Latest / the arc.fm / The Studio, Episode 02, "The Oner" - Put Chekhov's Gun Down! Or Don't, Because This Story Was Perfect

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The Studio, Episode 02, "The Oner" - Put Chekhov's Gun Down! Or Don't, Because This Story Was Perfect · the arc.fm

• 0:01
  Let's unwrap The Studio.
• 0:03
  Episode Two “The Oner.” I love it so much.
• 0:07
  Cole... literally...
• 0:09
  Just rolled his eyes?
• 0:11
  It's great.
• 0:12
  Who’s car is ruining the shot. Oh!
• 0:15
  It's mine. Oh, this.
• 0:17
  Why are you even still here?
• 0:18
  My fault.
• 0:20
  Every second out the gate, I was like in.
• 0:23
  This is an episode.
• 0:24
  An episode of Chekhov's Guns.
• 0:26
  And by that, I mean there's like, idea of an in a Chekhov play.
• 0:30
  If you see a gun in the first act, it has to go off in the third act.
• 0:33
  So anything that you see has to have a has to resolve by the end
• 0:37
  or has to be there for a reason by the end.
• 0:39
  I love a Chekhov scan, I loved it, I loved him drop that which I really like.
• 0:43
  You invented it. Like I said to.
• 0:46
  Like a.
• 0:46
  Chekhov.
• 0:48
  I take my gut and I go.
• 0:50
  Come back here.
• 0:51
  Stop moving, stop moving, stop moving.
• 0:53
  It not like that.
• 0:54
  Put the gun back. Put it back on the mantel.
• 0:58
  I got it, I got you feel me?
• 1:00
  Okay.
• 1:01
  Here we are. Going to use it later.
• 1:04
  That is the point. Use it later.
• 1:07
  I took so like, I took my gun like I invented it.
• 1:11
  You feel poo poo poo poo?
• 1:14
  You know, one of the things that has also made me very excited,
• 1:19
  we've talked about, like, experience being part of it is Seth Rogen.
• 1:23
  Well, Seth Rogen specifically because I follow him on Instagram.
• 1:25
  But like the team themselves, is so willing to share the behind
• 1:28
  the scenes and that just geeks me out.
• 1:31
  So, like, they're as geeky about how it's made
• 1:34
  and what the process is, and then they're talking
• 1:37
  about how it gets made and what the process is, and then,
• 1:39
  I mean, it just is layer on layer met on meta.
• 1:41
  I love it, and it's done so well.
• 1:43
  And so from the minute they're driving, I'm
• 1:44
  trying to figure out how they're doing the camera
• 1:47
  and then how they park and the camera moves like I'm like.
• 1:49
  So immediately I was like, what is this?
• 1:52
  Uhhuh.
• 1:53
  And then and then greedily shows up and then like, Sarah Polley is there,
• 1:56
  and then I just.
• 1:57
  And then I realize it's called the oner and they're doing a oner.
• 1:59
  And I from the second it started, I was in and I was so excited.
• 2:04
  And again, I've talked about, you know, we talked last episode of like
• 2:08
  a second viewing can change things.
• 2:10
  So now I like episode one more.
• 2:12
  Because because I love episode two.
• 2:15
  So much that I like that it just forgives all the sins.
• 2:17
  You know?
• 2:18
  Yeah.
• 2:19
  No, I loved it from the minute it started.
• 2:22
  Yeah.
• 2:23
  And I immediately rewatched it because, like, because of the book
• 2:26
  to where it was like, they talk about, like, everything they talk about, they do.
• 2:29
  It's 23 minutes, I think, and everything they talk about, they do.
• 2:33
  So they're like, they talk about a book and they bookend it.
• 2:36
  They like, oh, I could just go on and on.
• 2:38
  Yeah, they're just doing all the stuff that they're talking about,
• 2:40
  and we're watching them do it and how they do it.
• 2:41
  And so I immediately was like, oh my God, a bookend,
• 2:44
  and I'm a fool for that kind of thing.
• 2:46
  I love I love a bookend again, I think it's a magic trick,
• 2:49
  but it's one I fall for every time. It's like the bunny out of the hat.
• 2:52
  So I immediately
• 2:53
  went back to rewatch it to be like, I think they started where they ended.
• 2:56
  And like, how much did they do that?
• 2:58
  Yeah, yeah.
• 2:58
  This nerd love for this episode.
• 3:01
  The driving at the beginning, right off, it's like it's
• 3:04
  so frenetic and it's so stressful and it's so tense.
• 3:07
  And Sal and Matt are having that conversation about,
• 3:11
  you shouldn't be going to this thing.
• 3:12
  You really should not be going to this thing.
• 3:14
  This is such a bad idea.
• 3:15
  Like, I love that, I love I love putting that at the beginning
• 3:19
  because everything they say comes true and their relationship is great,
• 3:23
  and the and the way the camera was moving and also the way
• 3:26
  that the Seth Rogen is like kind of handling the.
• 3:30
  The steering wheel. His thing
• 3:31
  was really like defines his characters and how the car they're driving.
• 3:35
  And it's like it's shaky and you're just like, oh my God, like.
• 3:39
  And it's just right off the bat, it's really great.
• 3:42
  And then and then the, the very narrow streets that they're,
• 3:46
  they're trying to maneuver with all the cars and then they
• 3:49
  and then when they go up that driveway, it's like, it's like new.
• 3:52
  And it really has that like, oh my god.
• 3:55
  Like these guys are not stopping. And it's great.
• 3:58
  The bookends thing you said because that that happens throughout the episode.
• 4:02
  It's like everything they say, like they talk about a wet pan.
• 4:05
  They do the wet pan like as they're talking about the wet
• 4:06
  pan, like, yeah, I loved it.
• 4:08
  And then they you again kind of talking about that, like,
• 4:11
  when do you know a thing is going to happen?
• 4:13
  So they pull into the driveway and he's like, you can't park.
• 4:16
  We have to park down the road.
• 4:17
  He's like, I'm the studio's like, I can park here.
• 4:19
  And you know, instantly that's going to come back.
• 4:21
  Yeah, it's my favorite Chekhov's gun.
• 4:23
  I can't believe I haven't said that word yet,
• 4:25
  but I'm trying not to because it's my favorite thing to say.
• 4:28
  But it just,
• 4:29
  you know, that's going to come back and it's still, you know, it's 23 minutes.
• 4:32
  It's so fast.
• 4:34
  And I still was like giddy when when he's like parked in the way,
• 4:38
  you know, like even knowing that that was obviously going to happen,
• 4:41
  the heightening of it, it still was fun
• 4:44
  even knowing like, oh my God, this is going to happen.
• 4:48
  Yeah.
• 4:48
  This is like it's an episode of of check off guns.
• 4:51
  Yes, yes. Oh, Chekhov's guns.
• 4:52
  Like like every single thing.
• 4:54
  The mention of the rolling Stone song, the mention of the of like of the
• 4:59
  of the costume of the car keys of
• 5:02
  of the of the joint of like like the coffee.
• 5:05
  Yeah. Of the coffee.
• 5:06
  Like everything that is mentioned comes back or or
• 5:10
  or or is a bad choice that makes things even worse.
• 5:13
  I it's so great.
• 5:15
  It's so great. It's so efficiently written because it is.
• 5:17
  Everything gets used and it doesn't feel cheap or forced.
• 5:21
  No. Yeah.
• 5:23
  And it's an and you know, I'm not familiar with like the, like,
• 5:27
  you know, rather famous one. There's like another one from Goodfellas.
• 5:29
  But I also just loved how the lack of cuts makes you sort of
• 5:35
  you have to go back
• 5:36
  and you have to see people's responses
• 5:38
  and you have to see what's going on in the background.
• 5:40
  Because when they came back and told him that they needed his costume
• 5:45
  because the and and and there's like, oh, there's another like, where was that guy?
• 5:50
  Where was the extra who had, oh,
• 5:53
  who had the same costume or had the same wardrobe pieces on.
• 5:57
  It's just like, oh my God.
• 5:58
  Like everything seems to be there for a reason.
• 6:01
  And it's like it's it did that so skillfully and so wonderfully.
• 6:05
  I also, we talked again last episode about this idea
• 6:08
  of like loving the audience and like,
• 6:10
  loving what you're doing, and it feels like it's satire of Hollywood,
• 6:14
  but it's also such a love and such a like, insider knowledge.
• 6:17
  Like, I feel like he really loves the industry, even as he knows its
• 6:21
  faults.
• 6:22
  Or him and Evan, I guess their co-writing team,
• 6:25
  they feel like they really understand it, but they also love it.
• 6:28
  And I also feel like he really loves and respects.
• 6:31
  They love and respect the audience, as well.
• 6:34
  Like they just really trust that you're going to pick these things up,
• 6:36
  you're going to know the references, and even if you don't, you can enjoy it.
• 6:40
  Yeah. Because yeah, I love a oner.
• 6:42
  And then I
• 6:42
  love one of the things I like about the studio overall is some of the quotes.
• 6:46
  And one of I love how they like skewer Oners.
• 6:49
  You know, I think it's also something like, what are they're so stupid.
• 6:54
  They're just the they're just a director jacking off
• 6:56
  and making everybody else's lives miserable.
• 6:58
  And audiences don't even care about this shit.
• 7:00
  Yeah.
• 7:02
  But they're doing a wonder about a oner.
• 7:04
  I wrote that down, too, because it's like the.
• 7:05
  It's like the debate, because then
• 7:08
  Seth Rogen comes back and says it's a blend of artistry and technology.
• 7:12
  It's it's a storytelling tool.
• 7:14
  And actress goes from confident to broken in one shot.
• 7:17
  And you see him do that throughout the
• 7:21
  throughout the episode.
• 7:22
  And it's so smart, so smart.
• 7:25
  And it just it just looks so hard to do.
• 7:27
  And I love Greta Lee.
• 7:28
  I was like, as I have a big crush, dogs exist,
• 7:31
  pizza exists, this episode exists and Greta Lee exists.
• 7:34
  Like those are sort of my like top four favorite things.
• 7:37
  And we get to see her do that.
• 7:38
  Like, I loved that he cast
• 7:40
  they cast Greta Lee because you see her do all of these emotions.
• 7:44
  You see her like turn on to be that like to to kiss up to Matt
• 7:48
  and then you see her kind of like roll her eyes as she walks away.
• 7:51
  Or like, I really is like an acting masterclass is around.
• 7:55
  Yeah. And the trust that you all have to have.
• 7:57
  And I can't imagine the pressure because it's, you know, it is time based.
• 8:01
  Like I think they recorded it over four days.
• 8:03
  So they were they did.
• 8:04
  It's actually four scenes stitched together so well.
• 8:09
  Sarah Polley in the episode is like,
• 8:11
  we're not doing wet pans, we're not doing stitches.
• 8:13
  The actual this actual one is for, I believe, scenes that they.
• 8:18
  So there are some wet pans.
• 8:20
  There are some places where you can tell that they've they've watched it together.
• 8:24
  So they did it, I believe, over four days.
• 8:27
  And they would get there at like 7 a.m.
• 8:28
  rehearsal day and then like do three takes literally at magic hour.
• 8:33
  So they really were like, I mean, it was so
• 8:36
  the whole thing is wild and it seems so fun and so stressful.
• 8:39
  What if you're the sound guy that does mess it up?
• 8:41
  Or what if you're they're like. Yeah.
• 8:43
  You're the actor.
• 8:44
  Or like, but like the stakes are so high, but it looks so fun and safe.
• 8:49
  Like, it really made me.
• 8:50
  I think it's part of why I have this new crush on Seth Rogen,
• 8:52
  because he seems like someone who made it feel safe enough to do.
• 8:57
  And I was like, I want to work with him. Like, yeah.
• 8:59
  Yeah, you know, it felt really like they were all like, this is impossible,
• 9:03
  but it's okay if we fail.
• 9:05
  So just I wonder, let you finish that.
• 9:07
  But what is it, like a whip pan is when the camera goes shooting.
• 9:11
  Is that is that is that what it is? Exactly.
• 9:13
  And what's the stitch?
• 9:15
  Just making it look like it's seamless.
• 9:17
  Oh, yeah.
• 9:18
  Just putting the seams together so it looks like a water and interrupted water.
• 9:21
  Okay. Feel free to add it. And cinematographer man it.
• 9:23
  Whip pan is when the camera moves fast enough that it looks blurry on screen.
• 9:29
  A benefit of that is that you can stitch things with other blurs, so make it blur.
• 9:34
  Looks okay and it was really fun to me.
• 9:37
  That took me a while. I've watched this a lot.
• 9:39
  Sarah Polley is like, we're not doing whip pans and then goes
• 9:42
  and there's like a whip pan, right?
• 9:44
  And I just think that's really funny.
• 9:46
  But there is also a part where there's a stunt guy.
• 9:49
  So Seth Rogan's character, Matt,
• 9:51
  is there's a stunt where he trips over the ice and it's a.
• 9:54
  Oh, and he gets the bloody nose. Yeah, yeah.
• 9:56
  So there's an edit.
• 9:57
  There's a I think there's a webcam there, and then there's one,
• 10:02
  like when Greta lives by the,
• 10:03
  a matter by the bathroom I think is one and there's one.
• 10:06
  After they get out of the car, they follow them from the car for quite a while.
• 10:09
  There's a magnet on the car.
• 10:11
  That's how they do that.
• 10:12
  They like
• 10:13
  there's a magnet for the camera on the car,
• 10:15
  and then they pop it off and then, like, walk it.
• 10:17
  Walk, follow. Oh, nice.
• 10:19
  These are all very accurately used words for set, walk, follow.
• 10:24
  I think is.
• 10:27
  Fully accurate.
• 10:28
  But then there's a with pan I think like after a little bit
• 10:31
  like at the beginning as well, I think when they start
• 10:34
  talking about the costumes so to to put it together.
• 10:36
  But yeah I just it's an, it's frenetic the whole time you can
• 10:39
  you feel like you're there. It's live.
• 10:41
  The stakes are real.
• 10:43
  It's at magic hour.
• 10:45
  Yeah. Yeah I love. It.
• 10:47
  It's so amazing that they're able to the able to stop the camera
• 10:51
  moving long enough to let the tension build up between the between
• 10:56
  the characters or at least, like, you know, between the actors.
• 10:59
  And also there there's you can see these, these shots
• 11:04
  of Catherine O'Hara and, and and I forget the other actors every play.
• 11:08
  So watching Seth Rogen and going, you can see in their faces
• 11:12
  like, please don't say which are about to say something
• 11:17
  and it just keeps going back to them and like, and you know, and Catherine
• 11:20
  O'Hara has her thing where she wants to be the head of the studio or like,
• 11:24
  if she was the head of the studio, these things would be happening.
• 11:27
  And you can see her dig into him a little bit and it makes it worse.
• 11:31
  It makes his behavior worse.
• 11:33
  But then, like, they're not, they try to stop him at the same time like it is.
• 11:37
  It is.
• 11:38
  I mean, there's so much there's so much happening and it's done.
• 11:42
  So it's done so well.
• 11:44
  And I'm actually glad it's a TV show rather than like in a movie theater,
• 11:47
  because you can go back and like and look at it.
• 11:50
  I've watched little segments. Yeah. Everyone did, I've done that.
• 11:52
  And I think you make a good point to where it's frenetic.
• 11:55
  It never stops, but it does also breathe. Yeah.
• 11:57
  So you do go into places and it rests and you stay with them
• 12:00
  and you do get to take in like Catherine O'Hara's, you know, face in the background
• 12:04
  and Sarah Polley, like, slowly melting down,
• 12:06
  but trying to be nice to Matt because that's her boss.
• 12:08
  And she wants this, like million dollar song.
• 12:10
  And, you get to, like, take in that. Yeah.
• 12:13
  There's like, yeah,
• 12:14
  the other guys in the same wardrobe and you get to release like take that in.
• 12:18
  So it does, it never stops moving.
• 12:20
  And also it does rest on moments.
• 12:23
  Yeah. Yeah. And like let that tension build and
• 12:26
  Max character Jimmy is so funny because he's so annoying
• 12:29
  and he's unlike any exec I've ever met because he is more insecure,
• 12:34
  more outwardly, more like apparently insecure,
• 12:37
  but also unstoppable, you know, which is very exact behavior.
• 12:40
  So it's like he gives like, oh gosh, I'm sorry.
• 12:42
  Oh, like he wants to be like, I guess that's it.
• 12:45
  He wants to be liked in a way that like, no, exactly.
• 12:47
  I've worked with cares. About.
• 12:49
  I've also worked in finance. So whatever.
• 12:51
  But he really wants to be liked in a way that's unfamiliar to me.
• 12:54
  And sometimes I don't buy that.
• 12:57
  But he's also so unstoppable.
• 12:59
  So it's like he's clearly like being cringeworthy
• 13:02
  and nobody wants him there, and he's sort of understanding it.
• 13:04
  But he will not stop and he keeps going.
• 13:06
  You know, I probably should give my opinion right now.
• 13:09
  They probably do want it and I that I like
• 13:12
  I like that sort of he wants to be liked but he can't not be an exact.
• 13:16
  Yeah.
• 13:16
  And everyone's aware of his position and they cater to that
• 13:20
  even though they know he's missing everything.
• 13:22
  The the scene where Sarah, Sarah Polley,
• 13:25
  where she leaves and she's like, you know what?
• 13:28
  It's not annoying to have you on the set, is there?
• 13:30
  One of those things slows down and I can just imagine everyone
• 13:33
  on set going, please don't say what you're about to say, please.
• 13:36
  And then she says, like, if you have any feedback, I'd be happy to hear it.
• 13:41
  Oh, it's her to say it, but she's like.
• 13:43
  And then she's turning around and then it was back.
• 13:45
  And you can see Catherine her.
• 13:46
  And so I going oh my God, please don't do this.
• 13:49
  And and Seth Rogen is like, yeah, this is my cue.
• 13:55
  It's pretty.
• 13:55
  It's amazing.
• 13:58
  And and it does lead to this.
• 14:00
  Like it does lead to these moments of truth
• 14:02
  that Catherine O'Hara is saying, like, the only reason
• 14:05
  anyone is really talking to you is because they want something from you.
• 14:07
  Like, like these are the things that boy that's in the moment.
• 14:11
  It's like, you have to stop that because you have to be aware of what's going on.
• 14:15
  But he does like one of the things that's really nice about him
• 14:18
  is that there is sort of like, a want to be artist there, like,
• 14:22
  truly loves the movies and loves that and wants
• 14:25
  to be a part of making them great, but at the same time
• 14:28
  very aware of his station and like, well, I guess I'm
• 14:33
  the studio, so
• 14:34
  people would love to see me and want to take my.
• 14:37
  Yeah.
• 14:38
  He does play really well.
• 14:39
  That idea of, false humility, right?
• 14:43
  Like, oh no, no, I couldn't possibly.
• 14:44
  But if you're getting a coffee, I definitely want one, right?
• 14:46
  Yeah. No, no, no, I couldn't possibly.
• 14:48
  But also yes, I'm going to do this thing in that
• 14:50
  like very like apologetic but doing it anyway while still taking up the space.
• 14:54
  I think that that's
• 14:56
  just so impressed in this like 20 minute
• 15:00
  show, they literally fire every gun they set up.
• 15:03
  I mean, if it's like if it's set in that episode, it goes off at some point.
• 15:07
  If they pull in the driveway, the cars in the in the way, like if he
• 15:10
  if he's uncomfortable in the suit, it happens.
• 15:13
  You know, Greta Lee wants the jet. She gets the jet.
• 15:15
  If they talk about Rolling Stones, they get the Rolling Stones wild and it.
• 15:19
  I think it works in the.
• 15:20
  It works perfectly and brilliantly.
• 15:22
  Well, it doesn't work so well.
• 15:24
  There's an honesty to it.
• 15:26
  I really think they know the subject matter that they're writing about.
• 15:30
  It's true.
• 15:31
  Like I think like truth in comedy.
• 15:32
  Like it's it's all of that is real.
• 15:34
  It feels real.
• 15:35
  You feel like you're in you're actually in a moment.
• 15:38
  And so there's so much truth in it that I think, I believe it.
• 15:44
  It all felt very true to me.
• 15:46
  Yeah, I don't know. What do you think, Robby?
• 15:48
  Yeah.
• 15:48
  No, the
• 15:49
  the thing that jumped out of her about what she said was the,
• 15:53
  as they're driving away, the, you can't always get what you want
• 15:56
  comes on, and and it's just in
• 16:00
  in this particular episode, you were just watching
• 16:03
  people who know what they're doing and who I like.
• 16:07
  Even if you're not. I.
• 16:09
  I did not expect to hear you can't always get what you want,
• 16:12
  but when I did, I was like of the heavens to be praised.
• 16:15
  Like, yeah, like, oh.
• 16:17
  My God, this is an $800,000 song.
• 16:19
  And that's the first thing I thought of that. Yeah.
• 16:21
  And and it's just like to,
• 16:24
  to be able to watch people who know what they're doing to be in on the,
• 16:28
  on the joke, who are talking to you or to be able to see something planted.
• 16:31
  And then to see that thing bloom at the end is, is is amazing.
• 16:36
  It's it's like, yeah, it's a gift.
• 16:38
  And I think, I think it's similar.
• 16:41
  It works for me
• 16:42
  some, some of the reasons it works for me is because I think it's not pretentious.
• 16:46
  And it has a love for the audience as well.
• 16:49
  So it does feel like a we're all in this together,
• 16:51
  like I'm planting something to bloom for you as opposed to being like, I'm
• 16:55
  so much smarter than you or like,
• 16:56
  oh, I know so much about the industry that you couldn't possibly understand.
• 17:00
  Audience like it really.
• 17:01
  I think like takes everybody along for the ride and does so again,
• 17:05
  like in a, in a joyful we're like, it's it's satire.
• 17:09
  And it's also like a love letter. Yeah.
• 17:11
  And I think like that's kind of why it works.
• 17:13
  It's not trying to it's not trying to be smart.
• 17:15
  It just is like I think they set this challenge for themselves
• 17:19
  and then they like ran at it as fast as they could.
• 17:23
  And, and you can feel that like they were like,
• 17:25
  how do we we're going to make the hardest thing.
• 17:28
  Yeah.
• 17:28
  And then they did it as opposed to being like, aren't we frickin so good?
• 17:33
  Yeah. And they are.
• 17:34
  But I don't think that that was the goal.
• 17:36
  I think the goal was doing something impossible.
• 17:38
  Yeah, yeah, I agree, it's like it lets us in on the fun of what they're doing
• 17:42
  and, and, and, and the intelligence of what they're doing.
• 17:46
  And it's just funny.
• 17:49
  That you,
• 17:49
  the characters are very well written, like,
• 17:51
  every character has a really unique point of view
• 17:53
  and a really like, I know who they all are.
• 17:55
  So, like, seeing Matt and Saul in the car, I felt like they were already true
• 17:59
  to themselves.
• 18:01
  Yeah, this is something that has been written
• 18:02
  about a lot, at least that I've read a lot,
• 18:04
  but something that I really enjoy, as well as Matt and Sal and many versions
• 18:09
  of this show would be antagonistic because Sal also wanted to be studio head.
• 18:13
  He thought he was going to be the studio exec, and instead Matt gets it.
• 18:16
  And so it was.
• 18:17
  Sal could be undermining him all the time, and they could be fighting and
• 18:21
  and instead they're like best friends and like,
• 18:23
  they're really good foils for each other.
• 18:25
  Like they're very opposite and they're very different.
• 18:27
  And they have different skills and they help each other out.
• 18:30
  And like, Sal will be cruel.
• 18:32
  Like, it'll be like they don't want you here and Sara doesn't want you, you know?
• 18:35
  But he's also saying the thing that everybody needs
• 18:37
  to say to Matt to get him out of there. Yeah, yeah.
• 18:39
  And there, I really like that. That's a nice.
• 18:42
  They're a team that works together, even as they're different.
• 18:45
  And they like their tension. Works against each. Other. Yeah.
• 18:48
  They fight sometimes they they like
• 18:51
  say really mean and cruel things about one another behind their back.
• 18:54
  But they're ultimately like,
• 18:56
  you really need to get out of here. Yeah.
• 18:58
  Like they're the ones who can say that to each other
• 19:00
  based on what the relationship is. Yeah.
• 19:03
  And I thought, I just I like that you feel that in the car right away
• 19:06
  to your point and like, again, like the steering wheel acting, I do.
• 19:10
  There's something about them
• 19:11
  that isn't that there's something about the steering wheel.
• 19:13
  They're actually driving in that. Right?
• 19:14
  Yeah. Yeah, yeah, yeah.
• 19:15
  Okay. That's why I. Was like, how did they do it?
• 19:17
  How did they get that?
• 19:18
  They I love the behind the scenes that keep getting posted.
• 19:22
  It's just so neat as. Yeah.
• 19:24
  Because yeah,
• 19:24
  they're actually driving all of it's like actually had the actual magic hour.
• 19:28
  It's actual they're doing it.
• 19:31
  I don't believe you about there's only four stitches like that.
• 19:35
  Seems impossible.
• 19:37
  I'm 99% sure that's four.
• 19:39
  I am blown away.
• 19:42
  What are your relationships to like
• 19:44
  Seth Rogen, body of work
• 19:47
  and your preconceived notions of the studio.
• 19:51
  Before you had seen it.
• 19:52
  I had no preconceived notions.
• 19:54
  I just thought, oh, it's Seth Rogen and Evan Goldberg.
• 19:58
  I'll watch interviews I've seen him in
• 20:01
  have been, you know, have been it's been okay.
• 20:04
  But he did an episode of, Comedians in Cars Getting Coffee,
• 20:08
  and I really liked I really liked the conversation.
• 20:11
  I'm not a huge fan of Seinfeld.
• 20:13
  I recognize how brilliant it is, but I'm not like that.
• 20:16
  It doesn't appeal to me in the way that, yeah, it it does.
• 20:19
  I don't gush over it.
• 20:20
  That conversation.
• 20:21
  You have a Jerry Seinfeld.
• 20:22
  This was it was pretty amazing.
• 20:25
  I think obliviousness is the thing that people don't like when they don't
• 20:28
  think you can tell you're making a joke that is inappropriate.
• 20:32
  If you know it's something that is taboo to be saying
• 20:36
  and that's folded into the recipe, then you can say whatever. The.
• 20:40
  My preconceived notion of Seth Rogen is perhaps uninformed,
• 20:45
  but a little bit like he was.
• 20:46
  He's funny,
• 20:48
  but and it was always his work was always smarter than I expected it to be.
• 20:51
  But it felt bro.
• 20:52
  It kind of felt like not for me.
• 20:54
  I also realized I had confused him with Jonah Hill, and I think
• 20:57
  because he cast Jonah Hill and stuff and sometimes he plays in it, but
• 21:00
  it also kind of sorry, but completed the two of them in a way.
• 21:05
  And so I came into it kind of being like, this is probably going to be like
• 21:09
  gross out bro humor and that's how I felt a little bit with episode one.
• 21:13
  It just was like, oh yeah, this isn't for me.
• 21:15
  It's like it's a couple of white dudes
• 21:17
  writing the show that they're going to love about a thing they love,
• 21:20
  and it'll be funny and it'll be funnier and smarter than I think it's going to be.
• 21:23
  But it's like, not for me, right?
• 21:25
  Or it's just not going to be real. Like, I'm not going to love it.
• 21:28
  And then, yeah, episode two for me just changed everything.
• 21:31
  Like, I really
• 21:32
  I was just so blown away and it was so smart.
• 21:35
  And I love again, like, there's so many, there's a diversity of actors, you know,
• 21:40
  actors and actresses, and I like that he cast a lot of women in this, right?
• 21:43
  There's like Greta Lee, there's Catherine O'Hara.
• 21:45
  There's so much that it doesn't feel like a bro comedy at all.
• 21:48
  It actually feels like a diverse cast of characters and.
• 21:51
  How much do you notice
• 21:54
  Oners in movies in general?
• 21:57
  What do you feel about them as a storyteller?
• 21:59
  And I see wonders in movies.
• 22:01
  I'm always I think it's the two that I remember
• 22:05
  seeing as they were going was the one in in Goodfellas
• 22:09
  and then the one in, Touch of Evil, which is also mentioned in this episode.
• 22:14
  And I'm always shocked that I'm in the middle of it.
• 22:18
  And then I'm always like, oh, that's really cool.
• 22:20
  Like, that's really it's it's really fun.
• 22:22
  They can be incredibly useful and they can be incredibly fun.
• 22:26
  This one was perfect for what it conveyed.
• 22:30
  I geek out about Oners, I love them, I just heard about them
• 22:33
  my entire as we've talked about and Cole loves when I bring this up.
• 22:36
  My entire love of La La Land really is based off of the opening scene,
• 22:40
  which to me felt like a oner.
• 22:41
  Just that, like dancing scene on the highway in the way that like,
• 22:44
  the crane comes through and I just I'm obsessed with that, okay?
• 22:47
  And I'm obsessed with Oners.
• 22:48
  I will often just try to find them
• 22:49
  and watch them on their own as a storytelling device.
• 22:54
  Sometimes I think they get in the way.
• 22:55
  Sometimes I think they're unnecessary.
• 22:57
  I often get taken out because I'm so like, how did they do that?
• 23:00
  That's amazing. Look at what's going on, right?
• 23:03
  I don't actually I sort of split between Matt and Sal's opinions
• 23:08
  because in some ways I do think they're just sort of a show off kind of thing.
• 23:12
  And they can be cool and it can be immersive.
• 23:16
  But often
• 23:17
  I think they're just sort of as, like a director, as a creator of things.
• 23:21
  I'm like, oh, I want to do that.
• 23:22
  I mean, I've literally just call for like, we're going to do a oner
• 23:26
  for this hotel scene and like that's like kind of its whole goal.
• 23:29
  So it's like, I want I like that it's like an excuse
• 23:32
  to jack off of my own talent and yeah, yeah, it's like,
• 23:36
  I don't know, the audiences do care about I geek out about them.
• 23:39
  I love them, but not necessarily because they're great storytelling devices.
• 23:42
  However, it's very much the story in this one.
• 23:46
  I mean, it's just it's it's that's why I think it's perfect because often
• 23:49
  I think they are just kind of an artistic addition.
• 23:53
  Right?
• 23:53
  Or like a beautiful part of a movie or an impressive thing to pull off.
• 23:58
  And here it's truly like interwoven into the story it's telling.
• 24:01
  It's part of the storytelling. It's it's giving.
• 24:04
  It's an amazing device.
• 24:05
  Yeah, I would say it really depends on what I'm just doing in a movie,
• 24:09
  what purpose it's it's or what it's function is like in Goodfellas.
• 24:13
  It's, you know, it's showing how he gets past everybody
• 24:17
  but also showing him the world like, yeah,
• 24:19
  how how he gets past everyone in order to, in order to get the table
• 24:22
  at the front of the stage.
• 24:25
  The original idea was just like
• 24:27
  how disruptive it can be at times when studio executives
• 24:30
  come to visit the set, and how much the filmmakers often don't love it.
• 24:34
  When the studio executives come visit the set,
• 24:37
  and how sad it is for the studio executives
• 24:39
  because it's genuinely their favorite part of the job.
• 24:41
  Oh, I got I saw a quick story about the higher up coming to set.
• 24:45
  Who wouldn't stay in Video Village.
• 24:46
  There's a DP from the West Coast that I have hired a few times
• 24:51
  to highly technically skilled, completely commercially pristine work.
• 24:56
  Which is all just to say, give him a $100,000
• 25:00
  minimum to work on set for an hour.
• 25:02
  And it'll be worth it.
• 25:03
  Yes. My God, they'll deliver.
• 25:05
  Yeah, but to do that, the big thing he has to do is like,
• 25:09
  look at the monitor.
• 25:10
  His taste is what we're paying for.
• 25:13
  Yeah.
• 25:14
  And for this shoot, we had,
• 25:17
  who's the guy from Hamilton who's not.
• 25:20
  Leslie Odom Jr. Yes.
• 25:22
  Leslie Odom. Right.
• 25:24
  Yeah. Who do you think Hamilton.
• 25:27
  Aaron burr.
• 25:28
  Oh. All right.
• 25:29
  Okay, we finally get on get him on board.
• 25:31
  And the DP is like,
• 25:34
  okay, we are ready to roll.
• 25:37
  We roll.
• 25:38
  DP seems happy.
• 25:39
  DP is sitting on the couch looking at the monitor.
• 25:42
  I know like that is his job period.
• 25:45
  And a higher up comes over to me.
• 25:49
  He's like, hey, I thought you had a handle on the set.
• 25:53
  Like, yeah, everything is going perfectly.
• 25:56
  He's like, but the DP is
• 25:59
  sitting on the couch looking at a TV.
• 26:02
  I don't want to say he's you're wrong and you don't know what you're talking about.
• 26:06
  Mr. Higher Up.
• 26:07
  But I also don't want to be like, throw the DP under the bus, right?
• 26:11
  Yeah, yeah.
• 26:12
  But I guess the point that the higher ups
• 26:13
  kept coming over to be like, hey, what are we paying this guy for?
• 26:17
  And I had to go over the DP and be like, hey,
• 26:22
  I'm going to need you just to cover my own, but
• 26:25
  I'm gonna need you to go over to the camera and pretend to use it.
• 26:29
  Since it's a real thing.
• 26:31
  It's like play school. Right?
• 26:34
  What did he say?
• 26:35
  What the fuck? Yeah. I mean, how was.
• 26:38
  What else would he say?
• 26:39
  Are you serious?
• 26:40
  Yes, I am actually serious.
• 26:43
  There is somebody who is above me who's upset that you aren't working.
• 26:48
  I know you're working.
• 26:49
  Yeah, yeah, yeah.
• 26:50
  You know you're working. I know you are.
• 26:52
  Yeah, yeah.
• 26:53
  Well, you know, like the four weeks of prep
• 26:55
  that we've done to get to this point was the work.
• 26:58
  But he had to like literally for tens.
• 27:02
  Oh I'm panning I'm tilting it.
• 27:05
  Zoom I have to zoom the camera.
• 27:08
  Oh look at. Me on my computer.
• 27:10
  Like using it. Oh yeah. Exactly.
• 27:13
  Oh that is crazy.
• 27:16
  Yeah.
• 27:16
  So we had to set up a video village to, like, keep people out who were like,
• 27:20
  yeah, change the shot.
• 27:21
  Or who will be like, hey, we should put that, marijuana cigaret back in the shot.
• 27:25
  Yeah.
• 27:28
  You brought up references.
• 27:29
  I think we both have said it about in different ways, but we talked
• 27:32
  about it about The Princess Bride, of this idea of people bringing in stuff,
• 27:36
  and it makes me feel stupid.
• 27:37
  That's how I feel about the studio,
• 27:39
  because I know I'm not getting I'm not like I.
• 27:42
  Was a. Film studies person.
• 27:43
  Yeah. To, get everything.
• 27:46
  So I know I'm missing stuff, but I still feel okay about it
• 27:49
  because it's still funny enough without it.
• 27:51
  And I think, I think you had mentioned earlier in this episode about
• 27:56
  they give examples of oners and you'd seen some of them, but not all right.
• 28:00
  And I do think it's an enjoyable
• 28:01
  I think, I mean, I'm, I, I'm a nerd about this stuff.
• 28:05
  So I can't actually speak to the common experience.
• 28:08
  But it seems to me it would still be interesting without those references.
• 28:12
  I think you could still enjoy this episode without them.
• 28:15
  Yeah, I agree, I agree.
• 28:16
  And and in those cases, if you liked the episode enough,
• 28:19
  you're like, oh, what is this movie that they're talking about?
• 28:22
  Like, what's this?
• 28:23
  Yeah, it leads you to other stuff. Yeah, yeah.
• 28:25
  I think there's less in this episode than some of the others.
• 28:28
  I know this one feels like more processed reference.
• 28:32
  You need to know a whip like the whip pan.
• 28:34
  You need to know stitching.
• 28:35
  You need to know a oner, a book and, callback.
• 28:38
  You know, you need to know all these, like, kind of terms.
• 28:41
  Yeah. Announcer.
• 28:42
  Enough.
• 28:43
  Like, spoken like like the name of the song or the actress who wants to.
• 28:47
  Who wants to use the private jet?
• 28:48
  Like, once you have those, like,
• 28:50
  all those other things are referenced within the episode themselves.
• 28:53
  So it's quite. Robbie. Fun little tidbit.
• 28:56
  Because I feel like you don't know this.
• 28:58
  Do you know who Greta Lee is married to?
• 29:00
  I don't I don't even know who.
• 29:01
  God, she's the actress.
• 29:04
  I don't know really.
• 29:05
  Yeah, yeah.
• 29:06
  Greta Lee is amazing.
• 29:07
  She's, like having a killer career. What?
• 29:10
  What movie scene?
• 29:11
  She's in past lives.
• 29:13
  Okay. Which comes up in that episode.
• 29:15
  She's like, that's right.
• 29:16
  Because it's an A24 film.
• 29:17
  For her career, I feel like is taking off for real.
• 29:20
  But guess who she's married to?
• 29:22
  Russ Armstrong.
• 29:24
  No. Yeah, yeah. Oh.
• 29:27
  That's amazing.
• 29:28
  Yeah. It's just was like, you don't know.
• 29:29
  Damn I don't. Yeah.
• 29:31
  Was she an improviser?
• 29:33
  Yeah, she's a comedian. She's. She's married to Russ Arms.
• 29:37
  Who is the coach of Nintendo?
• 29:39
  My house. Team.
• 29:40
  That's great.
• 29:40
  I was a big brother for one of his classes.
• 29:44
  Yeah, yeah.
• 29:46
  It was.
• 29:46
  Wonder how you think of it as a storyteller teaching people references.
• 29:51
  I think you can do them broadly enough to where if you do get them,
• 29:54
  that's really great.
• 29:54
  And you can, like, take pride in knowing them.
• 29:57
  And then if you don't, it's like as long as the,
• 30:02
  as long as what you're saying or what you're doing is like enjoyable and
• 30:05
  and useful within the, within the arc of the story.
• 30:08
  That's great.
• 30:09
  Nothing profound to say, but just that they're they can be fun.
• 30:14
  Yeah.
• 30:14
  I think not having them be a crutch,
• 30:16
  because I think sometimes it's like almost like you
• 30:18
  if you don't trust your own storytelling, you rely on so many.
• 30:21
  These things are funny.
• 30:22
  So if I point to these things, I'm funny or like I'm interesting.
• 30:26
  So not using it as a crutch.
• 30:27
  But to your point, I think, I think the studio does this really well, where
• 30:31
  if you get it, you get it, and it's like it's extra smart, it's like extra good.
• 30:36
  You know, you get like an extra a secret little gift,
• 30:40
  but you can still enjoy it without it. Yeah.
• 30:42
  And this movie is such a fast pace anyways.
• 30:44
  Like even if you're able to get it, you're like, oh, I see that thing.
• 30:47
  Okay, now it's time for us to move on. Oh
• 30:50
  no no no no no no.
• 30:53
  It is not just for unquote foreshadowing, I take it.
• 30:58
  I go out for dead.
• 31:01
  It's cool to get down from there.
• 31:04
  Yeah, yeah.
• 31:05
  We just used to know this is cool.
• 31:10
  Is it?
• 31:13
  Let's kick your butt together.
• 31:15
  I feel like you feel me. Okay.
• 31:17
  Don't feel guilty out here.
• 31:24
  With.