.
• 24:52
  Speaker 2: Down, uh, Again, it has ways to work itself into
• 24:57
  Speaker 2: that movie that are amazing and couldn't be done any
• 25:00
  Speaker 2: other way.
• 25:02
  Speaker 11: It's as much a great film musically as it is.
• 25:09
  Speaker 8: Was that xylophone? Sometimes I thought I heard harp arpeggios.
• 25:14
  Speaker 12: That's what it was. I don't know my instruments. That
• 25:17
  Speaker 12: was totally a harp.
• 25:18
  Speaker 8: Yeah.
• 25:19
  Speaker 12: Yeah, yeah, yeah.
• 25:22
  Speaker 2: Yeah.
• 25:22
  Speaker 12: That was a really great effect, I thought.
• 25:24
  Speaker 2: Well, that's what I was thinking since we're already kind
• 25:27
  Speaker 2: of gone into the music. I mean, that brings in what,
• 25:30
  Speaker 2: as I'm, and again, it's been, I mean, I've seen
• 25:33
  Speaker 2: it several times. I owned it on VHS, and now
• 25:35
  Speaker 2: I've rewatched it again in the new formats, and I'm
• 25:39
  Speaker 2: watching it, and it had been too long, and I'm
• 25:42
  Speaker 2: watching this, and I'm watching the credits roll at the beginning,
• 25:44
  Speaker 2: and I'm like, this is just the perfect storm of cinema.
• 25:48
  Speaker 2: I mean, it's Martin Scorsese directing, directing Robert De Niro,
• 25:52
  Speaker 2: That alone shouldn't be good enough. Then you've got Jodie Foster,
• 25:56
  Speaker 2: Harvey Keitel, Peter Boyle, Albert Brooks, written by Paul Schrader,
• 26:00
  Speaker 2: Bernard Herrmann doing the music, Dick Smith doing the makeup effects.
• 26:03
  Speaker 2: I'm just like, it's everybody that you would want in
• 26:06
  Speaker 2: your movie, in their prime. I mean, it's, yeah, New
• 26:09
  Speaker 2: York City in the 70s. It's like you can't get
• 26:11
  Speaker 2: a more perfect scenario.
• 26:13
  Speaker 4: I enjoyed the willful omission of Sybil Shepard.
• 26:16
  Speaker 2: He just needs every passive. truthfully at the at that
• 26:20
  Speaker 2: time she was okay these days she gets on my
• 26:23
  Speaker 2: nerves but I back in 70s and 80s I kind
• 26:25
  Speaker 2: of liked her and she was and she's very good
• 26:27
  Speaker 2: at doing what she needs to do in this movie
• 26:31
  Speaker 2: now I don't know.
• 26:32
  Speaker 9: These days I saw I was you know way too
• 26:36
  Speaker 9: young to have seen younger civil shepherd obviously and.
• 26:39
  Speaker 11: Then I saw the older civil shepherd.
• 26:43
  Speaker 9: Where my dad you know liked her and I had
• 26:46
  Speaker 9: no idea why And then it's when you watch this
• 26:52
  Speaker 9: more as an adult, you're like, oh, okay. She is,
• 26:56
  Speaker 9: you know, much more feminine at the time.
• 27:00
  Speaker 11: And, you know, young and youthful and cute.
• 27:02
  Speaker 7: Really?
• 27:02
  Speaker 4: Yeah.
• 27:05
  Speaker 8: Maybe I'm not familiar with old Sybil Shepard, but last
• 27:09
  Speaker 8: I checked in, she was funny as hell.
• 27:13
  Speaker 2: The sitcom version of her. I was on board for Moonlighting.
• 27:15
  Speaker 2: I love me some Moonlighting. By the time it hit
• 27:19
  Speaker 2: that 90s sitcom, yeah, she was not... I don't know.
• 27:22
  Speaker 11: I think it was called Sybil.
• 27:24
  Speaker 2: I think it was called Sybil.
• 27:25
  Speaker 12: I don't remember if it did anything.
• 27:27
  Speaker 11: It didn't sit well with me.
• 27:28
  Speaker 2: No, me either.
• 27:29
  Speaker 8: I didn't really see that.
• 27:30
  Speaker 3: And then she had a touring one-woman show, too, where
• 27:33
  Speaker 3: she was just thinking about how she had sex with Elvis.
• 27:36
  Speaker 12: That is awesome.
• 27:39
  Speaker 2: It is awesome, but her delivery and all this stuff.
• 27:43
  Speaker 8: I didn't see that, but somebody told me about it,
• 27:45
  Speaker 8: and it sounded pretty cool. She was on a talk show,
• 27:49
  Speaker 8: and somebody asked her about it, and she was like, yeah.
• 27:53
  Speaker 8: And she said that Elvis didn't do oral sex. And
• 27:56
  Speaker 8: she called him on it. And I'm like, wow.
• 27:59
  Speaker 2: Cool. Cool.
• 28:02
  Speaker 8: I was like in her camp there. I'm like, Elvis,
• 28:05
  Speaker 8: come on, dude. What kind of a king are you?
• 28:07
  Speaker 11: Right.
• 28:09
  Speaker 9: Right.
• 28:09
  Speaker 8: Man.
• 28:10
  Speaker 12: Let down.
• 28:10
  Speaker 2: I don't know.
• 28:11
  Speaker 8: I haven't really followed her TV career later. But, you know,
• 28:15
  Speaker 8: she was in The Last Picture Show. I mean, she's
• 28:18
  Speaker 8: good in The Last Picture Show.
• 28:19
  Speaker 2: She's good in this.
• 28:19
  Speaker 12: I feel like one of the most authentic, like authentically
• 28:23
  Speaker 12: done shows. just accents I've seen like in any movie
• 28:26
  Speaker 12: is just her like her saying the word naked as
• 28:30
  Speaker 12: naked in that movie that always like I love that
• 28:34
  Speaker 12: it always gets a chuckle from me like.
• 28:36
  Speaker 8: Yeah she said she would never do that uh be
• 28:39
  Speaker 8: naked in film again after that it was just too
• 28:41
  Speaker 8: embarrassing but um.
• 28:43
  Speaker 2: That's a good performance like she was good when she
• 28:45
  Speaker 2: was young it just I don't know as she got
• 28:47
  Speaker 2: older I just I lost it I.
• 28:49
  Speaker 8: Don't know yeah well it's sad about that my doctor
• 28:54
  Speaker 8: thinks I'm getting older but they need to run some
• 28:56
  Speaker 8: more tests.
• 28:58
  Speaker 2: Years and years worth of tests in fact you're getting
• 29:01
  Speaker 2: younger yeah could be.
• 29:03
  Speaker 6: Shit you're a real cowboy that's nice man it's alright
• 29:11
  Speaker 6: $ 15 15 minutes $ 25 half an hour oh shit.
• 29:15
  Speaker 11: Cowboy huh.
• 29:20
  Speaker 6: I once had a horse in Coney Island she got
• 29:23
  Speaker 6: hit by a car.
• 29:27
  Speaker 19: Harvey Keitel.
• 29:27
  Speaker 2: Oh, man. up some money, don't fuck her. You should
• 29:33
  Speaker 2: be back here every night for some more, man. She's
• 29:34
  Speaker 2: twelve and a half years old. You ain't never had
• 29:36
  Speaker 2: no pussy like that.
• 29:38
  Speaker 8: Harvey Keitel.
• 29:39
  Speaker 6: Oh, man.
• 29:40
  Speaker 8: Oh.
• 29:41
  Speaker 2: He's so... He's so Harvey Keitel. That's really all you
• 29:46
  Speaker 2: can say.
• 29:46
  Speaker 3: Right.
• 29:46
  Speaker 11: He's always been the same, hasn't he?
• 29:48
  Speaker 2: He's... Even when he's playing something that should be totally
• 29:52
  Speaker 2: different for him, somehow he just puts his Harvey Keitel
• 29:55
  Speaker 2: spin on it, and you're like, well, it works, and
• 29:58
  Speaker 2: you're awesome, but Somehow he's still Harvey Keitel. It's very strange.
• 30:02
  Speaker 8: Baby De Niro.
• 30:04
  Speaker 2: Yeah.
• 30:04
  Speaker 4: That's what was most shocking to me.
• 30:05
  Speaker 11: Because I hadn't seen.
• 30:07
  Speaker 3: This film in, I mean, I've already dated myself with
• 30:09
  Speaker 3: the Molly Ringwald stuff, so there's no turning back, but
• 30:12
  Speaker 3: I hadn't seen this in 20 plus years. I mean,
• 30:15
  Speaker 3: I saw it when I was like 13, and I
• 30:17
  Speaker 3: watched it all the time when I was 13, but
• 30:19
  Speaker 3: I had stopped watching it. So I hadn't seen it
• 30:21
  Speaker 3: in so long. So when I saw it, the last
• 30:22
  Speaker 3: time I saw it, He was a man. So now,
• 30:25
  Speaker 3: revisiting it, he's like this kid.
• 30:27
  Speaker 11: It's such a different experience.
• 30:29
  Speaker 8: Yeah, he's almost like Peter Parker.
• 30:30
  Speaker 2: Yeah.
• 30:33
  Speaker 12: Oh, wow.
• 30:34
  Speaker 16: Yeah.
• 30:35
  Speaker 12: If he hadn't gotten bit by a spider, this is
• 30:36
  Speaker 12: how it would have turned out.
• 30:39
  Speaker 2: He's just finding his Kytel superpowers right about there, discovering
• 30:43
  Speaker 2: how to use them.
• 30:44
  Speaker 3: Hmm.
• 30:47
  Speaker 2: I don't know, do we want to run through the cast,
• 30:49
  Speaker 2: or do you want to just go into story, or
• 30:51
  Speaker 2: how do you want to approach this?
• 30:52
  Speaker 8: You know, for me, Wizard has always been one of
• 30:55
  Speaker 8: the most memorable characters from that movie, and the scenes
• 30:58
  Speaker 8: where they're just sitting around talking uncomfortably, and De Niro's
• 31:03
  Speaker 8: attention always seems a little fractured, like he doesn't quite
• 31:08
  Speaker 8: hear what people say.
• 31:09
  Speaker 11: Or he blacks out, even.
• 31:11
  Speaker 8: Yeah, or even talking to her, and Peter Boyle, man.
• 31:16
  Speaker 2: He's so underrated.
• 31:17
  Speaker 12: He was great.
• 31:18
  Speaker 8: I always remember the scene where De Niro is talking
• 31:23
  Speaker 8: to him, and he says something like, to me, I
• 31:27
  Speaker 8: think if you do something, then that's what you are.
• 31:31
  Speaker 8: If you drive a cab, then that's who you are.
• 31:34
  Speaker 7: I don't know, man.
• 31:36
  Speaker 8: This is the stupidest thing I ever heard you do.
• 31:40
  Speaker 2: Well.
• 31:41
  Speaker 8: What do you want from me? I'm just a cabbie, man.
• 31:44
  Speaker 2: I don't even know what the fuck you're talking about.
• 31:46
  Speaker 2: That's just a great scene.
• 31:48
  Speaker 11: That almost seemed ad-libbed. I think Peter Boyle has the
• 31:53
  Speaker 11: ability that he could have.
• 31:54
  Speaker 12: Just done that.
• 31:55
  Speaker 11: Definitely.
• 31:56
  Speaker 9: And those scenes, even, when they're just hanging out being cabbies,
• 32:00
  Speaker 9: it almost seems more natural, like they're just in a
• 32:03
  Speaker 9: role ad-libbing everything.
• 32:06
  Speaker 11: Not everything, but portions of it. And I think Peter
• 32:09
  Speaker 11: Boyle probably could have done that.
• 32:12
  Speaker 9: Because they're like well he's going to bring a problem
• 32:14
  Speaker 9: to you just say whatever and I think I mean
• 32:18
  Speaker 9: because he didn't really seem like he knew what was
• 32:20
  Speaker 9: going on and he wasn't as a character he wasn't
• 32:22
  Speaker 9: really supposed to know what was wrong with Travis and
• 32:25
  Speaker 9: so he just said something you know just to try
• 32:27
  Speaker 9: to move along the.
• 32:28
  Speaker 2: Day I still like the wrap up of I'm real
• 32:31
  Speaker 2: fucked anyway thank you there's the truth sir.
• 32:37
  Speaker 12: Yeah, and it's just, in that scene, that's just the
• 32:39
  Speaker 12: point for me when I realize, like, you see Travis
• 32:42
  Speaker 12: just clawing at straws, just, like, begging, you know, Peter Boyle, just, like,
• 32:46
  Speaker 12: save me. It's just, like, this guy is doomed. He is.
• 32:51
  Speaker 2: And that's usually what people do. Like, when you start
• 32:54
  Speaker 2: to go down that road, you're throwing out the signs.
• 32:57
  Speaker 2: I mean, there's always that, well, I noticed, you know,
• 32:59
  Speaker 2: once somebody goes crazy, they're just like, huh, last week
• 33:02
  Speaker 2: you said, you know, and you can kind of piece
• 33:04
  Speaker 2: it together. They're like... Sometimes they're throwing it out there
• 33:06
  Speaker 2: and be like, if you can stop this, please do.
• 33:09
  Speaker 2: And people are usually kind of oblivious and don't notice
• 33:12
  Speaker 2: until it's too late. But, yeah, you can definitely see
• 33:15
  Speaker 2: that's that last ditch effort of save me from what
• 33:19
  Speaker 2: I'm about to do to myself and anyone else around me.
• 33:22
  Speaker 2: And Peter Wohl is just kind of like, I don't know,
• 33:25
  Speaker 2: we're all fucked, man. What do you want from me?
• 33:26
  Speaker 2: I drive a cab. I got my own problems.
• 33:28
  Speaker 11: Seriously, I can't even buy my own cab. I drive
• 33:31
  Speaker 11: someone else's.
• 33:33
  Speaker 8: Yeah, the things that struck me that I didn't really
• 33:37
  Speaker 8: remember so much, you know, I watched it this time
• 33:40
  Speaker 8: with my kids, and they've never seen it. So that's fun.
• 33:45
  Speaker 2: How did they take it?
• 33:47
  Speaker 8: They liked it. And my son, I can see him
• 33:50
  Speaker 8: react like whenever Travis is being awkward or in conversation,
• 33:58
  Speaker 8: like the moments where he says, I don't really follow music,
• 34:01
  Speaker 8: but I'd like to. I can just see my son going,
• 34:03
  Speaker 8: oh God, this is so sad. And he does that
• 34:09
  Speaker 8: several times. And it's like, well, I don't really know politics,
• 34:12
  Speaker 8: but I'd like to know more about it. My boy's
• 34:15
  Speaker 8: just shaking his head. Yeah, I don't know. But I
• 34:22
  Speaker 8: think I saw it a little differently because I'm watching
• 34:25
  Speaker 8: it with my kids. And There were things that I
• 34:29
  Speaker 8: didn't remember noticing so much when I'd watched it before,
• 34:34
  Speaker 8: and one was that $ 20 bill that Sport throws in
• 34:38
  Speaker 8: the cab. I didn't follow it through the movie as much,
• 34:44
  Speaker 8: or I don't think I did, because it seemed to
• 34:48
  Speaker 8: me this time that he doesn't seem like a terribly
• 34:52
  Speaker 8: messed up guy in the beginning.
• 34:54
  Speaker 2: He just seems like.
• 34:55
  Speaker 8: He's not connected well. to anyone or anything he's not connected.
• 34:59
  Speaker 2: To the.
• 35:01
  Speaker 8: I don't know the cultural moment or music or politics
• 35:07
  Speaker 8: or just anything he's just a drift yeah and so
• 35:11
  Speaker 8: he doesn't know what to do with himself but he
• 35:14
  Speaker 8: has like and he's always trying to get organized and
• 35:18
  Speaker 8: get his life together and be in shape but why
• 35:22
  Speaker 8: what for he doesn't know what for um So I
• 35:26
  Speaker 8: don't know.
• 35:28
  Speaker 9: I think that is, if he's been a Marine, a
• 35:31
  Speaker 9: Marine who's organized and in shape and ready for whatever's
• 35:34
  Speaker 9: going to happen. So he almost resets to, if I
• 35:39
  Speaker 9: know nothing else, if I have to get ready, I
• 35:41
  Speaker 9: don't know what it's going to be, but there's going
• 35:42
  Speaker 9: to be a mission, and I have to be ready
• 35:45
  Speaker 9: for it.
• 35:45
  Speaker 11: And so that's his training.
• 35:47
  Speaker 8: And then driving the cab for a while, that works
• 35:51
  Speaker 8: for him because his mission is just getting people from
• 35:55
  Speaker 8: here to there. And he doesn't care who they are
• 35:58
  Speaker 8: or what they're doing. But I think it's when a
• 36:02
  Speaker 8: teenage girl is pretty much kidnapped out of his cab.
• 36:05
  Speaker 2: Yeah.
• 36:06
  Speaker 8: Then you can't just be like, I don't care what's
• 36:09
  Speaker 8: going on. And it offends him. And the guy gives
• 36:12
  Speaker 8: him money. And it's like now what he's doing is
• 36:16
  Speaker 8: like tainted and messed up. And so later when he
• 36:19
  Speaker 8: has to give Doughboy or the other guy back $ 5. 00,
• 36:26
  Speaker 8: He gets out his money and you see that 20
• 36:28
  Speaker 8: and he sets it aside because he's hanging on to
• 36:32
  Speaker 8: that 20 because it bothers him. That's not his money.
• 36:37
  Speaker 2: Yeah. He says that at the end.
• 36:39
  Speaker 4: He's like, this is your money.
• 36:40
  Speaker 2: And it makes him a part of it because he
• 36:42
  Speaker 2: didn't do anything at the time. It makes him an
• 36:45
  Speaker 2: accessory to her living this lifestyle now. And I think
• 36:48
  Speaker 2: that's why he feels so responsible by the end. And
• 36:51
  Speaker 2: he's like, I need to rescue you because I'm partially responsible.
• 36:55
  Speaker 2: I didn't stop it when it could have, you know,
• 36:57
  Speaker 2: in the beginning there, I could have early on saved
• 37:00
  Speaker 2: you a lot of this torment. And I don't know.
• 37:03
  Speaker 2: I think that's a lot of it, too, is that
• 37:04
  Speaker 2: he then, because he's still holding on to that, it's
• 37:07
  Speaker 2: like a reminder that he's responsible for some portion of it. Yeah.
• 37:11
  Speaker 8: So he has this need to do something, but he's
• 37:14
  Speaker 8: definitely not clear on what to do. I'll shoot a senator.
• 37:18
  Speaker 2: Yeah.
• 37:19
  Speaker 8: If that doesn't work out, I'll liberate a teenage prostitute.
• 37:24
  Speaker 9: I get the drive to liberate her. He's clearing up
• 37:28
  Speaker 9: a problem that's following him.
• 37:30
  Speaker 11: But I don't see.
• 37:31
  Speaker 9: Where he jumped from, I'm supporting this guy. He's been
• 37:35
  Speaker 9: in my cab. I kind of see on par with him,
• 37:37
  Speaker 9: I think. And then I'm going to assassinate him.
• 37:41
  Speaker 8: He never really understood the guy to begin with. I
• 37:43
  Speaker 8: don't really know his positions, but because he likes... This
• 37:47
  Speaker 8: woman he's seen.
• 37:49
  Speaker 2: Because she's on his side.
• 37:50
  Speaker 8: Then he must be a good guy.
• 37:52
  Speaker 11: I'm going to hurt her because she hurt me.
• 37:55
  Speaker 8: She's just like everyone else.
• 37:57
  Speaker 2: That's the closest thing to making sense. It's not a
• 38:01
  Speaker 2: good plan. It's not any direct line of thought where
• 38:05
  Speaker 2: at least if he had Which in a way makes
• 38:07
  Speaker 2: it better, I think. If he had a very political agenda,
• 38:10
  Speaker 2: if he had a reason to stop, he felt it
• 38:12
  Speaker 2: was important to stop him, but he doesn't. It's way
• 38:15
  Speaker 2: more realistic to the way people go crazy. It's just,
• 38:18
  Speaker 2: I have to do this. It's like he doesn't even
• 38:21
  Speaker 2: know why, he doesn't even need to really. It's just like,
• 38:25
  Speaker 2: this is the thing that occurred to me to do,
• 38:27
  Speaker 2: and now that's my plan, and that's what I have
• 38:29
  Speaker 2: to do.
• 38:29
  Speaker 4: Yeah.
• 38:31
  Speaker 3: And something violent has to happen, and that violence has
• 38:33
  Speaker 3: to precipitate his own demise.
• 38:35
  Speaker 2: Yeah, and he knows that. He's by the end writing
• 38:38
  Speaker 2: the note. He's like, well, I'll be dead soon. And
• 38:40
  Speaker 2: when that goes wrong, he still wants to fulfill that.
• 38:43
  Speaker 2: He still is going to go through with one way
• 38:45
  Speaker 2: or the other, I'm doing something that's going to take
• 38:48
  Speaker 2: care of all these problems in my life.
• 38:51
  Speaker 8: Yeah, my kids really enjoyed the scene where he's watching
• 38:54
  Speaker 8: the soap opera. they just really enjoy and just gradually
• 39:00
  Speaker 8: tipping the TV and they're just watching it and they're
• 39:03
  Speaker 8: like their eyes are like this is fun well his
• 39:06
  Speaker 8: reaction is so.
• 39:08
  Speaker 12: Great I love that too that's so realistic I was
• 39:11
  Speaker 12: just like oh man that was a stupid.
• 39:15
  Speaker 2: That again this time watching it that was a very
• 39:18
  Speaker 2: key moment for me I was just watching and I'm
• 39:20
  Speaker 2: like again this is another one of those no turning
• 39:24
  Speaker 2: back kind of things it's him sitting there doing it,
• 39:27
  Speaker 2: and there's no reason for him to do it. It's
• 39:29
  Speaker 2: his life. It's his situation. There's no reason for him
• 39:31
  Speaker 2: to do this, but he's still doing it. And he's
• 39:33
  Speaker 2: watching himself doing it. He's like, I probably shouldn't. And
• 39:36
  Speaker 2: he keeps doing it. And it's just kind of like,
• 39:39
  Speaker 2: let's see what happens. Or if nothing else, this is
• 39:42
  Speaker 2: going to change things. Better or worse, this is going
• 39:45
  Speaker 2: to change my situation here. And that's The big picture
• 39:48
  Speaker 2: of the movie, really.
• 39:49
  Speaker 8: There's a lot of truth in that. I think a
• 39:51
  Speaker 8: lot of times people, you know, when they're just not
• 39:54
  Speaker 8: happy in their life, they have to just do something
• 39:56
  Speaker 8: to make something happen.
• 39:58
  Speaker 3: Yeah.
• 39:58
  Speaker 8: Because they don't know what to do. They just know
• 40:01
  Speaker 8: that something has to be different.
• 40:03
  Speaker 4: Right.
• 40:04
  Speaker 12: I think that scene where it really illustrates that is
• 40:08
  Speaker 12: where he goes into the office where Sybil Shepard is
• 40:11
  Speaker 12: and he has all that confidence and he's like, you know,
• 40:13
  Speaker 12: I'm going to take you on a date. This guy
• 40:15
  Speaker 12: doesn't know what he's talking about. This other guy that's
• 40:16
  Speaker 12: hitting on you. And you're like, oh man, he's the man.
• 40:18
  Speaker 12: He's really pulling this off. Then they sit down in
• 40:20
  Speaker 12: the restaurant and he's just like, uh, I don't know
• 40:22
  Speaker 12: how to talk to people. I should have thought about
• 40:24
  Speaker 12: this a little bit more.
• 40:26
  Speaker 8: That other guy is a jerk.
• 40:27
  Speaker 2: He doesn't respect you.
• 40:29
  Speaker 8: I sensed from him that you have no connection.
• 40:33
  Speaker 2: That's the thing, again, watching it now, I'm just like,
• 40:37
  Speaker 2: he's so childlike. Everything about him, he just gets himself
• 40:43
  Speaker 2: into these situations and really, it's not that he's doing
• 40:47
  Speaker 2: it to be a jerk, especially like, you know, the
• 40:49
  Speaker 2: movie theater thing. It's like, he just really comes off like,
• 40:52
  Speaker 2: he doesn't know what the hell's going on. He doesn't
• 40:54
  Speaker 2: understand how people operate. He doesn't understand how society works.
• 40:58
  Speaker 2: You know, just basic niceties. He doesn't know how to do. Yeah,
• 41:03
  Speaker 2: it's like he's thrown into this life and he doesn't
• 41:07
  Speaker 2: really understand how to make it work, which, again, is
• 41:09
  Speaker 2: kind of how the whole movie is.
• 41:11
  Speaker 9: It's seriously messed up if you don't know that, uh,
• 41:15
  Speaker 9: pornographic movie is.
• 41:17
  Speaker 2: Not it's not okay yeah you know certainly not.
• 41:21
  Speaker 9: On your first honest in that oh i you know
• 41:24
  Speaker 9: i didn't know he wasn't being you know.
• 41:26
  Speaker 2: Again i don't know much about movies but.
• 41:29
  Speaker 12: Uh yeah I think this is one right here.
• 41:35
  Speaker 8: I see couples go here all the time, sure.
• 41:38
  Speaker 2: As two guys are leaving behind them, I noticed as
• 41:41
  Speaker 2: he said that. It's like, well, yeah.
• 41:43
  Speaker 3: That was a wonderfully sociopathic response.
• 41:47
  Speaker 4: I've seen couples do this. This is what couples do.
• 41:50
  Speaker 2: Again, it's just not understanding the world around him, but
• 41:54
  Speaker 2: sort of trying to mimic things that people do. It's
• 41:56
  Speaker 2: just like, we go out on a date, right? Yeah.
• 41:59
  Speaker 8: Bright they sort of like he dodges about his education
• 42:04
  Speaker 8: but he was in the military he's well here and
• 42:06
  Speaker 8: there you did you go to school yeah a little
• 42:10
  Speaker 8: bit sort of um he.
• 42:12
  Speaker 11: Didn't say his a little bit he didn't say.
• 42:16
  Speaker 2: A little bit a little bit.
• 42:18
  Speaker 8: He said uh what here and there you know yeah well.
• 42:22
  Speaker 2: It's it's kind of the same thing with the music
• 42:24
  Speaker 2: like he doesn't know what he just like she says
• 42:27
  Speaker 2: it so he goes to get it but it's not
• 42:29
  Speaker 2: even like he means it in a really sweet way
• 42:31
  Speaker 2: it's like he's just that's he doesn't know what else
• 42:33
  Speaker 2: to do it's like he's so it's all so you
• 42:36
  Speaker 2: know foreign to him that he's just like I think
• 42:38
  Speaker 2: this is what people do right you bring a gift
• 42:41
  Speaker 2: on a date or something I don't know it's like
• 42:43
  Speaker 2: he's He's so grasping at straws for just, like, normal existence.
• 42:47
  Speaker 4: Well, he said something to Iris later about the money, like,
• 42:49
  Speaker 4: I need something to do with my money.
• 42:50
  Speaker 8: That's what you do.
• 42:51
  Speaker 4: If you like somebody, then you.
• 42:53
  Speaker 2: Give them something. You buy them things.
• 42:55
  Speaker 4: You buy them out of their head.
• 42:57
  Speaker 7: Yes.
• 42:57
  Speaker 12: That's how you solve problems.
• 43:00
  Speaker 8: But, I mean, he doesn't really seem like all that
• 43:04
  Speaker 8: unusually disconnected, because I've known people who seem pretty out
• 43:09
  Speaker 8: of the loop. Or, you know, if not as out
• 43:14
  Speaker 8: of the loop. He's out of the loop on a
• 43:17
  Speaker 8: lot of fronts. But I know a lot of people who, like,
• 43:21
  Speaker 8: they don't really follow this that much. And, of course,
• 43:24
  Speaker 8: I knew the one guy who had never seen any
• 43:28
  Speaker 8: popular culture whatsoever except Sinbad movies.
• 43:32
  Speaker 2: So he's just one step away.
• 43:36
  Speaker 12: What kind of worldview would he like? Only being exposed
• 43:41
  Speaker 12: to Sinbad.
• 43:42
  Speaker 8: Well, he was mysterious to us for a while because
• 43:44
  Speaker 8: we'd be talking about movies and stuff, and he'd be like,
• 43:47
  Speaker 8: I never really saw that. I guess I ought to
• 43:52
  Speaker 8: check that out.
• 43:53
  Speaker 20: It's called The Godfather.
• 43:56
  Speaker 8: You might want to look it up. And then one day,
• 43:58
  Speaker 8: one of the guys was out driving with him, and
• 44:00
  Speaker 8: he saw Sinbad billboard, and he was.
• 44:03
  Speaker 11: Like, Oh, that's something I know.
• 44:06
  Speaker 8: His movies are so funny. And he knew all of them.
• 44:09
  Speaker 8: But that was the only popular culture he seemed to
• 44:12
  Speaker 8: be familiar with.
• 44:13
  Speaker 6: Yeah.
• 44:15
  Speaker 8: It's a legend. I brought him up.
• 44:18
  Speaker 11: Tiffany.
• 44:18
  Speaker 8: Yeah, Tiffany.
• 44:19
  Speaker 2: We named him.
• 44:20
  Speaker 9: So he wouldn't know we were talking about him.
• 44:24
  Speaker 8: Yeah, because he might listen to the show someday if
• 44:26
  Speaker 8: he exposes himself.
• 44:29
  Speaker 2: Pop-culturally savvy.
• 44:30
  Speaker 11: And he'll be listening.
• 44:31
  Speaker 8: He'll go, Well, that sounds kind of like me. But
• 44:35
  Speaker 8: that guy's name is Tiffany. It can't be me.
• 44:41
  Speaker 2: Well, that's what I think I noticed. And again, you
• 44:43
  Speaker 2: were talking about, Lucy, watching it years ago and then
• 44:46
  Speaker 2: watching it now. And it is one of those weird
• 44:48
  Speaker 2: things where you watch it years later and the movie
• 44:51
  Speaker 2: hasn't changed, but you see it very differently.
• 44:53
  Speaker 21: Yeah.
• 44:54
  Speaker 2: This time, it's probably more than anything frightening how similar
• 45:00
  Speaker 2: I felt to Travis. I'm sitting there watching, and I'm like,
• 45:05
  Speaker 2: I'm really kind of feeling for this guy, because I'm like, lonely, sad, depressed, yeah, yeah, check, check.
• 45:11
  Speaker 2: Empty life, disliking of other people, yeah, check, check. Affinity
• 45:16
  Speaker 2: to hang out with young girls. Okay, sure, this is
• 45:18
  Speaker 2: across the board. I'm finding myself way too connected to Travis.
• 45:25
  Speaker 2: It's really sad.
• 45:27
  Speaker 8: The sadness of the movie really weighed on me more
• 45:31
  Speaker 8: this time than ever before. I know there are some
• 45:34
  Speaker 8: people who watch it like it's a badass movie.
• 45:36
  Speaker 2: Yeah, see, that's the thing.
• 45:37
  Speaker 8: And they will talk about, oh, Taxi Driver and Boondock Saints.
• 45:43
  Speaker 8: Just shut up with that, please.
• 45:46
  Speaker 2: Why do all those guys have to be douchebags?
• 45:48
  Speaker 12: You've got to blame the arm mechanisms for that right there.
• 45:52
  Speaker 2: Those things are cool. It is cool.
• 45:54
  Speaker 11: They've seen two scenes of the film. That scene and
• 45:59
  Speaker 11: the end.
• 46:00
  Speaker 9: Just like Scarface, every boy has a Scarface poster on
• 46:04
  Speaker 9: his wall and knows nothing about the film.
• 46:08
  Speaker 8: It's that part where De Niro whips out the gun
• 46:10
  Speaker 8: and says, say hello to my little friend.
• 46:13
  Speaker 2: No, you're a little bit off.
• 46:15
  Speaker 12: You're a little mixed up.
• 46:17
  Speaker 11: A little bit off.
• 46:18
  Speaker 8: The other thing I noticed was after the failed assassination,
• 46:22
  Speaker 8: I'd kind of noticed this before, but a lot this time,
• 46:26
  Speaker 8: was how his motion becomes almost stop action a lot
• 46:30
  Speaker 8: near the end. Like he comes home after the failed
• 46:34
  Speaker 8: assassination and he like does mouthwatch and he's jerking his
• 46:38
  Speaker 8: head around. And then later, and when he goes in,
• 46:40
  Speaker 8: he's like a zebra or something being filmed with early film.
• 46:44
  Speaker 8: And like when he gets shot in the shoulder, it's
• 46:48
  Speaker 8: almost like animation. And I noticed that More this time.
• 46:52
  Speaker 11: I'd noticed it before.
• 46:53
  Speaker 8: It's like, what is this stop motion quality?
• 46:56
  Speaker 12: Yeah, like the cutting gets a lot more frantic.
• 46:58
  Speaker 2: Yeah. Like I'm thinking of like, yeah.
• 47:00
  Speaker 12: Like the shootout where he like jerks a little bit
• 47:03
  Speaker 12: or afterwards when he's in the cab and he looks
• 47:07
  Speaker 12: back in the rearview mirror and it's like a quick
• 47:09
  Speaker 12: double take.
• 47:09
  Speaker 3: Yeah.
• 47:10
  Speaker 12: And it's just like, whoa.
• 47:11
  Speaker 8: Everything gets really angular.
• 47:13
  Speaker 11: And in the shootout scene, all the colors are muted.
• 47:16
  Speaker 11: They're not.
• 47:17
  Speaker 4: Yeah.
• 47:17
  Speaker 9: Because everything before is, you know, bright and realize and
• 47:22
  Speaker 9: then the color slightly off.
• 47:24
  Speaker 2: And that's on purpose by.
• 47:26
  Speaker 12: The way yeah so they didn't get like a yeah
• 47:28
  Speaker 12: x rating.
• 47:29
  Speaker 2: They were going to be x they would not because
• 47:31
  Speaker 2: it's so violent and there's so much blood if they
• 47:33
  Speaker 2: would have had this blood red yeah they inferred the
• 47:36
  Speaker 2: tone i guess overall if you throw all that together
• 47:39
  Speaker 2: so yeah they had to totally mute the.
• 47:41
  Speaker 9: Colors it really works well almost like it's because you
• 47:44
  Speaker 9: know Like he's in a zone.
• 47:47
  Speaker 11: Where his brain's not definitely not working right anymore. Even
• 47:51
  Speaker 11: the color's not right.
• 47:53
  Speaker 2: And it's almost like it's not even registering that there's
• 47:55
  Speaker 2: blood pouring out of my neck right now. That I'm
• 47:57
  Speaker 2: just like, I keep going. I've got a mission, damn it.
• 48:01
  Speaker 8: Oh, my favorite moment in that whole sequence at the
• 48:04
  Speaker 8: end is right after he shoots Scooter. And he walks
• 48:07
  Speaker 8: over and he sits down.
• 48:11
  Speaker 2: He just.
• 48:11
  Speaker 11: I'm done.
• 48:13
  Speaker 2: He just has to sit down and think for a moment.
• 48:15
  Speaker 2: Because I didn't remember that last time. I didn't either.
• 48:17
  Speaker 2: And I went, wait, when did.
• 48:19
  Speaker 8: Oh, wait, but that's so true.
• 48:21
  Speaker 11: He just walks over and then he sits down for
• 48:23
  Speaker 11: a minute.
• 48:24
  Speaker 12: Doesn't even try to calm Jodie Foster. He's like, well,
• 48:26
  Speaker 12: she thinks I'm a crazy person. There's no going back.
• 48:28
  Speaker 12: I'm just going to, you know, have a sit down
• 48:31
  Speaker 12: and chill until the police arrive.
• 48:35
  Speaker 2: But no, wait, maybe I'll go shoot some more people.
• 48:37
  Speaker 12: And that's the.
• 48:40
  Speaker 9: Also the desperation, but almost surgical way that he's trying
• 48:47
  Speaker 9: to kill himself, and he can't do it.
• 48:49
  Speaker 11: It's just like, oh, well. And it's almost mission-based, and
• 48:54
  Speaker 11: this is going to happen next.
• 48:55
  Speaker 2: Again, very military.
• 48:57
  Speaker 11: And then I can't do it. Okay, we're done.
• 49:00
  Speaker 8: I'd forgotten, too. I'd forgotten the... the Jackson Browne song
• 49:05
  Speaker 8: on American Bandstand. So he's watching American Bandstand, and you
• 49:09
  Speaker 8: start to hear this song, and you're just watching him
• 49:12
  Speaker 8: watch American Bandstand. I'm like, is that Jackson Browne?
• 49:16
  Speaker 6: Yeah.
• 49:17
  Speaker 2: It's a very fitting song, the more you sit there.
• 49:19
  Speaker 2: I was like... huh i i forgot how good this
• 49:21
  Speaker 2: works too what's with.
• 49:23
  Speaker 11: Is that shoes they're in the middle of the floor
• 49:25
  Speaker 11: on american bandstand they're like all dancing around.
• 49:28
  Speaker 9: Oh yeah there's there's shoes or something just sitting in
• 49:31
  Speaker 9: the floor and i'm I don't know what that was
• 49:33
  Speaker 9: supposed to mean or.
• 49:33
  Speaker 11: If it just happened to be in the footage or what.
• 49:37
  Speaker 2: I just kept looking at that brother with the sweater
• 49:39
  Speaker 2: wrapped around his neck.
• 49:42
  Speaker 9: I was looking for the American girl with the long
• 49:45
  Speaker 9: hair that was always on that show.
• 49:47
  Speaker 2: I was just like, that guy's not cool at all.
• 49:50
  Speaker 2: Take that sweater off, dude. What are you doing?
• 49:52
  Speaker 8: Wasn't he in menthol cigarette ads?
• 49:55
  Speaker 2: I think so.
• 49:56
  Speaker 8: I just had that sweater tied around.
• 49:58
  Speaker 2: You guys are supposed to be way cooler than this.
• 50:00
  Speaker 8: Come on, man.
• 50:01
  Speaker 2: That's the whitest thing I've ever seen. Take that sweater off. So, yeah,
• 50:05
  Speaker 2: but back to that other thing, I really, it is
• 50:09
  Speaker 2: always kind of lumped in there over the years, the
• 50:11
  Speaker 2: way that pop culture has latched onto it and made
• 50:14
  Speaker 2: it a badass movie and he's so cool and, you know,
• 50:17
  Speaker 2: he's so, especially the weird, like, punk thing that has
• 50:21
  Speaker 2: attached itself to it over the years. I'm like, This
• 50:24
  Speaker 2: time around, I sort of, like, all of that went away,
• 50:27
  Speaker 2: and all I see is the sadness. Like, all I
• 50:30
  Speaker 2: see is this lonely story about, you know, he bills
• 50:34
  Speaker 2: himself as God's lonely man. That whole speech in the middle,
• 50:38
  Speaker 2: I was just like, Jesus, this is terrible. Like, amazing
• 50:41
  Speaker 2: and terrible.
• 50:43
  Speaker 9: His diary almost reads the way you think all of
• 50:46
  Speaker 9: the papers on The Killer and Seven's diary would read.
• 50:51
  Speaker 2: Just.
• 50:53
  Speaker 11: not.
• 50:54
  Speaker 2: Realistic and again to me it sounds kind of like
• 50:57
  Speaker 2: a kid writing stuff the way that he words things
• 51:01
  Speaker 2: is just like a child sometimes but at the same
• 51:04
  Speaker 2: time it's like a child who's lived through this like
• 51:07
  Speaker 2: you know 20 years of depression along the way.
• 51:10
  Speaker 22: So yeah it's it's i don't know yeah him shaving
• 51:14
  Speaker 22: his his head like that into the mohawk is i
• 51:16
  Speaker 22: would say you know like closer to britney spears than
• 51:19
  Speaker 22: Sid Vicious.
• 51:20
  Speaker 12: Like, it's just really sad. You're just like, this guy
• 51:22
  Speaker 12: is falling apart.
• 51:24
  Speaker 2: And they did, they did Paul Schrader reference that there's also,
• 51:28
  Speaker 2: there was a movement in like the, the military in
• 51:32
  Speaker 2: Vietnam that there were these guys that would shave their
• 51:35
  Speaker 2: head like that. And that was them just going out
• 51:38
  Speaker 2: in the field to kick ass. Like they were just,
• 51:40
  Speaker 2: that was them in that zone. And half the time,
• 51:43
  Speaker 2: those guys probably weren't coming back either. So it really
• 51:45
  Speaker 2: was sort of, based on a real thing not the
• 51:48
  Speaker 2: crazy punk rock thing the this is it i'm going
• 51:51
  Speaker 2: in to take care of business kind of thing and
• 51:53
  Speaker 2: it's again i don't think i'd heard that before but
• 51:55
  Speaker 2: it is it's weird how that part of the culture
• 51:59
  Speaker 2: latched on to it because again watching it this time
• 52:02
  Speaker 2: i was just like i'm pretty sure travis would hate
• 52:04
  Speaker 2: a lot of you guys you feel like you have
• 52:07
  Speaker 2: a lot of the same ideas but truthfully i think
• 52:11
  Speaker 2: i don't think travis would be sold on all especially
• 52:13
  Speaker 2: the The more douchebaggy ones. The ones that are probably
• 52:17
  Speaker 2: hardcore and like the old stuff. But yeah, the new
• 52:20
  Speaker 2: poser kind of punk rock kids that probably have that
• 52:23
  Speaker 2: poster on their wall and have never seen the movie. Yeah,
• 52:26
  Speaker 2: I don't think Travis would like you guys.
• 52:27
  Speaker 12: Yeah, and he's constantly trying to reinvent himself, but he
• 52:30
  Speaker 12: doesn't know what exactly. He kind of wants to be
• 52:33
  Speaker 12: a cowboy.
• 52:34
  Speaker 2: Yeah.
• 52:34
  Speaker 12: He's wearing those boots and the flannel shirt and everything,
• 52:38
  Speaker 12: but he just kind of ends up looking ridiculous.
• 52:40
  Speaker 8: Yeah.
• 52:41
  Speaker 12: He shaves his head, but there's no intentions of being
• 52:45
  Speaker 12: punk rock or anything badass about it.
• 52:49
  Speaker 2: Again, it was sort of before most of that was real.
• 52:51
  Speaker 2: I was going to say, with 76, this was still
• 52:53
  Speaker 2: like disco.
• 52:56
  Speaker 8: You have to remember, because when we're thinking, how do
• 52:58
  Speaker 8: they get the steam to look dirty? I think at
• 53:01
  Speaker 8: that time they probably had to clean the semen and
• 53:03
  Speaker 8: blood off of it to get it to look that good.
• 53:08
  Speaker 2: Ah, the 70s New York. Litter.
• 53:11
  Speaker 11: Yeah, I mean, in every scene, like the one scene
• 53:14
  Speaker 11: when he comes.
• 53:15
  Speaker 9: Out of the taxi office and he's walking down the
• 53:18
  Speaker 9: street the first time, there's just litter everywhere. And at
• 53:23
  Speaker 9: first I thought, did they plant that to make it
• 53:27
  Speaker 9: look dirtier?
• 53:28
  Speaker 6: No.
• 53:28
  Speaker 9: No, it probably was like that. And, you know, New
• 53:30
  Speaker 9: York has gone through such a change, you know, now.
• 53:34
  Speaker 6: Yeah.
• 53:35
  Speaker 11: At least what you see.
• 53:36
  Speaker 9: On television, even in film, never represented in a dirty way.
• 53:41
  Speaker 11: Dangerous way at all.
• 53:43
  Speaker 2: They've changed a lot.
• 53:44
  Speaker 8: Well, they have their standard things they do when they
• 53:47
  Speaker 8: want to give you that vibe. But one of them,
• 53:49
  Speaker 8: of course, this movie, as in all movies, if you
• 53:53
  Speaker 8: ever go into a little corner bodega market, you know
• 53:58
  Speaker 8: something bad is going to happen. You do not want to.
• 54:02
  Speaker 8: It's one of those rules of life. Like, if you
• 54:05
  Speaker 8: see Scorsese... shooting from above in a room, you do
• 54:10
  Speaker 8: not want to go into that. You do not go
• 54:13
  Speaker 8: in there. Open the door and Scorsese's up there with
• 54:18
  Speaker 8: a camera.
• 54:18
  Speaker 2: No. I was supposed to deliver this pizza, but never mind. Yeah.
• 54:24
  Speaker 12: Since a massacre set to Donovan music coming, so.
• 54:27
  Speaker 8: Yeah, and you go into a little bodega market. No,
• 54:32
  Speaker 8: you better be prepared for something bad to happen. A
• 54:36
  Speaker 8: robbery is going to go wrong. It's just like parking lot,
• 54:42
  Speaker 8: parking structure. They only exist for cars to come whipping
• 54:46
  Speaker 8: around and shoot at you. That's the only thing.
• 54:49
  Speaker 2: Or somebody to be attacked on the way to their car.
• 54:52
  Speaker 2: And they drop their keys. That's the only reason they
• 54:56
  Speaker 2: build them.
• 54:57
  Speaker 3: It's like in soap operas, if you see them in
• 54:59
  Speaker 3: a car, all of a sudden they're in a car.
• 55:01
  Speaker 4: There's no car scenes. That car is.
• 55:03
  Speaker 8: Going over a cliff. It's like Cincinnati, I guess. It
• 55:12
  Speaker 8: still has a little bit of that urban grit, but
• 55:15
  Speaker 8: it's kind of like they have really good graffiti artists, though.
• 55:20
  Speaker 8: So it's kind of colorful, but Gritty, it's like a
• 55:24
  Speaker 8: mix between The Wire and Sesame Street.
• 55:27
  Speaker 2: Oh, wow.
• 55:30
  Speaker 12: Oh my god. Elmo coming.
• 55:36
  Speaker 2: That's all I ask of my graffiti is that it's good.
• 55:41
  Speaker 2: Most of the time I don't mind that it's there,
• 55:42
  Speaker 2: just don't do half-ass graffiti. Do something impressive for God's sake.
• 55:47
  Speaker 8: Yeah, and then they get to the scene where he
• 55:50
  Speaker 8: sits down and has breakfast with Iris. I don't know.
• 55:55
  Speaker 11: How natural is Jodie Foster in that scene?
• 55:58
  Speaker 9: I mean, just the way she's laughing, the way she's
• 56:01
  Speaker 9: fumbling with her food.
• 56:03
  Speaker 2: Just, yeah. Amazing.
• 56:04
  Speaker 3: And back to the comment about his childlike quality. I mean,
• 56:07
  Speaker 3: that's the first time he connects to somebody.
• 56:09
  Speaker 2: It's like they actually.
• 56:11
  Speaker 4: There's nothing stilted about the conversation. It flows. Like, there's
• 56:14
  Speaker 4: an actual connection that's happening because he is.
• 56:16
  Speaker 2: This little kid. Because he's 12 years old. Yeah. And,
• 56:20
  Speaker 2: I mean, they were talking about, they were discussing how
• 56:23
  Speaker 2: that whole scene worked. And the way that they got
• 56:26
  Speaker 2: along so well, like, De Niro would actually, like, pick
• 56:28
  Speaker 2: up Jodie Foster and take her to breakfast and, like,
• 56:30
  Speaker 2: not talk about and they would just have to get
• 56:33
  Speaker 2: used to each other sitting there. And then they ran
• 56:36
  Speaker 2: that scene a million times. But all the weird little
• 56:38
  Speaker 2: mannerisms were based on an actual teenage prostitute that Schrader
• 56:43
  Speaker 2: met and paid to sleep on his couch, I think
• 56:47
  Speaker 2: is the way he put it, to not incriminate himself.
• 56:49
  Speaker 2: But he was just trying to use her as the
• 56:54
  Speaker 2: basis for the character. And he called De Niro, that
• 56:57
  Speaker 2: was staying in that same hotel, and was like, we're
• 56:59
  Speaker 2: going to breakfast tomorrow. All that stuff was real. This
• 57:02
  Speaker 2: 15-year-old girl that was out on the streets that he
• 57:05
  Speaker 2: was using as the basis for the character, who's actually
• 57:08
  Speaker 2: in the movie, by the way, when he almost runs
• 57:10
  Speaker 2: her over in the street, that girl that drags her
• 57:11
  Speaker 2: along is the actual prostitute. All the stuff with her
• 57:16
  Speaker 2: sunglasses and changing sunglasses and putting sugar on her glasses.
• 57:20
  Speaker 2: Damn sandwich. That was all real. That all actually happened
• 57:25
  Speaker 2: with that prostitute, which, again, makes this even grittier and
• 57:28
  Speaker 2: more grim.
• 57:29
  Speaker 11: She does that, and De Niro also. He puts.
• 57:36
  Speaker 11: I thought it was, you know, I think when I first.
• 57:38
  Speaker 2: Watched it, I thought it was cereal.
• 57:38
  Speaker 8: Maple syrup and sugar.
• 57:40
  Speaker 2: It's a lot of sugar.
• 57:41
  Speaker 11: I thought it was cereal, but it was bread.
• 57:43
  Speaker 8: Yeah, it's bread.
• 57:44
  Speaker 9: Bread and then milk with honey and sugar on top. Oh,
• 57:47
  Speaker 9: it's got to be disgusting. You know, but that's childlike, too.
• 57:51
  Speaker 2: Yeah, very childlike.
• 57:52
  Speaker 11: If a child doesn't know how to feed themselves. And
• 57:54
  Speaker 11: that's what he eats, you know, Doritos.
• 57:57
  Speaker 9: And coke, and he goes to the bodega and gets cupcakes, and.
• 58:02
  Speaker 11: He doesn't know how to eat anything.
• 58:03
  Speaker 2: Shit, I just realized that's one more thing on my list.
• 58:06
  Speaker 2: I even talked to him about it. He says, no
• 58:09
  Speaker 2: more destroying my body.
• 58:12
  Speaker 9: But then the next thing he does is he goes
• 58:14
  Speaker 9: and he picks up cupcakes, even after he says that
• 58:16
  Speaker 9: to himself.
• 58:17
  Speaker 8: Well, you know, but it's true that at that time,
• 58:20
  Speaker 8: a lot of people had very little sense about nutrition.
• 58:25
  Speaker 8: And we forget that they did because.
• 58:27
  Speaker 2: That.
• 58:27
  Speaker 4: Was the only thing on the shelves in the 70s.
• 58:30
  Speaker 3: Yeah.
• 58:30
  Speaker 8: People knew better in the 50s. Right. But all the
• 58:33
  Speaker 8: marketing and... I don't know. I remember taking a health
• 58:38
  Speaker 8: class in 7th grade and all the stuff they told
• 58:42
  Speaker 8: you you should be eating. You could not construct a
• 58:45
  Speaker 8: single meal that satisfied the nutritional guidelines because it was
• 58:53
  Speaker 8: a gobbledygook of... advertising from the beef and dairy. And
• 59:00
  Speaker 8: so it really made no sense. It just made no sense.
• 59:03
  Speaker 8: And at that time, I could tell that it was bullshit.
• 59:07
  Speaker 8: I could tell that it didn't make any sense, but
• 59:09
  Speaker 8: it never occurred to me. to me why it didn't
• 59:12
  Speaker 8: make any sense. It was because of lobbying by producers.
• 59:17
  Speaker 2: They also, like that, the diet and everything else, his
• 59:20
  Speaker 2: lifestyle as a whole, Schrader sort of describes it as self-imposed,
• 59:26
  Speaker 2: as his loneliness and his demise and never being able
• 59:29
  Speaker 2: to get organized like all these things that he does
• 59:32
  Speaker 2: is sort of subconsciously sabotaging himself so that he will
• 59:35
  Speaker 2: never get his act together he will never be able
• 59:38
  Speaker 2: to be normal that he's sort of doing it to
• 59:42
  Speaker 2: himself so that he's always going to be on this
• 59:44
  Speaker 2: road and he's always going to eventually have to you
• 59:46
  Speaker 2: know the only change he can have is this huge
• 59:49
  Speaker 2: negative change because he's sabotaging himself along the way to
• 59:52
  Speaker 2: never be able to make any positive changes that really
• 59:55
  Speaker 2: make a difference that he always ends up back in
• 59:57
  Speaker 2: that same because he's doing it to himself along the way.
• 1:00:01
  Speaker 8: What are those couple of lines very early on that
• 1:00:05
  Speaker 8: just sort of reveal a lot? It's something, I don't
• 1:00:09
  Speaker 8: believe a person should have too much morbid self-attention. I
• 1:00:16
  Speaker 8: believe a person should become a normal person. Yeah, or
• 1:00:21
  Speaker 8: like other people.
• 1:00:22
  Speaker 2: Again, this is like echoes in my head.
• 1:00:25
  Speaker 11: Yeah.
• 1:00:27
  Speaker 2: People should be normal. Why don't I get to be normal? Yeah,
• 1:00:30
  Speaker 2: this is what he's saying. Those voiceovers are amazing. And again,
• 1:00:35
  Speaker 2: that's the basis of Schrader writing it and really tapping
• 1:00:39
  Speaker 2: into this character. May 10th.
• 1:00:44
  Speaker 1: Thank God for the rain, which has helped wash away
• 1:00:46
  Speaker 1: the garbage and the trash off the sidewalks. I'm working
• 1:00:50
  Speaker 1: long hours now, 6 in the afternoon to 6 in
• 1:00:53
  Speaker 1: the morning, sometimes even 8 in the morning, 6 days
• 1:00:56
  Speaker 1: a week, sometimes 7 days a week. It's a long hustle,
• 1:01:00
  Speaker 1: but it keeps me real busy. I can take in 3,
• 1:01:03
  Speaker 1: 350 a week, sometimes even more when I do it
• 1:01:06
  Speaker 1: off the meter.
• 1:01:08
  Speaker 11: You know, I generally despise voiceovers.
• 1:01:12
  Speaker 3: Yeah.
• 1:01:12
  Speaker 11: I mean, that's like in Blade Runner.
• 1:01:16
  Speaker 2: I can't.
• 1:01:17
  Speaker 9: Stomach it when he's got the voiceover.
• 1:01:19
  Speaker 2: The one version.
• 1:01:20
  Speaker 11: The one version.
• 1:01:21
  Speaker 12: The laser disc.
• 1:01:24
  Speaker 11: And I kept thinking, why does it work?
• 1:01:28
  Speaker 9: I was thinking yesterday when I was watching, why does
• 1:01:30
  Speaker 9: it work in this and I'm okay with it? And
• 1:01:32
  Speaker 9: I think the reason, and I'm going to go parallel this,
• 1:01:36
  Speaker 9: probably the first person ever to parallel Taxi Driver with
• 1:01:40
  Speaker 9: How I Met Your Mother. The way that reason, that
• 1:01:44
  Speaker 9: worked show works so well. He's a narrator that's constantly
• 1:01:47
  Speaker 9: in the show. He's unreliable. He gets it wrong. He
• 1:01:52
  Speaker 9: might be making stuff up. He might be intentionally throwing
• 1:01:56
  Speaker 9: the children off.
• 1:01:57
  Speaker 2: Whatever.
• 1:01:59
  Speaker 9: Misremembering, whatever. Same thing with Travis in this. What he's
• 1:02:05
  Speaker 9: saying does not match up with what he's doing. He's
• 1:02:09
  Speaker 9: not reliable and he's crazy or he's getting crazier.
• 1:02:13
  Speaker 11: As it goes on and so it works that he's not.
• 1:02:16
  Speaker 9: Telling you I think the problem that I have with
• 1:02:18
  Speaker 9: narration is when they tell you exactly what they're showing
• 1:02:21
  Speaker 9: you or what they should be showing you and you're
• 1:02:24
  Speaker 9: like you know I'm smarter than that something where in
• 1:02:27
  Speaker 9: this one it actually adds something else because it's not
• 1:02:31
  Speaker 9: really what's.
• 1:02:32
  Speaker 12: Happening right I mean yeah like we're in his head
• 1:02:35
  Speaker 12: and just the audience is at the mercy of his insanity.
• 1:02:37
  Speaker 3: Basically yeah And I love how he's always wrong about everything,
• 1:02:40
  Speaker 3: not just in the voiceover, but like the letter to
• 1:02:42
  Speaker 3: the parents.
• 1:02:43
  Speaker 4: He's like, well, I do know that July is Father's Day.
• 1:02:48
  Speaker 12: Again, that's the first time I was like, wait a minute,
• 1:02:49
  Speaker 12: that's not right. And also like that little, all there's
• 1:02:52
  Speaker 12: like these little touches, like when he's, he's writing that
• 1:02:55
  Speaker 12: one letter and he like, the way he pronounces the
• 1:02:57
  Speaker 12: word mess. I don't know if you guys remember that
• 1:02:59
  Speaker 12: he said, he insists on mess. He goes, this crazy mess.
• 1:03:02
  Speaker 12: Like he puts this weird Southern twang on it. Like,
• 1:03:04
  Speaker 12: where did that come from? Like this guy is just like,
• 1:03:07
  Speaker 12: he's just, He's just stumbling all over himself. It's just crazy.
• 1:03:11
  Speaker 8: Yeah, he does some odd line readings. And his little
• 1:03:15
  Speaker 8: penchant for Hallmark card kinds of motivational things is part
• 1:03:22
  Speaker 8: of his tremendous sadness.
• 1:03:25
  Speaker 11: You know, the card that he picked out for his
• 1:03:27
  Speaker 11: parents was very childlike.
• 1:03:29
  Speaker 8: Yeah, for a couple of good scouts.
• 1:03:30
  Speaker 2: Yeah, again, it's... Well, and again, I think that's why
• 1:03:34
  Speaker 2: we need that voiceover really because we're also we are
• 1:03:38
  Speaker 2: like you said inside his head the whole movie is
• 1:03:40
  Speaker 2: pretty much from his perspective minus like one or two
• 1:03:44
  Speaker 2: scenes everything is about him and sort of you know
• 1:03:48
  Speaker 2: the way if not from his perspective we're just seeing
• 1:03:51
  Speaker 2: the world that he's like immersed in and we don't
• 1:03:54
  Speaker 2: ever really leave that so it's yeah it's you kind
• 1:03:57
  Speaker 2: of need that because it puts you in his head
• 1:04:00
  Speaker 2: literally and then you also see what's going on around
• 1:04:03
  Speaker 2: him that's equally as messed up.
• 1:04:06
  Speaker 12: I think a great underrated performance in the movie is
• 1:04:10
  Speaker 12: that uh the gun salesman oh.
• 1:04:12
  Speaker 8: Yeah that guy's great right before that started i was
• 1:04:17
  Speaker 8: thinking oh yeah it's the gun salesman and i pictured
• 1:04:20
  Speaker 8: uh the guy from the strokes that's.
• 1:04:22
  Speaker 19: How i remember that yeah maybe it's his dad they have.
• 1:04:30
  Speaker 8: Our quality or something.
• 1:04:31
  Speaker 11: I can see that yeah.
• 1:04:33
  Speaker 12: He just had that whole used car salesman. That's a
• 1:04:36
  Speaker 12: beautiful gun right there.
• 1:04:36
  Speaker 2: Yeah.
• 1:04:38
  Speaker 12: Every single gun is just a beautiful gun.
• 1:04:40
  Speaker 2: Yeah. He was selling each one, but then he sold
• 1:04:43
  Speaker 2: the same level of salesmanship on every gun. It's like
• 1:04:46
  Speaker 2: you're not really, what's he going to take them all? Oh, wait,
• 1:04:49
  Speaker 2: he is.
• 1:04:49
  Speaker 12: Yeah, he's a brilliant salesman. He approaches like, I hope
• 1:04:52
  Speaker 12: he buys all these. Oh, he does.
• 1:04:54
  Speaker 2: Oh, great.
• 1:04:55
  Speaker 12: I'm awesome.
• 1:04:57
  Speaker 11: You're not going to want that. You're going to want this.
• 1:04:58
  Speaker 2: Then he goes, oh.
• 1:05:00
  Speaker 11: Oh, you're going to buy both.
• 1:05:02
  Speaker 3: All righty.
• 1:05:03
  Speaker 2: I'm not going to argue. Let me get you a holster.
• 1:05:05
  Speaker 2: Only a madman would carry that around. Oh, well, never mind.
• 1:05:11
  Speaker 8: I would recommend you take a desk drawer and pull
• 1:05:18
  Speaker 8: the bracket off.
• 1:05:19
  Speaker 3: And I love Travis's reaction when he started trying to
• 1:05:21
  Speaker 3: sell him drugs and sort of those moments where you
• 1:05:24
  Speaker 3: see his sort.
• 1:05:25
  Speaker 4: Of moral indignation about the things that go on around him.
• 1:05:28
  Speaker 4: It's like, Guns are good. Drugs are bad.
• 1:05:31
  Speaker 2: What are you doing, dude? Yeah, duh.
• 1:05:34
  Speaker 11: The federal government gives you guns.
• 1:05:37
  Speaker 8: Yeah.
• 1:05:37
  Speaker 11: Oh, they don't give you drugs.
• 1:05:39
  Speaker 4: Sorry, that's another conversation.
• 1:05:41
  Speaker 11: Oops. You don't knowingly get the drugs.
• 1:05:44
  Speaker 8: When Sybil Shepard quotes that Christofferson song, you're a pusher,
• 1:05:51
  Speaker 8: he's like, no, I'm not.
• 1:05:53
  Speaker 2: See, again, I like that we get that from him
• 1:05:56
  Speaker 2: because we do. It's not like he... has one set, again,
• 1:06:00
  Speaker 2: there's no agenda to it, but there's still this, like,
• 1:06:02
  Speaker 2: sense of morality to it, and that, like, he's willing
• 1:06:05
  Speaker 2: to do the terrible things he's doing and going to do,
• 1:06:08
  Speaker 2: but at the same time, he can't stand, you know,
• 1:06:11
  Speaker 2: Harvey Keitel, or he can't stand, you know, the trash
• 1:06:14
  Speaker 2: on the street, but then the things that he's going
• 1:06:16
  Speaker 2: to do are equally as bad. It's just, it's all perspective.
• 1:06:19
  Speaker 2: It's all just the way that he sees it is,
• 1:06:21
  Speaker 2: I don't know, I like that, that he, that it's
• 1:06:23
  Speaker 2: not some sort of set-in-stone thing, but you still get
• 1:06:26
  Speaker 2: this sense of, of good and bad that he has
• 1:06:29
  Speaker 2: in his head.
• 1:06:30
  Speaker 8: Yeah but it's it's sweet how he takes offense when
• 1:06:34
  Speaker 8: uh someone says he's square and he tries to get
• 1:06:38
  Speaker 8: a little slangy.
• 1:06:39
  Speaker 2: What about you're the square man no the only one
• 1:06:47
  Speaker 2: that's better than that is him and harvey when he's
• 1:06:50
  Speaker 2: like i'm hip Yeah. Which I believe was ad-libbed. I
• 1:06:54
  Speaker 2: think that last part. That's such an awkward.
• 1:06:56
  Speaker 12: Scene where he's not quite leaving. And Harvey Cuddles was
• 1:06:59
  Speaker 12: kind of looking left and right. He's like, you're still here.
• 1:07:01
  Speaker 2: Yeah, he's like, go on, have a good time.
• 1:07:04
  Speaker 12: He's still doing the gun gesture like, hey, you're.
• 1:07:08
  Speaker 2: Still in the stoop. You're funny. Look side of the day.
• 1:07:12
  Speaker 12: De Niro can't quite come up with a comeback. He's
• 1:07:14
  Speaker 12: just kind of like tilting his head back, kind of grinning.
• 1:07:16
  Speaker 12: He's going to say something clever. It's like, you got nothing.
• 1:07:20
  Speaker 2: For a movie that's so sad and so depressing, there
• 1:07:22
  Speaker 2: are moments that are just hilarious. That interaction, or even
• 1:07:27
  Speaker 2: better is him and the Secret Service man. That is
• 1:07:29
  Speaker 2: just funny. It's a funny moment. And again, very childlike.
• 1:07:36
  Speaker 2: It's mimicking this figure of authority. It is just like,
• 1:07:40
  Speaker 2: this is how he does it. I want to be
• 1:07:41
  Speaker 2: like him. And even to the point of telling him,
• 1:07:44
  Speaker 2: lying as it goes on but telling him that's what
• 1:07:46
  Speaker 2: he wants to do and he's i don't know i
• 1:07:48
  Speaker 2: thought that was just one of the funniest scenes of
• 1:07:50
  Speaker 2: de niro and his awkwardness i like how he i.
• 1:07:53
  Speaker 12: Think he said like de niro said that he he
• 1:07:56
  Speaker 12: studied like the movements of a crab i'm like that
• 1:07:58
  Speaker 12: makes so much sense because the way he like he
• 1:08:00
  Speaker 12: can't quite sidestep people like he doesn't have a an
• 1:08:03
  Speaker 12: idea of personal space like you're saying with the the
• 1:08:06
  Speaker 12: security guard how he just kind of like you think
• 1:08:08
  Speaker 12: he's gonna leave but he just kind of like kind
• 1:08:09
  Speaker 12: of sidestepping back in like no i gotta ask this
• 1:08:12
  Speaker 12: and it's just like oh man It's so awkward.
• 1:08:16
  Speaker 2: Yeah.
• 1:08:16
  Speaker 8: I have a neighbor who I always call Travis, not
• 1:08:20
  Speaker 8: to his face, but just mentally, but he drives a
• 1:08:25
  Speaker 8: cab and, uh, but he looks like a wizard. I mean,
• 1:08:30
  Speaker 8: he looks a lot like him, not because he actually,
• 1:08:32
  Speaker 8: if you put them side to side would look like him,
• 1:08:35
  Speaker 8: but he's a big guy with a striking face like that.
• 1:08:39
  Speaker 8: So your memory goes, yeah, it looks just like him. Uh, But,
• 1:08:45
  Speaker 8: you know, I have the hippie neighbors, and I have
• 1:08:48
  Speaker 8: the hipster neighbors, but I've never mentioned the taxi driver
• 1:08:53
  Speaker 8: who actually lived in the hipster house, but when it
• 1:08:58
  Speaker 8: was sold, and it's renovated he moved over and he
• 1:09:02
  Speaker 8: lives upstairs above the hippies now and we're a little
• 1:09:06
  Speaker 8: concerned because if he moves again he's going to be
• 1:09:09
  Speaker 8: in our house you really don't have any say nowhere
• 1:09:13
  Speaker 8: else for him to go that's just how it works
• 1:09:15
  Speaker 8: yeah But, yeah, he looks a lot like Wizard, and
• 1:09:19
  Speaker 8: I always picture him. But I was told by the
• 1:09:21
  Speaker 8: old World War II veteran who used to live in
• 1:09:25
  Speaker 8: the old house before he died that he plays classical guitar.
• 1:09:30
  Speaker 8: And he's been talking for two decades about how he
• 1:09:33
  Speaker 8: needs to find something else to do besides drive a cab.
• 1:09:38
  Speaker 2: He doesn't even know his own cab.
• 1:09:40
  Speaker 7: Right.
• 1:09:40
  Speaker 2: Yeah.
• 1:09:43
  Speaker 8: Yeah, so I don't know. What do you make of the...
• 1:09:45
  Speaker 8: That's what I don't know. I'm watching the movie with
• 1:09:47
  Speaker 8: my kids, and it's like a huge movie for me.
• 1:09:49
  Speaker 8: It's like, I don't know what to say, though. What
• 1:09:53
  Speaker 8: does this movie mean to us?
• 1:09:56
  Speaker 2: It's funny. Again, as time goes on, it means a
• 1:09:59
  Speaker 2: lot more. I looked at it when I was younger
• 1:10:02
  Speaker 2: as a good movie as a impressive piece of cinema
• 1:10:06
  Speaker 2: but i don't think i fully grasp it i think
• 1:10:09
  Speaker 2: you need a little of that that he's going through
• 1:10:11
  Speaker 2: to really full and maybe that's why kids have the
• 1:10:13
  Speaker 2: poster on their wall and they don't get it maybe
• 1:10:15
  Speaker 2: you need that that thing you know maybe you need
• 1:10:19
  Speaker 2: that emptiness to happen in your life before you fully
• 1:10:22
  Speaker 2: embrace it and i think that's kind of how they
• 1:10:25
  Speaker 2: described it too that that's why it really was sort
• 1:10:27
  Speaker 2: of this perfect storm time because all the main characters
• 1:10:32
  Speaker 2: involved in the making of this movie were at that point.
• 1:10:36
  Speaker 2: Most of this is kind of based around Paul Schrader's life,
• 1:10:39
  Speaker 2: and he had gotten fired, and he was in the
• 1:10:43
  Speaker 2: middle of a divorce, and he had a girlfriend, and
• 1:10:46
  Speaker 2: they broke up, and she was out of town, and
• 1:10:48
  Speaker 2: he's squatting in her apartment while she's out of town,
• 1:10:50
  Speaker 2: and he doesn't really have a job, and then he's
• 1:10:53
  Speaker 2: working as a pizza delivery man, and he's driving around,
• 1:10:55
  Speaker 2: and all of this stuff He said he realized it
• 1:10:58
  Speaker 2: had been a couple weeks and he hadn't talked to anybody.
• 1:11:01
  Speaker 2: And it all started, the wheels kind of were turning
• 1:11:03
  Speaker 2: on how this was, how you could make this character
• 1:11:06
  Speaker 2: and how he was becoming this character. And he said
• 1:11:10
  Speaker 2: he kind of felt like he was at that point
• 1:11:11
  Speaker 2: in his life and De Niro was kind of at
• 1:11:14
  Speaker 2: that point. And Scorsese, they were all around the same age.
• 1:11:17
  Speaker 2: They were all kind of at this trying to make
• 1:11:20
  Speaker 2: it and nothing really has happened at this point phase
• 1:11:23
  Speaker 2: of their life. And it all sort of clicked. the
• 1:11:25
  Speaker 2: making of this movie. So I don't know. I think
• 1:11:27
  Speaker 2: that's what I, I, that's what I feel now is,
• 1:11:31
  Speaker 2: is just sort of coming to terms with that. And again,
• 1:11:34
  Speaker 2: I think that's almost the essence of the movie is,
• 1:11:36
  Speaker 2: is that loneliness and that situation. And, and I guess
• 1:11:41
  Speaker 2: whether or not you, you look at these three guys
• 1:11:43
  Speaker 2: who were in that same situation and everything went right
• 1:11:46
  Speaker 2: after that, you know, it's like it all clicked almost
• 1:11:48
  Speaker 2: because of this movie. And, and, All their careers took off,
• 1:11:51
  Speaker 2: and they've all done amazing things then, but you've got
• 1:11:54
  Speaker 2: this character in the movie where things don't go right,
• 1:11:57
  Speaker 2: and this is like the other side of it. They
• 1:11:59
  Speaker 2: were all at that crossroads, and this is what happens
• 1:12:02
  Speaker 2: if you don't end up going down the right path.
• 1:12:04
  Speaker 11: But here's the other thing he's looked at as a
• 1:12:07
  Speaker 11: hero for being.
• 1:12:10
  Speaker 8: Yeah, my daughter was like, well, it wasn't so bad.
• 1:12:12
  Speaker 8: I mean, the ending was okay. Things turned out all right.
• 1:12:16
  Speaker 8: She said after watching Dwight Schrute in Taxi Driver, that movie,
• 1:12:21
  Speaker 8: this movie was a breeze. What was the name of it?
• 1:12:25
  Speaker 3: Super?
• 1:12:26
  Speaker 2: Super, yes.
• 1:12:27
  Speaker 8: Because I had forced her to watch Super, yeah. Now,
• 1:12:29
  Speaker 8: this movie was a lot easier.
• 1:12:32
  Speaker 2: I don't know about that, but it's... It does definitely
• 1:12:35
  Speaker 2: tread the same ground.
• 1:12:36
  Speaker 8: See, my daughter, she flinches when the guy's fingers go
• 1:12:41
  Speaker 8: flying off his hand. My son flinches when.
• 1:12:45
  Speaker 2: I don't know much about music. I don't know much
• 1:12:48
  Speaker 2: about music, but I'd like to. Those social situations are
• 1:12:50
  Speaker 2: just like the moments.
• 1:12:51
  Speaker 12: Where you just realize his.
• 1:12:58
  Speaker 12: Barometer for just like interaction so out of whack you're
• 1:13:01
  Speaker 12: just like.
• 1:13:02
  Speaker 2: Oh this is this hard it's like it's like.
• 1:13:04
  Speaker 12: The office or something you know like the the tone
• 1:13:06
  Speaker 12: of it like i can see the kind of influences
• 1:13:08
  Speaker 12: that's super would have of like just kind of the
• 1:13:11
  Speaker 12: imbalance of tone how like you know the presence of
• 1:13:14
  Speaker 12: albert brooks kind of gives a light kind of comedy
• 1:13:16
  Speaker 12: vibe at times and other times it just goes in
• 1:13:18
  Speaker 12: this messed up just dark territory and you're just like
• 1:13:21
  Speaker 12: you don't know what to make of it like when
• 1:13:23
  Speaker 12: you first see.
• 1:13:24
  Speaker 8: It we are the people We are.
• 1:13:30
  Speaker 2: There's another improvised line.
• 1:13:32
  Speaker 11: I love Albert Brooks.
• 1:13:34
  Speaker 9: I think he doesn't get enough credit for playing that guy,
• 1:13:41
  Speaker 9: the one that is going to take the punches, basically.
• 1:13:46
  Speaker 11: He's going to have to be the guy that gets
• 1:13:49
  Speaker 11: beat up on verbally, even, and he does a great
• 1:13:53
  Speaker 11: job with it. I, last time I watched it completely,
• 1:13:57
  Speaker 11: you don't even think about that character.
• 1:13:59
  Speaker 6: Yeah.
• 1:13:59
  Speaker 9: And this time you're like, you're sitting there going, wow,
• 1:14:02
  Speaker 9: you know, he's wow. That's, that's as hard a role
• 1:14:06
  Speaker 9: as any to do.
• 1:14:07
  Speaker 12: Yeah.
• 1:14:08
  Speaker 6: Yeah.
• 1:14:08
  Speaker 3: And all of the, just all those moments where he's
• 1:14:10
  Speaker 3: trying to be the, do the masculine thing and he's
• 1:14:13
  Speaker 3: trying to throw it out and he's like, I'm going
• 1:14:15
  Speaker 3: to call the cops. All of those moments are so perfect.
• 1:14:18
  Speaker 8: Oh, they're beautiful. And, you get a sense of them
• 1:14:20
  Speaker 8: even before they come because he says, I'll play the male.
• 1:14:23
  Speaker 8: And she's like, good luck.
• 1:14:25
  Speaker 2: She's just watching like a bad card.
• 1:14:27
  Speaker 12: So like, let's see how bad this guy can screw up.
• 1:14:30
  Speaker 12: Like she's amused.
• 1:14:31
  Speaker 2: In a way he's equally as awkward at doing that
• 1:14:34
  Speaker 2: stuff as De Niro is like from the other side.
• 1:14:36
  Speaker 2: It's like he, he sort of knows how to do
• 1:14:39
  Speaker 2: the basic social niceties, but like all he wants to
• 1:14:42
  Speaker 2: do is, you know, be with Sybil Shepard you know
• 1:14:45
  Speaker 2: you can see it it's obvious that's why he's like
• 1:14:48
  Speaker 2: yeah this banter goes on all day long at the
• 1:14:50
  Speaker 2: office and Sybil Shepard could care less about him makes
• 1:14:53
  Speaker 2: it very obvious.
• 1:14:56
  Speaker 4: Her character was so much more interesting to me this.
• 1:14:58
  Speaker 3: Time that too yeah I honestly feel like maybe Travis's
• 1:15:01
  Speaker 3: instincts were right on this and that she is as
• 1:15:04
  Speaker 3: lonely and lost and strange as he is you know
• 1:15:06
  Speaker 3: that conversation they had the whole the whole I'm Organized
• 1:15:10
  Speaker 3: versus them. Yeah, that's a good scene Moments where it's
• 1:15:13
  Speaker 3: just like these blank stairs where nobody understands what the
• 1:15:16
  Speaker 3: others talking about even though yeah about the same thing
• 1:15:18
  Speaker 3: They just can't communicate and then the fact that at
• 1:15:21
  Speaker 3: the end despite everything that she's been through and seeing
• 1:15:23
  Speaker 3: him purchase like well this person is successful so I
• 1:15:27
  Speaker 3: should I should want this person and I had the
• 1:15:30
  Speaker 3: opportunity to be with them and maybe I can be
• 1:15:31
  Speaker 3: with this person again and Despite, assumably, every instinct in
• 1:15:35
  Speaker 3: a normal person's body would be, this person is way off.
• 1:15:38
  Speaker 4: Of course they went nuts and killed a bunch of motherfuckers.
• 1:15:41
  Speaker 6: Yeah.
• 1:15:42
  Speaker 8: But he's so cute.
• 1:15:43
  Speaker 11: He's adorable.
• 1:15:45
  Speaker 8: He is so cute. And the other thing is, I
• 1:15:48
  Speaker 8: don't know, if you say that to anybody, I feel
• 1:15:51
  Speaker 8: that you're unhappy.
• 1:15:53
  Speaker 11: And you're lonely.
• 1:15:54
  Speaker 8: If you shine that light inside yourself, you're going to
• 1:15:57
  Speaker 8: find something. no matter who, you're going to find something there.
• 1:16:01
  Speaker 2: Well, if you don't think she's messed up in the beginning,
• 1:16:04
  Speaker 2: which the more you see that conversation and as awkward
• 1:16:07
  Speaker 2: as it is, and she still goes to the movies
• 1:16:09
  Speaker 2: with him. So, I mean, she does have a little,
• 1:16:11
  Speaker 2: I mean, there is, he is kind of right. She
• 1:16:12
  Speaker 2: is a little messed up. She definitely is by the
• 1:16:15
  Speaker 2: end because she comes back like after all. And, and
• 1:16:17
  Speaker 2: for the wrong reasons, she wanted nothing to do with
• 1:16:20
  Speaker 2: him when he was just that loser. But now that
• 1:16:22
  Speaker 2: he's a hero, she's back and she wants something to
• 1:16:25
  Speaker 2: do with him again. And even he kind of sees
• 1:16:27
  Speaker 2: that and, It's like, well, see you later. Cause I
• 1:16:30
  Speaker 2: don't know. That always seemed like a cheap move on
• 1:16:32
  Speaker 2: her part that, you know, she blew him off the
• 1:16:34
  Speaker 2: rest of the time. But now that he's publicly perceived
• 1:16:38
  Speaker 2: as this great person, now she wants to be, you know,
• 1:16:41
  Speaker 2: have him back in her life.
• 1:16:42
  Speaker 4: And it feels like.
• 1:16:43
  Speaker 3: She's never particularly committed to the campaign. She has a
• 1:16:46
  Speaker 3: crush on the Senator.
• 1:16:47
  Speaker 2: That guy.
• 1:16:47
  Speaker 8: Yeah.
• 1:16:48
  Speaker 7: Yeah.
• 1:16:48
  Speaker 11: I've got a question. You should bring it up her
• 1:16:51
  Speaker 11: at the end.
• 1:16:52
  Speaker 9: And, um, After, as I already mentioned, the view of
• 1:17:00
  Speaker 9: the climax scene, him going into the whorehouse, after that
• 1:17:07
  Speaker 9: you have the letter, you don't see him, and he's
• 1:17:09
  Speaker 9: obviously gone through some kind.
• 1:17:11
  Speaker 11: Of therapy, what have you, and then he's back on the.
• 1:17:15
  Speaker 9: Streets, and it's only supposed to be because he mentions it,
• 1:17:20
  Speaker 9: He's won the primary.
• 1:17:21
  Speaker 11: The election's coming up in a week or two or whatever,
• 1:17:24
  Speaker 11: he says.
• 1:17:26
  Speaker 9: You don't go into some kind of therapy for something
• 1:17:30
  Speaker 9: like that.
• 1:17:32
  Speaker 11: And get out that quickly, I don't think.
• 1:17:34
  Speaker 9: And like I said, the view visually is different during
• 1:17:39
  Speaker 9: that scene. You see the letter and everything, and everything
• 1:17:42
  Speaker 9: is almost dreamlike from that point on.
• 1:17:45
  Speaker 11: The way.
• 1:17:46
  Speaker 9: The ending is where he kind of cuts and looks back.
• 1:17:48
  Speaker 9: The way he's standing around with the guys. Even her
• 1:17:51
  Speaker 9: in the car has a softer tone to the look.
• 1:17:55
  Speaker 11: Even cleaner.
• 1:17:56
  Speaker 9: Everything looks cleaner. And I wonder if he's fully crazy
• 1:18:02
  Speaker 9: at that point. And she doesn't get in the car.
• 1:18:05
  Speaker 9: Because why would she show up? The thing that threw
• 1:18:08
  Speaker 9: me off is why would she show up at his
• 1:18:11
  Speaker 9: work to get a ride home?
• 1:18:13
  Speaker 11: You don't go to the cab stations. to get a ride.
• 1:18:16
  Speaker 2: Well, she was coming to see him, is the way
• 1:18:19
  Speaker 2: I read it. She was finding him because now he's
• 1:18:22
  Speaker 2: a big deal again.
• 1:18:22
  Speaker 8: You never go full crazy.
• 1:18:25
  Speaker 11: Well, right.
• 1:18:26
  Speaker 9: But I just kind of thought, well, maybe it's meant
• 1:18:28
  Speaker 9: to be that she's not really there.
• 1:18:31
  Speaker 11: He thinks she should be there now. But he doesn't
• 1:18:34
  Speaker 11: want her anymore.
• 1:18:35
  Speaker 4: She's just one of the other people. I mean, that
• 1:18:37
  Speaker 4: fantasy wouldn't even be gratifying for him, I don't think.
• 1:18:39
  Speaker 8: Well, it would be like, showed her.
• 1:18:41
  Speaker 2: Yeah, that angle.
• 1:18:43
  Speaker 11: Because he doesn't want her. so he gets to tell her,
• 1:18:45
  Speaker 11: I don't want you.
• 1:18:46
  Speaker 8: Yeah, I don't quite see a big enough signal that
• 1:18:51
  Speaker 8: we're changing reality.
• 1:18:54
  Speaker 2: Well, I was going to bring that up at some point.
• 1:18:56
  Speaker 2: That's one thing that I've heard. Again, this is film classic.
• 1:19:00
  Speaker 2: They throw out theories right and left in every chance
• 1:19:05
  Speaker 2: they get. So one of them that I've heard is
• 1:19:07
  Speaker 2: that he actually, you know, I guess we're to assume
• 1:19:13
  Speaker 2: on the couch he actually does die. This is the
• 1:19:15
  Speaker 2: last moments of his life, and this stuff of him
• 1:19:18
  Speaker 2: becoming a hero and her coming back to him is
• 1:19:21
  Speaker 2: all actually the dream, you know, the last moments of
• 1:19:24
  Speaker 2: his life when he's, you know, living out this dream
• 1:19:27
  Speaker 2: in his head, and none of that actually happens.
• 1:19:29
  Speaker 3: Yeah, see, I don't like that really, just because I
• 1:19:31
  Speaker 3: think it diminishes the profundity of the ending. I mean,
• 1:19:33
  Speaker 3: the fact, I mean, this is the cycle that's going
• 1:19:36
  Speaker 3: to continue. He's He talks about his honorary discharge at
• 1:19:39
  Speaker 3: the beginning. Clearly, he led this violent life, and this
• 1:19:43
  Speaker 3: is sort of at the end of his honorary discharge
• 1:19:45
  Speaker 3: of this period.
• 1:19:47
  Speaker 2: Yeah, I never read it that way, and to me, yeah,
• 1:19:50
  Speaker 2: like you were saying, to me, it's better... not be.
• 1:19:54
  Speaker 2: It makes it more tragic. Because he gets away with it.
• 1:19:59
  Speaker 2: Because he does this horrible thing. He's treated as a hero.
• 1:20:02
  Speaker 2: He's sent back out on the streets and he's going
• 1:20:05
  Speaker 2: to go do something else. It's not like he's better now.
• 1:20:08
  Speaker 2: He's just back out and people love him now. He's
• 1:20:12
  Speaker 2: encouraged to go do that again almost. M.
• 1:20:15
  Speaker 8: Night Shyamalan would make that ending.
• 1:20:17
  Speaker 2: That's a Shyamalan ending.
• 1:20:21
  Speaker 12: Yeah, he would spell it out right.
• 1:20:24
  Speaker 11: In front of you. Big show is great.
• 1:20:27
  Speaker 8: The voice of Iris' dad in that letter is Iris' dad.
• 1:20:32
  Speaker 8: You can't take that away from me.
• 1:20:35
  Speaker 11: It's not in a Pittsburgh-ese accent. That's the thing that
• 1:20:40
  Speaker 11: threw me. When he says Pittsburgh, I was thinking... Yeah,
• 1:20:42
  Speaker 11: it sounded like farmland.
• 1:20:44
  Speaker 9: Further south, like Missouri or something. So I thought that
• 1:20:47
  Speaker 9: was probably poorly cast. Or they just picked a city.
• 1:20:52
  Speaker 2: Yeah. He's on the outskirts of Pittsburgh.
• 1:20:54
  Speaker 11: Why would you go to New York to be a
• 1:20:56
  Speaker 11: hooker when you could do it?
• 1:20:57
  Speaker 2: Yeah, look around Pittsburgh. Even in the 70s, come on.
• 1:21:00
  Speaker 2: I think they had a better union. Hey, women? That's
• 1:21:08
  Speaker 2: one of my favorite lines. Women, they're like a union.
• 1:21:11
  Speaker 12: That's funny, I'm sorry.
• 1:21:12
  Speaker 2: I thought that was funny. So, I mean, we're kind
• 1:21:20
  Speaker 2: of going into the grand themes of this.
• 1:21:23
  Speaker 8: Well, I could toss out, like, just my general reading
• 1:21:28
  Speaker 8: of it is it just has to do with movies.
• 1:21:31
  Speaker 8: And a movie, you know, kind of like a taxi ride,
• 1:21:35
  Speaker 8: it just, it's not really concerned necessarily. What I said
• 1:21:41
  Speaker 8: to my kids were, about the movie was, at this time,
• 1:21:45
  Speaker 8: a lot of movies were just commercial vehicles, and I
• 1:21:49
  Speaker 8: wasn't trying to make a pun, a meta-pun about that,
• 1:21:53
  Speaker 8: but they were, and then these guys came along, and
• 1:21:56
  Speaker 8: they took movies, and they tried to tell a story,
• 1:21:59
  Speaker 8: and it was just like something you'd never seen before.
• 1:22:02
  Speaker 8: So a lot of movies, they were genre movies, you
• 1:22:04
  Speaker 8: knew what they were supposed to be, you knew.
• 1:22:07
  Speaker 2: Where you were when.
• 1:22:08
  Speaker 8: You started and where you were going to be at
• 1:22:11
  Speaker 8: the end of the movie, because it was all worked out.
• 1:22:13
  Speaker 8: People knew what a movie was supposed to be. And
• 1:22:16
  Speaker 8: then people like Scorsese and some others started making movies
• 1:22:20
  Speaker 8: that were just really alive and different and visionary. And
• 1:22:27
  Speaker 8: Travis's story, I don't like to focus on him being
• 1:22:32
  Speaker 8: crazy so much, although, I mean, he's got issues, but...
• 1:22:36
  Speaker 8: That's just such a generic term for how specifically messed
• 1:22:40
  Speaker 8: up he is. And he's disconnected and he needs a
• 1:22:44
  Speaker 8: sense of purpose, but he doesn't know what he's doing.
• 1:22:48
  Speaker 8: In a way, it's kind of like films. It's a
• 1:22:52
  Speaker 8: meta reading of it, which I'm a little embarrassed by,
• 1:22:56
  Speaker 8: but that's kind of how I see it. It's like
• 1:23:00
  Speaker 8: the story, like what somebody once said about Nabokov. was
• 1:23:05
  Speaker 8: that he was essentially a dandy. He was just a
• 1:23:08
  Speaker 8: rider who was good at riding, and he didn't care
• 1:23:11
  Speaker 8: about anything. He was sort of a show-off, like people
• 1:23:14
  Speaker 8: said about the Coen brothers. They were nihilist show-offs. They
• 1:23:17
  Speaker 8: don't believe in anything, they don't care, but they're very good.
• 1:23:22
  Speaker 8: But then, the story is like, at some point, he
• 1:23:26
  Speaker 8: hits up against something that he can't not care about.
• 1:23:30
  Speaker 8: And he can't just say it's just scum. It's a
• 1:23:34
  Speaker 8: girl gets kidnapped out of his cab and he knows
• 1:23:37
  Speaker 8: he's supposed to do something. And I don't know, some
• 1:23:41
  Speaker 8: people say that's what happened to Nabokov with Lolita. When
• 1:23:45
  Speaker 8: he wrote Lolita, he was basically a dandy, but then
• 1:23:49
  Speaker 8: that book mattered in a way. Of course, he always
• 1:23:52
  Speaker 8: denied it. He always denied that he had any purpose
• 1:23:55
  Speaker 8: doing anything ever. Um, And people say that about Hitchcock, too,
• 1:24:01
  Speaker 8: that he just refused to be serious.
• 1:24:03
  Speaker 7: Yeah.
• 1:24:05
  Speaker 8: But that's kind of the way I'm looking at Taxi
• 1:24:08
  Speaker 8: Driver now, is that it's, you know, what is the,
• 1:24:13
  Speaker 8: it's a young artist finding his voice in what he
• 1:24:16
  Speaker 8: wants to do with film. It's the real story of
• 1:24:19
  Speaker 8: Taxi Driver.
• 1:24:20
  Speaker 11: A method in, we're just going to put it out
• 1:24:23
  Speaker 11: there and, you know.
• 1:24:24
  Speaker 16: Yeah.
• 1:24:25
  Speaker 2: And hitting at that perfect time, because that's what the
• 1:24:27
  Speaker 2: 70s was. It was that revolutionizing cinema that you get.
• 1:24:32
  Speaker 2: And it was perfect time for him. It's the birth
• 1:24:35
  Speaker 2: of the anti-hero. That Bonnie and Clyde thing kind of
• 1:24:39
  Speaker 2: kicked in. It's like, oh, okay, they're not good, but
• 1:24:42
  Speaker 2: we kind of like them. We're following their stories.
• 1:24:46
  Speaker 9: That was the first time you could have a film.
• 1:24:49
  Speaker 9: One of the first time.
• 1:24:50
  Speaker 11: Periods that you could have a film where you had
• 1:24:53
  Speaker 11: an anti-hero.
• 1:24:54
  Speaker 3: Yeah.
• 1:24:55
  Speaker 11: Literally weren't allowed to yeah and.
• 1:24:59
  Speaker 2: Is that i was going to say is that do
• 1:25:01
  Speaker 2: you guys feel like that's what changes with this because
• 1:25:05
  Speaker 2: he's obviously as you said crazy he's pretty messed up
• 1:25:08
  Speaker 2: he does some horrible things but don't we all care
• 1:25:10
  Speaker 2: about travis yeah sure he doesn't i mean don't you
• 1:25:13
  Speaker 2: get attached to him and you start to as messed
• 1:25:16
  Speaker 2: up as he is there's some parts of his brain
• 1:25:18
  Speaker 2: you start to understand and you start to see why
• 1:25:21
  Speaker 2: he's doing what he's doing even if it you at
• 1:25:25
  Speaker 2: least start to see why he's doing it or that
• 1:25:28
  Speaker 2: he's doing it for some reason, even if it doesn't
• 1:25:30
  Speaker 2: make sense.
• 1:25:31
  Speaker 8: Yeah, and I think part of what makes it matter
• 1:25:33
  Speaker 8: to us is they capture such human moments.
• 1:25:37
  Speaker 5: Yeah.
• 1:25:37
  Speaker 8: Just the little conversations and gestures, that's what makes it
• 1:25:41
  Speaker 8: so real and so full of life.
• 1:25:45
  Speaker 5: Yeah.
• 1:25:46
  Speaker 3: For me, this time, I was much more aware of
• 1:25:48
  Speaker 3: it being sort of more about the plight of the
• 1:25:50
  Speaker 3: veteran following the Vietnam War.
• 1:25:52
  Speaker 2: Yeah. I don't think I'd realize that at all the
• 1:25:54
  Speaker 2: first time.
• 1:25:55
  Speaker 3: Being put back in society and not having a mission
• 1:25:57
  Speaker 3: and needing a mission and all the days seeming so
• 1:25:59
  Speaker 3: long because he doesn't know how to fill them.
• 1:26:01
  Speaker 4: And then, you know, sort of this seething connection to
• 1:26:05
  Speaker 4: violence that's sort of omnipresent.
• 1:26:09
  Speaker 3: Yeah.
• 1:26:10
  Speaker 9: It almost, if he'd just have someone who told him
• 1:26:13
  Speaker 9: what to do, he'd be fine.
• 1:26:15
  Speaker 12: Yeah, and that's true.
• 1:26:17
  Speaker 8: And that's true. Sometimes people, there are guys that come
• 1:26:20
  Speaker 8: out of the military and retire, they just don't know
• 1:26:23
  Speaker 8: what to do with themselves because they don't have, and
• 1:26:27
  Speaker 8: they've had people telling them for a long time.
• 1:26:31
  Speaker 2: I like the moment again where we get this, you know,
• 1:26:35
  Speaker 2: you're saying the endless days and they go on forever
• 1:26:37
  Speaker 2: and he doesn't know what to do with himself and
• 1:26:38
  Speaker 2: he even has that, he's having that conversation with himself of,
• 1:26:41
  Speaker 2: you know, nothing ever changes and then there is change.
• 1:26:45
  Speaker 2: And it goes to him with the guns and that
• 1:26:48
  Speaker 2: it is one of those. He will make things change,
• 1:26:51
  Speaker 2: even if it's for the worse, even if it's taking
• 1:26:53
  Speaker 2: myself out in the process, I will make things change.
• 1:26:57
  Speaker 2: And I think that, again, maybe that is a lot
• 1:26:59
  Speaker 2: of that military tied into that. The only way I
• 1:27:02
  Speaker 2: know how to deal with this stuff is with guns.
• 1:27:05
  Speaker 8: Oh, just Scorsese saying.
• 1:27:09
  Speaker 2: I guess we do have to comment on that.
• 1:27:12
  Speaker 8: Yeah, we would never forgive ourselves if we don't remark
• 1:27:15
  Speaker 8: on that.
• 1:27:15
  Speaker 12: I'm sure more than anyone he regrets that having to
• 1:27:18
  Speaker 12: be in the movie.
• 1:27:20
  Speaker 8: He was so good, though.
• 1:27:22
  Speaker 2: Yeah, he's amazing.
• 1:27:25
  Speaker 12: He's so authentic.
• 1:27:26
  Speaker 8: And he seems like really, even in some ways more
• 1:27:30
  Speaker 8: than Travis is. Like a guy just coming unhinged in mid-sentence.
• 1:27:36
  Speaker 12: Yeah.
• 1:27:37
  Speaker 8: Some of his line readings are just, what?
• 1:27:39
  Speaker 3: Yeah.
• 1:27:39
  Speaker 8: And that's just, okay. You don't have to answer everything.
• 1:27:45
  Speaker 2: Oh, man. Put it in park.
• 1:27:46
  Speaker 12: Put it in park. I feel like him and Albert
• 1:27:49
  Speaker 12: Brooks are like, maybe it's like their cadence or like
• 1:27:52
  Speaker 12: their speed talk.
• 1:27:53
  Speaker 2: Like this.
• 1:27:54
  Speaker 12: I feel like in a lot of ways they're like
• 1:27:55
  Speaker 12: the same person. Like I felt the spirit of Martin
• 1:27:57
  Speaker 12: Scorsese every time Albert Brooks opened his mouth. It's like
• 1:28:00
  Speaker 12: he's like, this may sound ridiculous, but it's true.
• 1:28:02
  Speaker 2: I'm going to tell you. He's like hitting the matches.
• 1:28:04
  Speaker 12: He's like dropping it.
• 1:28:04
  Speaker 2: It's like that's Martin Scorsese. It's funny because that's the
• 1:28:08
  Speaker 2: character he didn't know what to do with. That's why
• 1:28:10
  Speaker 2: like that character was not really written. Like everybody else
• 1:28:14
  Speaker 2: had their part and he knew how to deal with them.
• 1:28:16
  Speaker 2: And he liked Albert Brooks as a performer and just
• 1:28:19
  Speaker 2: brought him in and said, you know, if you want
• 1:28:21
  Speaker 2: to flesh this out a little bit. And so a
• 1:28:23
  Speaker 2: lot of his performance came from Albert Brooks because he
• 1:28:28
  Speaker 2: told him, he's like, you're just a character. I didn't
• 1:28:29
  Speaker 2: know what to do with it. Because he doesn't understand
• 1:28:32
  Speaker 2: that guy. The crazy guy, he totally gets. That's Scorsese.
• 1:28:35
  Speaker 2: He's fine. But, yeah, this normal guy, I don't know
• 1:28:38
  Speaker 2: how to do.
• 1:28:39
  Speaker 11: And after that scene. that's where it goes.
• 1:28:41
  Speaker 9: That's almost like the switch that he becomes, oh, that's what.
• 1:28:45
  Speaker 11: I have to do.
• 1:28:47
  Speaker 2: But at the same time, he seems sort of uncomfortable
• 1:28:49
  Speaker 2: with it. Like, Like, you're watching these two going, now
• 1:28:51
  Speaker 2: that's a crazy guy. Yeah.
• 1:28:54
  Speaker 3: Yeah.
• 1:28:55
  Speaker 12: Bigelow's terrifying in that scene.
• 1:28:56
  Speaker 2: Yeah.
• 1:28:57
  Speaker 3: I think some of the point of that was to
• 1:28:59
  Speaker 3: show that Travis doesn't just, there has to be some
• 1:29:02
  Speaker 3: sense to the violence. Like, he doesn't, he's not okay
• 1:29:06
  Speaker 3: with something. Like, I'm totally, I'm very thrown.
• 1:29:09
  Speaker 2: Off by the firetrucks at this point. Random acts of violence? Like,
• 1:29:12
  Speaker 2: it has to have a purpose? Yeah, he's not okay
• 1:29:13
  Speaker 2: with that.
• 1:29:14
  Speaker 3: He's not okay with violence against women, and he's not just, like,
• 1:29:16
  Speaker 3: a violence hound.
• 1:29:17
  Speaker 4: Like, it has to be for a purpose.
• 1:29:19
  Speaker 2: Right. Again, the cleaning up the streets idea that he had.
• 1:29:23
  Speaker 4: And I think that's the.
• 1:29:24
  Speaker 3: Other thing that sort of makes the punk rock taxi
• 1:29:26
  Speaker 3: driver connection sort of ironic, is that this guy is
• 1:29:30
  Speaker 3: very much a man of the system who wants the system.
• 1:29:33
  Speaker 4: He's ultra conservative.
• 1:29:35
  Speaker 3: Everything he does, he does because he sort of believes in.
• 1:29:38
  Speaker 2: This idea of America. And this gum on the streets
• 1:29:40
  Speaker 2: is punk kids.
• 1:29:42
  Speaker 11: He's much more Superman than Batman.
• 1:29:45
  Speaker 9: If he wants it to be ideal America, we're going
• 1:29:49
  Speaker 9: to clean it up. Maybe that's what happened in New York,
• 1:29:51
  Speaker 9: how it got cleaner. It was a taxi driver.
• 1:29:53
  Speaker 12: It is like this.
• 1:29:55
  Speaker 11: We've got to clean this place up.
• 1:29:57
  Speaker 2: Yeah, the mayor of New York saw the movie and
• 1:30:00
  Speaker 2: was like, oh, man, this is bad.
• 1:30:01
  Speaker 11: Was that under Koch that they started?
• 1:30:04
  Speaker 2: Giuliani really is Disney'd up Times Square.
• 1:30:09
  Speaker 8: Didn't he really just kind of come in and take
• 1:30:11
  Speaker 8: credit for it? I think it was like really happening already.
• 1:30:16
  Speaker 2: Yeah, I don't know much about it.
• 1:30:18
  Speaker 8: Because generally, since the 70s, crime and violence have just
• 1:30:24
  Speaker 8: been steadily going down. And people, like everywhere, go around
• 1:30:28
  Speaker 8: taking credit for it, but it's a little mysterious.
• 1:30:31
  Speaker 2: It's really a taxi driver. They were so freaked out
• 1:30:34
  Speaker 2: by it, they were like, I'm not shooting any more people.
• 1:30:37
  Speaker 12: We don't have any more Chops Pickles in our city.
• 1:30:39
  Speaker 11: We won't allow it.
• 1:30:41
  Speaker 2: Well, there is a weird way that it crosses over
• 1:30:44
  Speaker 2: into reality. And again, I knew the connection, but I
• 1:30:48
  Speaker 2: think watching it this time, I'm like, oh my God,
• 1:30:49
  Speaker 2: this is so, like everything about the weird assassination thing
• 1:30:54
  Speaker 2: and the lone gunman idea that then gets, I mean,
• 1:30:58
  Speaker 2: it was based on some stories. It then gets turned
• 1:31:00
  Speaker 2: into other stories after the movie. I don't know. That's
• 1:31:04
  Speaker 2: very weird watching it now, knowing, you know, again, it
• 1:31:08
  Speaker 2: was based on like the George Wallace assassination attempt. And
• 1:31:12
  Speaker 2: then there was another one, I think, right around that
• 1:31:14
  Speaker 2: same time. And then, you know, a few years later,
• 1:31:17
  Speaker 2: we get one based almost on this movie. So, I
• 1:31:20
  Speaker 2: don't know. How do you guys feel about the... Yeah,
• 1:31:22
  Speaker 2: it wasn't... the reagan.
• 1:31:24
  Speaker 11: Assassination shave his head too.
• 1:31:26
  Speaker 2: I think i think that's what yeah they said he
• 1:31:28
  Speaker 2: did and it was specifically tied to jody foster.
• 1:31:32
  Speaker 8: Yeah because he watched taxi driver yeah.
• 1:31:37
  Speaker 2: Based on the movie so i don't know i didn't
• 1:31:40
  Speaker 2: know what your guys thoughts were i really like jody
• 1:31:46
  Speaker 2: foster but i think i've come to terms with i
• 1:31:48
  Speaker 2: i don't Don't think I have a shot. There's still
• 1:31:53
  Speaker 2: a little hope in my heart.
• 1:31:54
  Speaker 4: Oh, you guys missed, well, no, no, no, that wasn't
• 1:31:56
  Speaker 4: the Oscars, the Golden Globes, that moment. Did you see that?
• 1:31:58
  Speaker 2: No, which one?
• 1:31:59
  Speaker 4: Where basically she got outed on the Golden Globes.
• 1:32:02
  Speaker 2: I think I heard about that, but I'm like, really?
• 1:32:05
  Speaker 2: Who's not paying attention at this point?
• 1:32:07
  Speaker 3: Obviously there's a joke about a beaver.
• 1:32:09
  Speaker 4: And Jerry Foster.
• 1:32:12
  Speaker 2: Well, she made that joke herself when she took that
• 1:32:14
  Speaker 2: movie on. She set herself up years ago. But I
• 1:32:20
  Speaker 2: don't know, just about movies crossing over into reality. Do
• 1:32:24
  Speaker 2: we want to address the, are movies responsible for how
• 1:32:31
  Speaker 2: the public is going to take them?
• 1:32:32
  Speaker 8: Well, you know, that's a big question. But, you know,
• 1:32:38
  Speaker 8: some of the things that have been pointed out is
• 1:32:41
  Speaker 8: that in the U.S., yeah, it seems to. People are
• 1:32:44
  Speaker 8: always wanting to blame the media. But what's weird is
• 1:32:48
  Speaker 8: that other countries have the same violence and the same media,
• 1:32:51
  Speaker 8: and it doesn't happen. So, well, you know, what's his
• 1:32:56
  Speaker 8: name in his movie, Bowling for Columbine? Ask that question.
• 1:33:00
  Speaker 8: And he talked to.
• 1:33:02
  Speaker 2: Charlton Heston.
• 1:33:03
  Speaker 8: Charlton Heston. And I... felt like that scene wound up
• 1:33:08
  Speaker 8: like really horrible yeah because he kind of like laid
• 1:33:11
  Speaker 8: this dead girl at charlton's feet and that's a horrible
• 1:33:15
  Speaker 8: gesture but he asked really good questions.
• 1:33:18
  Speaker 2: He's not a bad filmmaker question.
• 1:33:20
  Speaker 8: That was interesting to me it's like well other places
• 1:33:23
  Speaker 8: have guns other places have the media why is it
• 1:33:28
  Speaker 8: that here and i've thought about that a lot and
• 1:33:31
  Speaker 8: i think maybe is it just that Americans are uniquely impressionable?
• 1:33:39
  Speaker 2: Is that it?
• 1:33:40
  Speaker 12: We don't have the education to know, to, you know,
• 1:33:44
  Speaker 12: separate satire from actual, you know, something advocating violence.
• 1:33:49
  Speaker 8: Or to separate fiction from reality. Exactly.
• 1:33:53
  Speaker 12: It's that simple.
• 1:33:54
  Speaker 2: We can't keep it straight.
• 1:33:56
  Speaker 8: We think we're going to be able to walk into
• 1:33:58
  Speaker 8: the TV set or something.
• 1:34:00
  Speaker 2: There is that. I mean, even the to switch it
• 1:34:03
  Speaker 2: to the everyday thing. I mean, how many times on
• 1:34:05
  Speaker 2: this show do we refer to an actor by their
• 1:34:08
  Speaker 2: character name?
• 1:34:08
  Speaker 8: Yeah.
• 1:34:09
  Speaker 2: Or vice versa. I've done it in the middle of
• 1:34:11
  Speaker 2: the show. So, I mean, we do blur that line.
• 1:34:13
  Speaker 2: So if you broaden that picture, how much do we
• 1:34:16
  Speaker 2: not know the difference? You know, how much of society
• 1:34:20
  Speaker 2: doesn't really pay attention to when the TV stops and
• 1:34:24
  Speaker 2: life goes on, you know?
• 1:34:25
  Speaker 8: Yeah, it does seem like other cultures, they have a
• 1:34:28
  Speaker 8: kind of saneness in them where they just... Yeah, that's
• 1:34:33
  Speaker 8: a video game. Yeah, that's a movie. Now let's do
• 1:34:36
  Speaker 8: real stuff. But here we have a certain population of
• 1:34:43
  Speaker 8: people who get confused.
• 1:34:46
  Speaker 11: Well, okay, I'm going to kind of come back to
• 1:34:49
  Speaker 11: that in a second.
• 1:34:49
  Speaker 9: Because I think, especially when I refer to people by
• 1:34:53
  Speaker 9: their character, I'm more connected to the character than I ever.
• 1:34:58
  Speaker 19: Am the actor.
• 1:35:00
  Speaker 2: I'm usually just being a smartass. And I know they
• 1:35:02
  Speaker 2: always hate me referred to by their character name.
• 1:35:05
  Speaker 9: But what I'm saying is those are real, sometimes very
• 1:35:09
  Speaker 9: real relationships that we have with characters that we spend
• 1:35:14
  Speaker 9: endless amounts of time and we can even predict how
• 1:35:18
  Speaker 9: they're going to react in situations.
• 1:35:20
  Speaker 11: And I think.
• 1:35:22
  Speaker 9: Because of that, for me personally, there are a lot
• 1:35:24
  Speaker 9: of life lessons and morals that I've learned from books.
• 1:35:28
  Speaker 20: And movies and television that are very beneficial that I
• 1:35:35
  Speaker 20: never could have gotten in the real world and I
• 1:35:37
  Speaker 20: I can look at and I can see like Travis
• 1:35:40
  Speaker 20: that's the line I'm drawing there I've seen.
• 1:35:43
  Speaker 9: That played out in four different films and I know
• 1:35:46
  Speaker 9: I'm not going to cross this and I've seen how
• 1:35:49
  Speaker 9: you very realistically could go down the X, Y, Z path,
• 1:35:55
  Speaker 9: and I'm not going to do that. And so I'm
• 1:35:57
  Speaker 9: not going to say that that's a negative thing that
• 1:36:00
  Speaker 9: we take from that. I think if you talk about
• 1:36:04
  Speaker 9: America setting out way too far into something more philosophical
• 1:36:10
  Speaker 9: than we should, but I think it goes back to
• 1:36:13
  Speaker 9: the root ideals of what America is and All Americans,
• 1:36:20
  Speaker 9: at some point, their family member, a family member, a grandparent, great-grandparent, whatever, said,
• 1:36:25
  Speaker 9: that's enough. I'm not taking it anymore. I'm leaving this country,
• 1:36:29
  Speaker 9: and I'm going somewhere else. And there are so many
• 1:36:33
  Speaker 9: of the 90% that stayed, and we're a collection of people,
• 1:36:38
  Speaker 9: generations removed, that somebody said in our family.
• 1:36:42
  Speaker 11: We're not going to do that anymore. We're going to
• 1:36:44
  Speaker 11: go off on our own.
• 1:36:45
  Speaker 9: And face something that could kill us or whatever, and
• 1:36:50
  Speaker 9: make a new life. I think there's something different about
• 1:36:55
  Speaker 9: Americans because of that.
• 1:36:57
  Speaker 8: Because we expect dreams to come true. That's what I'm saying.
• 1:37:05
  Speaker 2: It's what makes us different.
• 1:37:07
  Speaker 11: We all think that we're owed something.
• 1:37:12
  Speaker 9: If we go off and do this, we're going to
• 1:37:14
  Speaker 9: get our prize. And I'm owed that prize and I'm
• 1:37:17
  Speaker 9: going to get it. And Our forefathers fought for this,
• 1:37:20
  Speaker 9: so it's ours.
• 1:37:22
  Speaker 11: Whatever it is. It could be a good thing and
• 1:37:25
  Speaker 11: it could be a bad thing.
• 1:37:26
  Speaker 2: It's just that capitalist idea anyway that we've all got
• 1:37:29
  Speaker 2: a shot. We can all be whatever we want and
• 1:37:32
  Speaker 2: we'll be millionaires as opposed to the other parts of
• 1:37:35
  Speaker 2: the world that are just like, shut up, do your job,
• 1:37:37
  Speaker 2: this is your day-to-day life, and you're not really going
• 1:37:40
  Speaker 2: to get more than that, more than likely.
• 1:37:42
  Speaker 8: You know, it's funny, because my daughter loves Downton Abbey,
• 1:37:46
  Speaker 8: and we started that after Taxi Driver, and that has
• 1:37:51
  Speaker 8: something in it, if you watch it, that Travis just
• 1:37:55
  Speaker 8: doesn't have, which everybody in that show has a place
• 1:37:59
  Speaker 8: in the world.
• 1:37:59
  Speaker 2: That's what it is.
• 1:38:01
  Speaker 8: And they get up in the morning, and it's busy.
• 1:38:05
  Speaker 8: because they have stuff to do and can you picture
• 1:38:10
  Speaker 8: Travis Bickle in downtown oh man.
• 1:38:13
  Speaker 2: In that world again if you gave him a job
• 1:38:16
  Speaker 2: he'd probably be okay I think it's just that he
• 1:38:18
  Speaker 2: needs something.
• 1:38:19
  Speaker 8: To do in a sense of place.
• 1:38:22
  Speaker 2: That even the cab becomes the problem is because it's
• 1:38:25
  Speaker 2: just roaming it's aimless There is no from one minute
• 1:38:28
  Speaker 2: to the next knowing what you're going to do. It's
• 1:38:30
  Speaker 2: just wandering around and maybe somebody comes along and wants
• 1:38:33
  Speaker 2: to get in the back, but there's no specific idea
• 1:38:37
  Speaker 2: behind it other than wait around and something will happen. Again,
• 1:38:42
  Speaker 2: that's not really what he needs. He does need somebody
• 1:38:45
  Speaker 2: telling him what to do.
• 1:38:46
  Speaker 8: All the time.
• 1:38:47
  Speaker 9: I'll tell you what unimportant can do that to you.
• 1:38:49
  Speaker 9: I mean, I was unemployed for, you know, over six months. And,
• 1:38:55
  Speaker 9: you know, the lights at the end of the tunnel,
• 1:38:56
  Speaker 9: you know that you're going to be hired back, but
• 1:38:59
  Speaker 9: you're trying other things every single day, even though you're,
• 1:39:04
  Speaker 9: you know, parent and husband.
• 1:39:05
  Speaker 2: Well, and he is unemployed. Right.
• 1:39:08
  Speaker 9: And there's so much time, and you just go.
• 1:39:12
  Speaker 11: A little bit nuts with, well, I have to do this, and.
• 1:39:16
  Speaker 9: I have to do this, and I'm trying to, You're
• 1:39:18
  Speaker 9: trying to put the best face forward with people that
• 1:39:21
  Speaker 9: you're interviewing with, but you're at probably the worst point
• 1:39:24
  Speaker 9: of your life at.
• 1:39:25
  Speaker 11: The same time. It's not fair.
• 1:39:29
  Speaker 12: It's not fair.
• 1:39:30
  Speaker 9: No wonder people with jobs get jobs, because at least
• 1:39:34
  Speaker 9: they have somewhere to go.
• 1:39:34
  Speaker 8: Oh, yeah, because it's like jumping on a moving train.
• 1:39:39
  Speaker 8: it's more like jumping off. It is because, you know,
• 1:39:44
  Speaker 8: it doesn't look that fast, but once you're.
• 1:39:46
  Speaker 11: On there, it's like, oh, that's okay.
• 1:39:48
  Speaker 2: But the impact is not going to go well.
• 1:39:51
  Speaker 8: Yeah, and so I think a lot of people, like,
• 1:39:55
  Speaker 8: lose their confidence about, it's not that people don't want
• 1:39:59
  Speaker 8: to work because generally people are happier doing stuff, but
• 1:40:04
  Speaker 8: they lose their confidence about what they can do and
• 1:40:07
  Speaker 8: how they can change their life But if you're watching
• 1:40:11
  Speaker 8: Taxi Driver for the first time, when he goes in
• 1:40:13
  Speaker 8: for a job interview, it's not clear that he's unemployed.
• 1:40:18
  Speaker 7: Right.
• 1:40:18
  Speaker 8: Because the guy asks, are you moonlighting? What's moonlighting? Right.
• 1:40:23
  Speaker 8: It's a show in citizenship. And he puts it like
• 1:40:28
  Speaker 8: he is, because he says he's up all night anyway,
• 1:40:32
  Speaker 8: might as well drive a cab. And it sounds like
• 1:40:35
  Speaker 8: he's busy, but then you realize, no, he.
• 1:40:38
  Speaker 2: Wasn't doing anything. He's busy going crazy is what he's
• 1:40:39
  Speaker 2: busy doing.
• 1:40:40
  Speaker 8: Yeah, he wasn't doing anything at all.
• 1:40:42
  Speaker 2: I think the violence and art argument, I'm just like,
• 1:40:45
  Speaker 2: we as humans, this entire society of people since day
• 1:40:51
  Speaker 2: one has been violent and was way more violent years
• 1:40:55
  Speaker 2: ago when there were lesser forms of art, certainly not
• 1:40:58
  Speaker 2: anything as fancy and sophisticated as motion pictures. So we've
• 1:41:03
  Speaker 2: gotten less violent as a society and more controlled, truthfully.
• 1:41:07
  Speaker 2: I don't think you should ever be able to take
• 1:41:10
  Speaker 2: away from what art is trying to do with that
• 1:41:13
  Speaker 2: lame argument of violence. I think the only thing is maybe,
• 1:41:17
  Speaker 2: like you were saying, that certain cultures, certainly America, may
• 1:41:22
  Speaker 2: take it and want to use it and sort of
• 1:41:24
  Speaker 2: mirror it differently than any civilization before this would have
• 1:41:28
  Speaker 2: ever had an opportunity to do. So maybe that's this
• 1:41:31
  Speaker 2: new weird thing that's kicked in in the last, you know,
• 1:41:34
  Speaker 2: hundred years that we're now just getting to the point of, okay,
• 1:41:38
  Speaker 2: what the hell do we do? Because we've never been
• 1:41:40
  Speaker 2: faced with that kind of thing before. But, but yeah,
• 1:41:42
  Speaker 2: as human beings, I think we're way more violent with
• 1:41:46
  Speaker 2: or without, we just are, we just, it's in, in
• 1:41:49
  Speaker 2: our DNA to kill other people. So we've, we've tried
• 1:41:53
  Speaker 2: to get away from that as we've, as we've, uh,
• 1:41:55
  Speaker 2: developed over the years. And I don't think, I don't
• 1:41:58
  Speaker 2: think art is anything to blame and certainly motion pictures
• 1:42:01
  Speaker 2: are shouldn't have anything to do with that. But it's
• 1:42:04
  Speaker 2: weird how much focus gets put on that as these
• 1:42:07
  Speaker 2: different violent movies and video games and stuff keeps coming out.
• 1:42:12
  Speaker 9: You know, I read something about the Wild West. I
• 1:42:16
  Speaker 9: think it was in Arizona Highways magazine or something.
• 1:42:19
  Speaker 6: I don't know.
• 1:42:20
  Speaker 11: My father-in-law, I guess. And they hand us all their
• 1:42:23
  Speaker 11: old magazines.
• 1:42:24
  Speaker 9: But it said something about, because it was talking about
• 1:42:27
  Speaker 9: the town of Tombstone. And the misconception that the Wild
• 1:42:33
  Speaker 9: West was extremely violent. And it said that even in
• 1:42:39
  Speaker 9: the year for the entire territory or whatever of Arizona
• 1:42:44
  Speaker 9: in the Wild West days, the most shooting deaths were
• 1:42:51
  Speaker 9: something like nine for the entire state of what became
• 1:42:55
  Speaker 9: the state of Arizona in one year.
• 1:42:58
  Speaker 11: And so we had this misconception that.
• 1:43:00
  Speaker 2: We built it up that way.
• 1:43:04
  Speaker 8: But in the 70s, things were pretty violent. There was
• 1:43:07
  Speaker 8: a lot of crime. And there was kind of an
• 1:43:11
  Speaker 8: outlaw ethos everywhere that was not really very healthy.
• 1:43:18
  Speaker 19: And it was a weird environment to be a kid
• 1:43:24
  Speaker 19: growing up and to just have that sense of like
• 1:43:29
  Speaker 19: that was the grown-up world that you were.
• 1:43:32
  Speaker 2: Moving toward going to be part of soon bunch of
• 1:43:36
  Speaker 2: crazy people really oh lord so i think we've kind
• 1:43:40
  Speaker 2: of hit most of our points on taxi driver don't you.
• 1:43:45
  Speaker 9: I enjoyed it much more than i did and yeah
• 1:43:48
  Speaker 9: it was probably 15 years.
• 1:43:49
  Speaker 8: Ago Yeah, I could actually watch it again tonight.
• 1:43:53
  Speaker 4: Can I address my new favorite shot?
• 1:43:55
  Speaker 3: Which I don't think I ever noticed or remember when he's,
• 1:43:58
  Speaker 3: you know, stalking her.
• 1:43:59
  Speaker 4: But later, after things have already fallen apart and he
• 1:44:01
  Speaker 4: drives by the office building and there's, like, the two
• 1:44:05
  Speaker 4: cups on the desk and the flowers. And they're not there.
• 1:44:09
  Speaker 3: And it's just, like, the seething sort of, like, that's
• 1:44:12
  Speaker 3: so brilliant.
• 1:44:13
  Speaker 7: Yeah.
• 1:44:14
  Speaker 2: Yeah, I forgot a lot of that camera work that
• 1:44:17
  Speaker 2: he did that early on. The hallway shot where he
• 1:44:20
  Speaker 2: just drifts over while he's on the phone. Oh, I
• 1:44:23
  Speaker 2: love that.
• 1:44:24
  Speaker 8: God, that is amazing.
• 1:44:25
  Speaker 12: It's like even the camera's like, I can't watch this.
• 1:44:27
  Speaker 2: This is uncomfortable. I'm going over here.
• 1:44:29
  Speaker 12: It's like it's sparing the audience, you know, just the humiliation.
• 1:44:33
  Speaker 4: Yeah, but it.
• 1:44:34
  Speaker 3: Also kind of reminds you of all those half-heard phone
• 1:44:36
  Speaker 3: conversations you've heard in scary hallways. Yeah.
• 1:44:40
  Speaker 2: The shot when he goes in the garage at the
• 1:44:42
  Speaker 2: beginning and it leaves him and goes through the whole
• 1:44:44
  Speaker 2: garage and then catches back up with him when he
• 1:44:47
  Speaker 2: goes to the, like, leaving the place. That's just sort
• 1:44:50
  Speaker 2: of surveying the whole place. That's a cool shot.
• 1:44:53
  Speaker 9: See, I thought, and I thought when, and I look
• 1:44:57
  Speaker 9: at it visually this time, when the camera goes up
• 1:45:01
  Speaker 9: after the shooting scene, You almost think that he is,
• 1:45:05
  Speaker 9: that's almost.
• 1:45:05
  Speaker 11: Like out-of-body experience. Leaving his body. He could be dead there.
• 1:45:13
  Speaker 11: I was almost to the point where I was like,
• 1:45:15
  Speaker 11: does he die?
• 1:45:18
  Speaker 2: Did I miss that part? The other one, the hallway
• 1:45:21
  Speaker 2: in the apartment building where it's just dark and that
• 1:45:23
  Speaker 2: guy sort of disappears. That's awesome. That's like a lynch shot.
• 1:45:29
  Speaker 2: I was just like, holy shit, where did that come from? Yeah,
• 1:45:33
  Speaker 2: it's amazing.
• 1:45:34
  Speaker 9: I don't want to live in the worlds he creates.
• 1:45:37
  Speaker 2: Yeah, they're not fun. No, no. They're not fun. But yeah,
• 1:45:43
  Speaker 2: it is one of those that I remember being an
• 1:45:45
  Speaker 2: impressive movie, and now it's on that list of one
• 1:45:49
  Speaker 2: of my favorite movies. I forgot how good it was,
• 1:45:52
  Speaker 2: and I don't think appreciated it near as much until
• 1:45:56
  Speaker 2: this viewing.
• 1:46:00
  Speaker 16: You never knew what I loved in you I don't
• 1:46:05
  Speaker 16: know what you loved in.
• 1:46:12
  Speaker 10: Me Maybe the.
• 1:46:13
  Speaker 2: Picture of somebody you were hoping I.
• 1:46:17
  Speaker 10: Might be Awake again, I can't pretend.
• 1:46:30
  Speaker 16: And I know I'm alone and close to the.
• 1:46:38
  Speaker 2: End of the.
• 1:46:39
  Speaker 16: Feeling we've known. How long have I been sleeping? How
• 1:46:54
  Speaker 16: long have I been drifting along through the night? How
• 1:47:00
  Speaker 16: long have I been dreaming I could make it right?
• 1:47:07
  Speaker 16: If I closed my eyes and tried with all my might.
• 1:47:12
  Speaker 2: To be the one you need.
• 1:47:27
  Speaker 14: Are you tired of film podcasts where the hosts exist
• 1:47:30
  Speaker 14: in a constant blissful state of agreement?
• 1:47:33
  Speaker 21: I mean, the main characters are two of the dullest
• 1:47:35
  Speaker 21: main characters I have ever encountered in any film.
• 1:47:38
  Speaker 14: Well, you're in luck. That means you shoot a chin-stroker
• 1:47:41
  Speaker 14: and punter.
• 1:47:42
  Speaker 12: One is an ex-film.
• 1:47:43
  Speaker 14: Student with a penchant for David Lynch and art cinema.
• 1:47:46
  Speaker 14: The other is a man on the street. Listen in
• 1:47:49
  Speaker 14: perplexed and horrified terror. We tear apart one film a week.
• 1:47:55
  Speaker 2: It just really isn't.
• 1:47:56
  Speaker 11: It's not visually striking.
• 1:47:57
  Speaker 6: No.
• 1:47:58
  Speaker 11: Just getting confirmation. That's the third time, though. I mean,
• 1:48:01
  Speaker 11: is this on?
• 1:48:02
  Speaker 14: You can find us at csvsp.libson.com.
• 1:48:07
  Speaker 7: So come and share the victory.
• 1:48:08
  Speaker 8: If you could fuck any man in film, who would
• 1:48:11
  Speaker 8: it be and why?
• 1:48:13
  Speaker 11: My answer is Lance Henriksen. He wouldn't tell. He looks
• 1:48:16
  Speaker 11: like somebody... He looks like somebody... who can keep a secret.
• 1:48:22
  Speaker 12: Tweet Audio.
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• 1:48:57
  Speaker 8: You thought that all would last forever But like the
• 1:49:03
  Speaker 8: weather Nothing can.
• 1:49:07
  Speaker 2: Ever I'm C. Thomas Howell and you're listening to Movie.
• 1:49:11
  Speaker 10: Meltdown Staying old.
• 1:49:18
  Speaker 2: But can it be when we can see? That's part
• 1:49:26
  Speaker 2: of your problem, you know.
• 1:49:27
  Speaker 6: You haven't seen enough movies.
• 1:49:28
  Speaker 23: All of life's riddles are answered in the movies.
• 1:49:32
  Speaker 8: And now, on with the show. You know, the same
• 1:50:06
  Speaker 8: year as that movie, Jodie Foster was in Bugsy Malone.
• 1:50:11
  Speaker 8: Have you ever seen that Creepfest movie?
• 1:50:13
  Speaker 2: I kind of would. I've mentally got it on my list.
• 1:50:16
  Speaker 2: I think we need to watch it somewhere down the line.
• 1:50:18
  Speaker 2: Because I remember liking it as a kid. So I'm
• 1:50:21
  Speaker 2: afraid what I'm going to find when I go back.
• 1:50:23
  Speaker 2: I would think as a kid you could like it
• 1:50:25
  Speaker 2: because it's fun. It's like a world populated by kids.
• 1:50:28
  Speaker 2: And it's like the 20s and they're gangsters. And they
• 1:50:31
  Speaker 2: have jobs and little speakeasies and stuff. It's a weird concept.
• 1:50:36
  Speaker 8: But to watch it as an adult. It's creepy as fuck.
• 1:50:42
  Speaker 8: It is just the creepiest fucking thing I've ever seen.
• 1:50:45
  Speaker 8: And it goes on forever, just being creepy. Yeah, and
• 1:50:51
  Speaker 8: the kids sing. It's a musical, but they don't sing
• 1:50:56
  Speaker 8: in their actual voices. It's like, so they lip sync
• 1:51:01
  Speaker 8: and dance. to these voices that are clearly not their
• 1:51:05
  Speaker 8: own and they don't do a great job of it
• 1:51:07
  Speaker 8: so it has this kind of stiffness to are.
• 1:51:10
  Speaker 4: They grown up voices or are they.
• 1:51:11
  Speaker 8: Other voices yeah they're grown up voices trying to be
• 1:51:14
  Speaker 8: like kid voices self consciously trying to be like kid
• 1:51:19
  Speaker 8: voices but also with that cutesy 1920s whatever that feminine crap.
• 1:51:25
  Speaker 2: Was yeah yes yeah.
• 1:51:27
  Speaker 8: Just weird uh huh And then so Jodie Foster's in it,
• 1:51:32
  Speaker 8: and it's before her dental work. She has that charming
• 1:51:36
  Speaker 8: gap in her front teeth.
• 1:51:37
  Speaker 2: She's so adorable as a kid.
• 1:51:38
  Speaker 8: Yeah, she is, but no, I'm telling you, this is
• 1:51:42
  Speaker 8: the creepiest thing.
• 1:51:43
  Speaker 2: You've ever seen. I believe it.
• 1:51:44
  Speaker 8: And then they get into parts where they do things,
• 1:51:48
  Speaker 8: it's like they're trying to be suggestive, but they're not
• 1:51:51
  Speaker 8: sure how far.
• 1:51:52
  Speaker 2: They can commit to it. Yeah, there's only so far
• 1:51:54
  Speaker 2: you can push that, especially at that point in time.
• 1:51:56
  Speaker 8: Yeah, and they have cabaret dancers... And I guess there
• 1:52:00
  Speaker 8: are different ways you could go with it, but the
• 1:52:02
  Speaker 8: way they go is the cabaret dancers are all somewhat older.
• 1:52:06
  Speaker 8: And they are like maybe 18, 19. They're more like grown-ups.
• 1:52:13
  Speaker 8: Because I guess they don't want to have little kids
• 1:52:15
  Speaker 8: doing what's going to be kind of suggestive dance. But
• 1:52:20
  Speaker 8: then all the guys they're watching are like in middle school.
• 1:52:24
  Speaker 2: It makes it equally as creepy. To have adults interacting
• 1:52:28
  Speaker 2: with these kids. Oh, this is weird.
• 1:52:30
  Speaker 4: Yeah, I don't understand how Jodie Foster turned out okay.
• 1:52:32
  Speaker 8: God, I don't know. In a way, it seems like
• 1:52:35
  Speaker 8: her whole career, which has so many great things in it,
• 1:52:39
  Speaker 8: is what she's had to do to live this down.
• 1:52:42
  Speaker 2: I suppose.
• 1:52:44
  Speaker 8: Yeah, and what they do for violence is they throw
• 1:52:48
  Speaker 8: pies and they have some sort of machine gun.
• 1:52:50
  Speaker 2: Machine gun cream pie. Yeah, it's so weird.
• 1:52:54
  Speaker 8: Oh, man, it's bizarre. I don't know.
• 1:52:57
  Speaker 12: Yeah.
• 1:52:58
  Speaker 8: And it goes on forever, like they really committed to it.
• 1:53:01
  Speaker 2: Definitely need to add this to the list. How has
• 1:53:03
  Speaker 2: it been like a midnight experience?
• 1:53:05
  Speaker 12: How have I not heard about this movie?
• 1:53:07
  Speaker 2: Bugsy Malone, and it introduces Scott. It's Scott Baio. It
• 1:53:12
  Speaker 2: was like veering off his early happy days, I think.
• 1:53:15
  Speaker 2: I think he had been on like, because he's still
• 1:53:18
  Speaker 2: a kid. It's those first couple of seasons they worked
• 1:53:20
  Speaker 2: him in. He's young.
• 1:53:21
  Speaker 11: I can't even hurt my stomach, Scott Baio.
• 1:53:24
  Speaker 2: Well, it's funny, though, when he's that young. We definitely
• 1:53:28
  Speaker 2: need to work this one in. Yeah.
• 1:53:30
  Speaker 8: And then, of course, you know, she was sort of
• 1:53:32
  Speaker 8: like a slightly bad kid in Alice Doesn't Live Here anymore.
• 1:53:37
  Speaker 4: Oh, a bad movie.
• 1:53:38
  Speaker 8: Yeah, was Chris Christopherson in that?
• 1:53:41
  Speaker 12: Yes.
• 1:53:41
  Speaker 11: I thought he was.
• 1:53:42
  Speaker 12: He was the really kind of like the nice, solid
• 1:53:47
  Speaker 12: country dude that she, you know, she's gotten rid of
• 1:53:50
  Speaker 12: Harvey Keitel, you know, and she meets him and He
• 1:53:54
  Speaker 12: kind of whips her kid into shape and everything.
• 1:53:56
  Speaker 2: That's what brought her into this movie is that, because
• 1:53:59
  Speaker 2: there were all these other people that were trying out
• 1:54:01
  Speaker 2: to be Iris and then just, of course, he worked
• 1:54:03
  Speaker 2: with her in that and was like, no, this is
• 1:54:05
  Speaker 2: the girl. She, I see it. She can play a
• 1:54:07
  Speaker 2: 12 year old process.
• 1:54:08
  Speaker 12: Yeah. If you didn't know that that was Jodie Foster
• 1:54:10
  Speaker 12: in that movie, like it probably would have taken you
• 1:54:12
  Speaker 12: a long time to figure out that it was a
• 1:54:14
  Speaker 12: girl because they do a very good job of making
• 1:54:17
  Speaker 12: her look like just like another kid friend, like the
• 1:54:21
  Speaker 12: one that Like, her son's, like, just another, like, boy
• 1:54:24
  Speaker 12: that he's hanging out with, and you're like, oh, no, it's, like, girl,
• 1:54:26
  Speaker 12: that's weird.
• 1:54:28
  Speaker 2: Nothing can top her in Candle Sheet.
• 1:54:30
  Speaker 8: Candle Sheet.
• 1:54:31
  Speaker 2: Have you not seen Candle Sheet? Oh. Back when Disney
• 1:54:36
  Speaker 2: movies didn't suck, like live-action Disney movies, they were a
• 1:54:39
  Speaker 2: hell of a lot of fun back in that day, so.
• 1:54:42
  Speaker 12: Yep.
• 1:54:43
  Speaker 2: Jodie Foster.
• 1:54:43
  Speaker 4: What was the little girl who lives down the street?
• 1:54:45
  Speaker 6: Is that what.
• 1:54:46
  Speaker 2: Down the Lane? No, there's a little girl that lives
• 1:54:48
  Speaker 2: down the lane, I think. There's a bunch of them
• 1:54:51
  Speaker 2: in that era that kind.
• 1:54:52
  Speaker 12: Of worked in.
• 1:54:53
  Speaker 2: Yeah, some weird stuff going on in the 70s.
• 1:54:57
  Speaker 8: Lynn and I kind of had an argument. Well, not
• 1:54:59
  Speaker 8: a real argument, but she was like, well, wasn't that
• 1:55:02
  Speaker 8: her first role was in Taxi Driver? And I'm like,
• 1:55:06
  Speaker 8: no she was in everything she started acting when she
• 1:55:09
  Speaker 8: was she's.
• 1:55:09
  Speaker 2: The copper tone kid for god's sake.
• 1:55:12
  Speaker 8: Yeah but then uh you get on wiki and it
• 1:55:15
  Speaker 8: says her first major film role taxi drop and i'm
• 1:55:18
  Speaker 8: like well now wait a minute but so i guess
• 1:55:23
  Speaker 8: wikipedia is not gonna go like major role your wife had.
• 1:55:27
  Speaker 24: Just edited wikipedia yeah yeah yeah like that time i
• 1:55:33
  Speaker 24: made up that movie that uh hillary duff was saying
• 1:55:36
  Speaker 24: you make up.
• 1:55:37
  Speaker 2: All kinds of stuff all right i guess we should
• 1:55:43
  Speaker 2: uh wrap things up here uh i did want to
• 1:55:46
  Speaker 2: say um we we've actually had people uh taking advantage
• 1:55:50
  Speaker 2: of the uh the tweaked audio code the meltdown code
• 1:55:55
  Speaker 2: so if you hear that little uh promo in the
• 1:55:59
  Speaker 2: middle of these you know breaks that you know I
• 1:56:02
  Speaker 2: wouldn't just ignore it because people are actually making use
• 1:56:04
  Speaker 2: of it and you get like 33% off. So yeah.
• 1:56:08
  Speaker 2: And they're pretty damn good. So thank you to the
• 1:56:10
  Speaker 2: people who've been using it. And if not, you know,
• 1:56:12
  Speaker 2: you're listening to this on something. So it does us
• 1:56:15
  Speaker 2: a little good if you throw that in there. So yeah, definitely.
• 1:56:17
  Speaker 2: Thank you to everybody who's been doing that. And if
• 1:56:19
  Speaker 2: you're not go use it. So, all right, then we
• 1:56:22
  Speaker 2: didn't want to say thank you to Nancy's bagel grounds
• 1:56:24
  Speaker 2: for letting us hijack the coffee shop. Once again, if
• 1:56:27
  Speaker 2: you're in this area again, right before you get ready
• 1:56:30
  Speaker 2: to go to Lexington and, See the Film Fest. While
• 1:56:33
  Speaker 2: you're in.
• 1:56:33
  Speaker 4: You can consult HarryDeanStandardFest.org.
• 1:56:35
  Speaker 2: While you're around. Come by, yeah, come by Nancy's and
• 1:56:41
  Speaker 2: support them because they support us. So thank you to
• 1:56:43
  Speaker 2: them once again. Otherwise, that about does it. We will
• 1:56:45
  Speaker 2: return next week. Same geek time, same geek feed. Thanks
• 1:56:48
  Speaker 2: for listening.
• 1:56:48
  Speaker 23: I started writing this song about Chris Gantry. Ended up
• 1:56:52
  Speaker 23: writing about Dennis Hopper and Johnny Cash and.
• 1:56:59
  Speaker 21: Norman Norbert.
• 1:57:01
  Speaker 23: Funky Donny Frit, Billy Swan, Bobby Neuwirth, Jerry Jeff Walker,
• 1:57:06
  Speaker 23: and Paul Siebel. Rambo and Jack Elliott had a lot
• 1:57:13
  Speaker 23: to do with it.
• 1:57:19
  Speaker 21: See him wasted on the sidewalk in his jacket and
• 1:57:24
  Speaker 21: his jeans wearing yesterday's misfortunes like a smile. Once he
• 1:57:32
  Speaker 21: had a future full of money, love, and dreams, which
• 1:57:37
  Speaker 21: he spent like they was going out of style.
• 1:57:43
  Speaker 2: And he keeps.
• 1:57:44
  Speaker 23: Right on a change.
• 1:57:46
  Speaker 21: For the better or the worse, searching for a shrine
• 1:57:51
  Speaker 21: he's never found. Never knowing if believing is a blessing
• 1:57:59
  Speaker 21: or a curse.
• 1:58:00
  Speaker 23: If the going up was worth the coming down.
• 1:58:06
  Speaker 8: He's a poet.
• 1:58:07
  Speaker 21: And he's a picker He's a prophet and he's.
• 1:58:10
  Speaker 23: A pusher He's a pilgrim.
• 1:58:13
  Speaker 21: And a preacher And the problem when he's stoned He's
• 1:58:18
  Speaker 21: a walking contradiction Partly truth and partly fiction Taking every
• 1:58:24
  Speaker 21: wrong direction On his lonely way back home.
• 1:58:33
  Speaker 2: He has tasted good and evil.
• 1:58:36
  Speaker 21: In your bedrooms and your bars And he's trading in
• 1:58:41
  Speaker 21: tomorrow for today Running from his devil's lord, reaching for
• 1:58:49
  Speaker 21: the stars Losing all the love along the way.
• 1:58:56
  Speaker 2: But if this world.
• 1:58:57
  Speaker 21: Keeps right on turning For the better or the worse,
• 1:59:02
  Speaker 21: all he ever gets is older and around. From the
• 1:59:09
  Speaker 21: rocking of the cradle to the rolling of the hearse,
• 1:59:14
  Speaker 21: the going up was worth the coming down.
• 1:59:19
  Speaker 12: He's a poet and he's a picker.
• 1:59:22
  Speaker 21: He's a prophet and he's a pusher. He's a pilgrim
• 1:59:27
  Speaker 21: and a preacher and a problem when he's stoned. He's
• 1:59:31
  Speaker 21: a walking contradiction, partly truth.
• 1:59:35
  Speaker 23: And partly fiction.
• 1:59:37
  Speaker 21: Taking every wrong direction on his lonely way back home.
• 1:59:43
  Speaker 23: There's a lot of wrong directions on that lonely way
• 1:59:48
  Speaker 23: back home.
• 1:59:50
  Speaker 20: That was one of the first movies.
• 1:59:55
  Speaker 9: I think I can afford for this show that I
• 1:59:58
  Speaker 9: have nothing bad.
• 1:59:59
  Speaker 7: To say about it.
• 2:00:00
  Speaker 19: Yeah.
• 2:00:00
  Speaker 7: This episode is a production of Movie Meltdown, produced and
• 2:00:03
  Speaker 7: edited by The Oddity Studios, with opening music performed by
• 2:00:06
  Speaker 7: The Empires. For more on how to sponsor or support
• 2:00:09
  Speaker 7: the show, email producer at moviemeltdown.com.
• 2:00:12
  Speaker 12: Talk hard!