Latest / Movie Meltdown / 285: In the Mood for Kristina Klebe

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285: In the Mood for Kristina Klebe · Movie Meltdown

• 0:11
  Speaker 1: This is Jess Weixler and you.
• 0:14
  Speaker 2: Are listening to Movie Meltdown.
• 0:18
  Speaker 3: I should go higher with that.
• 0:19
  Speaker 4: Hi, this is Jess Weixler and you are listening to
• 0:22
  Speaker 4: Movie Meltdown.
• 0:26
  Speaker 3: Too much no you can never do too much.
• 0:30
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• 0:35
  Speaker 4: Show the following feature has been rated r by the
• 0:45
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• 0:48
  Speaker 4: audiences and parental discretion is advised.
• 1:01
  Speaker 6: It's showtime, folks. Enjoy the show.
• 1:06
  Speaker 7: Our nuclear reactor pumping out.
• 1:09
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• 1:38
  Speaker 6: To your stations, we have a movie meltdown.
• 1:41
  Speaker 2: But when Christina came into this world, something in me changed.
• 1:45
  Speaker 7: I knew what I was put on the planet for.
• 1:48
  Speaker 6: It was the greatest feeling I ever had.
• 1:50
  Speaker 4: What's up and.
• 1:59
  Speaker 3: Welcome to Movie Meltdown. I'm Brian.
• 2:02
  Speaker 6: I'm Ken.
• 2:03
  Speaker 2: I'm Christian.
• 2:04
  Speaker 8: And we're coming to you live via digital recording from
• 2:07
  Speaker 8: Skylight Bistro and Wine Bar in the lovely Marriott.
• 2:12
  Speaker 3: One of those convention things.
• 2:13
  Speaker 8: So, how has your weekend been? Maybe we'll omit certain
• 2:18
  Speaker 8: facts that don't need to be passed along.
• 2:21
  Speaker 9: I won't share everything that went on, but.
• 2:23
  Speaker 2: I will.
• 2:25
  Speaker 10: No, I'm kidding.
• 2:27
  Speaker 1: In between some of my unfortunate circumstances, as a result
• 2:32
  Speaker 1: of some wonderful pizza.
• 2:35
  Speaker 9: I've had a really great time. It's been a good time.
• 2:42
  Speaker 10: It's been a different convention this time around. Conventions are always,
• 2:47
  Speaker 10: you never know what to expect, you know. You know
• 2:50
  Speaker 10: certain things will happen. You probably will have a hangover.
• 2:53
  Speaker 10: You probably will not have any sleep. You probably will meet,
• 2:57
  Speaker 10: you know, friends that you've known for a long time
• 2:59
  Speaker 10: but never see other than conventions. You'll meet some new people,
• 3:03
  Speaker 10: you know. Um, but yeah, this was, it's been kind
• 3:06
  Speaker 10: of low key and kind of mellow and getting to
• 3:10
  Speaker 10: know old friends better. And, um, yeah, getting to see
• 3:14
  Speaker 10: some crazy celebrities and.
• 3:17
  Speaker 1: It's been fun cause we stayed on the same floor
• 3:20
  Speaker 1: as some of the celebrities. And so I actually haven't
• 3:23
  Speaker 1: gotten any autographs this time around or went and met
• 3:26
  Speaker 1: anybody or anything like that. But I've talked to a
• 3:29
  Speaker 1: few celebrities walking down the hall, waiting for the elevator
• 3:33
  Speaker 1: and I didn't even necessarily know exactly who it was.
• 3:36
  Speaker 1: I just knew it was a celebrity because they had
• 3:38
  Speaker 1: that celebrity swag. And so I was like, hey, what's
• 3:43
  Speaker 1: going on?
• 3:43
  Speaker 9: Like, who's that one guy?
• 3:46
  Speaker 10: James Remar. Yeah. From the Warriors. Ajax. Dexter's dad. He's
• 3:51
  Speaker 10: probably better known for that.
• 3:52
  Speaker 9: Yeah, we were waiting on the elevator together and.
• 3:55
  Speaker 10: Oh, no, this is a different guy.
• 3:56
  Speaker 9: Oh, no, no, no, not that guy.
• 3:57
  Speaker 5: Oh, okay.
• 3:57
  Speaker 9: Yeah, the other guy.
• 3:58
  Speaker 10: We'll take that story back. The other guy was William
• 4:01
  Speaker 10: Sadler from, what, Die Hard 2 and Bill and Ted's
• 4:07
  Speaker 10: Bogus Journey.
• 4:08
  Speaker 9: Bogus Journey, yeah.
• 4:10
  Speaker 10: And Tales of the Crypt Demon Knight. Yeah. And look
• 4:13
  Speaker 10: it up on IMDb.
• 4:15
  Speaker 9: Well, in any case, we were in on the elevator
• 4:19
  Speaker 9: together and.
• 4:21
  Speaker 1: I was just like, hey, you doing okay? Because he
• 4:24
  Speaker 1: was kind of like coughing and kind.
• 4:25
  Speaker 2: Of like, whoa.
• 4:27
  Speaker 1: I was like, are you okay? And he was like, oh,
• 4:29
  Speaker 1: I just smoked a cigar. And I was like, yeah,
• 4:32
  Speaker 1: I guess you're feeling it, huh? And he was like, huh.
• 4:35
  Speaker 1: And then like hurried up and got on the tiny
• 4:37
  Speaker 1: elevator and like rushed up to the fifth floor.
• 4:39
  Speaker 2: And I was like, thanks.
• 4:42
  Speaker 9: I guess I'll get in this one.
• 4:43
  Speaker 10: Hey, congratulations.
• 4:45
  Speaker 11: No.
• 4:45
  Speaker 9: And then who are we talking to about the cooler?
• 4:47
  Speaker 10: Oh, James Remar.
• 4:49
  Speaker 12: No, no, no.
• 4:50
  Speaker 2: The other guy.
• 4:51
  Speaker 3: Bill Moseley?
• 4:52
  Speaker 9: Yeah, Moseley.
• 4:53
  Speaker 1: Yeah, we were talking to him about the amazing traveling
• 4:56
  Speaker 1: cooler that was on the fifth floor.
• 4:58
  Speaker 12: Yeah. So.
• 5:00
  Speaker 8: Just in case you were wondering what that is. Yeah,
• 5:03
  Speaker 8: there was a random cooler that was hanging out in
• 5:05
  Speaker 8: the hallway. Was that their Friday night?
• 5:07
  Speaker 9: It was, yeah, it's been there the whole time that
• 5:09
  Speaker 9: we've been here.
• 5:10
  Speaker 8: It was just sitting at the front of the hallway
• 5:12
  Speaker 8: and then by Saturday it just started migrating around the hall.
• 5:16
  Speaker 8: It was like a big long hallway with all the doors.
• 5:18
  Speaker 8: And like every, like I went there like three or
• 5:21
  Speaker 8: four times I went down that hallway that night. And
• 5:23
  Speaker 8: like each time it was at a different spot in
• 5:25
  Speaker 8: the hallway or it was.
• 5:26
  Speaker 3: Directly in front of our door.
• 5:27
  Speaker 9: In front of the door, yeah.
• 5:28
  Speaker 3: And then it was moved further down the hallway. And
• 5:31
  Speaker 3: it just kept migrating.
• 5:32
  Speaker 9: It was kind of entertaining.
• 5:32
  Speaker 1: Do you think it was Mosley that was doing it?
• 5:35
  Speaker 1: He specifically was talking to me and Justin about it.
• 5:38
  Speaker 1: And was like, yeah, he was like, that thing just
• 5:40
  Speaker 1: keeps traveling down the hallway. And it's like, hmm, are
• 5:43
  Speaker 1: you trying to be funny, Mr.
• 5:45
  Speaker 10: Mosley?
• 5:45
  Speaker 8: He is pretty entertaining.
• 5:48
  Speaker 10: Ghost cooler.
• 5:49
  Speaker 11: Spooky.
• 5:50
  Speaker 6: Spooky. Spooky cooler.
• 5:52
  Speaker 10: It's like Richard Scarry.
• 5:53
  Speaker 6: Scarry.
• 5:53
  Speaker 9: Richard Scarry.
• 5:57
  Speaker 10: Oh, Richard Scarry.
• 5:59
  Speaker 6: Hey, I'm a pig. I'm wearing lederhosen.
• 6:01
  Speaker 10: Scary, no? I'm a worm and I drive an apple. Blah.
• 6:08
  Speaker 3: Lowly is awesome. The dude has no arms, drives a car.
• 6:12
  Speaker 3: He's awesome.
• 6:13
  Speaker 10: He owns a shoe.
• 6:14
  Speaker 6: A shoe.
• 6:17
  Speaker 10: And he wears it. And a hat with a feather
• 6:20
  Speaker 10: in it.
• 6:20
  Speaker 6: Pretty amazing.
• 6:22
  Speaker 3: How does he tie his laces?
• 6:24
  Speaker 10: Carefully.
• 6:26
  Speaker 3: Scary, no?
• 6:28
  Speaker 11: Woo!
• 6:32
  Speaker 6: A boo.
• 6:35
  Speaker 10: That's who they need here at one of these conventions
• 6:38
  Speaker 10: is Count Floyd. That would be awesome.
• 6:41
  Speaker 8: I can't believe he hadn't started doing those. At this point,
• 6:43
  Speaker 8: why would he not be like, yeah, he could host
• 6:46
  Speaker 8: the whole event, the movies night.
• 6:48
  Speaker 3: It would be awesome.
• 6:50
  Speaker 10: That would be so great. Just the crappiest. They could
• 6:53
  Speaker 10: not even be... Honestly, there's enough crappy filmmakers at any
• 6:56
  Speaker 10: one of these conventions that they could just throw their
• 6:59
  Speaker 10: stuff up and try to be proud of it, and
• 7:02
  Speaker 10: then he could just totally tear it down, which would
• 7:04
  Speaker 10: be great.
• 7:06
  Speaker 8: It's kind of what I'm planning with our possible upcoming
• 7:09
  Speaker 8: movie nights. I really do want it to be pretty
• 7:11
  Speaker 8: close to a Count Floyd kind of a thing.
• 7:14
  Speaker 6: That's awesome.
• 7:16
  Speaker 10: If you don't know who Count Floyd is, there was
• 7:17
  Speaker 10: a show in the 80s, right?
• 7:21
  Speaker 6: SCTV.
• 7:23
  Speaker 10: Yeah, SCTV, Second City Television. It was the sister, kind of,
• 7:28
  Speaker 10: or brother to, the Canadian brother to Saturday Night Live.
• 7:32
  Speaker 10: It's where John Candy got his start, Rick Moranis, Dave Thomas,
• 7:38
  Speaker 10: so many others. But one of the characters, it was
• 7:41
  Speaker 10: Joe Flaherty, came up with this character, Count Floyd, who
• 7:45
  Speaker 10: was on a low-budget, low-cable-access channel. who had, like, a
• 7:52
  Speaker 10: T-shirt and a cape. And he had access to a
• 7:59
  Speaker 10: lot of shitty movies. And it was, yeah, Count Floyd. So, yeah,
• 8:05
  Speaker 10: they're pretty genius. You can find a lot of that
• 8:07
  Speaker 10: stuff on YouTube, like anything else. But, yeah, he's just
• 8:10
  Speaker 10: got the best voice for this kind of stuff. You know,
• 8:12
  Speaker 10: it's great.
• 8:13
  Speaker 3: In three days. There's a lot of that.
• 8:17
  Speaker 10: What was the one that was, like, The Wolfman's House
• 8:20
  Speaker 10: of Pancakes or something. It was like in 3D. And
• 8:24
  Speaker 10: John Candy was like the butler. It was awesome. It's
• 8:26
  Speaker 10: just classic. But anyway, Count Floyd, awesome. This show is
• 8:31
  Speaker 10: just weird. If you haven't been to one of these,
• 8:34
  Speaker 10: I don't know what you're doing, but you really need
• 8:37
  Speaker 10: to check it out because it's fans that love this stuff,
• 8:41
  Speaker 10: which is great and which is also fun to just
• 8:43
  Speaker 10: look at and go, what is that about? But, you know.
• 8:47
  Speaker 9: It's way better people watching than going to the mall.
• 8:49
  Speaker 12: It is.
• 8:50
  Speaker 5: Oh, yeah. Any day.
• 8:50
  Speaker 8: I mean, we did sit down here to record this,
• 8:52
  Speaker 8: and Michael Berryman was at the bar. So I was like, oh,
• 8:55
  Speaker 8: you don't see that every day. Unless you're at a
• 8:57
  Speaker 8: horror convention.
• 8:57
  Speaker 6: Yeah, right.
• 9:00
  Speaker 10: Yeah, and, you know, like James Remar. Here's my James
• 9:02
  Speaker 10: Remar story, exciting as it was. Walking in, getting our
• 9:06
  Speaker 10: hotel room, and we're both kind of just, you know,
• 9:10
  Speaker 10: trying to figure out where we're at and what's going on.
• 9:12
  Speaker 10: And I look up and I see a guy approaching us.
• 9:15
  Speaker 10: And I'm like, hey. And he goes, hey. I walk by.
• 9:18
  Speaker 10: And no sooner than the guy turned the hallway, I
• 9:21
  Speaker 10: went to Christian and I'm like, that was James Rewar.
• 9:24
  Speaker 10: That was Ajax from the Warriors. No, no.
• 9:26
  Speaker 9: He started it with, oh my God, do you know
• 9:28
  Speaker 9: who that was?
• 9:31
  Speaker 10: Surely within his ear.
• 9:33
  Speaker 2: Oh, yeah.
• 9:34
  Speaker 9: We weren't even in the door.
• 9:35
  Speaker 2: Do you know who that was?
• 9:37
  Speaker 10: He's like, jerk.
• 9:40
  Speaker 3: I hate coming to these things.
• 9:44
  Speaker 10: Then I saw him last night, and we were in
• 9:47
  Speaker 10: a crowd, and he had a couple of beers with
• 9:49
  Speaker 10: me at that point. He was walking by, and he
• 9:52
  Speaker 10: had a big smile on his face. I was like, hey,
• 9:54
  Speaker 10: and he just kept walking. He's like, I don't want
• 9:57
  Speaker 10: to get involved.
• 9:58
  Speaker 8: It might have been that was probably afterwards because we
• 10:02
  Speaker 8: also saw him when he was heading to the elevator
• 10:04
  Speaker 8: we actually had the one two bunch we had bill
• 10:06
  Speaker 8: mosley go by and then james remar and then so
• 10:09
  Speaker 8: they went down the stairs because they don't want to
• 10:11
  Speaker 8: be trapped on the elevator with the likes of us
• 10:12
  Speaker 8: and i don't blame them but When we got down,
• 10:15
  Speaker 8: we were going to eat and we were driving down
• 10:17
  Speaker 8: the road and they were walking on the sidewalk. So
• 10:20
  Speaker 8: it was just them and a third guy that I
• 10:22
  Speaker 8: don't know who he was that was just kind of
• 10:23
  Speaker 8: hanging out with them.
• 10:24
  Speaker 3: And they were walking down the street, I guess, going
• 10:26
  Speaker 3: to dinner.
• 10:27
  Speaker 8: And then we were trying to figure out, well, like
• 10:28
  Speaker 8: walking distance, like we hope they're going to the hotel
• 10:30
  Speaker 8: up the street that has a restaurant built in, you know.
• 10:33
  Speaker 8: But I was like, if not, our choices are like
• 10:36
  Speaker 8: Subway and Arby's. So then I'm like, then I'm trying
• 10:40
  Speaker 8: to picture this like chop top going to Arby's.
• 10:42
  Speaker 3: And I'm just like, y'all got fresh meat back there?
• 10:45
  Speaker 3: Let me come back and chainsaw it up for you.
• 10:48
  Speaker 8: I'm picturing him going in and just snapping into Chop
• 10:51
  Speaker 8: Top mode. So, yeah, I don't know that he actually
• 10:54
  Speaker 8: did that. He's actually relatively calm in the real world.
• 10:57
  Speaker 8: He's an awesome guy, but I'm just picturing Chop Top
• 11:00
  Speaker 8: at the Arby's.
• 11:01
  Speaker 10: He's also really good at bird calls. I don't know
• 11:03
  Speaker 10: if you've ever noticed that. But, yeah, one of the
• 11:05
  Speaker 10: first conventions I was at, I was at a table
• 11:08
  Speaker 10: with a friend of mine, and next to us in
• 11:11
  Speaker 10: the next booth was Bill Mosley– Richard Lynch from Invasion
• 11:16
  Speaker 10: USA and Bad Dreams. Every 80s movie. Every 80s, yeah.
• 11:21
  Speaker 10: One of the puppet masters. And, oh, now I can't
• 11:24
  Speaker 10: think of that. David Hess. Is it David Hess? From
• 11:27
  Speaker 10: Last House on the Left. And so they were all
• 11:29
  Speaker 10: sitting there just eating and talking, you know, stuff. And
• 11:33
  Speaker 10: Bill Moseley just starts whipping out these bird calls. And
• 11:35
  Speaker 10: we're like, what the hell is that about?
• 11:36
  Speaker 2: Why didn't you tell me that?
• 11:37
  Speaker 9: I totally could have communicated with him with my turkey call.
• 11:40
  Speaker 6: Oh, yeah.
• 11:41
  Speaker 10: You'd have been like, oh. You're part of that group?
• 11:44
  Speaker 3: Oh, okay.
• 11:45
  Speaker 10: There's a whole separate convention for those people.
• 11:49
  Speaker 6: Bird callers? Man.
• 11:53
  Speaker 10: Yeah, it's just weird. It's like, okay, you've got to
• 11:55
  Speaker 10: come up with something else. You can't spend all your
• 11:57
  Speaker 10: time talking about Chop Top.
• 11:59
  Speaker 3: And he once gave me a pecan, Sandy.
• 12:02
  Speaker 10: Pecan, Sandy. Yeah. We could do a whole thing with
• 12:08
  Speaker 10: just getting this rig set up in an elevator and
• 12:10
  Speaker 10: have celebrity elevator stories.
• 12:12
  Speaker 9: That's a really good idea.
• 12:14
  Speaker 11: Actually, yeah.
• 12:14
  Speaker 8: We should see if the hotel would okay that. I'm
• 12:17
  Speaker 8: going to guess no.
• 12:20
  Speaker 10: So, where are you going? That'd be awful.
• 12:27
  Speaker 6: You know.
• 12:28
  Speaker 9: It'd be like the Chris Farley show.
• 12:30
  Speaker 5: Yeah.
• 12:31
  Speaker 10: So, fourth floor. Remember when you were there?
• 12:35
  Speaker 8: Not even Chris Farley. It'd be more fun like the
• 12:39
  Speaker 8: third day in. Remember that time you went down to
• 12:41
  Speaker 8: the lobby?
• 12:44
  Speaker 10: And he's like, I hate this show.
• 12:49
  Speaker 9: Oh, you guys again.
• 12:50
  Speaker 1: And I'll just be standing on the stairs making turkey noises.
• 12:55
  Speaker 10: They do all these crazy shows now where it's like
• 12:57
  Speaker 10: an interview on the steps. You know somebody, and it's like,
• 13:00
  Speaker 10: what's the point of this? But they're hanging out.
• 13:02
  Speaker 3: Riding in the car with Jerry Seinfeld.
• 13:04
  Speaker 10: Yeah, right, yeah. It's like, what's the point of that?
• 13:07
  Speaker 10: But okay, you know. Yeah, we could just do it
• 13:10
  Speaker 10: in an elevator with celebrities. That would be awesome.
• 13:13
  Speaker 2: Do it in an elevator.
• 13:14
  Speaker 3: Yeah, wait a minute. That's a different show. That needs
• 13:16
  Speaker 3: to be a web show. You've got to shoot video
• 13:19
  Speaker 3: for that one.
• 13:20
  Speaker 2: What's your favorite?
• 13:20
  Speaker 10: Up or down?
• 13:22
  Speaker 3: We might just have to leave it at that. All right.
• 13:25
  Speaker 3: I don't think we can get out of that one.
• 13:27
  Speaker 8: We will take our break here and head into this
• 13:29
  Speaker 8: week's movie discussion with special guests.
• 13:32
  Speaker 7: Second floor, hardware, children's wear, ladies lingerie. Going down.
• 13:39
  Speaker 11: Yeah! Working like a devil in Boston. Working for the company.
• 13:55
  Speaker 11: Betting all my dice, I'm tossing.
• 14:00
  Speaker 10: I'm going to have a fantasy.
• 14:02
  Speaker 11: Where am I going to look?
• 14:26
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• 14:29
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  Speaker 8: So I am now maybe, quite possibly, one of the
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• 17:57
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  Speaker 6: It had to be you.
• 18:10
  Speaker 5: It had to be you.
• 18:14
  Speaker 13: I wandered around and finally found the somebody who.
• 18:21
  Speaker 10: Could make me be true.
• 18:24
  Speaker 7: Could make me be blue.
• 18:27
  Speaker 5: One final word when the performance ends and before moving
• 18:32
  Speaker 5: replace the speaker on its stand you then drive forward
• 18:36
  Speaker 5: and you move to the right you must never reverse
• 18:39
  Speaker 5: out of your position thank you everyone we trust you
• 18:42
  Speaker 5: have a pleasant evening it's part of your problem you
• 18:47
  Speaker 5: know you haven't seen enough movies all of life's riddles
• 18:49
  Speaker 5: are answered in the movies Now.
• 18:51
  Speaker 2: On with the show.
• 18:57
  Speaker 11: Christina, take me away Take me away with you Christina,
• 19:05
  Speaker 11: I'm wasting away I wanna be with you Christina, take
• 19:13
  Speaker 11: me away Take me away with you Christina, I'm wasting
• 19:20
  Speaker 11: away I wanna be with you.
• 19:26
  Speaker 8: Okay, so this week's special guest co-host is none other
• 19:29
  Speaker 8: than Miss Christina Cleave. So a lot of people will
• 19:31
  Speaker 8: know her from Rob Zombie's Halloween.
• 19:33
  Speaker 3: But that's just the beginning. She's a terrific actress who's
• 19:36
  Speaker 3: been in Peter and Vandy, Zone of the Dead, Breadcrumbs,
• 19:39
  Speaker 3: Bella Kiss, The Advocate.
• 19:41
  Speaker 8: She's played Ava Braun in what is by far the
• 19:44
  Speaker 8: best segment in Chillerama. And most recently, you'll see her
• 19:47
  Speaker 8: in Zach Parker's impressive film Proxy.
• 19:50
  Speaker 3: Which we'll be talking about shortly.
• 19:52
  Speaker 8: Now, we did an interview with Christina a few years
• 19:54
  Speaker 8: back at a show where I also saw the short
• 19:56
  Speaker 8: film she directed. And when I talked to her then,
• 19:58
  Speaker 8: I was most impressed with how smart she was and
• 20:01
  Speaker 8: how passionate she was about not just acting, but also
• 20:05
  Speaker 8: the prospect of directing and the filmmaking process as a whole.
• 20:09
  Speaker 8: It was great to talk to her that first time,
• 20:11
  Speaker 8: and even then I remember I thought to myself, she
• 20:14
  Speaker 8: would be a great person to have sit in for
• 20:16
  Speaker 8: a full sofa theater movie discussion. She seems like she
• 20:20
  Speaker 8: would really get that type of segment. So I kept
• 20:23
  Speaker 8: that in mind in case we crossed paths again in
• 20:26
  Speaker 8: the future. So I was glad to find out she
• 20:28
  Speaker 8: would be at the show this weekend, and I thought
• 20:30
  Speaker 8: it was a great excuse to sit down with her,
• 20:32
  Speaker 8: catch up on what she's been doing since we last spoke,
• 20:35
  Speaker 8: and invite her to pick a.
• 20:36
  Speaker 3: Movie to discuss.
• 20:37
  Speaker 8: So it turns out she was up for both of
• 20:38
  Speaker 8: those ideas, and thankfully picked an interesting and pretty amazing
• 20:42
  Speaker 8: movie for us to talk about. So with that, I
• 20:44
  Speaker 8: say we go ahead and get into it as I
• 20:46
  Speaker 8: sit down with Christina and talk movies. We talked to
• 20:54
  Speaker 8: you a few years back, and I don't know, I
• 20:58
  Speaker 8: think at that point you were just getting ready to
• 20:59
  Speaker 8: shoot Proxy, which I've just seen Proxy, and you were right.
• 21:04
  Speaker 8: I believe you described your character. Actually, you went both
• 21:07
  Speaker 8: ends of the spectrum here. You described her as, on
• 21:09
  Speaker 8: one hand, a toughie, followed by a fucked up chick.
• 21:14
  Speaker 2: Oh, do you have that in writing? Do you have
• 21:17
  Speaker 2: it on air? Oh, yeah.
• 21:18
  Speaker 3: You have been documented as saying both of those.
• 21:20
  Speaker 2: That's crazy.
• 21:21
  Speaker 7: Okay.
• 21:21
  Speaker 2: So she's a toughie and a fucked up chick. I
• 21:23
  Speaker 2: think she is both of those things. Yeah, I think
• 21:25
  Speaker 2: she does. That applies to all. What would you add
• 21:27
  Speaker 2: to it?
• 21:29
  Speaker 11: Um....
• 21:30
  Speaker 3: Interesting.
• 21:31
  Speaker 13: Okay.
• 21:32
  Speaker 8: Across the board, all the characters. But yours definitely plays
• 21:35
  Speaker 8: such a different role.
• 21:37
  Speaker 3: I mean, that's the thing. And I'm going to try
• 21:38
  Speaker 3: to talk to Zach in the next few weeks here.
• 21:40
  Speaker 2: That was not a fart. That was a chair moving.
• 21:42
  Speaker 3: He's going to be at one of the film fests.
• 21:44
  Speaker 8: And I think he did such an interesting job writing
• 21:48
  Speaker 8: that movie because it feels like you go in and, well,
• 21:52
  Speaker 8: right off the bat, it's kind of appalling.
• 21:54
  Speaker 3: And then, like, from that point, you kind of feel
• 21:56
  Speaker 3: like you know where it's going.
• 21:58
  Speaker 8: And then about halfway in, it takes that turn, and
• 22:00
  Speaker 8: you're like, okay, like it's a whole new movie. And
• 22:03
  Speaker 8: then even then you think, you know, and at least
• 22:06
  Speaker 8: once or twice more, you kind of get thrown for
• 22:09
  Speaker 8: a loop. So I guess, was it exactly in that
• 22:12
  Speaker 8: state when you read it that first time?
• 22:17
  Speaker 2: Yes, but I actually think that Zack did a, he
• 22:20
  Speaker 2: added like he knew in his head I think probably
• 22:22
  Speaker 2: already what he wanted for that movie like and in
• 22:25
  Speaker 2: the script I think it was it was not even
• 22:29
  Speaker 2: as like surprising as it is in the final movie
• 22:33
  Speaker 2: like you know I think I actually don't remember feeling
• 22:36
  Speaker 2: I feel I remember feeling like really intrigued by the
• 22:39
  Speaker 2: script but I think the way that he edited it
• 22:42
  Speaker 2: and the way the sound like everything came together in
• 22:44
  Speaker 2: the actual movie it keeps you even more on edge
• 22:47
  Speaker 2: you know he really created a tension I think That
• 22:50
  Speaker 2: was even more palpable than in the script, actually. Which,
• 22:53
  Speaker 2: of course, it was already there in the script, but,
• 22:54
  Speaker 2: you know.
• 22:55
  Speaker 8: Yeah, it's ridiculously tense as you get into this. And
• 22:59
  Speaker 8: because you don't know where it's going at that point,
• 23:01
  Speaker 8: when it starts taking those turns, you're like, I really
• 23:03
  Speaker 8: don't know how this is going to turn out, which
• 23:05
  Speaker 8: is interesting. And I guess going into that character, because
• 23:09
  Speaker 8: it is such a, a weird character, but I do
• 23:12
  Speaker 8: remember seeing you say, like, she's kind of the most
• 23:14
  Speaker 8: normal character in its own weird, messed up way in
• 23:17
  Speaker 8: the story. Like, she really is almost, like, the most
• 23:20
  Speaker 8: straightforward of the bunch.
• 23:22
  Speaker 2: Well, I think she definitely is the most straightforward of
• 23:24
  Speaker 2: the bunch. That's the whole thing. Like, she's very, like,
• 23:26
  Speaker 2: she's fucked up in, like, other ways, but she's very
• 23:29
  Speaker 2: black and white and very straightforward. Like, you know, what
• 23:32
  Speaker 2: Annika says Annika does, what Annika says Annika means. What Annika...
• 23:38
  Speaker 2: Doesn't say, should scare the shit out of you. When
• 23:42
  Speaker 2: Annika's silent, you run.
• 23:46
  Speaker 3: Can I pronounce your name wrong so she can correct me?
• 23:49
  Speaker 3: Because that was possibly my favorite part of the movie.
• 23:51
  Speaker 2: Yeah, please do it. Do it, do it. Pretend you're
• 23:53
  Speaker 2: the police officer.
• 23:54
  Speaker 3: Anna? Are you Anna?
• 23:55
  Speaker 2: It's Annika.
• 23:57
  Speaker 10: It's Annika.
• 23:58
  Speaker 3: Annika was not happy with that.
• 24:02
  Speaker 2: Do you want me to put some clothes on? What,
• 24:03
  Speaker 2: you don't like this?
• 24:04
  Speaker 3: She's hardcore. You don't mess with Annika.
• 24:08
  Speaker 2: She's hardcore.
• 24:10
  Speaker 8: Oh but yeah i don't know that that filming on
• 24:12
  Speaker 8: that it again you kind of did it in indiana
• 24:16
  Speaker 8: so that that's very different from you know many productions
• 24:18
  Speaker 8: what was it like shooting.
• 24:19
  Speaker 2: There um so i guess i can i'm a little
• 24:23
  Speaker 2: used to shooting on location i'm pretty used to shooting
• 24:25
  Speaker 2: on location because i i also have eu citizenship so
• 24:28
  Speaker 2: i work in europe like i've i've worked in germany
• 24:30
  Speaker 2: on location and serbia and montenegro on location and um
• 24:35
  Speaker 2: So working in Indiana on location was kind of like, oh, okay, well,
• 24:38
  Speaker 2: it's just another place to live for a few weeks.
• 24:40
  Speaker 11: Or a month.
• 24:41
  Speaker 3: There's some scary parts in Indiana.
• 24:43
  Speaker 2: Well, I remember, like, because at the time I was
• 24:46
  Speaker 2: really fit to play this part. And I was running
• 24:52
  Speaker 2: a lot. So I remember I actually one day ran.
• 24:54
  Speaker 2: It was the middle of the summer. It was like
• 24:56
  Speaker 2: 90 degrees out. And I ran from the hotel slash
• 25:00
  Speaker 2: motel where we were staying to the set, which was, like,
• 25:05
  Speaker 2: I'm wanting to guess like at least 10 to 15
• 25:08
  Speaker 2: miles away. Like, I don't know what I was thinking.
• 25:10
  Speaker 2: It was my day off and I'm like, I'm going
• 25:12
  Speaker 2: to run like a half marathon for fun, you know?
• 25:15
  Speaker 2: And I didn't even like, and, um, as I was running, like,
• 25:19
  Speaker 2: you know, I was running by all these cornfields and
• 25:21
  Speaker 2: I would always have my little running route. But in this,
• 25:23
  Speaker 2: this day, like I ran by cornfields and then there
• 25:25
  Speaker 2: were like dead animals in the road. And then there
• 25:27
  Speaker 2: was like, and everybody was like staring at me. It
• 25:29
  Speaker 2: was like 90 degrees out and like cars are like honking.
• 25:31
  Speaker 2: I'm like, this, you know, so, um, So I did
• 25:35
  Speaker 2: get to see a little of Indiana on foot.
• 25:38
  Speaker 3: People don't exercise in the Midwest. They were frightened by it.
• 25:41
  Speaker 7: Yeah.
• 25:42
  Speaker 3: I'm from here. I can make fun of us. So proxy.
• 25:47
  Speaker 3: Go find it. Go see it.
• 25:49
  Speaker 2: Definitely.
• 25:50
  Speaker 3: I mean, it's on DVD now. Are they still going
• 25:53
  Speaker 3: to try to do any more?
• 25:54
  Speaker 2: It's on Netflix streaming also. It's on DVD, DVD, Blu-ray.
• 25:59
  Speaker 2: It's on X. No, it's not on Xbox.
• 26:01
  Speaker 6: Sorry.
• 26:01
  Speaker 2: It's on.
• 26:02
  Speaker 3: Demand it from it's.
• 26:03
  Speaker 2: On demand it's on Netflix streaming and it's on DVD
• 26:07
  Speaker 2: and Blu-ray and it's the kind of movie that is
• 26:09
  Speaker 2: worth buying for sure yeah I agree because you'll want
• 26:13
  Speaker 2: to watch it probably more than once and it's I
• 26:17
  Speaker 2: think it's a very very special amazingly well made film yeah.
• 26:22
  Speaker 8: I didn't know what to expect going in and was
• 26:24
  Speaker 8: very impressed with it so yeah you guys did a
• 26:27
  Speaker 8: great job alright unless you have other things you want
• 26:30
  Speaker 8: to get into the movie of the week Yeah.
• 26:32
  Speaker 2: I mean, I will just really quickly plug also this
• 26:35
  Speaker 2: other movie that I have coming out next week called
• 26:36
  Speaker 2: Killer Mermaid, which is exactly about that. Um, it's honestly,
• 26:42
  Speaker 2: it's actually a really, really fun adventure monster movie with
• 26:47
  Speaker 2: the mermaid. So, um, it's not going to be on
• 26:49
  Speaker 2: Amazon and, um, on DVD next week, I think after
• 26:53
  Speaker 2: September 9th or something.
• 26:54
  Speaker 8: It's an actual swimming mermaid, not a Fiji mermaid. Is
• 26:58
  Speaker 8: this all a hoax?
• 26:59
  Speaker 12: No, I know.
• 27:00
  Speaker 2: I know.
• 27:01
  Speaker 5: Right.
• 27:01
  Speaker 2: Um, Yeah, it's really funny. It's pretty cool. It's good.
• 27:08
  Speaker 2: I think Mads Mikkelsen just didn't recognize me. He thought
• 27:16
  Speaker 2: I was.
• 27:17
  Speaker 3: He's been hanging out all weekend. He seems very nice.
• 27:21
  Speaker 2: Anyway, so... All right, that's good. Let's talk about something else.
• 27:25
  Speaker 10: All right.
• 27:25
  Speaker 6: Going to the movie. It's time for Sofa Theater. It's
• 27:30
  Speaker 6: time for Sofa Theater.
• 27:52
  Speaker 8: Yes, Mr.
• 27:52
  Speaker 2: Gu's son is about to get married.
• 27:54
  Speaker 10: He's moved out.
• 27:55
  Speaker 6: He wants to rent a room.
• 27:56
  Speaker 11: Thank you. No problem.
• 27:58
  Speaker 6: You can try it.
• 28:00
  Speaker 11: Thank you.
• 28:20
  Speaker 13: Oriental names are trying to confuse me.
• 28:32
  Speaker 11: It's okay.
• 28:32
  Speaker 3: I'll throw it to you.
• 28:34
  Speaker 5: Okay.
• 28:35
  Speaker 8: This week's Sofa Theater feature is In the Mood for Love,
• 28:37
  Speaker 8: the year is 2000.
• 28:39
  Speaker 3: The director?
• 28:40
  Speaker 2: Juan Carwai.
• 28:41
  Speaker 6: Very nice.
• 28:42
  Speaker 8: The plot, according to IMDb, two neighbors, a woman and
• 28:45
  Speaker 8: a man, form a strong bond after both suspect extramarital
• 28:49
  Speaker 8: activities of their spouses. However, which they're already kind of
• 28:52
  Speaker 8: spoiling things here. However, they agree to keep their bond
• 28:54
  Speaker 8: platonic so as to not commit similar wrongs.
• 28:57
  Speaker 3: Spoiler alert, a little too late for some of that.
• 28:59
  Speaker 3: But you've been warned. Go watch it. It's kind of amazing.
• 29:03
  Speaker 8: So, I guess I'll ask first off, from your end,
• 29:07
  Speaker 8: where did you first see it? Did you end up
• 29:10
  Speaker 8: seen it in the theater originally?
• 29:13
  Speaker 2: No, I did not see it in the theater. How
• 29:15
  Speaker 2: did I see it originally?
• 29:16
  Speaker 3: Actually, gosh, I don't even remember.
• 29:17
  Speaker 2: I kind of wish I had now. I have a
• 29:20
  Speaker 2: feeling that an ex-boyfriend of mine introduced me to that movie.
• 29:25
  Speaker 2: That's my feeling. Now, which one it was, which ex
• 29:29
  Speaker 2: I was, I really can't, I don't know. The important
• 29:33
  Speaker 2: thing is the movie lasted. The boyfriend did not.
• 29:37
  Speaker 3: Which is kind of what you take from this movie.
• 29:40
  Speaker 2: Yeah, exactly.
• 29:42
  Speaker 3: The, the, the things you take away from relationships may
• 29:45
  Speaker 3: be more important than the relationship itself.
• 29:47
  Speaker 2: That's not very true. That's very true until it's the
• 29:50
  Speaker 2: relationship that lasts. And then it's, um, but, um, so
• 29:56
  Speaker 2: somebody introduced me to it. Um, and I, I, Around
• 30:00
  Speaker 2: when it came, I think, no, maybe like around 2000, mid-2000s.
• 30:06
  Speaker 2: And then I was reintroduced to it when I was
• 30:11
  Speaker 2: in film school, I think.
• 30:13
  Speaker 8: Actually, I was going to ask about that. Because we
• 30:15
  Speaker 8: watched your movie last time I talked to you.
• 30:17
  Speaker 6: How is that going?
• 30:19
  Speaker 2: Well, it's going really well, except for that I've been
• 30:20
  Speaker 2: a little distracted with the acting stuff.
• 30:22
  Speaker 3: Acting stuff.
• 30:24
  Speaker 2: Acting is still working out these days.
• 30:29
  Speaker 3: Take it while you can get it.
• 30:30
  Speaker 2: Take it while I can get it. No, I'm working
• 30:33
  Speaker 2: on my first horror movie feature script. And then I
• 30:38
  Speaker 2: also have another idea for a script that I'm working on.
• 30:41
  Speaker 2: And hopefully we'll have both written within the next six months.
• 30:47
  Speaker 2: That's my goal.
• 30:47
  Speaker 6: Very cool.
• 30:48
  Speaker 2: First drafts, anyway.
• 30:50
  Speaker 8: Your short was really cool. Again, I kind of want
• 30:52
  Speaker 8: to see your visual style in a feature.
• 30:55
  Speaker 2: I would love to see my visual style in a feature, too. Just,
• 30:58
  Speaker 2: if anything, so I can say I've made a feature
• 31:00
  Speaker 2: and show the world what I can do. Because I
• 31:05
  Speaker 2: know I can make something pretty damn awesome, but I
• 31:07
  Speaker 2: just need other people to believe in me and also
• 31:11
  Speaker 2: invest money in making it.
• 31:12
  Speaker 3: It becomes the filmmaking game. Yes. Investing money.
• 31:16
  Speaker 6: Yeah.
• 31:17
  Speaker 2: It's like, believe in me, invest $ 100, 000. And believe in me,
• 31:21
  Speaker 2: invest $ 500, 000. Just give her a million. Yeah, just give
• 31:24
  Speaker 2: me a million.
• 31:26
  Speaker 3: All right. Well, good to know it's progressing.
• 31:29
  Speaker 10: Yes.
• 31:30
  Speaker 8: So I guess back into this one. So you, I
• 31:34
  Speaker 8: don't know, where do we begin?
• 31:36
  Speaker 3: Just like visually striking.
• 31:38
  Speaker 10: Right.
• 31:39
  Speaker 2: It's just amazing to look at. Where do we begin?
• 31:41
  Speaker 2: That is, yeah. So I have this thing, like, I am, like,
• 31:45
  Speaker 2: two of my favorite movies are Once Upon a Time
• 31:47
  Speaker 2: in the West and In the Mood for Love for
• 31:49
  Speaker 2: totally different reasons. But In the Mood for Love, it's
• 31:51
  Speaker 2: because I can turn that movie on, like, after, like,
• 31:56
  Speaker 2: a hard day or on any day. Like, just put
• 31:59
  Speaker 2: the DVD into my player and turn just the menu
• 32:04
  Speaker 2: on and it starts playing this song that is the
• 32:07
  Speaker 2: theme song. It's amazing. which is amazing, and it's the
• 32:11
  Speaker 2: theme song of this movie, and it just goes, like,
• 32:14
  Speaker 2: on a loop, and it just plays it over and over, and, like,
• 32:16
  Speaker 2: while the images of these scenes, of the most beautiful scenes,
• 32:20
  Speaker 2: are playing on a loop, and I'm, like, oh, I just, like,
• 32:23
  Speaker 2: put that on, and, like, it's, like, a meditation for me.
• 32:25
  Speaker 2: It's so beautiful. Like, I would say the thing that,
• 32:28
  Speaker 2: for me, about this movie is the, I mean, it's
• 32:31
  Speaker 2: so beautifully shot. It's the most I mean, he's shot
• 32:33
  Speaker 2: by one of the most amazing genius cinematographers, Christopher Doyle. Um, and, uh,
• 32:39
  Speaker 2: you know, he's was Wong Kar Wai's cinematographer for a
• 32:42
  Speaker 2: long time. I actually worked with him on a commercial. Actually,
• 32:45
  Speaker 2: maybe that's how I was introduced to the movie because
• 32:47
  Speaker 2: I worked with him in like 2004 on a commercial
• 32:51
  Speaker 2: that M. Night Shyamalan directed for Amex. And, um, and
• 32:56
  Speaker 2: maybe the, he was the one who told me shot
• 32:57
  Speaker 2: or like I looked him up and he, and I,
• 32:59
  Speaker 2: and I found in the mood for love. Um, it's
• 33:02
  Speaker 2: just geniusly shot like I was I was kind of
• 33:06
  Speaker 2: like looking again at some of the frames yesterday just
• 33:09
  Speaker 2: and everything has a foreground and a background everything has
• 33:14
  Speaker 2: something happening in the background whether it's smoke or steam
• 33:19
  Speaker 2: or rain or someone walking in the background it's um
• 33:25
  Speaker 2: it's everything has every picture has life to it and
• 33:30
  Speaker 2: every picture has a frame that you want to like
• 33:33
  Speaker 2: die for like every frame is like every every scene
• 33:38
  Speaker 2: is like I guess every frame I don't know how
• 33:40
  Speaker 2: to even talk about it like it's more gorgeous.
• 33:43
  Speaker 8: Than the next every frame has purpose right like it's
• 33:46
  Speaker 8: not just like oh and then we get to this
• 33:47
  Speaker 8: part over here and this part's important it's like you
• 33:49
  Speaker 8: feel like every scene that he's shooting somehow in his head, again,
• 33:55
  Speaker 8: some sort of crazy genius thoughts or like piecing this together,
• 33:58
  Speaker 8: even as he's shooting it on the fly going in,
• 34:00
  Speaker 8: this ties into this and this goes here and this
• 34:03
  Speaker 8: means this, but we're not going to spell it out
• 34:05
  Speaker 8: for you. So it does feel like everything going on
• 34:07
  Speaker 8: on screen is something.
• 34:10
  Speaker 5: Right.
• 34:10
  Speaker 2: And that's, I think really what makes the, I mean,
• 34:12
  Speaker 2: what made their collaboration in general so genius because like
• 34:16
  Speaker 2: what they teach you and what you should know anyway
• 34:18
  Speaker 2: about a film, like every, every scene, every frame should
• 34:23
  Speaker 2: be moving, I mean, every scene should be moving the
• 34:25
  Speaker 2: movie forward, right?
• 34:26
  Speaker 7: Yeah.
• 34:26
  Speaker 2: Like, if you don't need it and it doesn't teach
• 34:29
  Speaker 2: the audience anything, it should be taken out of the film.
• 34:32
  Speaker 3: That's a hard lesson to learn.
• 34:34
  Speaker 2: It is a hard lesson and most people don't understand it.
• 34:36
  Speaker 6: Yeah.
• 34:37
  Speaker 12: You know?
• 34:39
  Speaker 2: But in this case, like, this movie is a very
• 34:41
  Speaker 2: slow movie, so it's not like, you know, what maybe
• 34:45
  Speaker 2: a lot of, like, horror fans or what a lot of, like,
• 34:47
  Speaker 2: you know, action fans are used to, like, movie going
• 34:49
  Speaker 2: really quickly, like, This movie is slow as hell. But
• 34:53
  Speaker 2: every frame, every shot brings us forward to teach us
• 34:58
  Speaker 2: something more about these two characters. Yeah, I would say
• 35:02
  Speaker 2: for me, like, the reason the movie sticks out so
• 35:04
  Speaker 2: much again is the cinematography and the music and the
• 35:07
  Speaker 2: way that the music and the mood of the movie.
• 35:10
  Speaker 2: I mean, that's the whole thing. Look, it's in the title.
• 35:12
  Speaker 2: It's in the title. In the mood for love. The
• 35:15
  Speaker 2: movie is a mood. That's the whole, like, it takes
• 35:18
  Speaker 2: you to this place of, like, It's just.
• 35:22
  Speaker 3: It is almost all mood.
• 35:24
  Speaker 8: Because the way the movie plays out, you don't get, like,
• 35:28
  Speaker 8: what you would expect from, like, an American romance movie. Like,
• 35:32
  Speaker 8: you're going to get midway in, and then you're going
• 35:33
  Speaker 8: to get these, you know, their hot sex scenes. And, like,
• 35:36
  Speaker 8: we don't go down that road.
• 35:38
  Speaker 3: Like, that's not.
• 35:39
  Speaker 8: what that's not what he's trying to do on the
• 35:42
  Speaker 8: one hand and at the other it's not at all
• 35:43
  Speaker 8: what the story is telling you no by the time
• 35:46
  Speaker 8: you get to the end you realize oh okay this
• 35:48
  Speaker 8: is a totally different thing than what you probably would
• 35:51
  Speaker 8: have expected just like throwing this premise out there it's.
• 35:54
  Speaker 2: Um i mean i think it's incredible because there's so
• 35:57
  Speaker 2: much tension and palpable you know energy between these two
• 36:02
  Speaker 2: characters and what i find interesting and i don't know
• 36:05
  Speaker 2: if you notice but We never see the faces of
• 36:10
  Speaker 2: their spouses.
• 36:11
  Speaker 8: I was going to ask what your thoughts were on
• 36:13
  Speaker 8: that because it is kind of amazing the.
• 36:15
  Speaker 3: Way it's set up.
• 36:16
  Speaker 5: Yeah.
• 36:16
  Speaker 2: And actually, it took me until the second time viewing
• 36:19
  Speaker 2: to notice that because I was like, oh, but I
• 36:22
  Speaker 2: got confused. Like, who is the wife again? And then
• 36:24
  Speaker 2: I was like, oh, I'm confused who the wife is
• 36:28
  Speaker 2: because I never saw her face.
• 36:29
  Speaker 8: And then there's that point where he even kind of
• 36:32
  Speaker 8: tricks you at that point when she's sitting there telling
• 36:35
  Speaker 8: her husband she's, like, wanting to break up with him,
• 36:37
  Speaker 8: and you get him, and you're like, oh, okay, well,
• 36:39
  Speaker 8: we're finally, this is, you know, it's him from the back, but, like,
• 36:42
  Speaker 8: we're finally going to get to see him, and then
• 36:44
  Speaker 8: it turns around.
• 36:44
  Speaker 3: And she's just practicing the lines with Arlene.
• 36:47
  Speaker 5: Exactly.
• 36:47
  Speaker 3: Just like that. Okay, that was clever.
• 36:49
  Speaker 5: Exactly.
• 36:49
  Speaker 8: Like, you really, you kind of thought they were going there,
• 36:52
  Speaker 8: and then they're like, no, we're just, we're playing this
• 36:55
  Speaker 8: game the way they're playing this game in their real life.
• 36:58
  Speaker 2: Yeah.
• 36:59
  Speaker 3: I thought that was really clever.
• 37:00
  Speaker 2: And that idea is so interesting, too, right, that they
• 37:02
  Speaker 2: kind of, like, they they pretend they are their counterparts
• 37:07
  Speaker 2: yeah and how their counterparts how that romance and the
• 37:11
  Speaker 2: affair between their counter their spouses started and that's like
• 37:15
  Speaker 2: they're reliving it trying to figure out how could it happen.
• 37:17
  Speaker 8: You know well and it's interesting then by the time
• 37:20
  Speaker 8: you get to the end how much it really like
• 37:23
  Speaker 8: in any other more traditional movie it would become this
• 37:25
  Speaker 8: whole big elaborate thing and you do all these other
• 37:28
  Speaker 8: characters that you're sidetracked on all their nonsense. And it's like,
• 37:32
  Speaker 8: it just makes you focus on these two people. And
• 37:36
  Speaker 8: even though it's about their relationships and their marriages falling
• 37:39
  Speaker 8: apart in some cases, and it's like, we're still not
• 37:42
  Speaker 8: going to look at the other people. We're going to
• 37:43
  Speaker 8: look at how these two people deal with that situation.
• 37:46
  Speaker 3: It gives it such focus.
• 37:49
  Speaker 8: Again, it's like restraint that most filmmakers probably would not,
• 37:53
  Speaker 8: it may not even occur to them to do that.
• 37:55
  Speaker 3: It's so well put together.
• 37:57
  Speaker 10: Yeah, definitely.
• 37:58
  Speaker 8: I was also going to ask, just, like, from while
• 38:00
  Speaker 8: we're doing filmmaking kind of stuff, from what I hear,
• 38:04
  Speaker 8: the director doesn't use a script. Like, he, I guess,
• 38:07
  Speaker 8: has a rough idea, but, like, will just kind of
• 38:10
  Speaker 8: get on set. Because I think the actor had worked
• 38:13
  Speaker 8: with him before, and he's just, like, every clip I'd
• 38:16
  Speaker 8: seen with him, they're just, like, he's like, yeah, I'm
• 38:18
  Speaker 8: just used to it.
• 38:19
  Speaker 3: This is just how I work.
• 38:19
  Speaker 8: And, like, I think she was a little more frustrated
• 38:21
  Speaker 8: because I think she wanted a script and she wanted
• 38:24
  Speaker 8: to kind of know where the progression was going and
• 38:26
  Speaker 8: that's just not how it works.
• 38:28
  Speaker 6: So I don't know.
• 38:28
  Speaker 3: I was going to ask you, have.
• 38:30
  Speaker 8: You worked that much on the fly and would you
• 38:32
  Speaker 8: be comfortable going into this massive story like this and
• 38:35
  Speaker 8: just not a hundred percent knowing where you're even going.
• 38:39
  Speaker 3: As a character?
• 38:41
  Speaker 2: Oh, as an actor or as a director?
• 38:43
  Speaker 3: Like, we'll do well.
• 38:44
  Speaker 11: Okay.
• 38:45
  Speaker 2: As an actor, I would feel actually really uncomfortable. I'd
• 38:47
  Speaker 2: probably be more like her. Like that's a really scary
• 38:50
  Speaker 2: concept because like, there's no way for you to really prepare.
• 38:52
  Speaker 2: I guess you can prepare just by being the character,
• 38:55
  Speaker 2: but yeah, I mean, you know what I mean? Obviously
• 38:57
  Speaker 2: if I were working with one car, why, uh, I
• 39:01
  Speaker 2: would not care at all because I would trust that
• 39:03
  Speaker 2: he knows what he's doing. Cause he works that way.
• 39:05
  Speaker 10: Yeah.
• 39:06
  Speaker 2: It's more about like trusting the director and knowing that
• 39:10
  Speaker 2: they have a game plan, whatever that game plan is
• 39:12
  Speaker 2: or however they're going to reach it. I mean, yeah,
• 39:15
  Speaker 2: it's not the most comfortable situation for me as an actor.
• 39:18
  Speaker 2: I like to know what my lines are. I also
• 39:20
  Speaker 2: don't like when like scripts change.
• 39:22
  Speaker 13: Last minute, like, you know, the.
• 39:24
  Speaker 2: Morning of or the night of. and um but sometimes
• 39:28
  Speaker 2: it does add for a certain like spontaneity and for
• 39:32
  Speaker 2: kind of like maybe something that you couldn't have expected
• 39:35
  Speaker 2: or planned for like it might add something like that
• 39:37
  Speaker 2: to your performance and i think that's probably why wonkar
• 39:39
  Speaker 2: white does what he does like because you know he
• 39:42
  Speaker 2: finds so many subtle moments within his characters.
• 39:46
  Speaker 8: And it is interesting because I don't think that's, I
• 39:50
  Speaker 8: don't think that's like part of it is that's what
• 39:53
  Speaker 8: he's doing, but I think so much of it is
• 39:54
  Speaker 8: not really, I don't know how much he's even taking
• 39:57
  Speaker 8: the performances into account as much as the story he's telling.
• 40:01
  Speaker 8: Cause as you like, again, just listening to them talk
• 40:04
  Speaker 8: about it, it's like he even had like totally different
• 40:06
  Speaker 8: ways worked out.
• 40:07
  Speaker 3: They shot totally different scenes.
• 40:09
  Speaker 8: And like some of this may have even been in
• 40:11
  Speaker 8: the editing room where he pieced together what he was
• 40:14
  Speaker 8: eventually going to make the story out to be. Because,
• 40:17
  Speaker 8: There's scenes where in the beginning where they have them
• 40:19
  Speaker 8: being very flirty with each other, which is not at
• 40:22
  Speaker 8: all the way that relationship ends up being. They have
• 40:24
  Speaker 8: them like going out and ordering dinner together and being
• 40:27
  Speaker 8: very like, it's almost like a date, which you never
• 40:30
  Speaker 8: really get a normal date or anything like that with them.
• 40:34
  Speaker 8: So it's like he almost shot all these to the point,
• 40:36
  Speaker 8: even when he does have them kind of like engaged
• 40:39
  Speaker 8: in a real relationship later on that, like they shot
• 40:43
  Speaker 8: all this, like they said it was like 15 months later.
• 40:46
  Speaker 8: of shooting all this footage, some of which you never see.
• 40:50
  Speaker 2: Wow, I didn't even know this background story, so that's incredible.
• 40:53
  Speaker 8: I was amazed that, like, number one, that he did
• 40:56
  Speaker 8: all this, and more impressively, I guess, that he still
• 40:59
  Speaker 8: kind of knew where he was going and still kind
• 41:01
  Speaker 8: of had this master plan in his head that, like,
• 41:04
  Speaker 8: even if I go down these roads, I know what
• 41:07
  Speaker 8: I've got to pick up the other end and how
• 41:10
  Speaker 8: to make it, like, work Again, to me, that's almost
• 41:13
  Speaker 8: more impressive that he shot all this craziness and then
• 41:16
  Speaker 8: in the end pieced together this really tight, amazing story.
• 41:21
  Speaker 2: Yeah, I did not know that.
• 41:22
  Speaker 3: I don't know.
• 41:23
  Speaker 8: To me, that's more insane that he just shot this
• 41:28
  Speaker 8: year and a half worth.
• 41:29
  Speaker 3: Of a movie and then eventually... That's what I can't decide.
• 41:32
  Speaker 8: If all of it was just pieced together in the
• 41:35
  Speaker 8: editing where he decided to build this movie.
• 41:37
  Speaker 10: Or if he.
• 41:38
  Speaker 8: even as he went along going, I'm probably just going
• 41:40
  Speaker 8: to take it down this road, but let's shoot this.
• 41:42
  Speaker 3: And, and again, maybe that's where the acting comes in.
• 41:44
  Speaker 3: Maybe this will build some sort.
• 41:46
  Speaker 8: Of weird familiarity between the two actors that we're going
• 41:49
  Speaker 8: to see later, but it's not actually going to be
• 41:51
  Speaker 8: scenes that take place in the store.
• 41:53
  Speaker 3: Like again, it's so complicated.
• 41:55
  Speaker 2: Um, I mean, I, I wonder like, you know how,
• 41:59
  Speaker 2: so like, it's funny cause there's like the ending. I
• 42:02
  Speaker 2: don't know if you noticed is actually like something part
• 42:05
  Speaker 2: of a story that he tells.
• 42:06
  Speaker 6: Yeah.
• 42:07
  Speaker 2: So I'm wondering if, like, maybe that story was, like,
• 42:11
  Speaker 2: an improv story or something.
• 42:12
  Speaker 3: Like, came about in the middle of it.
• 42:13
  Speaker 2: Came about in one of the scenes, and then Wan
• 42:15
  Speaker 2: Kar Wai was just like, oh, let's go to a
• 42:17
  Speaker 2: Buddhist monastery and shoot that, you know, as, like, the ending,
• 42:21
  Speaker 2: which is so awesome.
• 42:22
  Speaker 8: Yeah, that ending is amazing. But it is, like, again,
• 42:26
  Speaker 8: it takes this big jump, too, as we see this, like,
• 42:30
  Speaker 8: relationship kind of.
• 42:32
  Speaker 3: Even the relationship level that it was at, it.
• 42:34
  Speaker 8: Kind of, falls apart and dissolves and they make these
• 42:37
  Speaker 8: choices and they're kind of left away like it really
• 42:40
  Speaker 8: takes that jump where they don't see each other for
• 42:42
  Speaker 8: years but then going back and watching like that criterion
• 42:45
  Speaker 8: they put out he shot all these other in between
• 42:48
  Speaker 8: scenes some of which where they actually come in contact
• 42:51
  Speaker 8: with each other several times and in a way i'm
• 42:53
  Speaker 8: like i'm so glad he took that out it's like
• 42:58
  Speaker 8: to me it works so much better the other way
• 43:00
  Speaker 8: where they just like Did you.
• 43:02
  Speaker 2: Watch the scenes on Criterion?
• 43:04
  Speaker 6: Yeah.
• 43:04
  Speaker 2: So I haven't seen... What scenes were on there?
• 43:06
  Speaker 8: I mean, there's kind of... And then I can't remember
• 43:08
  Speaker 8: which ones were actually in there. So I know he
• 43:10
  Speaker 8: does go back to the apartment. Like, she goes back
• 43:13
  Speaker 8: and rents... In the movie, she goes back and ends
• 43:15
  Speaker 8: up taking over that place. He goes back to the neighbors,
• 43:18
  Speaker 8: but doesn't realize it's her. So they have those, like,
• 43:20
  Speaker 8: sort of close calls.
• 43:21
  Speaker 3: Yeah, because she.
• 43:22
  Speaker 2: Moves, like, across the street or something. And she has
• 43:23
  Speaker 2: a son somehow.
• 43:24
  Speaker 3: She has the son, and then, like.
• 43:26
  Speaker 10: Was she.
• 43:26
  Speaker 2: Pregnant from her husband, though? I mean, because... We never,
• 43:29
  Speaker 2: that's the one question I have. Cause like we've never
• 43:31
  Speaker 2: seen them like do more than hold hands.
• 43:33
  Speaker 3: I was going to throw that out to you.
• 43:34
  Speaker 8: Cause again, I think there are scenes they shot where
• 43:36
  Speaker 8: it becomes a physical relationship. So then I was going
• 43:39
  Speaker 8: to ask you, is that the, cause we get that
• 43:42
  Speaker 8: moment of, and what, is probably the most amazing shot
• 43:45
  Speaker 8: in a movie of amazing shots in the cab. And
• 43:48
  Speaker 8: they're sitting there and they hold hands and she like
• 43:50
  Speaker 8: kind of leans her head on it.
• 43:52
  Speaker 3: It's amazing. But that's also the point when she says,
• 43:54
  Speaker 3: I don't want to go home tonight.
• 43:56
  Speaker 2: I know. I don't want to go home.
• 43:58
  Speaker 8: So it's right after that we get to, okay, and
• 44:00
  Speaker 8: now they're not going to be together. And then later
• 44:02
  Speaker 8: she has a son.
• 44:03
  Speaker 3: And I'm like, what do we take from that?
• 44:05
  Speaker 12: Right.
• 44:06
  Speaker 2: I would say about that too.
• 44:07
  Speaker 8: I'd read like someone's theory as to, okay, that, that
• 44:10
  Speaker 8: night they did, you know, have a physical relationship. They
• 44:13
  Speaker 8: then have the child, but being that it's that time
• 44:16
  Speaker 8: and that place, they couldn't have this child out of
• 44:19
  Speaker 8: wedlock kind of thing. If even if they decided to
• 44:22
  Speaker 8: be together, so then they actually give up their relationship
• 44:25
  Speaker 8: for the child. like as an act of love for
• 44:28
  Speaker 8: this child of theirs so that he can be raised
• 44:31
  Speaker 8: in a traditional family and not be this weird sort.
• 44:34
  Speaker 3: Of born out of wedlock child.
• 44:36
  Speaker 2: I don't know. I mean, that was always a question
• 44:38
  Speaker 2: I had too. Like, I mean, I guess then maybe
• 44:40
  Speaker 2: he wanted it to be open ended like that, you know,
• 44:42
  Speaker 2: like to let the audience imagine what they want. Like either,
• 44:46
  Speaker 2: you know, he, she, you know, kind of rekindles her
• 44:51
  Speaker 2: relationship with her son. I mean, sorry, with her husband
• 44:54
  Speaker 2: and then has the son, um, Which is a sign
• 44:57
  Speaker 2: that they rekindled their relationship because they were having sex.
• 45:00
  Speaker 8: First time through, that's kind of how I read it.
• 45:02
  Speaker 8: I felt like it was the husband's son. And then
• 45:05
  Speaker 8: later I was like, well, they do kind of leave
• 45:07
  Speaker 8: this really open here.
• 45:08
  Speaker 3: I don't know.
• 45:10
  Speaker 8: Yeah, I'm not sure if we're supposed to pin that
• 45:14
  Speaker 8: down or if that's part of it is that this
• 45:16
  Speaker 8: just was part of their life. And yeah, we just
• 45:19
  Speaker 8: get this weird window into it.
• 45:21
  Speaker 3: So we're not 100% sure.
• 45:21
  Speaker 12: Right.
• 45:24
  Speaker 2: I think, yeah, I think maybe it's just meant to
• 45:25
  Speaker 2: be left open because maybe in like in real life,
• 45:28
  Speaker 2: maybe she, you know, like in real life, many times
• 45:31
  Speaker 2: parents don't, you know, somebody cheats and then suddenly the child,
• 45:35
  Speaker 2: you don't know who the father is.
• 45:36
  Speaker 6: Yeah.
• 45:36
  Speaker 11: Right.
• 45:37
  Speaker 2: So it's like, maybe that's the same question and the
• 45:39
  Speaker 2: same kind of like open-endedness that he wanted to evoke
• 45:42
  Speaker 2: in this kind of a situation when two couples are
• 45:45
  Speaker 2: both kind of like, whether physically or emotionally cheating on
• 45:49
  Speaker 2: each other.
• 45:49
  Speaker 6: Yeah.
• 45:50
  Speaker 2: And, um, And then like, what are the results? Like,
• 45:53
  Speaker 2: is that the child of the lover or is it
• 45:55
  Speaker 2: the child of the father? Like who, you know?
• 45:56
  Speaker 3: I mean, in the end, the kid's there.
• 45:59
  Speaker 8: So it's, you know, we still see her being a
• 46:01
  Speaker 8: good mother and she's taking care of him. So like,
• 46:04
  Speaker 8: I guess at that point, it's just like, this is
• 46:06
  Speaker 8: my child. I'm taking care of my child and, you know,
• 46:08
  Speaker 8: hopefully raise. So again, you do have that in. It's like,
• 46:11
  Speaker 8: I'm just dealing with it as a parent now, regardless
• 46:14
  Speaker 8: of where this came from.
• 46:17
  Speaker 9: And yeah.
• 46:17
  Speaker 2: And I think like, and he's kind of the one
• 46:19
  Speaker 2: that I think, suffers the most I.
• 46:22
  Speaker 8: Mean it does by the end sort of shift towards
• 46:25
  Speaker 8: his point of view like in the beginning it almost
• 46:27
  Speaker 8: feels like it starts from hers and then in the
• 46:29
  Speaker 8: middle it's like both of theirs like we almost get
• 46:31
  Speaker 8: this equal balance of like you know how this works
• 46:34
  Speaker 8: out but by the end it definitely feels like he's
• 46:36
  Speaker 8: he's suffering they both kind of do but she feels
• 46:40
  Speaker 8: like she gets over it a little more than he does.
• 46:42
  Speaker 2: There was there was I think actually you know on
• 46:45
  Speaker 2: YouTube I saw like an edited scene I think at
• 46:48
  Speaker 2: the end they may have cut out for the final
• 46:51
  Speaker 2: version scene where like he sees her in the monastery
• 46:53
  Speaker 2: yeah she right.
• 46:54
  Speaker 8: They did shoot they shot two or three before that
• 46:57
  Speaker 8: like there's one where they just meet i think somewhere
• 47:00
  Speaker 8: else along.
• 47:01
  Speaker 3: The way like five years before that or.
• 47:04
  Speaker 8: Something so it's like they end up meeting like in
• 47:06
  Speaker 8: all these cut scenes they would have met like three
• 47:08
  Speaker 8: more times over the years which to me like kind
• 47:11
  Speaker 8: of cuts the legs out from under it like it
• 47:13
  Speaker 8: by the end you get such a powerful story of
• 47:15
  Speaker 8: like this longing and suffering and like you know it
• 47:19
  Speaker 8: really tells a much more grim love story whereas where
• 47:23
  Speaker 8: they keep me it kind of just takes the wind
• 47:24
  Speaker 8: out of the sail you know it's like well now
• 47:26
  Speaker 8: there's not this big longing because he keeps running into
• 47:28
  Speaker 8: her and then it's just so especially like at the
• 47:30
  Speaker 8: monastery there it's like it it almost is too much
• 47:34
  Speaker 8: of a connection like I think I liked the longing
• 47:36
  Speaker 8: I think I liked the story that he was telling
• 47:39
  Speaker 8: that was really kind of a suffering sad love.
• 47:42
  Speaker 2: Story but in the final one she doesn't they don't yeah.
• 47:46
  Speaker 3: Yeah, they totally took that out.
• 47:47
  Speaker 8: But they did shoot it, and it's a good scene,
• 47:49
  Speaker 8: but it's a scene that I feel like takes away
• 47:52
  Speaker 8: from what I like better, the original cut.
• 47:55
  Speaker 2: Yeah, it's a great... I mean, it's such a subtle,
• 47:58
  Speaker 2: subtle movie, and it's just so... Again, it's about mood
• 48:02
  Speaker 2: and emotion and feeling and what evokes those moods. Like,
• 48:07
  Speaker 2: you know, music evokes feeling.
• 48:11
  Speaker 3: Music, yeah.
• 48:12
  Speaker 2: And visuals evoke feeling, and I think... you know, film
• 48:17
  Speaker 2: is a very visual and it's a very emotional medium, right?
• 48:21
  Speaker 3: It's a mixture of all of those.
• 48:22
  Speaker 6: Right.
• 48:23
  Speaker 2: But it, but it's like, it should make us feel
• 48:25
  Speaker 2: something because you have all the elements to make somebody
• 48:27
  Speaker 2: feel something to make. It's, it's unfortunately, I think film
• 48:31
  Speaker 2: is under used in terms of its power of like,
• 48:37
  Speaker 2: of emotional, you know, um, and.
• 48:40
  Speaker 3: Just like half of it sometimes, you know, you'll get great.
• 48:44
  Speaker 2: Visuals but yeah not great soundtrack you get.
• 48:46
  Speaker 8: That Nat King Cole that kicks in I'm just like
• 48:49
  Speaker 8: it's so I know it's so well played and the
• 48:51
  Speaker 8: song on the radio that they play is like.
• 48:54
  Speaker 2: Marie wishes her a happy birthday yeah totally so.
• 48:57
  Speaker 3: Much of that is just like perfectly placed.
• 48:59
  Speaker 2: Yeah and all those little details like the fact that
• 49:02
  Speaker 2: you're sitting there and like suddenly you just hear on
• 49:04
  Speaker 2: the radio like in Chinese you know um Yeah, and
• 49:08
  Speaker 2: now we're going to wish, we'd like to say shout
• 49:10
  Speaker 2: out to, you know, Sonny's kid who's turning 10. And Mr.
• 49:15
  Speaker 2: Chang would like to wish his wife a happy birthday
• 49:18
  Speaker 2: from Hong Kong or from wherever. he is traveling, you know?
• 49:21
  Speaker 2: And she's, and then you like, you're just, you're, the
• 49:23
  Speaker 2: visual is on the radio, you know, you're, you're panning
• 49:27
  Speaker 2: across the radio as you hear this in this like
• 49:30
  Speaker 2: what beautiful kind of weird room. And, and then you
• 49:34
  Speaker 2: like come to her, you know, you somehow, and it's like,
• 49:37
  Speaker 2: and that tells you so much because you're like, he's
• 49:40
  Speaker 2: the kind of guy, like he's cheating on his wife,
• 49:42
  Speaker 2: but like he remembers to call on the radio to
• 49:45
  Speaker 2: make sure that she hears that he sends her a
• 49:47
  Speaker 2: birthday message. Like, you know, and just like he brings
• 49:50
  Speaker 2: the handbags back from his travels and stuff. Like it's just, it's,
• 49:54
  Speaker 2: it reminds me so much. I feel like it could
• 49:56
  Speaker 2: remind everybody of a businessman, like the businessman who travels,
• 50:00
  Speaker 2: who has his girl, a mistress on the side, but
• 50:02
  Speaker 2: who always brings back his wife, beautiful gifts. And, you know,
• 50:05
  Speaker 2: which was her happy birthday song on the radio. Like the,
• 50:07
  Speaker 2: like a slick motherfucker.
• 50:09
  Speaker 8: We kind of, well, we kind of get that with
• 50:10
  Speaker 8: the boss, like her boss. You feel like it's that exact,
• 50:13
  Speaker 8: like it's sort of mirroring her life at work. And
• 50:16
  Speaker 8: you know, cause you know, he's cheating on his wife
• 50:19
  Speaker 8: and he's buying stuff, presents for his mistress. And it's like,
• 50:22
  Speaker 8: she's kind of dealing with that at work and helping
• 50:24
  Speaker 8: him cover for it.
• 50:25
  Speaker 3: When, as the story unfolds, you're like, Oh, she's right
• 50:28
  Speaker 3: in the middle of this too. And like, she's like,
• 50:31
  Speaker 3: Somewhere there's some woman helping this, you know, it's.
• 50:33
  Speaker 8: Like, it's such a weird twisted little like chain of
• 50:37
  Speaker 8: these lies that go on. It's like, but that's another
• 50:40
  Speaker 8: thing I thought was so amazing is how it's like,
• 50:43
  Speaker 8: it's so subtle in the way that it sort of
• 50:46
  Speaker 8: unfolds all that.
• 50:47
  Speaker 3: Like the fact that, Hey, my husband's kind of gone
• 50:50
  Speaker 3: a lot.
• 50:50
  Speaker 8: Hey, my wife's kind of gone a lot. And then
• 50:52
  Speaker 8: they just sort of around each other. It's so slow paced.
• 50:55
  Speaker 8: It's so, metered in a way that he knows exactly
• 50:59
  Speaker 8: what he's doing there. But then when you kind of
• 51:01
  Speaker 8: get to that point of like, you know.
• 51:02
  Speaker 3: They're gone at the same time.
• 51:04
  Speaker 8: Like it really becomes this very slow dawning on them
• 51:08
  Speaker 8: of like, I don't know. I think that was kind
• 51:10
  Speaker 8: of amazing watching that progression of them just realizing, you know,
• 51:15
  Speaker 8: not only do I think they're cheating on me, but
• 51:17
  Speaker 8: I think they're cheating on me with your spouse.
• 51:19
  Speaker 5: Yeah.
• 51:20
  Speaker 2: I mean, just the coincidences and, like, you're right, the
• 51:24
  Speaker 2: way that that unravels them finding out is just, it's
• 51:28
  Speaker 2: so beautiful, actually. It's so sad.
• 51:30
  Speaker 6: Yeah.
• 51:30
  Speaker 2: But beautiful because, like, I feel like in a way
• 51:33
  Speaker 2: that's almost how you find out in real life. Like,
• 51:35
  Speaker 2: you don't right away know or you have a feeling
• 51:38
  Speaker 2: and the feeling leads you to, like, talk to someone.
• 51:41
  Speaker 2: And then because you talk to that person, like, they
• 51:44
  Speaker 2: tell you something and then you see a photo somewhere
• 51:46
  Speaker 2: and you're like, you know, it's.
• 51:48
  Speaker 7: Like, yeah.
• 51:48
  Speaker 11: Yeah.
• 51:49
  Speaker 8: Yeah, hopefully if you have a healthy relationship, you're not
• 51:51
  Speaker 8: immediately jumping to that conclusion.
• 51:53
  Speaker 10: Right.
• 51:55
  Speaker 8: But as that goes on and there's these little clues
• 51:57
  Speaker 8: and little clues, you're just like, I don't feel right
• 51:59
  Speaker 8: about this anymore.
• 52:00
  Speaker 3: Like, that's, yeah, that part's so amazing.
• 52:04
  Speaker 2: And wasn't there that one scene where, like, the husband, like,
• 52:07
  Speaker 2: not our main characters, but their husband and wife, the
• 52:09
  Speaker 2: ones who are cheating, where they have, like, a love scene,
• 52:13
  Speaker 2: but we don't see them? Or is that with her
• 52:15
  Speaker 2: and her husband? I can't remember now.
• 52:18
  Speaker 8: I don't remember because I feel like they never really
• 52:21
  Speaker 8: brought because at one point I thought I thought the
• 52:23
  Speaker 8: director wanted our leads to also play the husband and
• 52:27
  Speaker 8: wife and I'm like oh this is going to get
• 52:28
  Speaker 8: way too confused like I'm so glad he cut that
• 52:31
  Speaker 8: out because it's so more more effective the other way
• 52:34
  Speaker 8: anyway but I'm just like how confusing would that be
• 52:36
  Speaker 8: if they were like you'd never figure this thing.
• 52:38
  Speaker 3: Out right right but yeah I don't remember them shooting
• 52:41
  Speaker 3: anything with the husband.
• 52:42
  Speaker 2: And wife maybe I'm like there was this one scene but.
• 52:43
  Speaker 8: I think there was a scene with them I think
• 52:45
  Speaker 8: there was a love scene between them when he took
• 52:48
  Speaker 8: the relationship to that level. And like we, that all
• 52:51
  Speaker 8: gets like taken out by, because really we never see
• 52:54
  Speaker 8: anything happen between them to the point that you question
• 52:57
  Speaker 8: whether anything ever happens.
• 52:58
  Speaker 3: So it's, it's pretty interesting.
• 53:01
  Speaker 8: Well, which in another direction here, I wanted to say
• 53:04
  Speaker 8: that the relationship with people and food in this movie
• 53:08
  Speaker 8: is amazing. Because it's almost its own weird sub-story going
• 53:13
  Speaker 8: on there.
• 53:14
  Speaker 3: And it is.
• 53:15
  Speaker 8: This weird, like, peek into this culture that I'm certainly
• 53:19
  Speaker 8: not familiar with, especially not in the 60s. But, like,
• 53:22
  Speaker 8: it does give you that. It starts with just the
• 53:24
  Speaker 8: family situation. I think you really did, like, remember some
• 53:27
  Speaker 8: of this stuff as a kid, that how open the
• 53:31
  Speaker 8: neighborhood was and how open, like, neighbors were just, like,
• 53:33
  Speaker 8: they just... You could come and go out of.
• 53:35
  Speaker 3: Each other's houses.
• 53:36
  Speaker 2: The landlady is like her mother. Like the landlady acts
• 53:40
  Speaker 2: like the mother or aunt character who, you know, then
• 53:43
  Speaker 2: there's the grandmother, then there's the uncle. And, you know,
• 53:46
  Speaker 2: they all live next door and they invite them over
• 53:48
  Speaker 2: for dinner. Mahjong.
• 53:51
  Speaker 5: Yeah.
• 53:52
  Speaker 3: Crazy mahjong tournaments.
• 53:53
  Speaker 6: Yeah.
• 53:55
  Speaker 2: And, yeah, the drunk uncle.
• 53:56
  Speaker 10: Oh, yeah.
• 53:57
  Speaker 2: You know, who comes in, like, when he plays cards. Like,
• 53:59
  Speaker 2: you know he never leaves. You know, and then they're
• 54:01
  Speaker 2: stuck in the room together. And they can't let anyone
• 54:03
  Speaker 2: know they're in a room together. And, meanwhile, nothing's happening
• 54:07
  Speaker 2: in the room. But the drunk uncle is outside. And
• 54:10
  Speaker 2: they can't leave until he leaves.
• 54:11
  Speaker 3: It is certainly a different time. Yeah. She couldn't even
• 54:15
  Speaker 3: be in the house, basically, when no one else was home.
• 54:17
  Speaker 3: Or everyone would talk. And it's probably true. Even now,
• 54:20
  Speaker 3: that's probably the way people are.
• 54:21
  Speaker 6: Yeah.
• 54:22
  Speaker 8: But then you get into like the, the way that
• 54:25
  Speaker 8: that family that she lives with in particular is so
• 54:28
  Speaker 8: everything is centered around food and every scene is come
• 54:31
  Speaker 8: eat with us, come eat with us. Tonight we're making
• 54:33
  Speaker 8: dumplings tonight. We're making, you know, it's like everything they
• 54:35
  Speaker 8: go into. And then she has this weird disconnect. Like
• 54:39
  Speaker 8: she almost, she appreciates them, but she doesn't like there's,
• 54:43
  Speaker 8: she still kind of doesn't feel like she's part of
• 54:45
  Speaker 8: that family. And she's always doing that solo walk to
• 54:48
  Speaker 8: the noodle.
• 54:49
  Speaker 3: Stand kind of thing. And she's got that little thermos
• 54:51
  Speaker 3: that she has. And like, I don't know. There's something
• 54:54
  Speaker 3: about that.
• 54:55
  Speaker 2: I think the noodle stand and the thermos is like,
• 54:58
  Speaker 2: that's another one of the most like sensual, like those
• 55:01
  Speaker 2: scenes when she goes to get the noodles and it's
• 55:05
  Speaker 2: like slow motion of her, like walking down the stairs
• 55:08
  Speaker 2: to get noodles. Like, I don't think anybody in film
• 55:10
  Speaker 2: history has made a woman getting noodles look so sexy. Like,
• 55:15
  Speaker 2: I mean, and sensual. I mean, even the idea of
• 55:18
  Speaker 2: the noodles is sensual, you know, obviously, I mean, and
• 55:20
  Speaker 2: that makes sense, but like, you know, I, I love
• 55:24
  Speaker 2: a lot of like the slow motion shots and like
• 55:26
  Speaker 2: how he really, and I mean, of course, like she
• 55:28
  Speaker 2: is so beautiful and she's dressed to the, like so gorgeous.
• 55:32
  Speaker 3: Those dresses are amazing.
• 55:33
  Speaker 8: I don't pay that much attention to women's dresses, but
• 55:36
  Speaker 8: like that, that specific, like, again, I think this was
• 55:39
  Speaker 8: something he remembered and like, he loved those, like that
• 55:42
  Speaker 8: style that like his mother wore that and his friend's
• 55:44
  Speaker 8: mother's wore it. Like that was just the thing in the,
• 55:46
  Speaker 8: in that point in the sixties. And like, so he
• 55:48
  Speaker 8: wanted her to wear nothing, but, and you don't really
• 55:51
  Speaker 8: see even, occasionally i think even then the landlady wears
• 55:54
  Speaker 8: that but like that specific dress was like that's what
• 55:58
  Speaker 8: he wanted her in all the time right right there
• 56:01
  Speaker 8: yeah it's it's they're amazing like and specifically the colors
• 56:04
  Speaker 8: like when you go into the cinematography like every one
• 56:07
  Speaker 8: of them is so like amazing like just the designs
• 56:10
  Speaker 8: and the colors on each one of them but yeah
• 56:14
  Speaker 8: the i don't know the food thing i think sort
• 56:16
  Speaker 8: of ties in too as we get into the relationship
• 56:19
  Speaker 8: because i was like the The one thing I felt
• 56:22
  Speaker 8: like was very universal there, aside from her weird sensual
• 56:26
  Speaker 8: walks to the noodle stand, when they get into their,
• 56:30
  Speaker 8: at that point just say friendship, but it becomes a very,
• 56:34
  Speaker 8: because they always kind of get to that point of
• 56:36
  Speaker 8: eating together. And it's like, can I walk with you
• 56:39
  Speaker 8: to the noodle stand? Or they come back to their place.
• 56:41
  Speaker 8: Or they get that motel room that they're in. And
• 56:43
  Speaker 8: there's a lot of scenes of them eating together.
• 56:46
  Speaker 10: That's funny.
• 56:46
  Speaker 2: I never even thought about that.
• 56:47
  Speaker 7: You're right.
• 56:47
  Speaker 2: They're always eating when they're together.
• 56:49
  Speaker 3: They're always eating when they're together. And I was like,
• 56:50
  Speaker 3: to me, that's the main.
• 56:52
  Speaker 2: Maybe that's their way of, that's their communion. That's their, like,
• 56:56
  Speaker 2: that's their intimacy.
• 56:58
  Speaker 8: To me, it was the sign of couplehood. You know,
• 57:00
  Speaker 8: it's like when you are with somebody, like that's of
• 57:03
  Speaker 8: the failed relationship. I don't even want to think about
• 57:06
  Speaker 8: it anymore. But the one thing I remember of that
• 57:08
  Speaker 8: last time, it was like the one thing we had,
• 57:10
  Speaker 8: the one thing that worked when nothing else did, it
• 57:13
  Speaker 8: was a very familiar relationship. that's the scenario we get into.
• 57:17
  Speaker 8: You know, what are we having tonight? I want to
• 57:18
  Speaker 8: make this.
• 57:19
  Speaker 3: Let's go here.
• 57:20
  Speaker 8: Like, it becomes such a part of your structure as
• 57:23
  Speaker 8: a couple, almost more than, like, it's something you don't
• 57:26
  Speaker 8: have when you're by yourself. It's something you, it's different
• 57:28
  Speaker 8: when you're with your family. It's a very specific thing,
• 57:31
  Speaker 8: eating in a relationship. And I was like, that pinned
• 57:35
  Speaker 8: it down, like, so well for me.
• 57:36
  Speaker 5: Right.
• 57:37
  Speaker 8: That's, that was one of the main takeaways I had,
• 57:39
  Speaker 8: was just, like, how well he kind of understood that
• 57:42
  Speaker 8: and then worked it into the structure of the story.
• 57:45
  Speaker 5: Mm-hmm.
• 57:45
  Speaker 3: But I feel like yeah that's such a tie into
• 57:48
  Speaker 3: their the way that the relationship works is kind of
• 57:50
  Speaker 3: like yeah built around that yeah I think.
• 57:54
  Speaker 2: I didn't even yeah that's a great that's a great.
• 57:55
  Speaker 8: Point and I guess you could say maybe because they're
• 57:58
  Speaker 8: not doing anything maybe it becomes the surrogate in their relationship.
• 58:02
  Speaker 2: We're not and again like if you think about like
• 58:04
  Speaker 2: the way that they're eating and like they're like it's
• 58:07
  Speaker 2: the noodles and they're slurping and it's kind of like
• 58:11
  Speaker 2: it is kind of sensual you know again and the
• 58:13
  Speaker 2: way like the way that they meet at the noodle
• 58:16
  Speaker 2: stand and they cross paths and that's before they start
• 58:20
  Speaker 2: eating together. But when they first, when they first are
• 58:24
  Speaker 2: aware of each other, they, they like, you know, she's
• 58:27
  Speaker 2: like leaving the noodle stand and he's coming down and
• 58:30
  Speaker 2: it's all in slow motion and they look at each
• 58:32
  Speaker 2: other and they say hi, but you know, they haven't
• 58:35
  Speaker 2: gotten to the point of eating together yet.
• 58:37
  Speaker 3: Again, it's all sort of built around.
• 58:39
  Speaker 8: Like that's almost that like first encounter kind of thing
• 58:42
  Speaker 8: in the relationship. And then later it's them, sort of
• 58:45
  Speaker 8: talking as they go to the noodle stand is almost
• 58:47
  Speaker 8: they're dating and it's like then they're in the relationship
• 58:50
  Speaker 8: when they're eating together like it's it all kind of
• 58:52
  Speaker 8: feels like it's built as like a surrogate to what
• 58:55
  Speaker 8: a full relationship would be it's like this is what
• 58:57
  Speaker 8: we can do i don't know that i thought was
• 59:00
  Speaker 8: really interesting and i guess i was gonna ask what
• 59:02
  Speaker 8: you think about that like that decision she makes to
• 59:06
  Speaker 8: kind of put a cap on it and he kind
• 59:08
  Speaker 8: of does too that there like, we don't want to
• 59:11
  Speaker 8: go down the road that our spouses do, like almost
• 59:15
  Speaker 8: being like, I don't want to.
• 59:16
  Speaker 3: Be in that same situation. I don't want to, I'm
• 59:18
  Speaker 3: so messed up over what they've done. I don't want
• 59:20
  Speaker 3: to be like that.
• 59:21
  Speaker 10: Right. Right.
• 59:22
  Speaker 3: I thought that was interesting.
• 59:24
  Speaker 2: And again, I think that's great.
• 59:25
  Speaker 8: I mean, you don't see in most people. That's not,
• 59:28
  Speaker 8: it's usually the act of revenge at that point.
• 59:30
  Speaker 7: Right.
• 59:30
  Speaker 2: No, I think it's great. I think it obviously shows again. Well,
• 59:33
  Speaker 2: I think it shows class number one.
• 59:35
  Speaker 6: Yeah.
• 59:36
  Speaker 2: Um, and like, I also, I mean, at one point
• 59:40
  Speaker 2: he does say to her, like, I didn't think I
• 59:42
  Speaker 2: was going to actually fall in love with you. Like,
• 59:45
  Speaker 2: I mean, he fell in love with her.
• 59:48
  Speaker 11: Yeah.
• 59:48
  Speaker 2: Or she says, I didn't think you would fall in
• 59:52
  Speaker 2: love with me. But then she's also like crying when
• 59:55
  Speaker 2: they part ways, you know. So they have obviously both
• 59:57
  Speaker 2: grown very close to each other as, I mean, especially
• 1:00:01
  Speaker 2: as friends. And they have fallen in love with each other.
• 1:00:05
  Speaker 2: And I think if she had been willing to leave
• 1:00:10
  Speaker 2: her husband.
• 1:00:11
  Speaker 6: Yeah.
• 1:00:12
  Speaker 2: They could have done something, but they didn't want to
• 1:00:14
  Speaker 2: do something if she wasn't going to leave her husband. So,
• 1:00:17
  Speaker 2: I mean, his, cause his wife left him, right?
• 1:00:20
  Speaker 3: Eventually.
• 1:00:21
  Speaker 8: I could never tell if it happened during, it seemed
• 1:00:23
  Speaker 8: like it was almost once they separated. When we revisit
• 1:00:27
  Speaker 8: him later, we see that he's now dating this other woman.
• 1:00:31
  Speaker 8: And like, so we see him a few times later
• 1:00:33
  Speaker 8: and he's always like not with the same person. He's
• 1:00:36
  Speaker 8: definitely not with his wife. And then by the end
• 1:00:38
  Speaker 8: of it, he's, he's not with anybody anymore. So, again,
• 1:00:41
  Speaker 8: that's probably why his story.
• 1:00:42
  Speaker 3: Seems so much more tragic, where she's always with her
• 1:00:45
  Speaker 3: husband and always has someone and has a child to
• 1:00:48
  Speaker 3: keep her company. He's just wandering around a monastery by
• 1:00:51
  Speaker 3: himself at that point.
• 1:00:51
  Speaker 2: I don't even remember him being with other women.
• 1:00:53
  Speaker 8: He shows up when he goes to the apartment. When
• 1:00:56
  Speaker 8: they go back to try to rent an apartment in
• 1:00:59
  Speaker 8: that same building, I think. That was a really weird
• 1:01:02
  Speaker 8: scene because he, like, she questions him, almost like he'd
• 1:01:06
  Speaker 8: been talking about female lead like and how much and
• 1:01:10
  Speaker 8: like she had read into it how much he he
• 1:01:12
  Speaker 8: was in love with her and like there's this weird
• 1:01:14
  Speaker 8: exchange to the point where that almost maybe where the
• 1:01:17
  Speaker 8: the new couple breaks up because.
• 1:01:19
  Speaker 3: She knows that he's still in love with her it.
• 1:01:22
  Speaker 8: Yeah it was weird because it it seemed it didn't
• 1:01:26
  Speaker 8: seem like him to have gone on and talked about
• 1:01:28
  Speaker 8: her at any point like it seems he's so good
• 1:01:31
  Speaker 8: at keeping it all inside that seemed.
• 1:01:32
  Speaker 3: Very awkward to me so i don't know that that
• 1:01:35
  Speaker 3: was a weird thing along the way but i don't
• 1:01:38
  Speaker 3: know the reason.
• 1:01:39
  Speaker 2: I remember that i wonder if like i'm starting to
• 1:01:41
  Speaker 2: wonder if there's a few versions of this movie out
• 1:01:43
  Speaker 2: there because.
• 1:01:44
  Speaker 8: By the time i watched all the extra stuff they'd
• 1:01:46
  Speaker 8: shot because there's also a scene where they try to
• 1:01:50
  Speaker 8: take it to that next level they try to actually
• 1:01:52
  Speaker 8: they're sitting on the bed and they're going to have
• 1:01:54
  Speaker 8: sex and they start taking off their clothes and they.
• 1:01:56
  Speaker 3: Both just look so unhappy and it's like it's Again.
• 1:02:01
  Speaker 8: It's like those other ones. It's a good scene, but
• 1:02:03
  Speaker 8: it changes everything by putting it in there. But you
• 1:02:05
  Speaker 8: see them both kind of start to get undressed, and
• 1:02:09
  Speaker 8: they both just kind of sit there, and by the
• 1:02:11
  Speaker 8: end they're like.
• 1:02:11
  Speaker 6: I can't.
• 1:02:12
  Speaker 3: I can't do this.
• 1:02:13
  Speaker 8: So it's good, but even seeing them go that far
• 1:02:16
  Speaker 8: was kind of weird. I like the way it works
• 1:02:19
  Speaker 8: not seeing any of that, just watching them be friends
• 1:02:22
  Speaker 8: and watching them have this weird longing and never letting
• 1:02:26
  Speaker 8: themselves give in to that.
• 1:02:28
  Speaker 6: I don't know.
• 1:02:31
  Speaker 2: I don't know, but I almost have to leave. I've
• 1:02:33
  Speaker 2: got like five minutes left until I'm supposed to leave
• 1:02:35
  Speaker 2: to the airport.
• 1:02:36
  Speaker 6: Okay.
• 1:02:36
  Speaker 3: So I don't know. I think it's all, it's that,
• 1:02:39
  Speaker 3: that's sort of my, my takeaway with it. It's just
• 1:02:42
  Speaker 3: all regret and longing and sadness.
• 1:02:46
  Speaker 8: Like, but again, it's weird how much I liked it,
• 1:02:49
  Speaker 8: but it's, it's not a fun movie person.
• 1:02:51
  Speaker 3: It's just so impressive.
• 1:02:53
  Speaker 2: It's, it's weird. Cause like, I don't ever get like,
• 1:02:55
  Speaker 2: it's not a, I don't think it's a sad movie,
• 1:02:57
  Speaker 2: but I don't think it's, I really have to just
• 1:03:00
  Speaker 2: say I think it's a moody movie.
• 1:03:02
  Speaker 6: Yeah.
• 1:03:02
  Speaker 2: Like, I actually, but after a long day, like, I
• 1:03:05
  Speaker 2: love to put on that soundtrack. Like, it makes, you
• 1:03:07
  Speaker 2: know what it makes me feel? It makes me feel longing.
• 1:03:10
  Speaker 6: Yeah.
• 1:03:11
  Speaker 2: Like, it's a movie that makes me feel longing. It
• 1:03:14
  Speaker 2: definitely does that. Like, longing would be the word I use. Like,
• 1:03:17
  Speaker 2: just to, and I kind of like that feeling. It's
• 1:03:21
  Speaker 2: like listening to Depeche Mode or something. You know, it's
• 1:03:24
  Speaker 2: like you're, you feel like, you feel like you love it.
• 1:03:28
  Speaker 2: You want to like hear it a hundred times over
• 1:03:30
  Speaker 2: and over, but it doesn't make you happy. You know,
• 1:03:32
  Speaker 2: it makes you like long for something bigger and better.
• 1:03:36
  Speaker 2: And you long for that love that you lost and
• 1:03:39
  Speaker 2: long for that, you know, long for that connection with
• 1:03:43
  Speaker 2: somebody with that.
• 1:03:45
  Speaker 10: Yeah.
• 1:03:45
  Speaker 2: So that's kind of like, I think that's the way to.
• 1:03:49
  Speaker 2: yeah so but it is one of my favorite movies
• 1:03:51
  Speaker 2: of all time and I could watch it over and
• 1:03:53
  Speaker 2: over and I could listen to that song or I
• 1:03:55
  Speaker 2: could just put the DVD menu on and watch it
• 1:03:57
  Speaker 2: on repeat over and over watch it loop over and over.
• 1:04:01
  Speaker 3: That is what you do at night, isn't it?
• 1:04:03
  Speaker 2: But I do have to go now, so all right.
• 1:04:05
  Speaker 3: Well, thank you for sitting in with us again this week.
• 1:04:08
  Speaker 2: Yeah, well, thank you.
• 1:04:09
  Speaker 3: You're definitely invited back. I like your movie choice, so
• 1:04:11
  Speaker 3: it's been a lot of fun.
• 1:04:12
  Speaker 2: Well, I'll find another totally random one for you.
• 1:04:14
  Speaker 10: Definitely.
• 1:04:16
  Speaker 3: Okay. In the meantime, go see Proxy.
• 1:04:19
  Speaker 5: Okay.
• 1:04:20
  Speaker 2: Yes, go see Proxy, and don't say Annika the wrong way.
• 1:04:23
  Speaker 10: Or Elf.
• 1:04:25
  Speaker 2: Don't fuck with her.
• 1:04:26
  Speaker 6: Bye.
• 1:04:28
  Speaker 8: Bye.
• 1:04:29
  Speaker 3: All right, Christina is heading out now, so that about
• 1:04:31
  Speaker 3: does it. We will return next week. Same geek time,
• 1:04:34
  Speaker 3: same geek feed. Thanks for listening.
• 1:04:38
  Speaker 11: I'm in the mood for love Simply because.
• 1:04:58
  Speaker 3: Because you're near me Funny, but when you're near me I'm.
• 1:05:07
  Speaker 11: In love for love.
• 1:05:11
  Speaker 3: Heaven is in your eyes Bright.
• 1:05:17
  Speaker 13: As the stars we're under.
• 1:05:22
  Speaker 11: Oh, is it any wonder I'm in the mood for love.
• 1:05:32
  Speaker 3: Why stop to think of weather This little dream might
• 1:05:39
  Speaker 3: fade We've put our hearts together.
• 1:05:47
  Speaker 5: Now we are one I'm not afraid If there's a
• 1:05:53
  Speaker 5: cloud above.
• 1:05:57
  Speaker 3: If it should rain, we'll let.
• 1:06:02
  Speaker 11: It.
• 1:06:02
  Speaker 3: But for tonight, forget it.
• 1:06:07
  Speaker 7: I'm a woman for love.
• 1:06:09
  Speaker 6: So don't.
• 1:06:13
  Speaker 11: Look at me. Wish you must stay here.
• 1:06:23
  Speaker 2: Wish you must stay here.
• 1:06:28
  Speaker 11: I stopped to think of when you.
• 1:06:58
  Speaker 3: This little dream might fade.
• 1:07:03
  Speaker 13: We've put our hearts together Now we are.
• 1:07:10
  Speaker 9: One I'm not afraid If there's a cloud above.
• 1:07:19
  Speaker 5: If it should rain, we'll let it.
• 1:07:24
  Speaker 8: But for tonight, forget it.
• 1:07:29
  Speaker 11: Amène mon beau faux vent Selon le calme des noirs,
• 1:07:35
  Speaker 11: où dorment les étoiles Flottent très doucement, couchées en cendrillon
• 1:07:39
  Speaker 11: Et c'est plus doux dans l'ombre que la.
• 1:07:44
  Speaker 3: Triste fée d'eau.
• 1:08:03
  Speaker 6: C'est plus de l' élan que cette douce folie.
• 1:08:05
  Speaker 11: L'univers se renonce à la prise du soir. Tu viens
• 1:08:10
  Speaker 11: chercher l'amour, les fleurs que tu cueilles. Un champ mystérieux
• 1:08:16
  Speaker 11: tombe des astres d'or.
• 1:08:36
  Speaker 6: This episode is a.
• 1:08:38
  Speaker 2: Production of Movie Meltdown, produced and edited by the Auditude Studios,
• 1:08:41
  Speaker 2: with the opening music performed by the Empires.
• 1:08:43
  Speaker 12: For more on how to sponsor or support the show,
• 1:08:45
  Speaker 12: email producer at moviemeltdown.com.
• 1:08:50
  Speaker 6: Produced and edited by The Oddity Studios. With opening music
• 1:08:53
  Speaker 6: performed by The Empires. For more on how to sponsor
• 1:08:56
  Speaker 6: or support the show, email producer at moviemeltdown.com.
• 1:09:00
  Speaker 7: Talk hard!