Latest / Houselights: A Film Director Podcast / Cast Away (2000) - Robert Zemeckis | Houselights #249

Transcript

Cast Away (2000) - Robert Zemeckis | Houselights #249 · Houselights: A Film Director Podcast

• 0:03
  Speaker 1: Welcome to the ned Palty.
• 0:21
  Speaker 2: Welcome back to House Lights, in particular the House of Zamechas.
• 0:25
  Speaker 2: Our last stop this week as we go along looking
• 0:28
  Speaker 2: at the works of Robert Zemechis of the nineteen nineties,
• 0:32
  Speaker 2: capping off with Castaway, which was released in two thousand.
• 0:35
  Speaker 2: But hey, we wanted to talk about Castaway. I am
• 0:39
  Speaker 2: one of your humble hosts, John FedEx Mills, and I
• 0:42
  Speaker 2: am joined by Darren ups Moser and Tristan who the
• 0:45
  Speaker 2: hell uses the postal service anymore of Riddell for a
• 0:49
  Speaker 2: discussion of a film that is large in scope and
• 0:53
  Speaker 2: very ambitious, especially considering Zamechas released not one, but two
• 0:58
  Speaker 2: movies that year at least What Lies Beneath in July
• 1:02
  Speaker 2: of two thousand and then Castaway came out in December
• 1:05
  Speaker 2: of two thousand. Quite a feat considering the scope of
• 1:09
  Speaker 2: Castaway and its challenges for filming. So we've talked often
• 1:14
  Speaker 2: about how Zamechas is up for challenges and likes to
• 1:18
  Speaker 2: give himself something to do. And I guess we can
• 1:22
  Speaker 2: come in here and we can say, well, he made
• 1:24
  Speaker 2: up for it being three years since contact by doing
• 1:27
  Speaker 2: two films, so and that makes up for the extra
• 1:30
  Speaker 2: Skipp year in the nineties as well. Either way, Darren
• 1:35
  Speaker 2: and Tristan, I know I did not see this in
• 1:38
  Speaker 2: the movie theater when it came out. I had reasons.
• 1:43
  Speaker 2: Maybe we'll talk about him later, maybe we won't.
• 1:44
  Speaker 3: Who knows.
• 1:46
  Speaker 2: But the two of you, did either of you see
• 1:49
  Speaker 2: it in the movie theater? And follow up question, Tristan,
• 1:52
  Speaker 2: was this a Redell family favorite or is this only
• 1:56
  Speaker 2: your second time ever seen?
• 1:57
  Speaker 3: I'm shocked.
• 1:57
  Speaker 4: That is a follow up question, John, that is first question.
• 2:01
  Speaker 3: It's not the first question. It's a follow up question.
• 2:04
  Speaker 5: This was not a Ridell family favorite, which I don't
• 2:08
  Speaker 5: know why, because this this has the makings of a
• 2:11
  Speaker 5: Redell family favorite. We all love Tom Hanks and like
• 2:15
  Speaker 5: it's a there's no this is you could call this
• 2:19
  Speaker 5: a family movie, like it has some dire moments, but
• 2:22
  Speaker 5: there's nothing crazy in it. You know. No, this just wasn't.
• 2:27
  Speaker 5: This just wasn't one that that tickled everybody's fancy, or
• 2:31
  Speaker 5: at least one that we all watch together that we
• 2:33
  Speaker 5: associate with with each other. I do have one memory
• 2:36
  Speaker 5: of it watching I didn't see it in the theater,
• 2:38
  Speaker 5: but I remember the marketing campaign for this was done
• 2:41
  Speaker 5: really really well, because I think like one teaser showed
• 2:46
  Speaker 5: the plane crash, like Tom Hanks going through the plane crash,
• 2:49
  Speaker 5: and that it ends with him just like walking on
• 2:52
  Speaker 5: the beach for the first time, saying hello or something
• 2:56
  Speaker 5: like that, and that it ends and you're like, oh wow, interesting,
• 3:00
  Speaker 5: like Tom Hanks alone in an island. Okay, yeah, I
• 3:03
  Speaker 5: would pay my.
• 3:04
  Speaker 4: Tailors, didn't you know spoil the entire movie in.
• 3:08
  Speaker 5: Thirty seconds, right, the first six seconds for the YouTube algorithm? Yeah,
• 3:14
  Speaker 5: it was Yeah. I remember the campaign was done really well,
• 3:18
  Speaker 5: the marketing campaign. And I also remember I think it
• 3:21
  Speaker 5: was the Oscars or some award show and it was
• 3:23
  Speaker 5: in between filming of Castaway when they were they haven't
• 3:28
  Speaker 5: started the second phase of filming yet, and then Tom
• 3:32
  Speaker 5: Hanks was at an award show. He was super skinny,
• 3:34
  Speaker 5: he had the beard, and the camera cut to him
• 3:38
  Speaker 5: as he was clapping for an award, and my whole
• 3:40
  Speaker 5: family was like, what the hell happened to Tom? Like,
• 3:44
  Speaker 5: I really hope that's for a role. And one of
• 3:48
  Speaker 5: the memory I have is I saw this at like
• 3:51
  Speaker 5: there was a there was a girl in high school
• 3:54
  Speaker 5: I think it was high school who I was involved
• 3:56
  Speaker 5: with and we were watching it together with her family,
• 4:00
  Speaker 5: and her mom started crying when Wilson floated away, and
• 4:05
  Speaker 5: she started screaming because she was so angry at herself.
• 4:07
  Speaker 5: She's like, I'm not crying over a god dang volleyball.
• 4:12
  Speaker 3: Wow.
• 4:13
  Speaker 2: Well that's a complicated Catharsis going on right there. So that's,
• 4:18
  Speaker 2: you know, I can say that that's not entirely surprising though,
• 4:22
  Speaker 2: because Wilson became a bit of a cultural phenom. But Darren,
• 4:26
  Speaker 2: did you see this in the movie theater or did
• 4:28
  Speaker 2: you hold onto this for home video?
• 4:30
  Speaker 4: No? I did. I think the trailer got us. We
• 4:34
  Speaker 4: were like, Okay, this looks really I mean, it's Tom
• 4:36
  Speaker 4: Hanks and he was just king in the late nineties,
• 4:41
  Speaker 4: so it was a very easy sell to see this.
• 4:45
  Speaker 4: And yeah, when you talk about, you know, the familysness
• 4:50
  Speaker 4: of Tristan, I'd say the only thing about this movie
• 4:53
  Speaker 4: is it's kind of a queasy movie as a part.
• 4:57
  Speaker 4: There's like there's blood and there's like uncomfortable situations like
• 5:02
  Speaker 4: I don't want to have to think about being my
• 5:04
  Speaker 4: own dentist. But that's not a bad thing. That's not
• 5:08
  Speaker 4: gonna scar me. But you're watching this character go through
• 5:11
  Speaker 4: these moments and you're like, ugh, I don't want to
• 5:15
  Speaker 4: do that. So but I think for me, yeah, I
• 5:21
  Speaker 4: remember it all the touchstones, the I mean, the Wilson
• 5:26
  Speaker 4: was all over either comedy gags or late night or whatever.
• 5:33
  Speaker 4: The thing I remember the most so, which was just
• 5:37
  Speaker 4: totally tapping into the culturalness of it, was the following
• 5:41
  Speaker 4: year's Super Bowl commercial, which I think was a FedEx
• 5:44
  Speaker 4: commercial or it was spoofing something, but it was you know,
• 5:48
  Speaker 4: him at the end delivering the package. But in this
• 5:51
  Speaker 4: version there's someone there as he's delivering it and they're like, oh,
• 5:57
  Speaker 4: do you want to see what's in it? And he's like,
• 5:59
  Speaker 4: oh sure, And it's like GPS, phone packing, seeds, you know,
• 6:05
  Speaker 4: firestarter and you know basically everything would would have gotten
• 6:09
  Speaker 4: rescued in like five minutes and he's like, oh okay,
• 6:14
  Speaker 4: just like cuts. And it was such a clever idea sketch.
• 6:20
  Speaker 3: It was one of the goodness.
• 6:22
  Speaker 2: It was a great send up back when Super Bowl
• 6:24
  Speaker 2: commercials were truly truly great and inspired. I'll go ahead
• 6:28
  Speaker 2: and share timing is so important and this movie actually
• 6:34
  Speaker 2: wound up playing an important role for me later when
• 6:37
  Speaker 2: I saw it on disc borrowed from guy I've known
• 6:42
  Speaker 2: since I was fourteen years old, Mike, and he was like,
• 6:46
  Speaker 2: I really think you should see this because what had
• 6:48
  Speaker 2: happened was my mom had died just a few months
• 6:50
  Speaker 2: before Castway came out, so I wasn't much of a
• 6:53
  Speaker 2: moviegoer for a few months afterward, obviously, And this was
• 6:56
  Speaker 2: right around Christmas time in that first year, and the
• 6:58
  Speaker 2: family's all, you know, it's a little hour. But when
• 7:01
  Speaker 2: I did see this on disc it it was it
• 7:05
  Speaker 2: had an impact. Like I think that the reason that
• 7:10
  Speaker 2: those jokes resonated with people, the reason that Wilson became
• 7:14
  Speaker 2: a thing, was this was like a Forrest Gump type
• 7:19
  Speaker 2: moment where it didn't even really matter whether you liked
• 7:23
  Speaker 2: the movie. It was just part of the cultural conversation.
• 7:27
  Speaker 2: And Zamechas has a real gift for that. And I
• 7:29
  Speaker 2: think we've encountered that as we've gone through his filmography,
• 7:32
  Speaker 2: where it's like I'd say that death becomes her in
• 7:35
  Speaker 2: contact again are victims, and I mean what lies beneath
• 7:38
  Speaker 2: is an absolute victim of this, where every so often
• 7:41
  Speaker 2: he just comes out of the left field and just
• 7:44
  Speaker 2: hits you with something that dominates everything else. And you
• 7:47
  Speaker 2: forget everything else that like he's done, and sometimes the
• 7:50
  Speaker 2: other movies that were released in that year. It becomes
• 7:53
  Speaker 2: a very uh, you know, very weird sort of filmography
• 7:57
  Speaker 2: to go through from my perspective. But part of that
• 8:00
  Speaker 2: is he's reuniting with Hanks, and I wanted to throw
• 8:04
  Speaker 2: out there, Darren, to you first, did you get a
• 8:07
  Speaker 2: sense at all that reuniting with Hanks.
• 8:09
  Speaker 3: And specific was in any sense a cynical move?
• 8:13
  Speaker 2: Is there anything about this where you look at it
• 8:15
  Speaker 2: and you go he went with Hanks because he worked
• 8:17
  Speaker 2: with him on Forrest Gump. He should have gone with
• 8:20
  Speaker 2: a different actor because like a Daniel day Lewis, who
• 8:24
  Speaker 2: would have actually strainded himself on an island for five years,
• 8:26
  Speaker 2: so they would have had to, you know, suspend Fethod acting.
• 8:29
  Speaker 2: It would have been a Richard link Later production where
• 8:31
  Speaker 2: it would have taken him fourteen years to film the thing.
• 8:34
  Speaker 2: But I mean like that that sort of thing. Is
• 8:36
  Speaker 2: Hank's successful enough here that he's the guy you're like,
• 8:41
  Speaker 2: definitely should have been Hank's or did at any point
• 8:44
  Speaker 2: of creep into you where you're like, a different actor
• 8:47
  Speaker 2: could have probably done something more dynamic with it.
• 8:51
  Speaker 4: Yeah, I get the question. Is Hank's the safe bet
• 8:55
  Speaker 4: the guy I've worked with and I'm trusting because we're
• 8:59
  Speaker 4: going to be shooting and also involve like gaining and
• 9:03
  Speaker 4: losing weight, and you know, I think overall it was
• 9:07
  Speaker 4: like a fifteen sixteen month shoot, which is a long time.
• 9:11
  Speaker 4: Not that he was shooting every single day of that,
• 9:13
  Speaker 4: but just the whole process. No, I think Hanks was
• 9:18
  Speaker 4: the right call. Again, I look back to Forrest Gump,
• 9:23
  Speaker 4: and you have this this aspect of Hank's working in
• 9:28
  Speaker 4: the role that he has to come across as likable.
• 9:34
  Speaker 4: He has to come across as you know, genuine and
• 9:39
  Speaker 4: in this movie, you need to connect to him. Otherwise
• 9:44
  Speaker 4: this is a carring movie. You need to care about
• 9:47
  Speaker 4: the character or it's just like you're watching an episode
• 9:51
  Speaker 4: of Survivor and oh, he got voted off this week.
• 9:54
  Speaker 4: I don't care. You know, you need and he takes
• 9:58
  Speaker 4: us through that entire range of Okay, this guy's a workaholic.
• 10:02
  Speaker 4: He's you know, I think the dynamic of the scene
• 10:05
  Speaker 4: where him and Helen Hunt open up there like day
• 10:07
  Speaker 4: planners and are trying to find a time to get together,
• 10:11
  Speaker 4: you feel that you're like, oh, it's he's this is
• 10:14
  Speaker 4: this kind of a relationship, so all of that through
• 10:18
  Speaker 4: his isolation and the cathartic ending. Yeah, I think maybe
• 10:25
  Speaker 4: there's a ten percent of it is I've worked with
• 10:27
  Speaker 4: this guy and I trust it. But I think Hanks
• 10:30
  Speaker 4: was the right call, Tristan.
• 10:32
  Speaker 5: I think Tom Hanks brings this kind of everyman energy
• 10:37
  Speaker 5: that was very much needed in Castaway. And by every man,
• 10:41
  Speaker 5: I mean I know that Tom Hanks is revered and
• 10:46
  Speaker 5: I do believe that he's a special type of actor,
• 10:49
  Speaker 5: but Tom Hanks brings this genuine kind of quality to
• 10:54
  Speaker 5: the film into his acting, where you know, like we
• 10:58
  Speaker 5: never want to see him as a bad guy. He's
• 11:00
  Speaker 5: He's America's dad, and you want to see what America's
• 11:04
  Speaker 5: dad would look like on an island. Like if you
• 11:06
  Speaker 5: dropped off, you know, an action hero on you know,
• 11:09
  Speaker 5: on an island, you would feel like if you drop
• 11:12
  Speaker 5: Sylvester Stallone, you'd be like, Okay, he's just going to
• 11:14
  Speaker 5: go all Rambo and like mcgiver's way out of the situation.
• 11:17
  Speaker 5: But with with Tom hanksherlet you really do ask yourself,
• 11:21
  Speaker 5: how is he going to get along? How is he
• 11:23
  Speaker 5: going to do this? It kind of makes me think
• 11:25
  Speaker 5: of Ebert did a review on The Girl with the
• 11:31
  Speaker 5: Dragon Tattoo the Fencer version and talked about how there
• 11:35
  Speaker 5: was an inherent problem with having Daniel Craig be the
• 11:40
  Speaker 5: me Kil character because like by that time he was
• 11:44
  Speaker 5: already James Bond, and he's like, in the back of
• 11:47
  Speaker 5: your mind, you know that James Bond is going to
• 11:50
  Speaker 5: get out of the torture chamber. You know that James
• 11:52
  Speaker 5: Bond is going to survive, But when you watch the
• 11:55
  Speaker 5: Swedish version, you have no idea if Mikail's going to
• 11:58
  Speaker 5: survive because it's not James Bond. So I feel like
• 12:01
  Speaker 5: with Tom Hanks and Castaway, it was perfect casting me
• 12:06
  Speaker 5: because it really makes you wonder, like, if Tom Hanks
• 12:09
  Speaker 5: could survive, maybe I could survive, and so you're a
• 12:11
  Speaker 5: little bit more emotionally invested.
• 12:13
  Speaker 3: I accept that. I accept that.
• 12:16
  Speaker 2: I think that Hanks is the right choice because the
• 12:20
  Speaker 2: concept of the film is difficult for audiences to plug
• 12:24
  Speaker 2: into and it is a shortcut to getting butts in
• 12:29
  Speaker 2: the seats for the reasons you're talking about Tristan, where
• 12:33
  Speaker 2: people see him as America's dad, like you were saying,
• 12:36
  Speaker 2: and you're going to root for him without believing he
• 12:38
  Speaker 2: can make it. Necessarily, he's still got to prove he's
• 12:41
  Speaker 2: got to go through it, and you believe he can lose.
• 12:44
  Speaker 2: And Darren, I think that you're right that Hanks has
• 12:49
  Speaker 2: built up enough esteem by this point that he's in
• 12:52
  Speaker 2: the conversation automatically as worthy of doing the difficult role.
• 12:56
  Speaker 2: This isn't taking a gamble on a comedic actor with Philadelphia.
• 13:00
  Speaker 2: This is Hanks has the pedigree by this point to
• 13:02
  Speaker 2: say he can do this. I believe he can do this,
• 13:06
  Speaker 2: and if it makes the investors a little easier and
• 13:09
  Speaker 2: more forgiving of the way you're going to shoot this film,
• 13:12
  Speaker 2: so much the better.
• 13:13
  Speaker 3: So much the better.
• 13:14
  Speaker 2: But speaking of the way they shoot the film, I'd
• 13:16
  Speaker 2: be interested to know, Darren, it's I think it's very
• 13:21
  Speaker 2: judicious in its use of.
• 13:24
  Speaker 3: Visual effects.
• 13:26
  Speaker 2: I think that they use them when they need them,
• 13:28
  Speaker 2: but otherwise they frame them with items that are you know,
• 13:32
  Speaker 2: if they could film it for real, they did film
• 13:34
  Speaker 2: it for real and other things.
• 13:36
  Speaker 3: They did what they had to do.
• 13:39
  Speaker 2: You feel that those effects hold up or did they
• 13:43
  Speaker 2: twenty five years later take you out of the film
• 13:45
  Speaker 2: in any way?
• 13:47
  Speaker 3: Well?
• 13:47
  Speaker 4: I think you know, I didn't even think about visual
• 13:50
  Speaker 4: effects in this rewatch, but upon thinking about it for
• 13:54
  Speaker 4: two seconds, these are the best kind of background effects
• 13:59
  Speaker 4: where it's the storm, it's you know, the little prop
• 14:03
  Speaker 4: thing has to roll up at the exact right moment.
• 14:06
  Speaker 4: But it's all as much as possible practical for practical
• 14:11
  Speaker 4: and the only thing that it didn't pull me out,
• 14:15
  Speaker 4: it more made me question, like, oh, how, I'm wondering
• 14:18
  Speaker 4: how they shot This was the very early shot where
• 14:21
  Speaker 4: the camera is following in kind of a riding along
• 14:25
  Speaker 4: with the package POV and I'm thinking, well, this is
• 14:29
  Speaker 4: two thousand, so there's no iPhone we strapped to this,
• 14:33
  Speaker 4: So is there just a guy with a full on
• 14:36
  Speaker 4: camera rig like huffing it behind little Tommy who's carrying
• 14:40
  Speaker 4: this pat I was actually genuinely curious how they pulled
• 14:44
  Speaker 4: off those shots, and it's probably simpler than I'm thinking
• 14:47
  Speaker 4: about it. But and that's not a negative to be
• 14:50
  Speaker 4: pulled out in that way. It was more curiosity, but no. Overall,
• 14:56
  Speaker 4: these these are like the Truman Show or set extensions
• 15:00
  Speaker 4: where we change the sky or we had to add
• 15:04
  Speaker 4: a storm, those kinds of effects, whereas everything else is
• 15:10
  Speaker 4: extremely practical. You feel like you're on this island. They
• 15:13
  Speaker 4: never placed the camera, you know. Oh, and here's a
• 15:18
  Speaker 4: bird eye view of his island, like a drone would shoot.
• 15:21
  Speaker 4: Why would we ever have that perspective? Why would we
• 15:24
  Speaker 4: ever We only really get a good look at the
• 15:27
  Speaker 4: island when he's rowing away from it, and that's the
• 15:29
  Speaker 4: first time he's seen his island that far away.
• 15:33
  Speaker 2: So I think it works great. I appreciate what you're saying.
• 15:39
  Speaker 2: I think there are a couple of shots, Tristan. I
• 15:42
  Speaker 2: think there are like one or two shots where I
• 15:43
  Speaker 2: look at them and I go, ah, that's as good
• 15:45
  Speaker 2: as they could do in two thousand. Did you find
• 15:48
  Speaker 2: any shots like that at all?
• 15:50
  Speaker 5: A there was Actually when I watched this, there was
• 15:54
  Speaker 5: something I noticed for the first time was the first
• 15:57
  Speaker 5: time we look through the cockpit of the plane. The
• 16:02
  Speaker 5: ocean is right up to the window. It looks like
• 16:06
  Speaker 5: they're skimming across the bottom of the ocean as they're flying,
• 16:10
  Speaker 5: and you're just like, oh my God, like, no wonder
• 16:13
  Speaker 5: they're having a problem right, like you're too low, you're
• 16:16
  Speaker 5: too low. But then the very next shot is just blackness,
• 16:19
  Speaker 5: like they're above the clouds. And then when they're starting
• 16:21
  Speaker 5: to descend. You see them go through the crowd clouds
• 16:24
  Speaker 5: and then you see the ocean. So they clearly screwed
• 16:27
  Speaker 5: up in that one shot where I don't know how
• 16:30
  Speaker 5: they could have missed it, but it was. It was
• 16:33
  Speaker 5: a huge screw up to have the ocean in the
• 16:36
  Speaker 5: outside window, uh, when you're supposed to be an airliner
• 16:39
  Speaker 5: above the weather. Regardless though, I think that was probably
• 16:42
  Speaker 5: the biggest thing was that, But this was. I loved
• 16:48
  Speaker 5: how much of a departure this was for Semechas you
• 16:51
  Speaker 5: know when you when you come from Contact and Forrest
• 16:54
  Speaker 5: Gump and you look at it his filmography with so
• 16:58
  Speaker 5: many other technical advances and motion capture and things like that,
• 17:01
  Speaker 5: like this was. This was as most bare bones as
• 17:04
  Speaker 5: you can get with Robert Simchis. Maybe Oh, I was
• 17:08
  Speaker 5: about to say What Lies Beneath, which is a movie
• 17:11
  Speaker 5: that we're totally skipping over because I forgot that What
• 17:14
  Speaker 5: Lies Beneath came out in July. I totally yes, the
• 17:17
  Speaker 5: way it came out in December.
• 17:18
  Speaker 2: Everybody, everybody, like I was saying, like he did two
• 17:20
  Speaker 2: in one year, just to make up for the extra
• 17:22
  Speaker 2: year off.
• 17:23
  Speaker 3: Everybody forgets about What Lies Beneath like I even more
• 17:27
  Speaker 3: than Death Becomes Her.
• 17:28
  Speaker 5: Yeah, my dad and I really liked What Lies Beneath
• 17:31
  Speaker 5: like it is. It's that's a bare bones movie, like
• 17:34
  Speaker 5: it's it's a psychological thriller. You know, it's not fantastic,
• 17:39
  Speaker 5: but it's it's an interesting watch. It's it's yeah, it's
• 17:43
  Speaker 5: worth seeing.
• 17:44
  Speaker 2: The strange thing is that's the one I saw in
• 17:46
  Speaker 2: the theater that year. I probably would have seen Castaway
• 17:48
  Speaker 2: if my life had continued on, uh with with without
• 17:52
  Speaker 2: you know, the tragedy and everything. But like, it's weird
• 17:55
  Speaker 2: to me because as as we're prepping for this, I
• 17:57
  Speaker 2: looked up and I saw the whole thing about July
• 17:59
  Speaker 2: and I was like, oh, yeah, I did go see
• 18:01
  Speaker 2: that in the movie theater. I forgot that movie even existed.
• 18:06
  Speaker 2: And what you're saying, yeah, we won't rabbit hole, it's
• 18:09
  Speaker 2: it's okay, Yeah, it's fine.
• 18:12
  Speaker 3: Yeah, it's fine, it's fine.
• 18:13
  Speaker 5: It doesn't not every That's one of those movies where
• 18:15
  Speaker 5: I tell people, not every movie has to change your life.
• 18:18
  Speaker 4: Yeah exactly, what isn't that what he basically quickly shot
• 18:23
  Speaker 4: while they were waiting for Tom Hanks to like lift weight,
• 18:27
  Speaker 4: So like he filmed it as a pocket movie in
• 18:31
  Speaker 4: the middle of his other movie. Like that's still like
• 18:34
  Speaker 4: the most badass way of shooting something.
• 18:36
  Speaker 3: That was okay.
• 18:38
  Speaker 2: Honestly, I think probably it's like somebody who has something
• 18:42
  Speaker 2: to distract themselves where they're trying to work out a
• 18:44
  Speaker 2: different problem, and like he can go on set and
• 18:46
  Speaker 2: he can do that thing, and like in the back
• 18:48
  Speaker 2: of his brain he's like, oh, wait a minute, no, no, no,
• 18:50
  Speaker 2: I could take the camera when we go back to
• 18:51
  Speaker 2: the island and we could do this with him instead.
• 18:53
  Speaker 3: That sort of thing.
• 18:55
  Speaker 2: But in terms of the way this is shot, the framing,
• 19:00
  Speaker 2: the aspect ratio is a departure from previous work with Zamechis.
• 19:06
  Speaker 2: It's it's lensed differently, even though he keeps the same
• 19:10
  Speaker 2: you know, crew, largely editor and everything going along with him. Darren,
• 19:15
  Speaker 2: did that take you by surprise at all? Do you
• 19:17
  Speaker 2: think that that was a practical consideration. Do you think
• 19:19
  Speaker 2: it helps the movie to have a narrower field of vision?
• 19:25
  Speaker 4: I mean, to be honest, I didn't give a ton
• 19:28
  Speaker 4: of thought about it, but I will say the the
• 19:32
  Speaker 4: feeling I got from the framing was a bit of closeness,
• 19:38
  Speaker 4: you know, you feel like you are right there with him,
• 19:43
  Speaker 4: almost not too close, as in he put a camera
• 19:46
  Speaker 4: down and he's blogging from the island. You know, it's
• 19:49
  Speaker 4: still a little bit of ways from that, but there
• 19:52
  Speaker 4: aren't sweeping vistas, and you know it's not that kind
• 19:56
  Speaker 4: of a shot of movie. So no, I think moving
• 20:01
  Speaker 4: the action as it were a little closer to your character,
• 20:07
  Speaker 4: especially when he's going to be in ninety five percent
• 20:09
  Speaker 4: of the frames, like this is a Hanks movie, So
• 20:14
  Speaker 4: I think it worked.
• 20:15
  Speaker 3: Tristan, same question.
• 20:18
  Speaker 5: I love that he filmed this in one point eighty
• 20:20
  Speaker 5: five aspect ratio. I remember when I pulled it up
• 20:24
  Speaker 5: on the TV and clicked it, I was surprised that
• 20:30
  Speaker 5: it wasn't anamorphic, that it wasn't two point thretey nine.
• 20:33
  Speaker 5: And I was also kind of taken it back at
• 20:36
  Speaker 5: how much grain there was at the beginning. Did you
• 20:40
  Speaker 5: guys notice that too, Like there was a lot more
• 20:42
  Speaker 5: grain than what you would expect for a two thousand film,
• 20:45
  Speaker 5: And I thought that was interesting because it definitely gave
• 20:48
  Speaker 5: it a texture that you hadn't noticed in previous films,
• 20:51
  Speaker 5: Like if you watch Contact, you don't really notice the
• 20:53
  Speaker 5: grain or that kind of texture. Even Gump, you know,
• 20:56
  Speaker 5: you didn't even really notice it that much, maybe more
• 20:58
  Speaker 5: so than contact, but yeah, it was. It's interesting because
• 21:04
  Speaker 5: like the type of the type of film that he used,
• 21:07
  Speaker 5: like the actual stock, the actual film stock he used,
• 21:11
  Speaker 5: had a little bit more dynamic range and allowed for
• 21:14
  Speaker 5: a little bit richer color reproduction. Like did you guys
• 21:18
  Speaker 5: notice that at all with this, Like the colors were
• 21:21
  Speaker 5: a little bit richer than in previous films because the
• 21:23
  Speaker 5: palette is a little constrained. I think it's on an island.
• 21:28
  Speaker 3: I agree with you.
• 21:30
  Speaker 2: The palette is restrained for the obvious reasons and everything.
• 21:33
  Speaker 2: But the sky really, and I hate to use the word,
• 21:37
  Speaker 2: the sky pops at certain moments. I do, I trust me.
• 21:40
  Speaker 2: I want to cut off my own nose for saying it.
• 21:44
  Speaker 2: I apologize to everybody. But the richer colors I think
• 21:47
  Speaker 2: really help some of those shots because it makes what
• 21:51
  Speaker 2: could be a very flat and boring looking film be
• 21:55
  Speaker 2: more dynamic. So I mean, but obviously Don Burgass, who's
• 22:00
  Speaker 2: been who was working with him since Gump at least
• 22:04
  Speaker 2: I think, really, you know this is this is a duo,
• 22:07
  Speaker 2: like he's found his director of photography that got exactly
• 22:12
  Speaker 2: what he was going for, because the balance here is
• 22:16
  Speaker 2: he's balancing those visual effects. And I think that actually
• 22:20
  Speaker 2: framing it the way that he did is helpful on
• 22:23
  Speaker 2: the island. But I think it's clutch in the plane crash.
• 22:27
  Speaker 2: It is absolutely clutch in the plane crash because it
• 22:30
  Speaker 2: is so claustrophobic and you're so up in there that
• 22:34
  Speaker 2: you know. Honestly, I watch it, and everybody knows I
• 22:37
  Speaker 2: hate flying. I watch a film like this and I'm like, well, yeah,
• 22:40
  Speaker 2: that's everybody. That's a fifty to fifty chance every time
• 22:42
  Speaker 2: you go in the air like this is exactly what's
• 22:45
  Speaker 2: going to happen. At one point you know, well what
• 22:47
  Speaker 2: you know it's coming.
• 22:48
  Speaker 5: I wish the audience could know how little you're joking.
• 22:52
  Speaker 2: It's not a bit. I swear to god, it's not
• 22:54
  Speaker 2: a bit. My palm starts sweating during that scene. I'm like, yeah, yeah,
• 22:57
  Speaker 2: this is exactly I'm gonna fly. I'm gonna fly back home,
• 23:00
  Speaker 2: see my family. This is what's going to happen.
• 23:01
  Speaker 5: Yeah, Jack, John and I text each other every day.
• 23:06
  Speaker 5: I get way more texts than I usually do when
• 23:10
  Speaker 5: he's flying or about to fly.
• 23:11
  Speaker 3: That is true that is true.
• 23:13
  Speaker 2: I absolutely light up light up the world because like,
• 23:18
  Speaker 2: so I will actually sit down next to people in
• 23:20
  Speaker 2: a plane, I'll be like, I'm a bad flyer. I'm
• 23:23
  Speaker 2: letting you know that, do not take any cues off
• 23:26
  Speaker 2: of me. That is how we may have to hold hands.
• 23:29
  Speaker 3: Yeah.
• 23:29
  Speaker 5: So with okay, so with this movie specifically, like since
• 23:32
  Speaker 5: you're talking about Burgess, I loved how minimalistic the camera
• 23:36
  Speaker 5: work was in this movie, how long the takes were,
• 23:40
  Speaker 5: how they focused on natural lighting, like like when you
• 23:43
  Speaker 5: saw the fire, whenever he had a fire, that's that's
• 23:46
  Speaker 5: mostly what was used to light the scene. And it
• 23:50
  Speaker 5: really showed no like did they bring in lights, of
• 23:52
  Speaker 5: course they did. You know, this wasn't like The Remnant
• 23:55
  Speaker 5: where it was all just natural light, but you could
• 23:57
  Speaker 5: tell that was the main motivated light was natural light sources.
• 24:00
  Speaker 5: And I felt like it really and also the absence
• 24:04
  Speaker 5: of the score, like you didn't get Celestry's score on
• 24:08
  Speaker 5: the Island. I thought that was such a great aesthetic
• 24:11
  Speaker 5: choice that really showcases the isolations along with the lake.
• 24:15
  Speaker 5: The longer takes and some wide shots and close ups.
• 24:19
  Speaker 5: You know, it just it just I felt like it
• 24:21
  Speaker 5: really really worked, like this is the mechas and Burgess
• 24:24
  Speaker 5: working together and firing on all cylinders.
• 24:27
  Speaker 2: Well, I'm glad you mentioned that about the the the
• 24:31
  Speaker 2: naturalistic lighting, but obviously they brought in lights, Darren. Do
• 24:36
  Speaker 2: you think that we should be grateful that this film
• 24:40
  Speaker 2: was conceived and shot before the huge digital camera revolution,
• 24:44
  Speaker 2: because Tristan references the Yeah, I like the whole time
• 24:49
  Speaker 2: I'm watching it this time, I'm like, oh my lord,
• 24:51
  Speaker 2: I know exactly what this film would look like if
• 24:53
  Speaker 2: somebody came up with it today.
• 24:54
  Speaker 3: I already know what it would.
• 24:55
  Speaker 5: Look like if the mechais did this today, he would
• 24:58
  Speaker 5: he'd be using like the most advanced digital cameras and
• 25:01
  Speaker 5: shoot in the dark as much as they could.
• 25:03
  Speaker 3: Yes, yeah, Well.
• 25:05
  Speaker 4: And the fact that he doesn't even get fire for
• 25:08
  Speaker 4: like a while, so it's just better shoot during the
• 25:11
  Speaker 4: day or hope there's a moon out at night. And
• 25:15
  Speaker 4: part of it is he's in a cave, you know,
• 25:17
  Speaker 4: which is actually a major set piece on the island.
• 25:21
  Speaker 4: But circling back around to the sound editing, as it were, Yeah,
• 25:28
  Speaker 4: not only did we not have score until the very end,
• 25:31
  Speaker 4: but I most noticed it when he's back at the
• 25:37
  Speaker 4: FedEx business and you're hearing cars honking in the background,
• 25:41
  Speaker 4: and you're hearing which it kind of caught me off
• 25:45
  Speaker 4: guard because it's obviously a choice because normally, when you're
• 25:50
  Speaker 4: in a scene like that, like in an office building
• 25:52
  Speaker 4: or whatever, you don't want to hear the outside world.
• 25:55
  Speaker 4: You don't want it to pull you out. But in
• 25:57
  Speaker 4: this case, the inverse is true. You want it to be. Like.
• 26:01
  Speaker 4: The whole vibe of that portion is everyone's kind of
• 26:07
  Speaker 4: scurrying around in their minutia of life, which isn't a
• 26:11
  Speaker 4: bad thing, but it's so jarring for Chuck coming back
• 26:18
  Speaker 4: to Okay, see you tomorrow for another day of work.
• 26:21
  Speaker 4: Like when before it was I hope I live through tomorrow.
• 26:25
  Speaker 4: I hope I find food or water. So yeah, the
• 26:29
  Speaker 4: use of or the lack of extra sound, even the
• 26:34
  Speaker 4: fact that there's besides the crab and fish, there's no
• 26:37
  Speaker 4: animals on the island. There's no birds or or wild
• 26:41
  Speaker 4: cats or anything like that, and it's shockingly isolating because
• 26:47
  Speaker 4: of it.
• 26:47
  Speaker 2: I'm glad you mentioned the sound because I think the
• 26:51
  Speaker 2: sound design in this is tremendous for the reasons you're
• 26:56
  Speaker 2: talking about. When he's on the island, its sounds isolating.
• 27:01
  Speaker 2: It's like that, and and what I love coming back
• 27:04
  Speaker 2: to it this time is it's never called out, but
• 27:09
  Speaker 2: the I think the subtext is still there. We all
• 27:11
  Speaker 2: love to go to island paradises or think about going
• 27:15
  Speaker 2: to island paradises, and we're like, oh, I would love
• 27:19
  Speaker 2: to be there and live there. No, you would love
• 27:22
  Speaker 2: to live there and be there in a resort in
• 27:25
  Speaker 2: an island paradise. You have no desire to.
• 27:28
  Speaker 5: Be You want to live in Hawaii. That's what you
• 27:30
  Speaker 5: want to do.
• 27:30
  Speaker 2: You want to live somewhere where they built things and
• 27:33
  Speaker 2: you have electricity.
• 27:34
  Speaker 4: Infrastructure my friends said infrastructure exactly.
• 27:37
  Speaker 2: Maybe some pavement and two day shipping. Who knows, but
• 27:41
  Speaker 2: and we'll come back to the shipping, trust me. But
• 27:44
  Speaker 2: this was nominated for Best Sound. But that Academy award
• 27:49
  Speaker 2: went to a different film, and that went to Gladiator,
• 27:53
  Speaker 2: which we.
• 27:54
  Speaker 3: All love, we all know.
• 27:55
  Speaker 5: I thought it went to the Matrix.
• 27:57
  Speaker 2: No Matrix came out ninety nine. This came out in
• 28:02
  Speaker 2: two thousand. So for those awards, Gladiator won, Castaway was nominated,
• 28:08
  Speaker 2: The Patriot was nominated, The Perfect Storm was nominated More
• 28:12
  Speaker 2: Water Effects for You There and You five seven one,
• 28:16
  Speaker 2: which is a movie nobody three people saw who knows.
• 28:20
  Speaker 2: I Well, there you go, you and the other two
• 28:23
  Speaker 2: people in the theater, who knows. But I mean I
• 28:27
  Speaker 2: hear it, and I'm like, oh, now I want to
• 28:29
  Speaker 2: go back and watch Gladiator because I know the sound
• 28:31
  Speaker 2: design was great on that, but it really tough.
• 28:34
  Speaker 3: I know it is, I know it is.
• 28:36
  Speaker 5: It's really really good, like I know, like, okay, so
• 28:41
  Speaker 5: Gladiator was one of the CAUs I ever owned.
• 28:43
  Speaker 4: Scene like just and.
• 28:46
  Speaker 5: Oh that's but it's I would put in Gladiator to
• 28:51
  Speaker 5: showcase my dad's surround sound system, Like that's what we
• 28:55
  Speaker 5: would do it, Like we would pop in Gladiator and
• 28:57
  Speaker 5: like when he throws the sword, when when he's about
• 29:01
  Speaker 5: to when they're about to execute him towards the beginning,
• 29:04
  Speaker 5: and he gets away and he's off screen, and then
• 29:07
  Speaker 5: all of a sudden, you see you hear a sword
• 29:10
  Speaker 5: just like like go past the camera. It's freaking amazing,
• 29:15
  Speaker 5: like just that just that one bit because you can
• 29:17
  Speaker 5: totally feel it, so it feels like it just whiz
• 29:20
  Speaker 5: past your ear and you have the worst seeings and
• 29:23
  Speaker 5: the animals. There's no question of so much.
• 29:26
  Speaker 2: Gladiator has more going on, and it's very on point.
• 29:31
  Speaker 2: It's very well done. This is a much more subtle
• 29:34
  Speaker 2: type of score. And I'm not saying that to like
• 29:36
  Speaker 2: throw shade it Gladiator. I'm saying this, you know, to
• 29:39
  Speaker 2: Darren what what you were talking about a minute ago,
• 29:42
  Speaker 2: Like this is one where the sound is a character
• 29:44
  Speaker 2: in a way that you don't even really notice it.
• 29:47
  Speaker 2: You know, you mentioned, Tristan the lack of score on
• 29:50
  Speaker 2: the Island, and it made me think of Dog Day Afternoon,
• 29:53
  Speaker 2: where you don't realize that the music is missing until
• 29:56
  Speaker 2: the end and you're like, oh, yeah, right, and you
• 29:59
  Speaker 2: realize exactly how on point that whole team had to
• 30:02
  Speaker 2: be to keep you invested without the emotional cheat code that.
• 30:06
  Speaker 5: A film score is no country also.
• 30:09
  Speaker 3: Yeah, oh yeah, right, I forgot about that. Oh my gosh. Yes.
• 30:13
  Speaker 2: But that said, it's still great design. But playing into
• 30:18
  Speaker 2: everything else, as we've talked about Hanks is a very
• 30:22
  Speaker 2: I'll just go ahead and I'll ask you first, Triston,
• 30:24
  Speaker 2: do you think other directors would have had the courage
• 30:27
  Speaker 2: that Zamechis does here not to cut to the people
• 30:32
  Speaker 2: back in the world while Hanks is isolated.
• 30:36
  Speaker 5: Yes, I do believe that other directors would have done that.
• 30:39
  Speaker 5: I was actually thinking about that as I was watching this,
• 30:41
  Speaker 5: where it would have been so easy, It would have
• 30:44
  Speaker 5: been so easy to show the search, to show Helen
• 30:48
  Speaker 5: Hunt struggle with a new relationship, you know, it would
• 30:52
  Speaker 5: have been really, really easy. But I think the idea
• 30:56
  Speaker 5: of it, they went in with the best intentions. It
• 30:59
  Speaker 5: was we're showing this movie from the perspective of Tom Hanks,
• 31:03
  Speaker 5: like this is his movie. This like we're like, there's
• 31:06
  Speaker 5: no reason to cut back, there's no there's no reason
• 31:08
  Speaker 5: to to to show a flashback that okay, see that
• 31:13
  Speaker 5: would have been even easier to did to do was like, oh,
• 31:17
  Speaker 5: he's thinking about his life back home, you know, and
• 31:20
  Speaker 5: we see what he's thinking. I'm trying to think of
• 31:23
  Speaker 5: another director that wouldn't have cut back, and a director
• 31:28
  Speaker 5: who would. I feel like Spielberg definitely would have cut
• 31:32
  Speaker 5: back to know that that's a hardcore absolutely would have
• 31:37
  Speaker 5: shown what was going on or done flashbacks. I feel like, maybe, oh, Couran,
• 31:46
  Speaker 5: he would not cut back. Alfonso Kuran would have cut back.
• 31:49
  Speaker 3: That's fair.
• 31:50
  Speaker 5: That's that's my that's my two examples of those who
• 31:52
  Speaker 5: obviously there's tons of who would and tons of who wouldn't.
• 31:55
  Speaker 5: But those are the top two that that kind of
• 31:57
  Speaker 5: pop into my brain. Fair.
• 31:58
  Speaker 4: Yeah, with the cutting back, there's two things about it.
• 32:03
  Speaker 4: One is I think it would absolutely have destroyed the isolation.
• 32:08
  Speaker 4: You would not have felt the isolation nearly as much
• 32:11
  Speaker 4: if you're and then you know the super Bowl happened
• 32:14
  Speaker 4: and he's just like killing a crab. He would be like,
• 32:17
  Speaker 4: what am I watching? The only thing as far as cutback,
• 32:21
  Speaker 4: that I think might be interest I'm not saying I'm
• 32:23
  Speaker 4: advocating for it, but I feel like another director could
• 32:28
  Speaker 4: have gone this route, which would have been start the
• 32:31
  Speaker 4: movie with him washing up on the island and all
• 32:34
  Speaker 4: of the nightmare flashback when he's dreaming is like the
• 32:38
  Speaker 4: crash and maybe a bit of the last day of FedEx.
• 32:42
  Speaker 3: An interesting take.
• 32:44
  Speaker 4: I don't think there's anything wrong with how we watched
• 32:46
  Speaker 4: it in a linear progression, but the directors love tossing
• 32:50
  Speaker 4: us in the middle of the action and then flashbacking
• 32:53
  Speaker 4: you know how we got here. So I'm not saying
• 32:56
  Speaker 4: i'm advocating it. I'm just saying it would have been
• 32:58
  Speaker 4: interesting take.
• 33:00
  Speaker 5: You're right, I think I could easily see somebody doing that.
• 33:03
  Speaker 5: I really could, Like I could even see like a
• 33:05
  Speaker 5: fan edit of that.
• 33:06
  Speaker 2: Somebody doing that now, Darren, you mentioned that he worked
• 33:10
  Speaker 2: for FedEx, which eventually, by you know, by the third
• 33:14
  Speaker 2: act I kind of called on right, he worked for
• 33:16
  Speaker 2: fed X, Right, I think it gets there. Eventually, it
• 33:19
  Speaker 2: seeps through. They can only be nuanced for so long.
• 33:23
  Speaker 2: Tristan coming back to it with twenty twenty five eyes
• 33:27
  Speaker 2: or even projecting yourself backward to the first time you
• 33:30
  Speaker 2: saw it, is the obvious backing of FedEx in this film,
• 33:36
  Speaker 2: to its detriment or to its benefit or is it a.
• 33:40
  Speaker 5: Neutral They didn't actually get any funding from FedEx for this,
• 33:43
  Speaker 5: you're kidding me. No, No, they did presume that they did,
• 33:48
  Speaker 5: because I was like, it's an easy question.
• 33:50
  Speaker 2: Yeah, I absolutely presumed that they did. So they simply
• 33:55
  Speaker 2: got FedEx's permission to use their logo, or.
• 33:58
  Speaker 5: They got their permission and cooperation. But they didn't get
• 34:01
  Speaker 5: any funding.
• 34:02
  Speaker 3: That's crazy, that's crazy. They were able to use their trucks. Yeah.
• 34:08
  Speaker 4: The original idea was from Hanks, wasn't it where he
• 34:11
  Speaker 4: thought he was thinking of or he had read somewhere
• 34:14
  Speaker 4: about FedEx sends three planes over the Pacific every single
• 34:19
  Speaker 4: day and was like, what if one of those crashed,
• 34:22
  Speaker 4: and then he brought a third, and Zamechas brought a
• 34:24
  Speaker 4: third and it all kind of pieced together. But yeah,
• 34:27
  Speaker 4: it does though. I see what you're saying, though, John,
• 34:29
  Speaker 4: the first ten minutes of this movie, you're like, this
• 34:34
  Speaker 4: is am I to FedEx ad because it is everywhere.
• 34:39
  Speaker 5: I think it works. I think you have to use
• 34:42
  Speaker 5: a brand like that, Like I think you had to
• 34:45
  Speaker 5: do it back then. I think you absolutely have to
• 34:47
  Speaker 5: do it today because there's certain times when you have
• 34:50
  Speaker 5: a fake brand, you're like, Okay, is this more inspired
• 34:54
  Speaker 5: by UPS or is this more inspired by FedEx? It's
• 34:57
  Speaker 5: just like it looks like the UPS logo, but they're
• 34:59
  Speaker 5: using FedEx colors. You know, Like you I feel like
• 35:01
  Speaker 5: you get inside your own head more when you see
• 35:05
  Speaker 5: a fake brand than if you just went ahead and
• 35:08
  Speaker 5: used a normal one or an everyday one. But it's
• 35:10
  Speaker 5: kind of like when you see football in movies and
• 35:14
  Speaker 5: they're not allowed to do an FNAL team, it all
• 35:17
  Speaker 5: feels like Canadian football.
• 35:18
  Speaker 2: Well, and that's I'm glad you bring that up because
• 35:21
  Speaker 2: football and specific because I consider the whole FedEx thing
• 35:25
  Speaker 2: in neutral like it's one of those things where it's like, well, yeah, okay,
• 35:28
  Speaker 2: he works for a real company that I understand. That's fine,
• 35:31
  Speaker 2: and then I can compartmentalize because obviously I presume FedEx
• 35:34
  Speaker 2: must have kicked in some funding. But either way, even
• 35:36
  Speaker 2: if they had, I'm like I was able to be like, okay,
• 35:40
  Speaker 2: well he works for FedEx, so that I believe that
• 35:42
  Speaker 2: this is occurring in my planet, you know, my existence.
• 35:45
  Speaker 3: Fine.
• 35:47
  Speaker 2: But the football thing, it always reminds me of an
• 35:50
  Speaker 2: absolutely terrible movie starring Ben Affleck. It was him trying
• 35:56
  Speaker 2: to be Jack Ryan. I don't forget the name of
• 35:58
  Speaker 2: it right now. It was one where they blew up Baltimore.
• 36:01
  Speaker 2: It was a Tom Clancy some of all fears, that's
• 36:03
  Speaker 2: the one Morgan Freedan is the President one.
• 36:06
  Speaker 3: But I did not. I hated that movie.
• 36:09
  Speaker 2: And one of the reasons I hated the movie is
• 36:11
  Speaker 2: they went to a football game in Baltimore and not
• 36:15
  Speaker 2: only was the stadium indoors, which Baltimore Stadium is not,
• 36:19
  Speaker 2: but neither team exists. And it to your point, Tristan,
• 36:22
  Speaker 2: I was like, I can't even pretend that this is
• 36:25
  Speaker 2: the real world right now, Why did you even have this?
• 36:28
  Speaker 2: If you admite it a soccer match. I'm with you, okay, fine,
• 36:31
  Speaker 2: because I know nothing about soccer, but the NFL come on, brother.
• 36:35
  Speaker 2: But yeah, so if you if you had put him
• 36:37
  Speaker 2: for something where it was like Ups but with FedEx colors,
• 36:39
  Speaker 2: it would have been like, okay, you know, it's like
• 36:42
  Speaker 2: it's like the old movies where you see soda on
• 36:44
  Speaker 2: the canty, like it couldn't just get the permission to
• 36:48
  Speaker 2: use coke?
• 36:50
  Speaker 3: I mean exactly, slurm.
• 36:53
  Speaker 4: Well, and they were wise to do that because really,
• 36:57
  Speaker 4: you have a matter of minutes to ablish this character,
• 37:01
  Speaker 4: to give us a reason why we need to care
• 37:04
  Speaker 4: about him. And we find out we're like, oh, he's
• 37:07
  Speaker 4: a workaholic. He's way up in the chain. He's the
• 37:10
  Speaker 4: guy who gets on the ground and gets places spun up,
• 37:14
  Speaker 4: like this is a very demanding job. And then boom,
• 37:18
  Speaker 4: he's in a relationship and you're like, oh my gosh,
• 37:20
  Speaker 4: this is like what is this going to be like?
• 37:22
  Speaker 4: And yeah, you have a fleeting amount of time in
• 37:27
  Speaker 4: the non island world to establish the likability of this
• 37:32
  Speaker 4: guy and give him his you know, give him his conscious,
• 37:37
  Speaker 4: give give him his reason for continuing. And it's you know,
• 37:43
  Speaker 4: it's Helen Hunt and the package are the two things
• 37:46
  Speaker 4: that keep him going. And if you don't have any
• 37:49
  Speaker 4: of that, then you're like, why why should I care
• 37:52
  Speaker 4: about this thought experiment of ap of a guy crashing.
• 37:57
  Speaker 5: On an island.
• 37:58
  Speaker 2: Yeah, I am setting all of that stuff aside. I
• 38:02
  Speaker 2: wonder if there's also a challenge here for some audiences
• 38:10
  Speaker 2: and Tristan, I'll throw this to you with the entire
• 38:14
  Speaker 2: conceit that of what a workaholic he is, or you know,
• 38:18
  Speaker 2: like that does that seems to have fallen a bit
• 38:20
  Speaker 2: out of vogue? Do you think that that aspect of
• 38:24
  Speaker 2: his character is still relatable to modern audiences or do
• 38:27
  Speaker 2: you think that people have regarded that as more of
• 38:30
  Speaker 2: a negative now than they did.
• 38:31
  Speaker 5: Then I'll be honest with you, I didn't really see
• 38:35
  Speaker 5: a workaholic. I didn't really get that sentence. No, No,
• 38:40
  Speaker 5: I got a guy who travels a lot for his job.
• 38:44
  Speaker 5: I felt like it's kind of like a like when
• 38:47
  Speaker 5: my dad was a salesman. You know, he traveled constantly,
• 38:51
  Speaker 5: but when he was home, he was home. And it's
• 38:54
  Speaker 5: even like, you know, like when Hanks was talked with
• 38:56
  Speaker 5: Helen Hunt, he says, he's like, Okay, well, like I'm
• 38:57
  Speaker 5: if I come back on the six, but then I
• 38:59
  Speaker 5: got to go right back on the road like on
• 39:01
  Speaker 5: the thirteenth. You know, like that's still some time in between.
• 39:04
  Speaker 5: And it's not like I didn't feel like they were
• 39:08
  Speaker 5: trying to give us a sense that like all this
• 39:09
  Speaker 5: guy cares about his work. It just sounds like he's
• 39:12
  Speaker 5: the man on the ground, like he's the one who
• 39:15
  Speaker 5: gets other FedEx areas up to speed. And I know
• 39:19
  Speaker 5: some of those people. I work with some of those people,
• 39:22
  Speaker 5: and yeah, I just felt like he had I just
• 39:25
  Speaker 5: thought that they showed it like two people with demanding jobs,
• 39:29
  Speaker 5: like she's doing her dissertation and she has to defend
• 39:32
  Speaker 5: it and he's, you know, traveling around the world trying
• 39:34
  Speaker 5: to talking about going to South America coming back from Russia.
• 39:39
  Speaker 3: Yeah.
• 39:39
  Speaker 5: No, I didn't get that at all. I think it
• 39:40
  Speaker 5: was just gave it gave you a reason why he
• 39:43
  Speaker 5: flies a lot.
• 39:44
  Speaker 2: See, I understand what you're saying, but I think the
• 39:47
  Speaker 2: workaholic thing, from my perspective, comes across when he's giving
• 39:51
  Speaker 2: that motivational speech to the people that you know, where
• 39:54
  Speaker 2: he's standing it up. It's very very very energetic, very
• 40:01
  Speaker 2: passionate in the sense where I think it could be
• 40:03
  Speaker 2: interpreted as he's he's excessively passionate about what he does.
• 40:09
  Speaker 3: You know, I think the.
• 40:11
  Speaker 4: Word, the word alcoholic. I think that's what's tripping us up.
• 40:15
  Speaker 4: And maybe I feel like he's a person that the
• 40:19
  Speaker 4: job is always number one. Other things have to flex
• 40:22
  Speaker 4: around the job, and that's not necessarily a bad thing.
• 40:25
  Speaker 4: It's just the nature of his job. And like I
• 40:28
  Speaker 4: said before, I think the the the one scene that
• 40:32
  Speaker 4: really sums up his relationship is when they both crack
• 40:36
  Speaker 4: open their day planners and try to find a time.
• 40:41
  Speaker 4: That's such a beautiful scene where you're you feel you're like, oh,
• 40:44
  Speaker 4: they're trying to make it working up.
• 40:48
  Speaker 5: In the air, like when they never I never saw
• 40:51
  Speaker 5: I never saw that, so, oh my god, what reference ruined?
• 40:57
  Speaker 5: No it's a good movie, but no, it's it's there.
• 40:59
  Speaker 3: Well, there's a very.
• 41:00
  Speaker 5: Verily similar scene between George Kloony and Vera Farmiga where
• 41:04
  Speaker 5: they do that and they crack open their plans are like, oh, yeah,
• 41:07
  Speaker 5: I could fly in from Orad. It'd be totally fine.
• 41:09
  Speaker 2: Darren, I think you're right. I think the word workaholic
• 41:12
  Speaker 2: is the wrong word to use. I think that I
• 41:15
  Speaker 2: think I just said it was the.
• 41:17
  Speaker 3: Wrong word to use. What do you want me to do?
• 41:19
  Speaker 3: Fly out there and apologize?
• 41:21
  Speaker 4: Geez, anyway you will fly John, that'sarily we know that.
• 41:25
  Speaker 3: No, if I fly out there, it's to burn his car.
• 41:27
  Speaker 3: We all know this. Anyway.
• 41:29
  Speaker 2: I think that what comes across I guess I should say,
• 41:33
  Speaker 2: is that he's a guy where I think that engagement
• 41:37
  Speaker 2: ring that he gives her. I think that this is
• 41:39
  Speaker 2: a guy who his job has been the thing that's
• 41:43
  Speaker 2: been the most important thing to him, and he's hitting
• 41:46
  Speaker 2: a point where he's now questioning whether he needs to
• 41:49
  Speaker 2: reprioritize things. That is sort of the sense that goes
• 41:52
  Speaker 2: along there, because I think that there is a lot
• 41:57
  Speaker 2: of subtle work that Hanks does with Hunt where it
• 42:03
  Speaker 2: really comes across the challenge that is there, but also
• 42:08
  Speaker 2: the quiet moment of everybody goes through this point where
• 42:14
  Speaker 2: you are driven, you're establishing yourself, you're climbing the ladder,
• 42:17
  Speaker 2: you're doing the work, and then you hit a point
• 42:19
  Speaker 2: where like, let me take a pause, maybe reprioritize. And
• 42:23
  Speaker 2: I think that actually, I think it's actually a good
• 42:25
  Speaker 2: thing for the film because it adds to the tragedy
• 42:28
  Speaker 2: of his plane going down, is like he's right at
• 42:32
  Speaker 2: that moment where he might be thinking about what's really
• 42:35
  Speaker 2: important in his life and what those priorities are.
• 42:39
  Speaker 3: At least that's the sense that I.
• 42:40
  Speaker 5: Got With that in mind, I think if it was
• 42:44
  Speaker 5: made today, like if Castaway was made today in twenty
• 42:47
  Speaker 5: twenty five, there would be much more emphasis on digital
• 42:51
  Speaker 5: connection and screens and the Internet and everything like that. Yeah,
• 42:56
  Speaker 5: than opposed to making your job number one. Saying that
• 43:00
  Speaker 5: as a criticism, I'm saying that, like it's just like
• 43:03
  Speaker 5: with how connected the world is today and how we
• 43:06
  Speaker 5: have we all have smartphones, we all have you know,
• 43:10
  Speaker 5: five different forms of social media. I mean, Darren, I've
• 43:13
  Speaker 5: messaged you on text, Slack, PlayStation, email, and I know
• 43:20
  Speaker 5: I'm forgetting one other thing, but like this was all
• 43:22
  Speaker 5: on like the span of a week, and there's always
• 43:26
  Speaker 5: ways to get a hold of somebody, and there's always
• 43:29
  Speaker 5: like you know, like Darren, you're in California, John, you're
• 43:33
  Speaker 5: in Florida. I'm in Illinois. You know, we're literally across
• 43:36
  Speaker 5: the country. And it's it's interesting to like, if you
• 43:41
  Speaker 5: plucked one of us out and put us on an island,
• 43:44
  Speaker 5: how would we survive. How would we maintain ourselves? Like,
• 43:49
  Speaker 5: without YouTube, how do we know how to start a fire?
• 43:52
  Speaker 4: I'm just going to make the joke. First thing I'll
• 43:54
  Speaker 4: do is I'll look up how to start oh.
• 43:56
  Speaker 5: Oh oh, oh god.
• 43:58
  Speaker 3: But you're absolutely right, tristed.
• 44:00
  Speaker 4: And I think if this was made nowadays, that would
• 44:03
  Speaker 4: be more of the takeaway and not as much reprioritization
• 44:09
  Speaker 4: over work. It would be slowing down, taking a pace
• 44:13
  Speaker 4: of life. Maybe they're, you know, brand manager for a
• 44:17
  Speaker 4: hot singer and everything's go, go go, the album's about
• 44:21
  Speaker 4: to drop and we got the new show coming, and
• 44:23
  Speaker 4: all of a sudden, it's like, no phone, no, nothing,
• 44:26
  Speaker 4: like you have to disconnect and survive the element. So
• 44:31
  Speaker 4: I mean, yeah, I mean, I'm not advocating a Castaway
• 44:34
  Speaker 4: to you know, remake, because I don't think we need it.
• 44:38
  Speaker 4: But we could see that type of movie working nowadays.
• 44:43
  Speaker 2: Heck, I can't almost I don't even know what the
• 44:45
  Speaker 2: timing is, but I could see some TV sect seeing
• 44:47
  Speaker 2: this movie and going but we'd call it Survivor or
• 44:51
  Speaker 2: something like that.
• 44:51
  Speaker 3: You know, get Kevin Hart on the phone, right.
• 44:55
  Speaker 2: No, So, speaking of the other supporting cab that's in here,
• 45:01
  Speaker 2: a referenced Helen Hunt. She had a great moment of
• 45:06
  Speaker 2: intense popularity in film for a time, and Cassaway was
• 45:11
  Speaker 2: part of that. Darren, do you feel that she brings
• 45:15
  Speaker 2: a relatability to the role that that works, Like, is
• 45:20
  Speaker 2: she successful in what that character needs to portray? You know,
• 45:24
  Speaker 2: given that this is a Hank's performance, do you also
• 45:28
  Speaker 2: walk away feeling that this is a hell in Hunt film?
• 45:31
  Speaker 4: I do. I think she has a very strong performance this.
• 45:36
  Speaker 4: I mean, there's a lot of characters, but there's really
• 45:40
  Speaker 4: like three people in this entire movie. It's it's Hank's
• 45:43
  Speaker 4: you know, her and the best friend. And I think, yeah,
• 45:49
  Speaker 4: this right around this time, you have you know, Twister,
• 45:53
  Speaker 4: you have all sorts of you know, met about You
• 45:56
  Speaker 4: and television as good as it gets, as good as
• 45:59
  Speaker 4: it gets. So so she's showing her acting chops. Yeah,
• 46:03
  Speaker 4: and this one it's can you imagine the pitch? You're like,
• 46:07
  Speaker 4: we're going to use you in Seeing one through five
• 46:10
  Speaker 4: and Seen you know, eighty five through eighty six of
• 46:14
  Speaker 4: this movie, and you have to convey four years of emotion.
• 46:19
  Speaker 4: But I think she does. I was on the edge
• 46:22
  Speaker 4: of my seat for not remembering exactly how the ending
• 46:26
  Speaker 4: happened when he goes to her house and I'm like, Okay,
• 46:29
  Speaker 4: I thought it was just going to be it for
• 46:31
  Speaker 4: him seeing her out the window at the at the
• 46:35
  Speaker 4: FedEx's location, and he's like, oh, she did come, but
• 46:38
  Speaker 4: the husband steered her away. Oh I get it, but no,
• 46:41
  Speaker 4: it goes. It's cathartic, that moment of seeing the search
• 46:49
  Speaker 4: pattern her memory wall, of when it was all about
• 46:52
  Speaker 4: trying to find him, way better than let's cut back
• 46:56
  Speaker 4: and forth with her and her and her struggle.
• 47:00
  Speaker 5: I absolutely love when she faints. I think she did
• 47:02
  Speaker 5: such a great job. I know it's just fainting, but
• 47:05
  Speaker 5: I love that moment.
• 47:06
  Speaker 2: No, don't say it's just fainting, because that's an incredibly
• 47:09
  Speaker 2: difficult thing to make look real in film. It really
• 47:12
  Speaker 2: truly is. She's no slouch in that scene. I go
• 47:17
  Speaker 2: back and forth on that scene in particular. It's it's
• 47:21
  Speaker 2: because I go back and forth in my brain whether
• 47:25
  Speaker 2: it hurts more to be with him when he's expecting
• 47:29
  Speaker 2: to see her and we still haven't seen her. And
• 47:32
  Speaker 2: Chris Knoth, the husband comes in so like, we haven't
• 47:36
  Speaker 2: seen her yet because he hasn't seen her yet, and
• 47:40
  Speaker 2: then he turns and the door opens and it's says dude,
• 47:42
  Speaker 2: and he's like what, and like, as an audience, we
• 47:44
  Speaker 2: would have said where is she? And then our new
• 47:49
  Speaker 2: shot of her is through the window, Like I think
• 47:51
  Speaker 2: it would have made that scene hurt more.
• 47:53
  Speaker 5: That's really solid. That's really solid.
• 47:57
  Speaker 3: I don't know. I don't ping my too.
• 48:00
  Speaker 5: Yeah, it makes more sense the way that you're talking about.
• 48:03
  Speaker 2: I don't ping the movie too hard for it because
• 48:06
  Speaker 2: I think, like so many other films, this is something
• 48:10
  Speaker 2: where the whole can be greater than the sum of
• 48:12
  Speaker 2: its part. Sometimes like I don't want to fixate on like, oh,
• 48:15
  Speaker 2: well this shot should have that's that's all that comes
• 48:18
  Speaker 2: out in the wash. Basically no film has well, not
• 48:22
  Speaker 2: no film, but very few films have the luxury of
• 48:25
  Speaker 2: being so perfect that you wouldn't change a thing. But
• 48:30
  Speaker 2: in terms of the overall of the film, we talked
• 48:34
  Speaker 2: about the sound design. The score is used sparingly, but Darren,
• 48:39
  Speaker 2: is it effective.
• 48:42
  Speaker 3: Yeah?
• 48:42
  Speaker 4: It is still like if if they played the main theme,
• 48:46
  Speaker 4: I would be like, oh, this is castaway, Like it's
• 48:49
  Speaker 4: it's recognizable enough, partially probably because of you know, how
• 48:55
  Speaker 4: it's composed, but it's also I mean, I was reading
• 48:59
  Speaker 4: on the soundtrack and they were like, you know, they're pulling,
• 49:02
  Speaker 4: like Okay, what can we put on this? It's like,
• 49:04
  Speaker 4: I think the number one thing was the end credit
• 49:06
  Speaker 4: piece because it's there's just not a lot to go
• 49:09
  Speaker 4: off of. But yeah, but no, it's I don't think
• 49:13
  Speaker 4: the score is overlooked at all. It's just it's a
• 49:18
  Speaker 4: minor aspect of this particular film with.
• 49:21
  Speaker 3: Intent, Tristan.
• 49:22
  Speaker 2: In terms of the editing, I just pinged that little
• 49:26
  Speaker 2: tiny scene where I'm like, ah, you know, I could
• 49:28
  Speaker 2: have tweaked that. But in the micro and the macro,
• 49:31
  Speaker 2: where do you land with the editing? Is this superb editing?
• 49:34
  Speaker 2: Is this adequate editing? Or do you see chances for
• 49:38
  Speaker 2: improvement here?
• 49:39
  Speaker 5: I think besides what you just talked about, because you
• 49:41
  Speaker 5: just bursted that bubble, sorry about that, I think that
• 49:44
  Speaker 5: this was the you had limited amount of editing, especially
• 49:49
  Speaker 5: when you were on the island, which I think was
• 49:51
  Speaker 5: a very good thing. This was editing that didn't draw
• 49:54
  Speaker 5: attention to itself, which is another good thing because I
• 49:58
  Speaker 5: didn't really think about the editing while watching it, which
• 50:01
  Speaker 5: is a great thing, because like you had such you
• 50:04
  Speaker 5: had longer takes, and you know, like at the beginning,
• 50:09
  Speaker 5: you know, the camera work was you know, way more
• 50:11
  Speaker 5: frenetic and kind of shaky, and then once we get
• 50:13
  Speaker 5: to the islands, it's a little bit more calm down, longer,
• 50:17
  Speaker 5: takes a little bit more of the I wouldn't say
• 50:20
  Speaker 5: not lethargic, but like classic classic framing and classic classic
• 50:25
  Speaker 5: you know motion. And so I think that the editing,
• 50:29
  Speaker 5: it was an easier thing to edit because of the
• 50:32
  Speaker 5: longer takes and the classic style of filmmaking. But yeah,
• 50:36
  Speaker 5: I I really don't have too many criticisms when it
• 50:39
  Speaker 5: comes to that. I think sometimes I think there are
• 50:42
  Speaker 5: certain times when the pace is a little slow, but
• 50:46
  Speaker 5: it's hard to criticize it because it's intentional, like you know,
• 50:51
  Speaker 5: like you need It's not like there's going to be
• 50:53
  Speaker 5: like it's not like it's New York City on the island,
• 50:55
  Speaker 5: you know, like it's it's it's not Manhattan. It's it's
• 50:58
  Speaker 5: it's slow on purpose. There's have nothing to do there
• 51:01
  Speaker 5: except try to survive.
• 51:03
  Speaker 4: I like how the rush moment is I have two
• 51:08
  Speaker 4: months to make rope before the optimum time to like
• 51:12
  Speaker 4: that's really the start to montage of getting ready but
• 51:17
  Speaker 4: it's a two month amount of time that's hitting the gas,
• 51:21
  Speaker 4: which is hilarious because it's a huge amount of time.
• 51:25
  Speaker 4: As far as editing, I mean I also reflect it
• 51:29
  Speaker 4: into the story. This is such a solid story. And
• 51:34
  Speaker 4: the thing that comes to my mind with I'm thinking
• 51:37
  Speaker 4: of editing not just in the shot to shot, but
• 51:40
  Speaker 4: in the where parts of the story are placed. And
• 51:43
  Speaker 4: I think the reveal of the fact that he thought
• 51:48
  Speaker 4: of killing himself is placed later in the proper place.
• 51:53
  Speaker 4: I think if that had done, if that had been
• 51:54
  Speaker 4: done chronologically and we'd seen it when it happened, it
• 51:57
  Speaker 4: would not have been as impactful of you know, oh,
• 52:01
  Speaker 4: I know where we can get thirty feet more rope
• 52:02
  Speaker 4: and I'm like what And then you're like, oh, and
• 52:05
  Speaker 4: you know exactly what happened. But you didn't need to
• 52:07
  Speaker 4: see it. You didn't need to see him wrestling with
• 52:11
  Speaker 4: the moment to know that it would have been a
• 52:16
  Speaker 4: horrific moment for him to go through. And it was
• 52:19
  Speaker 4: all played out in and after the fact type of method.
• 52:23
  Speaker 4: So I think that that worked great. So overall, yeah,
• 52:26
  Speaker 4: all of the bits the you know, wishing for a
• 52:30
  Speaker 4: dentist to I love just the where he learns about
• 52:37
  Speaker 4: the point of light in the cave and how I
• 52:39
  Speaker 4: mean this is true. This is what points will do
• 52:42
  Speaker 4: through the course of a year. It's kind of a
• 52:43
  Speaker 4: stretched figure eight. I think if you look at any
• 52:46
  Speaker 4: classroom globe, you'll see that same symbol on somewhere in
• 52:50
  Speaker 4: the Pacific Ocean. Funny enough to be showing how that's
• 52:56
  Speaker 4: how seasons are represented depending on your latitude.
• 53:00
  Speaker 2: So what you know, we've come through. We've talked about
• 53:03
  Speaker 2: a lot of technical stuff. We talked about the film
• 53:05
  Speaker 2: as a whole. I think we're at the point now
• 53:08
  Speaker 2: where we're ready to give our final ratings and any
• 53:11
  Speaker 2: final thoughts that we have, And so Tristan, I'll throw
• 53:15
  Speaker 2: it to you first, because Darren needs to remember that
• 53:18
  Speaker 2: I'm the kind one of the two of us. But
• 53:22
  Speaker 2: where do you land with two thousands cast away? Our
• 53:25
  Speaker 2: last visit with Robert zamechis in what we're calling the
• 53:30
  Speaker 2: nineteen nineties.
• 53:32
  Speaker 5: I think this is a solid four star film. This
• 53:36
  Speaker 5: is not a perfect film by any means, but this
• 53:39
  Speaker 5: is four stars that really hits hard and gives the
• 53:44
  Speaker 5: gives you a sentimentality that I think is appropriate for
• 53:47
  Speaker 5: the film. The shooting, the editing, the sound design, acting
• 53:52
  Speaker 5: is all top notch. But I think if we were
• 53:56
  Speaker 5: to compare it to others in Mecca's film, like if
• 54:00
  Speaker 5: you look at you know, Back to the Future or
• 54:03
  Speaker 5: Forrest Gump, Like when you watch Forrest Gump, you're like,
• 54:05
  Speaker 5: holy crap, five stars one of the best.
• 54:09
  Speaker 3: That is great.
• 54:10
  Speaker 5: So it's hard having that in your filmography. It's because
• 54:16
  Speaker 5: when you watch a movie that's not that mind blowing
• 54:19
  Speaker 5: as Forrest Gump was, you can't give it a five
• 54:22
  Speaker 5: stars as well, and so that may not be fair.
• 54:26
  Speaker 5: But I give this four stars because of that reason,
• 54:29
  Speaker 5: because he's done other movies that are better than Castaway, Darren,
• 54:34
  Speaker 5: Where Do You Land?
• 54:36
  Speaker 4: Yeah, totally going against what Tristan just said, I am
• 54:40
  Speaker 4: actually choosing to give it five stars. It is a
• 54:45
  Speaker 4: different kind of five stars than Forrest Gump, and it's
• 54:50
  Speaker 4: I think it's very difficult to compare the two in
• 54:53
  Speaker 4: some ways. I mean, one is a cast of three basically,
• 54:56
  Speaker 4: and one is a cast of like dozens, and one
• 54:59
  Speaker 4: is covering major American history and one is a solo performance.
• 55:05
  Speaker 4: But for the different ways that they do it, I'm
• 55:09
  Speaker 4: captivated by the story. I'm captivated by the performance. I
• 55:12
  Speaker 4: actually it's funny even though I watched this in one
• 55:15
  Speaker 4: sitting towards the very end, you know, because you have
• 55:20
  Speaker 4: the throughput of the wings throughout the entire movie, and
• 55:23
  Speaker 4: when he chooses at the very end, I did not
• 55:26
  Speaker 4: pick up the significance from the very first shot, and
• 55:29
  Speaker 4: so I rewatched the first like six minutes of the
• 55:32
  Speaker 4: movie where we see the FedEx truck drive down the
• 55:35
  Speaker 4: ranch and the ranch sign has like two names, whereas
• 55:38
  Speaker 4: in four years later it's only has one name. And
• 55:42
  Speaker 4: I was like, Oh, I didn't realize how important this
• 55:44
  Speaker 4: one character we see for a moment is going to be.
• 55:48
  Speaker 4: And I like how it's implied that that's the road
• 55:51
  Speaker 4: he chooses and kind of strikes up a person he's
• 55:56
  Speaker 4: kind of, I won't say is in a relationship, but
• 55:59
  Speaker 4: he's has I've already impacted his life more than she knows.
• 56:03
  Speaker 4: And I think that's beautiful. So I'm giving it five
• 56:08
  Speaker 4: winged stars, Darren.
• 56:11
  Speaker 2: I love everything you said, Tristan. I understand what you said,
• 56:15
  Speaker 2: and I'll throw this minor soop to you that my
• 56:19
  Speaker 2: first viewing of this was so therapeutic in a lot
• 56:23
  Speaker 2: of ways because of the time that came out, and
• 56:25
  Speaker 2: then my friend who told me to watch it and
• 56:27
  Speaker 2: why he told me to watch it that I know
• 56:31
  Speaker 2: that there is undoubtedly some emotional connection there that's resonating
• 56:35
  Speaker 2: with me on a certain level. But since that first viewing,
• 56:41
  Speaker 2: I stick with that rating, which is five stars, because
• 56:45
  Speaker 2: at the end of this film, every time I've watched it, emotionally,
• 56:50
  Speaker 2: I'm there. I'm like, Zamechis has successfully taken me on
• 56:55
  Speaker 2: this entire journey and in a less minus manipulative way
• 57:01
  Speaker 2: then latter day Spielberg. He has given me a happy
• 57:06
  Speaker 2: ending that feels earned. It's not a cheat to have
• 57:10
  Speaker 2: the happy ending here. I want the happy ending. I
• 57:14
  Speaker 2: want him to tell me, as an audience member, no
• 57:20
  Speaker 2: matter what you're going through, it's gonna be okay. And
• 57:22
  Speaker 2: it's like, I think that Zamechis delivers that message in
• 57:27
  Speaker 2: an obvious, without being schmaltzy sort of way, and Hanks's performance.
• 57:33
  Speaker 3: Is perfect for it.
• 57:35
  Speaker 2: It's it's one of those things where I just consider
• 57:39
  Speaker 2: the way it wraps up is so deftly done that
• 57:42
  Speaker 2: emotionally it hit me in a different way, but equally
• 57:46
  Speaker 2: heavy way as Forrest Gumps did. So this is a
• 57:49
  Speaker 2: five for me, hands down, Zamechis blows my mind with
• 57:56
  Speaker 2: how easily he can get to that spot even as
• 58:00
  Speaker 2: we've gone through the nineties and it's like death Becomes
• 58:02
  Speaker 2: Her didn't really ring true. There were issues with contact,
• 58:07
  Speaker 2: but it's all of a thread, and you'll see that
• 58:12
  Speaker 2: thread go through with later works of his. We won't
• 58:14
  Speaker 2: be covering it, but when you get to for instance,
• 58:16
  Speaker 2: Flight with Denzel Washington, like it's got that similar sort
• 58:20
  Speaker 2: of thing where it's like wow, and so yeah, five
• 58:24
  Speaker 2: stars from me. And that wraps up our time with
• 58:27
  Speaker 2: Robert Zamchis at least for now. So here we are
• 58:31
  Speaker 2: and we're getting ready next week to bring to you
• 58:35
  Speaker 2: our two hundred and fiftieth episode. Darren, do you want
• 58:40
  Speaker 2: to give the audience a hint of how they can
• 58:42
  Speaker 2: prepare for that episode?
• 58:45
  Speaker 4: Oh well, set aside quite a bit of time, as
• 58:48
  Speaker 4: we're going to look back at nineteen fifty six Cecil
• 58:52
  Speaker 4: B de Mills epic The Ten Commandments Here on House
• 58:57
  Speaker 4: Lights
• 58:59
  Speaker 1: Join the Revolution, join the ned Party,