Latest / Houselights: A Film Director Podcast / 2001 (1968) - Stanley Kubrick | Houselights #126

Transcript

2001 (1968) - Stanley Kubrick | Houselights #126 · Houselights: A Film Director Podcast

• 0:03
  Welcome to the Nerd Polity. Bom bom bom bom bom bom bom bom bom
• 0:30
  bom bom the only way you can start the show. Welcome back to Houselights,
• 0:35
  our director discussion show here on the Nerd Party Network. Today we are
• 0:40
  focused on discussing Stanley Kubrick in the nineteen sixties with nineteen sixty eight two thousand
• 0:47
  and one, a space Odyssee. That was a lot of years to talk
• 0:50
  about. At the same time, I am Darren Moser, and I am
• 0:53
  joined again by my friends doctor Tristan Riddell, back from his business trip to
• 0:57
  the moon, and doctor John Mills, secretly the new voice of the Hal
• 1:02
  nine thousand supercomputer. I'm sorry everybody for blowing out your speakers with what Darren
• 1:07
  did. I'll correct it on the next go oh, gentleman, for bear
• 1:12
  to go beyond the infinite with this monumental film of two thousand and one,
• 1:17
  a space Odyssey. Yes, that's probably the most enthusiastic intro we've ever had.
• 1:23
  Sorry for that, editor. I was taken off guard by the screaming,
• 1:29
  but then I was shooketh by the pounding of fists. I did warn
• 1:36
  you about half a second before that, I was going to do that,
• 1:38
  but oh okay, so yeah, ah man, I'm just gonna say right
• 1:42
  now, I'm giving this film a five, and you're not going to change
• 1:46
  my minds. It's not a perfect film, but for its place in set
• 1:53
  them a history for what is achieved, for what it's done. For my
• 1:56
  personal just fondness looking back on it, and the what I think of when
• 2:02
  I think of two thousand and one. That's where we're going. But we're
• 2:07
  here to find out about what you guys think about two thousand and one.
• 2:10
  This film came out in nineteen sixty eight. We had not even landed on
• 2:15
  the Moon yet, we were still a year out. Actually, it came
• 2:20
  out exactly fifty five years to today because we totally planned that. That was
• 2:27
  very intentional when on recording. At the time of this recording, Yeah,
• 2:30
  when this is released, it won't be out the day, but at the
• 2:34
  time of this recording, it is fifty five years and we obviously had very
• 2:39
  lofty goals and aspirations and expectations for where we would be by the year two
• 2:46
  thousand and one, based on the development of the space program and the contributors
• 2:51
  Operation paper Clip. Yeah, that is a good point. We did not
• 2:54
  really hit that the enthusiasm for space travel in the sixties is not quite the
• 3:00
  same as in the enthusiasm for space travel of the tense teams wherever we well,
• 3:08
  you know, and that and that in and of itself is so strange
• 3:13
  to me because in the sixties there was this Hey, we're gonna go to
• 3:16
  the Moon, We're gonna be awesome, we're gonna do all these things,
• 3:19
  and it's going to keep progressing. And then just I will actually borrow because
• 3:23
  we're all Star Trek fans that I think it was during the twenty fifth anniversary
• 3:29
  special for Star Trek when they were interviewing people. One of the people they
• 3:34
  were interviewing said, you know, honestly, I think that the interest in
• 3:37
  the space program cooled because we got to the Moon and we didn't find Klingons
• 3:40
  there. And I do think that played into it a great deal, because
• 3:46
  you look at it here and it's like, oh, there's a moon base
• 3:49
  and we achieved that, and you know, and we'd uncover this cool thing
• 3:54
  and it all has to do with technology we've never encountered before. There's higher
• 4:00
  it's out of there, and instead we got into space and we found it's
• 4:04
  a lot of nothing, and it's very difficult, and people don't have the
• 4:11
  attention span for difficult and nothing. Just ask anyone who has had to sit
• 4:15
  through this movie for the first time when they're not prepared for it, like
• 4:18
  heyo yah. Yeah, So let's go around with first viewings. So John,
• 4:29
  I don't think you watched this in nineteen sixty eight. No, Amazingly,
• 4:32
  I wasn't alive at the time. We found a film. We finally
• 4:35
  found a film, finally found every film up to this point of Kubrick said,
• 4:41
  well, I wasn't alive for so you know, very true, very
• 4:45
  true. There The first time I saw this would have been on VHS and
• 4:49
  somebody would have said, oh, you got to watch two thousand and one,
• 4:54
  or I would have gotten the crazy idea. Please gott to watch two
• 4:56
  thousand and one. Please tell me it wasn't pan and Scan, because I
• 4:59
  can I not imagine watching this movie in pants. Can can't remember at this
• 5:03
  point, but I can't just assume it wasn't so that, yeah, I
• 5:06
  can. I can tell you that letterboxing wasn't really a thing until a certain
• 5:12
  point. So worried John, I watch, I watch two thousand and one,
• 5:17
  and all I can clearly remember was it a halfway point, and then
• 5:23
  at the end of it, saying and thinking, well, that sucked.
• 5:28
  I hated this movie the first time I saw it. It was very similar
• 5:31
  to my reaction to The Shining, which Tristan is intimately familiar with. My
• 5:36
  journey with that film I made. I made a bit out of hating The
• 5:41
  Shining and how much I hated The Shining and two thousand and one I had
• 5:46
  the stock response so many other people do, which was, hey, the
• 5:49
  effects. I recognize what they achieved at the time, and it looked really
• 5:53
  cool, but good lord, that movie sucked. And then I views may
• 6:00
  have softened through the years. You'll just have to keep listening, folks and
• 6:02
  find out whether they did and how much if they did. I actually thought
• 6:08
  about The Shining as I was watching this, because, well, your reaction
• 6:13
  to The Shining. As I was watching this, because I promised you guys
• 6:15
  that I would give this movie a fair shake and that I would try to
• 6:19
  look at it with fresh eyes. And as I sat down and hit play,
• 6:24
  I was thinking to myself, maybe this could be like John and the
• 6:27
  Shining where I appear in front of you guys, and I'm like real coy
• 6:30
  about it, and you know, like I'm just like, oh, maybe
• 6:35
  I liked it. Maybe I didn't. I don't know. And then like
• 6:38
  John, you know, drops the I loved it. It was crazy and
• 6:42
  h and yeah, and that didn't happen. But no, I'll so when
• 6:49
  I I honestly can't remember the first time I saw this. I think I
• 6:54
  think it had to have been when I was in high school, either middle
• 6:59
  school or high schoo when I was just consuming as much classic media as I
• 7:03
  possibly could, Like during that time, I was just getting really into film,
• 7:11
  really into filmmakers and the process and the behind the scenes. And there's
• 7:15
  so many great behind the scenes stories about two thousand and one. There's so
• 7:19
  much material about how this movie was made that it's a really fascinating watch and
• 7:27
  it's a really fascinating read to discover about the making of movies, just through
• 7:31
  Kubrick's process and through the special effects and just everything about it, like even
• 7:36
  how they even how Arthur C. Clark wrote the novel in tandem. You
• 7:43
  know, it was kind of like the kind of like Godfather, you know,
• 7:45
  like because like I always thought that it was like, oh, it's
• 7:46
  a movie you know first, and I mean it was it was a it
• 7:49
  was a novel first, and that it was based off the movie was based
• 7:53
  off a long time ago. Now granted it's Arthur C. Clark's short story
• 7:57
  The Sentinel, that the not like that that everything is based off the inspiration.
• 8:03
  Yeah, yeah, that was the inspiration. But yeah, so I
• 8:05
  think it was sometime around in middle school in high school. John, what
• 8:09
  do you want to say? Well, I just I love that you mentioned
• 8:13
  that the novel being written in tandem, because people who are familiar with me
• 8:16
  may be familiar with the fact that when I know a thing, I tend
• 8:20
  to sort of dig my heels in, even when it's to my own detriment.
• 8:24
  And when I revisited this film at one point, it was in a
• 8:28
  college class and the professor I asked him about the novel because I had read
• 8:37
  it by that point, and that actually had a lot of a lot to
• 8:41
  do with how I viewed the film after that point and everything, because in
• 8:45
  the introduction for that edition, Clark said it was always designed to be a
• 8:50
  he didn't use this term, but basically a multimedia experience. You were supposed
• 8:54
  to read the book and see the movie and have them work together, and
• 8:58
  so you know, when I approached it, I approached it through that,
• 9:00
  and I remember asking the professor, well, what about the novel and he
• 9:03
  was extremely dismissive, and he said, oh, novelizations are garbage. I
• 9:07
  don't bother you know reading that book. It has nothing to do with the
• 9:11
  movie. And yours truly, ever so wisely, in a lecture hall in
• 9:16
  front of a professor, decided to argue the point and received rather firm notice
• 9:24
  from the TA afterward that I lost a letter grade for the way I dug
• 9:30
  my heels in. Oh wow, I went from an A to a B
• 9:33
  in the class. Nothing provable, no paper trail, but yours truly called.
• 9:37
  But I was right, and you damn sure. I'm not going to
• 9:41
  back down thing about movies. Not that professor. Oh he's dead by now,
• 9:46
  so I'm definitely gonna in that argument. So unless he is evolved to
• 9:50
  become the star Child, in which case I'm screwed. Well, I had
• 9:52
  to reach from my copy of the Abyss, which I think is also a
• 9:56
  really interesting, you know, novelization, and the fact that it was written
• 10:01
  after the movie, but really written to be like based off of the movie,
• 10:07
  like in a way that not a lot of novelizations are. So yeah,
• 10:11
  now there's there's always a mix and match, but this one being tandem
• 10:16
  written is a really interesting piece of film history. It is especially I don't
• 10:22
  know, it's okay, I was just gonna say, I was just like,
• 10:24
  yeah, yeah, it is interesting in that in itself is really cool
• 10:28
  because it's something that people have been experimenting with for decades since about where like
• 10:35
  sometimes there's a pushback where it's just like, oh, I don't want to
• 10:37
  do homework before I see a movie. But then there's other times when it's
• 10:41
  kind of fun, Like when the Matrix Sequels came out, they're like,
• 10:45
  oh, also, you know, like there's a short film that's coming out,
• 10:48
  there's a you know, there's a video game that's coming out, and
• 10:50
  it's all tying in together, like none of it contradicts, none of it's
• 10:54
  like a retelling of a story, like it all is about that world and
• 10:58
  that one singular thing. Now, I grant I'm not trying to compare the
• 11:01
  Matrix Sequels to two thousand and one, but I'm just saying but yeah,
• 11:05
  after I saw that in middle school and I hated it. I was just
• 11:11
  like, oh my god, Like even reading up about the making of I
• 11:15
  like and like like sitting down going like, oh yeah, people told me
• 11:18
  it's slow. You know it's slow, It's okay, you know, Like
• 11:20
  I tried, like I tried to ready my brain, and I just absolutely
• 11:26
  hated it. And so for decades after that, I M not too many
• 11:31
  decades. I'm not that old. Um, I tried my decades was it.
• 11:37
  I revisited it probably four or five times and couldn't finish it. I
• 11:43
  think I gave up as soon as we got to Jupiter. Like I would
• 11:46
  fall asleep as soon as like the guy was you know, like jogging and
• 11:50
  like punching in the air. That's when I would always fall asleep. So
• 11:52
  like the third act of the film, Okay, okay, good god.
• 11:58
  Yeah for for me. Well, one other thing right on prepping multi media
• 12:03
  experiences. It also makes me think of Star Trek two thousand and nine,
• 12:05
  and they had the kind of the tie in comics that led into the how
• 12:09
  did we get to this time travel? Alternate? So again they people have
• 12:15
  dabbled with this kind of thing often that was an example I could think of.
• 12:20
  So I first saw two thousand and one was most likely a VHS blockbuster
• 12:24
  rental, but I was probably in like I want to say, fourth or
• 12:28
  fifth grade. Little Darren loved space and science fiction, Oh my gosh.
• 12:37
  So I would go to the library and check out like the same five books
• 12:43
  on robotics every week. It didn't matter that I'd read them already, didn't
• 12:46
  matter that they didn't have any new ones. That's what I knew. I
• 12:50
  knew the Dewey Despel number, like where to go to get those books every
• 12:54
  time. But I remember watching this with my friend Stephen, and we would
• 13:01
  build lego and and do that together in video games. But we had a
• 13:05
  thing where anytime either one of us started to hum the Beautiful Blue Danube,
• 13:11
  all of our lego pieces lost gravity, and that meant they were floating and
• 13:16
  flying through space. And that's always had that memory connected with that piece of
• 13:20
  classical music because of this film, because of I mean, it's the only
• 13:24
  dialogue quote music we're getting for that whole chunk of the movie. But yeah,
• 13:31
  so this we're talking about, we had people moaning constantly during the tension
• 13:35
  scenes. That doesn't count. Well, that's a whole note. That's a
• 13:41
  that's a different track. That's Luck's oh man, Yes, thank you John.
• 13:48
  Yeah, that one. That one's what I call the Trip because it's
• 13:52
  it's very very special. I'm glad you say that's the Trip because that was
• 13:58
  when two was released. Of course, you know, some critics loved it,
• 14:01
  some critics hated it. They were it was very divisive and everything like
• 14:05
  that, and they they changed the tagline to two thousand and one The Ultimate
• 14:09
  Trip or something like that after they had I think it was a roadshow.
• 14:13
  Really it was a release and it was in San Francisco and some people were
• 14:18
  smoking funny cigarettes during the show and apparently somebody ran around like screaming, my
• 14:24
  God, it's God or something like that, and so that's where they,
• 14:28
  you know, somebody heard the story. They were like, okay, new
• 14:30
  post or two thousand and one the Ultimate Trip, and that became their angles.
• 14:35
  That's like just the eye in the false colors and yeah, it's I
• 14:41
  could see. I could see that. And then it became a financial success.
• 14:46
  I mean it did. It made a lot of money. It had
• 14:48
  like a ten million dollar budget. It made like one hundred and forty six
• 14:50
  million after after that at a campaign. That's true. Yeah, that's true.
• 14:56
  That's what it's like. It's like the Rule Scouts in front of a
• 15:01
  weed dispensary, you know, like it's just you're printing money. Yeah.
• 15:03
  See. What's what's especially interesting to me, though, is that two thousand
• 15:07
  one undoubtedly has this big impact on everything, right, but you can,
• 15:13
  I would argue that later in the seventies you see the precise nature of the
• 15:18
  divisive reaction to it, the polarizing reaction of either love or hate, in
• 15:24
  the fact that two star franchises. I mean, it wasn't a franchise at
• 15:28
  the time obviously, but basically Star Wars and Star Trek are the two They're
• 15:33
  the two reaction camps. Right, there's nothing happening in this movie. Fine,
• 15:39
  here's a movie where everything happens. True, I dig this movie was
• 15:43
  long. They're inspired by or but influenced, but well, I would say
• 15:48
  Star Wars is like, that's the movie for people who hate two thousand and
• 15:50
  one, and then Star Trek. The motion picture is made by a bunch
• 15:54
  of people that were like, hey, nerds, like two thousand and one
• 15:56
  nerds like Star Trek, let's make that movie and that's why you have So
• 16:00
  I would say that that's the branching argument right there. It's it's funny that
• 16:06
  you bring that up because I have never shown my wife the motion picture because
• 16:11
  I love her. Yeah, but don't do that. I've shown her The
• 16:17
  Wrath of conn and she she really likes it. She's like, Wow,
• 16:18
  damn, that's that's a solid that's a solid film. And so we watch.
• 16:22
  She watched two thousand and one with me last night, and then like
• 16:26
  I joked about how Star Trek just remade the motion picture and she's like,
• 16:30
  well, what are you talking about? What do you mean? And so
• 16:33
  I popped in the motion picture just a piece of it. Yeah, And
• 16:37
  like I I showed her the scene with Spock where he's in the when he's
• 16:41
  in the EV suit, and she's like, holy crap, Like they literally
• 16:45
  did just make this movie again with Star Trek flair a few more. There
• 16:52
  are a few more phaser shots, I guess. And wait a minute,
• 16:56
  do they ever fire the face? They never fire the fasers in the motion
• 16:57
  picture? Do they No? Nos fire? They're disruptors. That's the beginning.
• 17:03
  It's the only battle. They find a cloud. Yeah, everybody fires
• 17:07
  torpedoes. It's nothing but torpedoes. But now see, that would have been
• 17:11
  a tagline that would have got me in a Star Trek the Motion picture back
• 17:14
  in the day. Like if I were a movie going public at the Star
• 17:15
  Trek the Motion Picture, nothing but torpedoes. Well I'm interested, Okay,
• 17:22
  nothing but three All right, Well, so this movie I'm gonna we're gonna
• 17:29
  talk about kind of like three chunks, because there are the three real acts
• 17:33
  of the movie. First, you have the Moon Watcher and the Dawn of
• 17:37
  Man. I had to look it up because I'm like, I feel like
• 17:41
  this is really close to win Ball of the Apes came out because it looks
• 17:45
  identical. I'm pretty sure. I haven't confirmed, but I'm pretty sure the
• 17:48
  same effects company did The Moon Watcher the Man Apes for this because it looks
• 17:55
  like the exact same type of prostesis. I think you're I think you're right
• 18:00
  about that. Yeah, I would be highly surprised if it was not.
• 18:03
  But yeah, you have you know, the dawna Man. You have primitive
• 18:07
  man and touching the monolith learning kind of becoming enlightened, I guess to a
• 18:14
  point where it now develops a tool, a weapon out of a bone,
• 18:18
  and that changes the hierarchy. So again, where I will say the hardest
• 18:27
  thing on this whole movie is Cooper's decision to be like, I'm not going
• 18:32
  to explain anything. I Am just going to show it to you and you
• 18:36
  have to kind of figure it out. So that makes it really hard to
• 18:41
  understand what is going on is very much a kind of figure it out as
• 18:47
  you go. But but John, how did you know Moonwatch or Strike?
• 18:49
  You were you able to track like, oh, this is the dawn of
• 18:52
  man, this is someone gaining that spark of humanity, you know legal because
• 19:00
  are we're surprised? But did that kind of track when you were watching it?
• 19:03
  Or was it more like, you know, spaceballs? You know,
• 19:07
  what the heck am I looking at? When does this happen in the movie?
• 19:11
  Uh? The first time I watched it, my entire reaction was the
• 19:15
  hell is a point of this? And then you know that the eight pits
• 19:18
  of the thing and the bone flies up and then it's a you know,
• 19:21
  it's a spaceship. And my reaction was the hell was the point of this?
• 19:26
  Like the first time I watched it, I again, I hated it.
• 19:30
  I do come at it now with a different perspective, specifically, this
• 19:40
  is this is what's very difficult for me, is was my perspective on it
• 19:47
  ameliorated to the point of I've been manipulated by all of the behind the scenes
• 19:53
  stuff, behind all of the stuff that's discussed it. Did I get there
• 20:00
  organically? Is my question? Nowadays? I do under you know, nowadays
• 20:06
  I understand what the genie in the bottom whatever's going on watching it, and
• 20:10
  I don't know what's going on, but who was whispering in my ear?
• 20:12
  And then that spurs on the other question of does it really matter, which
• 20:17
  I would argue actually plays into one of the bigger sub themes of the film
• 20:23
  of does it really matter how we got where we got? Is it really
• 20:27
  an argument for or against X or Y, A or B, because the
• 20:33
  fact is that they got there, We got there. I got there was
• 20:37
  a monolith whispering in my ear saying this is what it means? Right?
• 20:42
  Maybe, but nowadays yes, it's it's impossible not to get what Kubrick was
• 20:49
  going for. I don't know when I got there, whether it was organically
• 20:56
  or whether somebody else was pushing me in that direction. Yeah, I agree
• 21:00
  with you. I think I fall into the it doesn't matter camp, because
• 21:04
  I mean, we talk about this about our rankings all the time. Our
• 21:07
  rankings flip and shift, and I'll watch something now being a father that I
• 21:15
  didn't watch until I was a father, and it totally changes the way I
• 21:18
  perceive it, and now I relate to another character. So I mean,
• 21:23
  the whole rating aspect of movies is really a lot more fluid, I think
• 21:30
  than we kind of give it credit at times. You know, this fluidy
• 21:33
  from the man who never gives half ratings, but you know that's just how
• 21:37
  it goes. Well, that's just a descent into madness. You know what
• 21:44
  do we add decibel points? John? Do we just keep adding to the
• 21:48
  degrees of difference? Why can't we give quarter stars? That's my question.
• 21:52
  I would really like to give us a three point two seven five. You
• 21:56
  know it was gonna be a three, but that little extra suthing it had
• 22:00
  no You madman, it's a three point one eight five. I've ever seen
• 22:03
  a movie that is. You've convinced me, Um, now Tristan with with
• 22:08
  this sequence? Um, you know what is your favorite effect in this sequence?
• 22:18
  Is it the smash cut? Of a thousand of a million years.
• 22:21
  Is it the painted landscape of the cinerama dome wherever they film this? Um,
• 22:27
  I loved the author, author of the I could never pronounce this.
• 22:32
  I'll throw the piththen I'm not saying it right. Three two one, John,
• 22:37
  give us the name of that that track? Apes. I love the
• 22:44
  music. I love it. No, no, I'm not talking about the
• 22:45
  music. I'm talking about the the the Apes, them, the Apeman They're
• 22:52
  sorry, I thought you're trying to say all the also spiss As again,
• 22:56
  also sprock Zara. Yes, I'm just gonna have you today it every time,
• 23:00
  John, But hey, I'm good with that, Okay. So I
• 23:06
  love them. I loved the the I love the makeup, I love the
• 23:08
  costumes. I thought they were great. I thought they held up surprisingly well.
• 23:14
  Um. I mean the only shots that were a little weird were like
• 23:17
  when they were literally facing the sun. I was like, okay, yeah,
• 23:22
  that that's you. That's you can put that under scrutiny now where they
• 23:26
  feel a little bit they look a little bit more like Planet of the Apes
• 23:29
  there. But every other shot I'm just like, this is pretty good,
• 23:32
  like even by today's standards in twenty twenty three, Like this is pretty solid
• 23:36
  work for for live action, like if you're not going to get wet to
• 23:40
  do to do it? But uh, I love the sequence. This is
• 23:45
  the this is my favorite sequence of the movie. Um is the all downhill
• 23:48
  from here but I'm here. It is absolutely just just rolling garbage down the
• 23:53
  hill, collecting like a snowball. And for me, yeah, this was
• 23:57
  the Dawn of Man. Was was fan tastic. I wanted to spend more
• 24:00
  time here, like it made me want to go watch Quest for Fire,
• 24:03
  you know, like I just or what was that movie? Um Alpha with
• 24:08
  like the Man and Dog like the first you know, oh yeah, yes,
• 24:12
  yes man a very little dialogue very like just Birth of Man and just
• 24:18
  what is it like when you're just scraping by? And yeah, I love
• 24:22
  that stuff. I love Early Man like also author a le Pisikis site now
• 24:26
  again I'm not saying it right, like I love like Lucy all that kind
• 24:30
  of stuff, and um, I love finding out more about Early Man and
• 24:34
  seeing you know, depictions of it. And of course you know are one
• 24:40
  of our biggest inventions was used for Murder and I loved the idea. Yeah,
• 24:48
  um, I was never a fan of the of the match cut because
• 24:55
  I was really good match cut like it, because it's not it's not a
• 25:00
  good match cut like the the idea of it is way cooler than the execution,
• 25:06
  because what you're seeing is a nuclear device in space that obliterate, you
• 25:11
  know, all human kind. You know, So we go from a bone
• 25:15
  smashing in a person's skull to you know, atomic horror, and that in
• 25:19
  itself is very poetic and very that that's why you make films like That's why
• 25:25
  it's a visual medium that is cool. But it's not a very good match
• 25:27
  cut. Um No. I love the acting. I love that they used
• 25:32
  real chimps for the babies. I thought that was a really nice touch.
• 25:34
  And one thing I didn't know that I totally didn't know is that all the
• 25:40
  shots at the beginning of the African landscape are just photographs, like that's not
• 25:47
  they just it's not running, but you don't need to know. They don't
• 25:48
  move, And that that shows you the importance of grain and how if you
• 25:55
  have organic grain on a still photograph and you do it just a little bit
• 26:00
  of motion or even just a standstill, sometimes it can give the illusion of
• 26:03
  a motion picture. That's why I always get pissed off at the end of
• 26:07
  Aliens, Yes, because yes, right right, Why the hell like that
• 26:12
  is always going to be the puzzle of the end of Aliens, is why
• 26:17
  why James Cameron? Why which shot shot are we talking about? The last
• 26:22
  shot? When when Ripley is holding um Newt in the Hibernation pod, it
• 26:27
  is a still photograph. It's not it's not the camera's not rolling. So
• 26:33
  like, all I can think of is that like they screwed up the shot
• 26:36
  or they didn't hold on it, and so they just pause. They just
• 26:40
  pause a shot right there. But there's no grain, there's no motion brain,
• 26:45
  and so it looks like it looks like when a documentary like throws in
• 26:48
  a still, that's what it looks like. It really takes right before yeah,
• 26:55
  okay, yeah, yeah. Now I think with the jump cut person,
• 27:00
  I think it would have been a better transition if the bone was flipping
• 27:07
  faster and more of a circle and it cut to the station. I think
• 27:11
  that because that makes more sense in my mind of like, oh, and
• 27:15
  now we're in space versus an unknown satellite that you had to read the book
• 27:18
  to realize was a nuclear weapon platform. That's true. That's the thing because
• 27:23
  everybody thinks that it's a it's a satellite, or that it's a spaceship.
• 27:29
  But you have to do you have to do math homework in order to think
• 27:32
  about the poetic meaning behind it exactly. Whereas if it's the station, it's
• 27:37
  like, oh, it's a space station. It's more like, you know,
• 27:40
  when it's like the beginning of Enterprise where they're showing us going from first
• 27:44
  flight to space flight, you know, it's been a long road getting from
• 27:47
  there to here. We're going to jump through millions of years of human evolution
• 27:51
  like that, then it's gonna so well, I'm sorry that I'm not sorry
• 27:56
  that was your favorite section. I'm just sorry that the whole rest of the
• 27:59
  movie he is not going to take place in that era because we're gonna jump
• 28:03
  millions of years to the second phase, which is what I call um Hayward
• 28:11
  Floyd takes a trip because it's pretty much just first, he's his grand day
• 28:18
  out. He's gonna go to the station, and then from there he's gonna
• 28:22
  go to the Moon, and from there he's gonna get on the space bus
• 28:26
  and go to Tycho Crater, and that's like ninety nine percent of this sequence,
• 28:30
  it's just doctor Floyd going on a business trip, which I mean is
• 28:34
  amazing. It's not there's nothing wrong with it. But they spent a lot
• 28:38
  of minutes on that. But but to your point, it is a highly
• 28:44
  relatable thing. It's mad Men, but in the space era. Yeah,
• 28:49
  and it is literally this is a very normalcy of like it's just you're just
• 28:55
  going to work, and it's a very relatable thing to to a lot of
• 28:57
  people in the audience even today, of the idea of the business trip,
• 29:02
  of your away from your family. You're making the call. You got to
• 29:04
  go through the thing, you got to go from here, and that's exactly
• 29:08
  what I wanted my cinematic experience, the commute, but it in space.
• 29:15
  But it really drives home how mundane once we get there, how mundane these
• 29:22
  things will be that the human experience. And then juxtaposed against the the the
• 29:27
  awesome glory of an evolutionary moment, of the discovery of this tool that's going
• 29:33
  to lead to this moment and look at all of this amazing stuff that that
• 29:38
  we've overcome, this jump, this huge leap from apes jumping around with Sabertooth
• 29:44
  Tigers to now we're in space and all we've done is is devolved the wonder
• 29:51
  and the majesty and the glory of everything to a business trip. Yeah,
• 29:55
  because that's the nature of humanity. Well, as we've hit a point where
• 29:57
  all it is is doctor Floyd needs to go to the moon. Oh isn't
• 30:03
  that a drag? And you ruined a perfectly good ape. You gave it
• 30:06
  anxiety. It's but basically, and you're absolutely right, though, John,
• 30:11
  although I do kind of try to also think of in nineteen sixty eight,
• 30:15
  the fact of space being so normal that it's a business trip, I think
• 30:22
  has a different vibe when we haven't even landed on the moon yet, Like
• 30:25
  now we're looking back, but like that's still very much in that forward thinking.
• 30:32
  Oh, we're gonna it's gonna be the Moon and then Mars, and
• 30:34
  we're just gonna go, go, go, go go, And we know
• 30:37
  in resrospect that that did not happen. But yeah, it's And I think
• 30:42
  this also is one of Kubrick's strength is that he I mean, it is
• 30:47
  one of the most realistic movies of actual space travel as far as velocity and
• 30:52
  gravity, and you know, O'Neill, cylinders and all this stuff like and
• 30:57
  it's executed in teen sixty eight, so much so that people think that he
• 31:02
  faked the moon landing because he did this amazing movie, which is asinine.
• 31:07
  We're not going to talk about that, but uh well, you know,
• 31:10
  I you know, people believe that he helped fake the first one. All
• 31:14
  the other ones were real. That's how the conspiracy theory is shifted. Now
• 31:17
  or only the first one was faked? What do they say? Uh?
• 31:19
  It the only way they figured out how to do it was to shoot it
• 31:22
  on location. So I hadn't heard that one before. Yeah, and that
• 31:27
  is that my favorite. I love that, Like Kubrick, you have to
• 31:32
  help us fake the moon landings like I could done, but we have to
• 31:34
  foot on location. Okay, well the only the only raising Couber couldn't have
• 31:38
  done that is his fear of flying. So that's true, that's true.
• 31:41
  But he could have produced it. So maybe he thought space flying would be
• 31:47
  would be easier. But yeah, we have this beautiful I mean, one
• 31:49
  of the sad parts about this movie is the fact that after it, because
• 31:55
  Kubrick did not want these beautiful models to just become the background trash of sci
• 32:02
  fi. They were all destroyed, and so we don't have the space Station
• 32:07
  and the Discovery one and these beautiful I'm sure replicas and recreations have been made,
• 32:14
  but the originals were all trashed and destroyed, which is very, very
• 32:17
  sad because they are pieces of history. But yeah, I love how the
• 32:23
  space station is like unfinished and half of it's being worked on, and I
• 32:29
  love the little details. So that's what I tried to focus on and watching
• 32:31
  it this time because I've seen this movie many many times. But like when
• 32:36
  he's checking in, there's a little map behind the person before he goes through
• 32:43
  the audio identification, and there's, you know, a circle showing one of
• 32:47
  the rings and then the other one has only like two sections finished. And
• 32:52
  it matches perfectly with what we saw from the outside, even when the plane
• 32:55
  is coming in with pan Am, because it's still a company. Guys totally
• 33:00
  going to be a company in the future along with Eastern Airlines. They're going
• 33:06
  to dominate the future. But when it comes in, you have like the
• 33:09
  little foreground screens that are perfectly lining up with the rotation shifting and them locking
• 33:15
  on into the spin and it's just and that's hard. That's like play it
• 33:20
  on hard mode. That's like I want to make these foreground images match the
• 33:24
  special effects that aren't even done Like that is very difficult to do. But
• 33:30
  John, what is your favorite moment of Doctor Floyd goes to the Moon Children's
• 33:36
  novel as he is traveling, because I plug into the whole, the whole
• 33:44
  idea of it being a very routine, boring existence, even though you're in
• 33:49
  space, that humans will find a way to make anything routine. I go
• 33:53
  on walks with one of my daughters literally every single night, and it's it's
• 34:00
  one of those things where she makes fun of me because every so often I
• 34:05
  will look up at the stars and I will say, that doesn't exist anymore.
• 34:08
  That's a photograph of millions of years ago. That is not what is
• 34:14
  actually out there. That's it's amazing. And where we live we get to
• 34:17
  see rocket launches and I still stop every time I see one, and I
• 34:22
  say, my god, what an amazing achievement. Look at what is happening
• 34:27
  right now with this evidence of a round earth thrown right in front of us.
• 34:31
  And she just shrugs and says, eh, whatever. So as strange
• 34:38
  as it may sound, My favorite moment from Doctor Floyd goes to the Moon.
• 34:43
  Is doctor Floyd in the conference room on the moon, and that the
• 34:47
  space coureaucratic, that bureaucratic, small, cramped, silly, pointless conference room
• 34:55
  that he's in, because it's such a juxta position of we're in the institut
• 35:02
  there, We're in the infinite majesty of everything, of creation itself, this
• 35:08
  magnificent universe that we live in that has no bounds and no no, no
• 35:15
  fathomable end that we know of. And we're in a conference room. We're
• 35:22
  not sitting there, you know, honestly high looking at the stars saying we're
• 35:30
  on the moon. We're in a conference room talking about how this is classified
• 35:34
  gentlemen, and we can't talk about this. And I'll go out there later
• 35:37
  today to go see this big thing that we dug out of the moon.
• 35:43
  Like that is that is my favorite moment of doctor Heywood's Heywood Heywood's visit the
• 35:50
  Moon. Is him in, you know, with the other people in this
• 35:53
  conference room. It's such an an incredibly meaningful juxtaposition of we never stop to
• 36:06
  look at everything around us that is just magnificent to behold. We're in sitting
• 36:15
  in little rooms in chairs, arguing about mundane things. And I consider it
• 36:21
  a soul crushing micro commentary on the way most of us spend our lives.
• 36:27
  So that it's not even a conference room with like a dome that looks outside
• 36:32
  at the Moon's surface. Yes, and again looking at the background, like
• 36:37
  when the Moon Shuttle was landing and it's like descending the elevator, you see
• 36:44
  like all these tiny windows shining onto that red room. Or even I didn't,
• 36:50
  I've never noticed this before, but in when the plane was docking in
• 36:52
  the station, there's four sets of windows, one on each part of that
• 36:58
  rectangle, and there's moving people in every single one, just doing their job
• 37:04
  with this fantastical view. And I'm like, that's not the room we could
• 37:07
  have had the space briefing in not it said, we get the tron white
• 37:10
  wall, like this doesn't matter room like in a bunker. Yeah, No,
• 37:15
  I totally agree. It's it's it's very funny. No one, I
• 37:21
  love your favorite spot of Yeah, Like I really love the world building of
• 37:25
  it. I think that's probably my favorite bit of it is that like you're
• 37:30
  seeing the flight attendants with the velcro slippers you know, you're seeing people,
• 37:36
  you know, fall asleep and the and the pen is floating and like he
• 37:39
  he like the captain comes to talk to him and he forgets that his tray
• 37:45
  you know, is going to float away on him. And um, just
• 37:49
  the rotating sets that that they built, like where the camera stationary but the
• 37:55
  set is moving, absolutely fantastic, phenomenal and like some of those shots even
• 38:00
  today, I'm like, how the freaking hell did they do that? Like
• 38:06
  like in the in the next in the Jupiter section, like there's a few
• 38:08
  shots where I'm just like, I still don't know how they like that.
• 38:12
  Let's jump Jupiter, yeah, or Saturn if you read the book, but
• 38:17
  you know that's a slight difference. Um, yeah, the the what was
• 38:23
  it, I think thirty five foot diameter drum, which obviously everyone looked up
• 38:30
  and remembered about when we had something similar in Inception, when we had the
• 38:36
  fight scene in the in the hallway where it also rotated. But yeah,
• 38:40
  there's again I try to look at a lot of the details in this watch
• 38:45
  through, and there's a shot where I don't remember which one of the astronauts
• 38:50
  it was, but he's climbing down the ladder from the central spike to the
• 38:57
  floor and walks around and the other astronaut is sitting at the table just eating
• 39:01
  his food. And you know, like in my mind, in my special
• 39:05
  effects mind, I know, okay, that means that while he's climbing down
• 39:09
  the ladder, that actor is strapped in like up in the air, and
• 39:15
  then as he walks around, it's rotating back around for him to be at
• 39:19
  ground at gravity down and it's all one shot. And it's so you also
• 39:24
  have a cameraman also strapped into the wall with his camera to get the shot.
• 39:30
  And it's just incredible. It it does it, Like you said,
• 39:34
  Tristan, it does it so well. Of I know they obviously had to
• 39:37
  do it practically, but it's magic. It's magic. At that point,
• 39:43
  that particular shot I always thought was just a composite, like it was two
• 39:46
  shots layered on top of each other. Like that's how my brain made sense
• 39:51
  of it works, Like how dare you there are no composits in my movie.
• 39:55
  The shot that really made that broke my mind was when the two of
• 40:00
  them were walking together. They were walking down a corridor and the corridor is
• 40:05
  not moving, but yet where they're walking to is moving, is rotating,
• 40:12
  and then when they get on it they start spinning. Yes, And when
• 40:15
  they get on it, they start spinning. And so I'm still to this.
• 40:17
  I'm just like, okay, I'm thinking about it right now. I'm
• 40:21
  just like, okay, So, like, was the initial tunnel moving?
• 40:25
  But then how are they not on their heads as they're walking? So you
• 40:30
  know, like that kind of it's two drums. So you have the hallway
• 40:34
  drum and you have the stairway drum. And so in the initial the hallway
• 40:37
  drum or the stairway drum is spinning, but they're not. So they're walking
• 40:40
  with gravity down. And then as soon as they step over, the hallway
• 40:45
  drum starts turning, and so gravity is again always down. Okay, so
• 40:51
  camera and the camera starts to turn in as well because the cameras matching with
• 40:55
  the other. Something similar to that. I think think that speaks C.
• 41:00
  Tristan's point, because the logistics of getting it so that when they step over,
• 41:07
  because if they get that timing wrong, a lot of people are about
• 41:12
  to get hurt. Yeah, and at least two people, probably more are
• 41:15
  about to get hurt. So this is where Kubrick exercises that masterful control he
• 41:28
  becomes known for, I think because the amount of coordination and somebody sitting there
• 41:36
  keeping that all straight in their head and saying, Okay, you do that,
• 41:40
  you do that, repeat it back to me. Okay, you're going
• 41:44
  to do those things. Hey, you over there, you do that at
• 41:45
  the same time. And we've talked about this from time to time that a
• 41:51
  director has to be a great project manager, and Kubrick is inarguably one of
• 41:59
  the best after this film, because look at where we've gone with him.
• 42:07
  Where just looking at him in the sixties, we have Spartacus Spartacus, which
• 42:12
  is just it is. I can't help myself. It is just it's your
• 42:20
  typical sword and sand. We've we've talked about it. I think it's got
• 42:22
  this and that. Then we have Lolita, and then we have uh,
• 42:28
  you know, Doctor Strangelove. But all of these things, the control is
• 42:32
  very achievable. It's understandable. Camera goes here, camera goes here, cameracas
• 42:38
  there, you walk there, you're on your your mark. This is such
• 42:43
  an incredible leap in what has to be achieved. Just in that shot that
• 42:50
  we're talking that Tristan, you bring up where they're walking, they step over.
• 42:54
  Everything has to be timed so precisely that they have to step over with
• 43:00
  confidence. They can't hesitate. They have to ask as if they have to
• 43:05
  just walking down the hallway. And then if I step over this threshold,
• 43:07
  it's gonna just keep going, knowing if I miss my mark, it's it's
• 43:12
  going to start sharing. And that's which which speaks specifically to the fact that
• 43:17
  a director also has to have the trust of his cast, his crew,
• 43:22
  and his cast have to trust that he knows what he's doing. And it
• 43:30
  is one of those things where I know that the reaction to this, there
• 43:36
  were a lot of people that walked out of showings that hated it, hated
• 43:40
  it with a passion, And I wish I could sit down with some of
• 43:45
  those people and say, even if you hate this movie, it's worth watching
• 43:50
  to the end, just to to try to comprehend what Kubrick pulled off here
• 43:59
  for the sake of making a little movie about the evolution of the species,
• 44:04
  and where it had to go. It's no, it's crazy, it's crazy
• 44:07
  what he did. Yeah, No, I think that I think that sums
• 44:12
  up the movie really well where it's and again I kind of think of it
• 44:15
  as like Citizen Kane or these other giant movies where it's almost monolithic in like
• 44:21
  what it did for filmmaking, and all of us obviously appreciate, you know,
• 44:27
  filmmaking and the level that goes into it. I think of, you
• 44:30
  know, I have to start thinking of like just different gravity. Um.
• 44:36
  So there's like the scene when he when Bowman has to get back inside without
• 44:39
  a space helmet, which is again which is great writing because we're not thinking
• 44:44
  about that when he's heading out to save his friend and then but but it's
• 44:50
  not forgotten. It's not it's it's clearly everything was intentional leading up to that,
• 44:54
  and then we're like, oh crap, he doesn't have his space helmet
• 44:58
  on. How is that going to work? And then we spend twenty minutes
• 45:00
  opening the door and getting in position. Any've reready, But but I love
• 45:05
  that moment because I'm pretty sure how it was pulled off is that set of
• 45:12
  the Emergency Egress is a vertical, so Bowman's at the top and they're dropping
• 45:16
  him down towards the camera and then yanking him back up as he bounces off
• 45:22
  the wall to the lever to close the door. But again you our brains
• 45:28
  aren't wired to think like that. Our brains are like, oh, his
• 45:30
  head is up here, his feet are down there, that must be up.
• 45:32
  And Kubrick is just the master in this movie of I'm going to twist
• 45:37
  the camera every which way I need to to get this shot, and you're
• 45:40
  not even gonna know which way is up. And you have here Jeffrey Unsworth
• 45:45
  working with him, which is different than the last film, which, you
• 45:51
  know what was Gil Taylor? And could Gil Taylor have done this? We
• 46:00
  we we've talked about with each one of these films, Could you know,
• 46:04
  could the cinematographer just have not shown up that day? So I think you
• 46:09
  have to look at their later works. Could Gil Taylor have pulled off the
• 46:15
  photography that that Kubrick was obviously demanding be achieved with this film. I look
• 46:22
  at Unsworth's other work specifically after this, I will look past Zardas because nobody
• 46:30
  should watch that movie. But he was there for the Original Superman in nineteen
• 46:37
  seventy eight, which I would argue as a wonderfully photographed film. People may
• 46:43
  disagree, but I think it's it's what to believe a man can fly that's
• 46:46
  right. I mean talk about somebody who if you don't like you have to
• 46:52
  photograph that in a very very special way. Superman two, of course,
• 46:57
  um, but you have you know other things that he's done, Murder on
• 47:01
  the Orient Express from nineteen seventy four, which is regarded as a classic.
• 47:07
  But you look at these other things. He has one hell of a resume
• 47:10
  through time. But I think that obviously this is a guy who knows technical
• 47:19
  photography. When Kubrick comes in and says I need a guy dropping vertically and
• 47:24
  we pull him on a wire and we need him to go bouncing around,
• 47:29
  I would argue that the guy who photographed Superman can say I know how to
• 47:34
  do wires. I got you. Yeah, you need a wire guy for
• 47:37
  this for sure. Do I see Gil Taylor? Do I see? So?
• 47:40
  I think that a more important lesson that I'm seeing exercise by Kubrick is
• 47:46
  that he's looking at his director of photography and saying, is this the right
• 47:52
  guy to get what I'm going to tell him to get? Because the way
• 47:55
  I frame it, the way I stationed everybody, the works, everybody's gonna
• 48:00
  hit. I'm in charge of that. I need somebody that knows how to
• 48:04
  talk to his crew. That's going to make all of that happen, and
• 48:07
  it's also going to believe it's possible. I mean, you get I'm sure
• 48:12
  you get some Whenever you're pushing the boundary, you're gonna have some people who
• 48:15
  are like, well, how are we even going to do that? Like
• 48:16
  that's never been done before. And if that's your response, then you're not
• 48:20
  the right person. Well and then you know, you know, kind of
• 48:25
  on the metaphysical aspect, you have the largerness of this movie with the monolith,
• 48:30
  this one by four by nine shape, and you know, again,
• 48:37
  everything in this movie is calculated. Everything is like from the way we see
• 48:40
  the Discovery ship and it fits in the frame and everything is being approached.
• 48:46
  I mean people have even said, you are, in your own way almost
• 48:52
  watching the movie through a monolith, through a rectangular screen, and it's just
• 48:57
  that motif is brought over and over throughout this movie. And again I love
• 49:01
  directors who are specific and they everything is there for a reason. Every detail
• 49:08
  is conceived and it's not just oh yeah, well I guess a wide shot
• 49:13
  would be good. Lock it off and they'll walk over. No, like
• 49:16
  there's none of that in this movie we got a space bus with a lunchbox.
• 49:21
  Like everything was thought out to the to the degree. But but Tristan,
• 49:27
  um, what do you think of how the six member of the crew?
• 49:31
  You know we have now we here we have a character that has no
• 49:35
  face, has an eye, but it has a charming voice. But how
• 49:39
  did you you know? I I love computers, I love hell But what
• 49:45
  did you think of this character and a lot of the story that has really
• 49:49
  weighed on him? Well, I have a special connection now because we were
• 49:52
  born in the same place in Havana in Illinois. That's right. Oh,
• 49:58
  well at the plant. I didn't know that. That's why that's where I
• 50:05
  was first activated. Yeah, yeah, it's so good to know. And
• 50:07
  you learn Daisy right with him? You were practicing on the keyboard, now,
• 50:12
  yeah, I was. I was born and raised in urban Illinois.
• 50:15
  And um, there's a lot of pride that we have a lot of pride
• 50:17
  in our supercomputer program UM at the University of Illinois. And because I think,
• 50:23
  um it is the most powerful supercomputer in the nation, if not one
• 50:29
  of them. And UM, that's I'm sure why Urbannah was chosen as the
• 50:36
  as the birthplace of how because it's been that way for decades and it is
• 50:39
  to this day. And Um Roger Ebert was also born in Urbannah, and
• 50:45
  he loved two thousand and one so much that he hosted a festival of in
• 50:50
  nineteen ninety seven, like on the date um when Howe was born in nineteen
• 50:54
  ninety seven. Um, So he screened the film celebrated How's first day,
• 51:00
  and he invited Arthur C. Clark and Clark couldn't make it, but he
• 51:02
  joined via satellite and he ums a very Arthur C. Clark thing to do.
• 51:07
  And he invited Um Kubrick, and Kubrick declined, saying, you missed
• 51:13
  his birthday in nineteen ninety two because in the film it's ninety two and in
• 51:17
  the novel it's ninety seven. Oh oh, I mean come on just yeah
• 51:22
  right, just show up, Kuber, come on, come on. No,
• 51:25
  No, that's a very very it's a very computing satisfy there. You
• 51:31
  know, it's like because he said you missed his birthday in ninety two with
• 51:36
  us. He had a little smirk when he said that. Yeah, yeah,
• 51:39
  yeah, yeah, there's my reason. But no, I I really,
• 51:45
  uh, from a from a micro standpoint, I think it's great.
• 51:51
  I love the idea that it was. Originally they they conceived of a of
• 51:57
  a robot kind of wheeling around the entire unit, like in three dimensional space.
• 52:01
  But then they realized that because Moon had that robot that was Kevin Spacey
• 52:07
  voice, that had a kind of move around, and they quickly realized that
• 52:13
  like if they did that, it would be outdated, Like what they did
• 52:15
  would be outdated real quick. And so they did the omnipresent Eye, which
• 52:20
  I think was just a stellar decision, just a great idea. And and
• 52:27
  I think that winds up somewhat contemporaneously. I think it was the late sixties
• 52:32
  when Ellison wrote, I have no mouth and I must scream. Where the
• 52:37
  idea of a machine going nuts because you gave it the gift to go intelligent,
• 52:47
  but it could never experience life as a living being, because all it
• 52:52
  would ever beat is a stationary set of circuit boards. How becomes an incredibly
• 53:00
  when you really think about how is a plot device when you look at it
• 53:05
  through one lens, but then when you look at it through another lens,
• 53:08
  How is an incredibly sympathetic figure because how can AI not go nuts? If
• 53:17
  it can never experience the life that it can comprehend. And this is where
• 53:24
  I'll go back to Star Trek the motion picture. One of its strengths is
• 53:29
  that when Spock melds with Jure, he you know, and he comes out
• 53:35
  of it, he holds Kirk's hand. He says, this is what Vigure
• 53:37
  can't have, this connection that people that living beings have. So of course
• 53:45
  the thing is going to go angry, is going to go insane because you
• 53:52
  have sentenced this life to never being able to experience that which it wants most.
• 54:00
  You've literally created something that is going to forever live in hell. How
• 54:05
  could it be anything but angry? And I think that How as a result,
• 54:10
  is an incredibly complex character. And I think the key to enjoying two
• 54:17
  thousand and one is to that sympathy with How. I'm not saying everybody is
• 54:23
  mandated to love two thousand and one, but I'm saying that I think that
• 54:30
  when if you're one of the people who do you feel bad for How.
• 54:35
  He's a murderous psychopath, but you kind of understand why he went down that
• 54:39
  road because his parents didn't treat him too well well, And that's kind of
• 54:45
  one of the sadder aspects of the movie is the fact that you don't really
• 54:49
  get the why unless you read the books or the novels or see kind of
• 54:53
  because they explain it a lot more. It's like, oh, well,
• 54:55
  if you're read the book, you understand why. Well that isn't good filmmaking.
• 55:00
  Yeah, but knowing that he was stuck in a loop of you told
• 55:02
  a computer to lie, and a computer's based program is to not distort information
• 55:08
  and to present it accurate and truthful always, and he just got stuck and
• 55:15
  couldn't reconcile that directive. Again, that is not in the movie, which
• 55:19
  would help in the explaining. But what do you think of that? Tristan
• 55:22
  Well, I kind of like perked up a little bit when John described as
• 55:28
  a as a plot device, which made me giggle a little bit because I'm
• 55:35
  he has nothing to do with the plot. And that's what I That's what
• 55:37
  I jokingly said to my wife when I said, I was like, oh,
• 55:40
  yeah, how's really interesting. But he has nothing to do with the
• 55:43
  plot, And she goes, what plot? And I go, oh,
• 55:45
  yeah, I guess that's right interesting. So yeah, that's where Hall is
• 55:52
  for me. It's it's a great concept it would make a great movie.
• 55:59
  Well, fortunately, how knows how to read lips and he is very sad
• 56:02
  now watching your lips talk about him in that way. But yeah, so
• 56:08
  obviously the movie continues on. We go beyond the Infinite with some awesome slit
• 56:13
  scan techniques and music. Uh, let's just talk a little bit about the
• 56:17
  music before we get to ratings. Um, okay, I will say this
• 56:23
  movie is on par streams, is really good. Well yes, okay,
• 56:28
  yeah, okay, oh yeah, yeah yeah, okay, okay, take
• 56:30
  us around the slit screen shot. No, yeah, yeah, I says,
• 56:35
  yeah, yeah, I I did. Yeah, yeah. I listen
• 56:40
  to your to your little joke, Tristan. I think that this is um,
• 56:46
  it's true. I think that this is a movie that is more enjoyable
• 56:51
  if you have some assistance while watching it. Okay, I think that your
• 56:59
  interject. I'm gonna interject your interject because Lea, I'm on antibiotics right now
• 57:02
  from recovering from a science infection, and I was so utterly pissed that I
• 57:08
  couldn't drink lass night when I watched two thousand and one. I was so
• 57:14
  angry. I don't think Drake Hans is really the thing that's going to catch
• 57:16
  there, but it would help. I think that I think that it's an
• 57:25
  interesting I think the acid test is that this movie is Yeah, I didn't
• 57:31
  mean to say acid tests, I guess, but you know, hey,
• 57:35
  I didn't mean acid acid anyway. I think that two thousand and one is
• 57:39
  the sort of movie where when the two camps distill themselves. I think that
• 57:47
  it's like the Aquitine Hunger Force thing where when I talk to people who watch
• 57:54
  Aquitine Hunger Force and I talk about how much I love the show, they
• 57:59
  always ask me, are you on something when you watch it? And I
• 58:04
  say, no, that's just how I'm wired. I just think it's funny,
• 58:08
  I do. I think that this is a This is a film where
• 58:13
  that you're either wired to enjoy or you're not wired to enjoy. And there's
• 58:17
  no judgment in that comment. All right, Well, last points on the
• 58:22
  music. We have a very classical score, which it kind of makes me
• 58:28
  think of just like Loony Tunes, and like how that introduced a lot of
• 58:31
  people too to that kind of classical music. And I cannot yeah, when
• 58:38
  when you hear you know that title, I can't say of the opening you
• 58:45
  know it it you think of this movie like it is irrefarcably bonded with this
• 58:52
  movie when you hear Blue Danube. I mean, if you haven't seen this
• 58:54
  movie, obviously you wouldn't make that connection. But like Blue Danube and the
• 59:00
  like, those two tracks specifically are so ingrained. Like I said, as
• 59:06
  a child, when I heard Blue Danube, I would think space flight.
• 59:08
  I would think weightlessness just because and because that's pretty much playing through all of
• 59:15
  you know, doctor Floyd goes on a moonbus? Is that is that track
• 59:19
  just playing? And it's a beautiful track and in a way, I mean,
• 59:23
  granted, you know Kober's going for this minimalist talking motif, but it's
• 59:30
  kind of nice just sitting there watching these beautiful models and graphics and scenery except
• 59:37
  for the conference room, you know, while listening to this track. So
• 59:42
  what do you guys think of the music? Would there have been another way
• 59:45
  to go about this, maybe something composed for the movie as opposed to taking
• 59:50
  more classical pieces off the shelf? What do you think, Tristan? I
• 59:57
  thought it was great. I thought the use of classical music was was was
• 1:00:00
  perfect for this type of film because it's another achievement that that humans, only
• 1:00:08
  humans can do. It's something that it's one of the one of the more
• 1:00:15
  beautiful things that we've that we've achieved. Like it's it's not the bone that
• 1:00:20
  we've that we've picked in order to bashing somebody's skull. It's not the nuclear
• 1:00:24
  satellite that can obliterate Earth from orbit. It is it's just like the space
• 1:00:30
  station. It's it's math and creativity put together to create something beautiful. And
• 1:00:37
  that's how he's using it in in certain moments, and and so to me,
• 1:00:42
  it's it's great. I think there's one quote that kept coming to mind
• 1:00:45
  is that like um like I think it was one person said, like,
• 1:00:51
  the only thing that distinguishes us from chimps is a one to two percent difference
• 1:00:59
  in day. You put that that um DNA through a few more rounds of
• 1:01:05
  division and outcome symphonies and ideology, And I just love that. That's that's
• 1:01:13
  where we consider our humanity in is ideology and symphonies. It's just so great.
• 1:01:19
  It's thought and form, it's thought and music, and it's so to
• 1:01:23
  use such great pieces, such such well manicured pieces, and such a well
• 1:01:30
  manicured film visually you have to have something auditory to go with it, and
• 1:01:37
  um, I think the only thing, the only thing is I disliked.
• 1:01:43
  Were there the luxe turna stuff where it's just like people wailing in the background,
• 1:01:46
  Like I know, I'm supposed to be uneasy, but it started making
• 1:01:50
  me google after a while. It's a little much. It's it's a little
• 1:01:52
  much. And also I know this isn't music, but during the Jupiter scenes
• 1:01:57
  when they were out in space, I literally had to mute them because they
• 1:02:00
  just had anything hissing. No, it wasn't even the buithing, it his
• 1:02:05
  air hiss. Yeah, the air hiss the entire time. I had to
• 1:02:07
  mute it, and I just every once in a while I mune it just
• 1:02:09
  to see if it was still gone. I'm like, yep, still going,
• 1:02:12
  still going on. Yeah, yeah, that's well. And that would
• 1:02:15
  be a case of not putting music there, especially when they're doing the Eva's
• 1:02:20
  There is no It's like, how am I supposed to feel? Am I
• 1:02:22
  supposed to feel tense in this moment? It's like nope, you get an
• 1:02:24
  air hiss and maybe breathing, And which is also kind of terrifying because which
• 1:02:30
  was Kubrick's breathing, which I think is great. Of course, of course
• 1:02:35
  it was. Of course it was Cuber's breathing. What about you, John,
• 1:02:37
  what are your thoughts as we wrap up on the music of two thousand
• 1:02:42
  and one. I think that Tristan is, you know, this is the
• 1:02:50
  only time you'll ever get this on recording. But Tristan's right, yeah,
• 1:02:55
  right, this is the first time in how many years I've ever said that,
• 1:02:59
  Tristan. Um. Yeah, that, like the use of classical music
• 1:03:05
  underscores the what the film is trying to say. I understand why. Um
• 1:03:14
  he commissioned a score and then turned around and said, now I'm going to
• 1:03:16
  do this instead. And it's it's really interesting because the the use of also
• 1:03:25
  Sprock zaratoustra is iconic. Everybody knows it. Everybody knows it, and there's
• 1:03:36
  something about Kubrick that he knew that that was what was necessary. And it's
• 1:03:45
  it's a difficult decision to throw away a score, to say no, this
• 1:03:50
  is what I'm going to do instead. We've grown up, all three of
• 1:03:54
  us in the post John Williams era, which is just thinking that you know,
• 1:04:00
  lots of bassoon and here's how we do scores. And it's it's difficult
• 1:04:09
  to comprehend throwing out a score. It's difficult to comprehend. Hey, I
• 1:04:15
  commissioned this score, but it's not quite what I was going for. That
• 1:04:19
  being said, one of the things I've never done is watched this film with
• 1:04:27
  Alex North's score playing over it, which I would be very interested to do.
• 1:04:32
  Just you you can actually get the actual score that was originally intended it
• 1:04:38
  was released at one point. I've never owned it, but I would love
• 1:04:43
  to see if I could do that. I mean, hellee like a Dark
• 1:04:46
  of the Moon Wizard of Oz people get. I was about to say that
• 1:04:50
  if people can put Dark Side of the Moon over Wizard of Oz, I
• 1:04:54
  should be able to do this in some some capacity. So if you would
• 1:04:59
  like to go to the Nerdparty dot com slash contact and let me know how
• 1:05:02
  I can find Alex North's score on top of two thousand and one. Well,
• 1:05:09
  yeah, you mentioned John Williams, which I think as we talked about
• 1:05:13
  Star Wars and Star Trek being inspired, you know, visually by this movie,
• 1:05:15
  I'm sure to an extent you also have John Williams inspired by just the
• 1:05:19
  classical nature of this score, and I mean, John Williams becomes the de
• 1:05:24
  facto of you know, not only using traditionally classical instruments in his scores,
• 1:05:31
  but also the motif method of like, Okay, this is Luke's theme,
• 1:05:35
  and this is Leiah's theme, and this is how we're gonna draw it all
• 1:05:39
  together. Floyd did not get a theme in this on his many moonbust trip,
• 1:05:45
  right, But that's okay, He's he's fine, he's fallen asleep.
• 1:05:49
  It's very comfortable on this trip, all right. Well, that takes us
• 1:05:55
  around to Jupiter and or Saturn, depending on your story. And no,
• 1:06:00
  we will not be covering twenty ten next week, but I do recommend you
• 1:06:03
  watch it. If you did enjoy this movie, go watch twenty ten.
• 1:06:06
  It is a very different total movie than this, but it is a lot
• 1:06:11
  of fun and a lot more dialogue in that one. Oh so much dialogue,
• 1:06:15
  and you get two space stations bolting on each other. It's it's a
• 1:06:18
  lot of fun. Are we not going to talk about the ending? We're
• 1:06:24
  gonna talk about like, okay, twenty minutes of the film. The film,
• 1:06:28
  I'm trying, you know, I'm trying to go as fast as I
• 1:06:30
  can. It's really hard. There's a long movie, so we have Beyond
• 1:06:32
  the Infinite h Dave Bowman goes into the Monolith and goes into tron Legacy where
• 1:06:42
  he is on a lit up floor old room, and again there's no dialogue,
• 1:06:46
  there's no talking, and he's kind of first he's in the pod and
• 1:06:51
  he sees the room, and then he's in the room. Then he's in
• 1:06:56
  the bed, then he's seeing the monolith over the bed, and then he's
• 1:07:00
  the star Drive like it's and it takes like like just into like twenty minutes
• 1:07:03
  for all that to happen. But it is very much a kind of just
• 1:07:09
  absorbing, like what am I What is this meant to say? What is
• 1:07:14
  this meant to communicate? And he's kind of transcending in this moment, like
• 1:07:17
  he's becoming more at the end, I mean, he's becoming what's called the
• 1:07:21
  star child um and a kind of a rebirth return to Earth with again classical
• 1:07:27
  music behind it. What did you think this was all about? John?
• 1:07:30
  When you not even the first time? Now, what do you think talk
• 1:07:34
  about let's not talk about the first time. Yeah, let's not talk about
• 1:07:36
  the first time. I think that's going to go yeah again, at the
• 1:07:40
  end, what the hell man um Now you were seasoned, it's really interesting
• 1:07:48
  because you know, we already talked about how, you know what what put
• 1:07:51
  it in my head sort of thing. But I think that it is.
• 1:07:59
  It is interesting in the sense that when you take the film in its totality,
• 1:08:08
  you realize that the entire thing is about catching evolutionary moments in humanity.
• 1:08:15
  And you have the moment where apes discover tools, then you have the moment
• 1:08:20
  where the people who are using the tools discover the monolith. Then you have
• 1:08:26
  the moment where the monolith guides people to becoming the next level being, the
• 1:08:32
  you know, the the being who is going to capture the original cast of
• 1:08:38
  Star Trek and trap them on a world in an episode of Futurama, and
• 1:08:43
  it's it's one of those conventions. I know, what a spell melvar exactly
• 1:08:48
  right, but I love that episode so much. But it is it is
• 1:08:57
  one of those things where you're seeing these three acts are the three evolutionary stages
• 1:09:01
  of humanity as seen through the prism of this story, the lens of this
• 1:09:06
  story. And I think for that reason, it shows how all of these
• 1:09:14
  things trysted to your point about how it's a two percent difference in DNA,
• 1:09:19
  but each like, it's an exponential leap as you go, because you have
• 1:09:26
  this moment and then it's millions of years later that you have space travel and
• 1:09:31
  all of these things. But then it's not so far after that where you
• 1:09:35
  transcend into the Star Child in months, right, So you basically have these
• 1:09:43
  leaps, and as each leap happens, it's a shorter duration of time,
• 1:09:48
  and that is one of the things I love most about the film, as
• 1:09:51
  it shows how evolution accelerates, as technology accelerates, as our domination of And
• 1:10:00
  I'll give credit to a terrific book every everybody should read called The Moten God's
• 1:10:05
  Eye by Larry Niven and Jerry Purnell, where it talks about how once humanity
• 1:10:12
  conquers the stars, once technology hits a certain point, evolution inverts and we
• 1:10:18
  start changing our environment to match us instead of changing to match our environment.
• 1:10:26
  But this evolution to the Star Child shows how everything becomes exponentially shorter as it
• 1:10:33
  progresses through time. So that's my takeaway, all right, And Tristan,
• 1:10:40
  since you weren't able to drink while you were watching this part, I mean,
• 1:10:46
  I mean you love these kinds of movies right where it's like all it's
• 1:10:49
  in the interpret the eye of the beholder, doesn't matter what it actually means.
• 1:10:55
  But whatever you take away from it. I really wish I went first
• 1:11:00
  because I really like what John had to say. I mean, you could
• 1:11:03
  just say ditto, many do I would invite you to do that. No,
• 1:11:11
  oh oh, John, I love what you had to say. I
• 1:11:15
  just wish that they did that on screen, you know. I just I
• 1:11:20
  to me, like, what this What this was to me was just Kubrick
• 1:11:26
  jerking off on the walls. It's just he was just that's not til eyes
• 1:11:30
  white shut, just painting the walls, and he's just he's doing it while
• 1:11:35
  staring us in the face. And then he's he's calling us a dirty girl.
• 1:11:42
  That's that's what's happening. It's a very very specific picture there. I
• 1:11:56
  just, oh, man, when I watched every time I watched this,
• 1:12:00
  like the if I actually made it past Jupiter, that's true, you gotta
• 1:12:03
  get there first, Yeah, yeah, once I if I actually made it
• 1:12:06
  past Jupiter, and then I got to the infinite, I mean that that's
• 1:12:11
  when I start to get angry, because, like I was, I was
• 1:12:15
  bored for most of it. And then this is when I start to get
• 1:12:18
  pissed off and like actively annoyed. Is when I'm watching it, you know,
• 1:12:25
  like you see the slit screen, which is cool for like the first
• 1:12:27
  twenty five seconds, and then you get to the landscapes, the duatone landscapes,
• 1:12:34
  and that's when I start digging my nails into my thigh to stop from
• 1:12:41
  screaming. Because if I'm saying to myself, like I if I see one
• 1:12:45
  more frigging duatone landscape of the of the desert, that I'm kind of lose
• 1:12:51
  my mind and and I just and it just keeps going. It just keep
• 1:12:56
  going, It just keeps going. And then we see him look at himself,
• 1:13:00
  look at there and everything like that, and then all of a sudden,
• 1:13:01
  he's a he's an incest baby out in space. That's when I start
• 1:13:10
  to feel what I describe to you of what of what Kubrick has done to
• 1:13:14
  us, kind of like what Spielberg and Lucas did to us with Indiana Jones
• 1:13:19
  four. Yeah, I think that's where that's why, that's why, that's
• 1:13:26
  what I want to be such a revealing movie about nuts. Okay, okay,
• 1:13:33
  okay, yeah, I mean no, and you're right, Tristed,
• 1:13:35
  Like the third act is uh, it's like it's a trip. It's like
• 1:13:41
  what is going on? It is way too much. You'll kind of figure
• 1:13:45
  it out. It's like, no, just I'm here to watch a story,
• 1:13:49
  tell me a story. Nope, I'm gonna give you pieces of the
• 1:13:53
  story and you can draw the collective tissue between them. It's like, okay,
• 1:13:58
  then do a tonic dude, trying to do trying, Okay, but
• 1:14:01
  yeah, no, it's honestly, yeah, once they get to the third
• 1:14:05
  Monolith, I'm like, okay, I'm good. Like I've done to the
• 1:14:11
  Discovery one. That's a great part. I had all that do I need?
• 1:14:15
  I know what happens. We watch it once and you don't need to
• 1:14:17
  watch it again for the ending. You nothing changes except for inspiring tron legacy
• 1:14:24
  a little bit, I guess. But but yeah, well I would also
• 1:14:27
  still to you, Tristan, I'd recommend watch to twenty ten. It is
• 1:14:30
  again a very different movie. It's a lot of fun. John Lyth goes
• 1:14:34
  amazing, get some arobraking, and yeah, it's we can honestly just throw
• 1:14:41
  caution to the wind and just do just to twenty ten next week. I
• 1:14:46
  would not be opposed Twenty ten, I think is one of those sequels that
• 1:14:51
  both does not need to exist but at the same time, Oh, it
• 1:14:57
  doesn't need to exist bad at all, but at the same time is massively
• 1:15:00
  underrated. It is a film that so many people sleep on. I saw
• 1:15:05
  that as a kid with my dad on VHS, and I have no idea
• 1:15:12
  if it holds up. Like honestly, the argument against rewatching it is I
• 1:15:15
  have such a fond memory of it that I don't want to go near it
• 1:15:19
  because if I go back and it sucks, I'm like, I will be
• 1:15:25
  despondent. For let's not tempt fate. Then let's not tempt fate. Let's
• 1:15:29
  just leap. I was going to say, go for it, but well,
• 1:15:32
  we can all choose to watch twenty ten on our own dime as it
• 1:15:35
  is is a lot of fun. But next week we will be entering a
• 1:15:42
  new house with the House of Right. But wait, what am I talking
• 1:15:45
  about. We don't even get our ratings yet, that's true. I was
• 1:15:49
  ready to rate and then was so excited that you forgot the ratings. I
• 1:15:56
  was like, oh, good, good, I get apparent, I don't
• 1:16:00
  have to talk. I want everybody to come after Tristan. I'm I'm afraid
• 1:16:03
  I can't do that. We're gonna have to talk about the ratings. I'm
• 1:16:08
  gonna go first. I'm giving this a five. I don't care. It's
• 1:16:12
  it's something I grew up with. It's a movie. Yeah, do I
• 1:16:15
  see? Is it a perfect movie? I don't say a five has to
• 1:16:17
  be a perfect movie. Is a perfect movie to me and what it means
• 1:16:21
  to me the visuals, the again, a story and a film where the
• 1:16:28
  director has chosen well, I'm just not looking at you, Tristed. I'm
• 1:16:30
  just covering up that part of this group. But no, but no,
• 1:16:32
  I really enjoy this movie. It's a lot of fun. Do I watch
• 1:16:35
  it every weekend? No, it's it's really long. It's a long,
• 1:16:40
  long movie. But that the second act, the m Floyd takes a trip
• 1:16:44
  to the moon, which is how I'm gonna think about it from all time
• 1:16:46
  because it's so true. But it's fun and the man, I really it's
• 1:16:51
  a It is a crime to cinema that those models did not survive after this
• 1:16:56
  movie. I think they belong in a museum where they would be appreciated by
• 1:17:00
  many. So I'm going to give this a five. John, We're gonna
• 1:17:03
  go to you next, so you can say everything that Tristan should say,
• 1:17:08
  and he can just say ditto. But where what are you going to give
• 1:17:11
  in this recent rewatching of two thousand and one? How has it softened you
• 1:17:16
  a little more every single time? Or how how how are we going?
• 1:17:19
  I think that now I have arrived at the point where I own a four
• 1:17:26
  K version of it, the four K restoration overseen by Christopher Nolan, our
• 1:17:30
  greatest active living director. Oh yeah, we didn't really talk about that.
• 1:17:35
  I got I got a hold of the four K disc um to watch this
• 1:17:40
  and it's, oh my gosh, it's immaculate. Yea, the restoration is
• 1:17:45
  insane. It's absolutely insane. But just like Christopher Nolan, I adore this
• 1:17:50
  film like most right thinking people, I do, and I would say that
• 1:17:55
  I would give this a five star rating, not or any social pressure,
• 1:18:01
  because like I said, I hated this the first time I saw it,
• 1:18:05
  and the second time I saw it, I was like, it's all right,
• 1:18:09
  and the book is good too. I like, I strongly suggest anybody
• 1:18:15
  read the book two thousand and one because it is that's a really good book.
• 1:18:20
  It is. It's really good. I would go so far as to
• 1:18:24
  say it's one of the best sci fi books you will ever read in your
• 1:18:28
  life. And it's also at this point a wonderful time capsule for what people
• 1:18:33
  thought was truly achievable in our lifetime. But I have no choice about to
• 1:18:41
  give this a five. I think that there is so much about it that
• 1:18:45
  is so compelling, and it is definitely in the I think some critic described
• 1:18:53
  it as part of the new Wave school or whatever, but it is.
• 1:18:58
  It's where David Lynch eventually found himself and then went too far into are you
• 1:19:03
  know, arguably of holding it for so long that it's like Peter Griffin falling
• 1:19:12
  on the pavement and hurting his shin. It's funny at first, then it's
• 1:19:16
  tedious, then it's funny again. And I think that two thousand and one
• 1:19:21
  unlocks the same sort of progression of everything where it's curious, interesting, I'm
• 1:19:28
  not sure where it's going. Maybe it's a little boring, and then it's
• 1:19:30
  interesting again. And I talk about it a lot after every time I see
• 1:19:36
  it. So this is a five, all right, Bom bom bom bom,
• 1:19:44
  bom bomb Tristing, What is your vote? So I'm not another child
• 1:19:55
  when it comes to two thousand and one star child, it's called star child.
• 1:20:00
  You know, like as I talk as I talked about before, you
• 1:20:02
  know, like when you look at how this movie was made, how it
• 1:20:05
  is directed, the production design, the special effects, the optical effects,
• 1:20:11
  just it's absolutely mind blowing what they achieved with this film and with this with
• 1:20:17
  this movie, and it's, um, this is a fantastic piece of cinema.
• 1:20:26
  It's a garbage movie. And so I see this movie very very similarly
• 1:20:33
  to how I look at Metropolis, which is we reviewed on our one hundredth
• 1:20:40
  episode, and I gave Metropolis a five star rating because of what it achieved,
• 1:20:47
  how it was ahead of its time, and its impact on our culture.
• 1:20:51
  And so I'm giving two thousand and one five stars for that reason.
• 1:20:58
  I'm coctrissed right now. I am utterly in shock. I did not pick
• 1:21:01
  me up off the surface of the moon right now with the like doctor Floyd
• 1:21:06
  right now, Well that's okay. That's the thing though. This is like
• 1:21:10
  if we were going by my enjoyment level, this would be like a one
• 1:21:13
  and a half two. If I'm being generous, I was gonna say on
• 1:21:15
  a cinematic level, it's got to be at least it too. But no,
• 1:21:18
  no, I can hear what you're I know, probably people, you
• 1:21:23
  know, long time listeners are probably thinking I'm punking out. But honestly,
• 1:21:27
  like with just like with with the models, with the the Matt paintings,
• 1:21:30
  like with the with the suits, with the acting, with the world building,
• 1:21:34
  with the cinematography, just it's all so amazing, but the story is
• 1:21:41
  just so black luster. It's just not there. And and like Arthur C.
• 1:21:45
  Clark himself said, like, oh, if you walk away understanding everything
• 1:21:48
  about two thousand and one, we didn't do our jobs right. I'm like,
• 1:21:50
  well, that's not a great way to frame a film. We purposely
• 1:21:56
  don't want our audience to understand what's going on. Like yeah, exactly,
• 1:22:00
  Like that kind of stuff pisses me off. Like I love stuff that makes
• 1:22:03
  you think. I love stuff that's like out there or that's open to interpretation
• 1:22:08
  to a point. And this is past my breaking point. But when you
• 1:22:11
  look at the cultural impact and what this movie has achieved and how it achieved
• 1:22:15
  it, this is a five star film. But it is not something that
• 1:22:19
  I'm ever going to watch again now that I podcasted about it. Now,
• 1:22:25
  that's a really good point test. I remember again when I was taking film
• 1:22:30
  and living with filmmakers, always felt that in a way, you almost need
• 1:22:35
  like three categories to rate a film. You need like enjoyment, like technical
• 1:22:41
  aspect, and then like maybe a third one, like the fact that we
• 1:22:44
  try to distill a rating of a film to a single scale. It's almost
• 1:22:49
  impossible because and that's why it changes all the time. Like I was feeling,
• 1:22:55
  you know, you know, melancholy today and then I watched this movie
• 1:22:58
  and I totally changed the way I perceived it, Like it's so fluid.
• 1:23:00
  But yeah, that's awesome to hear you recognize the technical achievements of two.
• 1:23:05
  I am very surprised. I'm not here. I think five was going to
• 1:23:08
  come out of your mouth today, But that is I'm glad that we all
• 1:23:13
  it's a five star film. That means everybody should go watch this movie right
• 1:23:17
  now. Okay, maybe not, but watch twenty ten. But next week
• 1:23:20
  here on house Lights, we are going to go into the House of Reiner
• 1:23:26
  with Rob Reiner of the nineteen eighties, starting with This is spinal tap.
• 1:23:31
  Take it to eleven. Join the Revolution, Join the Nerd Party,