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156: The Funny Games Coffee Drinking Game · Movie Meltdown

• 0:00
  Speaker 1: Hey kids, this is going to be a very special episode.
• 0:04
  Speaker 1: An interactive episode. You should make it a drinking game.
• 0:08
  Speaker 1: But we here at Movie Meltdown would never be one
• 0:10
  Speaker 1: to encourage irresponsible drinking. So it's a coffee drinking game.
• 0:14
  Speaker 1: So get yourself a big mug of coffee. Ask mom
• 0:17
  Speaker 1: or dad to help you so you don't burn yourself.
• 0:20
  Speaker 1: Then you'll be sitting there with coffee, just like we
• 0:22
  Speaker 1: are in this episode, for the full, realistic experience. Then,
• 0:27
  Speaker 1: every time someone mentions the name Henikei, Take a big
• 0:30
  Speaker 1: swig of your coffee. Here, let's do a test run.
• 0:34
  Speaker 2: I've been super into Henneke lately. I mean, to just
• 0:38
  Speaker 2: get on with funny games, there's like, he's a genius.
• 0:42
  Speaker 2: And if you hear him talk, if you listen to
• 0:43
  Speaker 2: his commentaries, I mean, when you hear me talk later,
• 0:47
  Speaker 2: I'm going to be like, well, Henneke said this about
• 0:48
  Speaker 2: the movie and Henneke said that about the movie.
• 0:51
  Speaker 1: See, it's that easy and delicious. There's nothing a growing
• 0:55
  Speaker 1: kid needs more than coffee. Now sit back and enjoy
• 0:58
  Speaker 1: this episode of Movie Meltdown.
• 1:01
  Speaker 3: The following program is a proud member of the Palover
• 1:04
  Speaker 3: family of podcasts. Check out all the shows over at palover.com.
• 1:08
  Speaker 4: That's P-A-L-A-V-E-R dot com.
• 1:12
  Speaker 5: The following feature has been rated R by the Motion
• 1:15
  Speaker 5: Picture Association of America. It is intended for mature audiences
• 1:18
  Speaker 5: and parental discretion is advised.
• 1:31
  Speaker 3: It's showtime, folks. Enjoy the show. Our nuclear reactor pumping
• 1:38
  Speaker 3: out one.
• 1:39
  Speaker 6: Million kilowatts of power.
• 2:06
  Speaker 3: To provide more cooling in the containment chambers.
• 2:09
  Speaker 7: To your sentinels, we have a movie meltdown.
• 2:13
  Speaker 8: Oh my god, that is funny!
• 2:18
  Speaker 9: Way down among Brazilians, coffee beans grow by the billions,
• 2:23
  Speaker 9: so they've got to find those.
• 2:25
  Speaker 10: Extra cups to fill.
• 2:28
  Speaker 8: They got an awful lot of coffee in Brazil.
• 2:32
  Speaker 3: What's up, and welcome to Movie Meltdown. I'm Brian. I'm Fred.
• 2:36
  Speaker 2: I'm Marlena.
• 2:37
  Speaker 3: And once again this week we have Jess back with us.
• 2:40
  Speaker 2: Hello.
• 2:43
  Speaker 3: Yeah, I'm assuming you were here last week. If not,
• 2:46
  Speaker 3: go back and let's do it because it was awesome
• 2:48
  Speaker 3: and we heard many, many geeky things about Jess. But
• 2:52
  Speaker 3: it is time once again for another edition of the
• 2:55
  Speaker 3: Caffeinated Movie Geek. Cappuccino my butt. I still drink coffee.
• 3:00
  Speaker 3: The last fucking thing you need is another cup of coffee.
• 3:03
  Speaker 11: It's time for the Caffeinated Movie Geek.
• 3:07
  Speaker 12: We're coming to you live, sort of, digital recording-wise, from
• 3:10
  Speaker 12: Nancy's Bagel Grounds, where we will get together, drink coffee,
• 3:14
  Speaker 12: borrow eggs, and go far, far in-depth into film, whether we.
• 3:19
  Speaker 3: Like it or not.
• 3:20
  Speaker 2: Was borrowing eggs a play on the whole Funny Games thing?
• 3:23
  Speaker 3: Yeah.
• 3:23
  Speaker 2: Is that what you're doing?
• 3:25
  Speaker 3: Okay. That's what I was going for. I was about
• 3:28
  Speaker 3: to be like, oh. A little too subtle, I suppose.
• 3:31
  Speaker 2: Funny enough.
• 3:33
  Speaker 13: I was just going nut cheese with it.
• 3:36
  Speaker 2: Guys, that was so ten minutes ago. Or a week ago.
• 3:42
  Speaker 3: A week ago. Or in the future. In some time
• 3:44
  Speaker 3: and space continuum. All right. So, once again, being the
• 3:50
  Speaker 3: coffee geeks that we are, Jess, I ask you, what
• 3:53
  Speaker 3: coffee are we drinking?
• 3:55
  Speaker 2: We are still drinking the same cup of coffee, quite
• 3:57
  Speaker 2: literally the exact same cup of coffee that we were
• 4:00
  Speaker 2: drinking a few minutes ago slash a week ago.
• 4:03
  Speaker 3: Pacific.
• 4:05
  Speaker 6: Blacktail.
• 4:07
  Speaker 3: Yeah, team effort. I don't think we had a tag team. Wow,
• 4:10
  Speaker 3: that was great. That's pretty awesome.
• 4:12
  Speaker 14: I blanked out too.
• 4:14
  Speaker 3: Like, oh my god.
• 4:16
  Speaker 2: Spotlight freeze.
• 4:17
  Speaker 3: Make it away, Tony Smothers. And now, Conway Quinn, that's
• 4:27
  Speaker 3: all you get for your four years. All right, so
• 4:32
  Speaker 3: before we get sidetracked on nut cheese, we're going to
• 4:34
  Speaker 3: take a quick break and be back with this week's movie.
• 4:44
  Speaker 15: She's ghetto living in San Francisco and she makes a
• 4:48
  Speaker 15: living helping out the homeless. She's got an opinion, so
• 4:53
  Speaker 15: you better listen. Can you guess who I'm talking about?
• 5:00
  Speaker 3: They call her nut cheese. She's not a vegan.
• 5:04
  Speaker 15: She eats peanut butter and bacon sandwiches. Her name alone
• 5:09
  Speaker 15: will make you giggle. Nut cheese, nut cheese, nut cheese.
• 5:16
  Speaker 3: They call her nut cheese.
• 5:19
  Speaker 5: At our refreshment stand, your wish is our command.
• 5:22
  Speaker 1: So the coffee we serve there is pure perfection.
• 5:27
  Speaker 5: It rests on 13 acres of earth over the very
• 5:30
  Speaker 5: center of hell.
• 5:34
  Speaker 7: The last house on the left.
• 5:37
  Speaker 5: Here is the first motion picture to offer to the
• 5:40
  Speaker 5: daring a look into the final maddening space between life
• 5:45
  Speaker 5: and death.
• 5:48
  Speaker 7: The last house on the left. Caution. To avoid fainting,
• 5:53
  Speaker 7: keep repeating. It's only a movie. Only a movie. Only
• 5:59
  Speaker 7: a movie.
• 6:00
  Speaker 5: Sights and sounds far beyond anything you've tested.
• 6:06
  Speaker 7: The Last House on the left.
• 6:08
  Speaker 5: Offered by Sean Cunningham Films Limited in color.
• 6:12
  Speaker 7: Caution. To avoid fainting, keep repeating. It's only a movie.
• 6:19
  Speaker 7: Only a movie. Only a movie. Only a movie. Take
• 6:22
  Speaker 7: as much as you can.
• 6:23
  Speaker 3: Only a movie.
• 6:26
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• 6:58
  Speaker 7: Hi, this is famous Hollywood producer Robert Evans.
• 7:02
  Speaker 17: You know, I've made a lot of powerful enemies during
• 7:05
  Speaker 17: my time in Hollywood.
• 7:06
  Speaker 7: Like the time I.
• 7:07
  Speaker 17: Pushed Steve McQueen in front of a moving car on
• 7:09
  Speaker 17: the set of The Getaway because he was macking on
• 7:11
  Speaker 17: my lady, Allie McGraw. But I've made one great friend,
• 7:16
  Speaker 17: a boffo friend if you will.
• 7:18
  Speaker 7: Since I retired.
• 7:20
  Speaker 17: It's called Show Show, and it's the best fucking movie
• 7:23
  Speaker 17: podcast ever. It's even better than cocaine, which I would
• 7:28
  Speaker 17: know a lot about.
• 7:31
  Speaker 3: Visit Show Show at showshow.podomatic.com or search Show Show, all
• 7:35
  Speaker 3: one word, in the iTunes store.
• 7:37
  Speaker 5: Still plenty of time to come and be served at
• 7:39
  Speaker 5: the refreshment center before showtime.
• 7:44
  Speaker 7: They called him Machete. Machete.
• 7:52
  Speaker 15: This is Danny Trello, a.k.a.
• 7:54
  Speaker 18: Machete.
• 7:56
  Speaker 3: And you're checking out Movie Meltdown. You better keep checking
• 8:00
  Speaker 3: it out or.
• 8:01
  Speaker 2: I'll come looking for you.
• 8:02
  Speaker 7: And I got machetes. I soon realized they just fucked
• 8:11
  Speaker 7: with the wrong Mexican.
• 8:12
  Speaker 6: Machete.
• 8:17
  Speaker 7: Machete.
• 8:19
  Speaker 3: It's part of your problem, you know, you haven't seen
• 8:21
  Speaker 3: enough movies. All of life's riddles are answered in the movies.
• 8:25
  Speaker 7: And now, on with the show. It's time for Sofa Theater.
• 8:34
  Speaker 10: Sofa Theater.
• 8:43
  Speaker 3: Venga, cuidado, no le rompas sus huevos.
• 8:45
  Speaker 16: Chau.
• 9:16
  Speaker 3: All right, welcome back to Movie Meltdown's Sofa Theater. This
• 9:19
  Speaker 3: week's Sofa Theater feature is Funny Games. The year is 1997,
• 9:23
  Speaker 3: although there were different numbers. It was 97 or 98,
• 9:25
  Speaker 3: depending on where you looked it up. But most of
• 9:28
  Speaker 3: this is IMDb, so we'll go with 97. The director,
• 9:31
  Speaker 3: do you want to give the proper pronunciation, Jess? You're
• 9:34
  Speaker 3: his best friend now.
• 9:36
  Speaker 7: I wish.
• 9:37
  Speaker 2: I think it's Michael Heneke.
• 9:39
  Speaker 3: I think Heneke. You're not even doing it Austrian-like. Michael Heneke. Haneke.
• 9:45
  Speaker 6: Haneke.
• 9:46
  Speaker 3: Yeah. Haneke. But yeah, I was specifically listening to them
• 9:50
  Speaker 3: call him Mikel. I'm like, we're American. We'll be lucky
• 9:53
  Speaker 3: if you don't call him Mikey all night. Mike Henneke.
• 9:56
  Speaker 6: Okay.
• 10:00
  Speaker 3: Enough with that. If so, call her up. Give her
• 10:03
  Speaker 3: a job. I'm sure she'd consider it. The plot, according
• 10:08
  Speaker 3: to IMDb, which is usually questionable, but here we go.
• 10:12
  Speaker 3: Two psychotic young men take a mother, father, and son
• 10:15
  Speaker 3: hostage in their vacation cabin and force them to play
• 10:18
  Speaker 3: sadistic games with one another for their own amusement. I
• 10:23
  Speaker 3: guess that's sort of, kind of. With that spoiler alert,
• 10:26
  Speaker 3: because we're going to totally ruin most of what goes
• 10:29
  Speaker 3: on in this movie, so by now you should have
• 10:30
  Speaker 3: gone to watch it. Truthfully, it's on Netflix right now,
• 10:33
  Speaker 3: so please go watch it.
• 10:35
  Speaker 7: It's free.
• 10:37
  Speaker 3: So, I guess, where would you like to begin with
• 10:41
  Speaker 3: Funny Games?
• 10:43
  Speaker 13: Well, I guess the first funny game is they're trying
• 10:48
  Speaker 13: to guess opera.
• 10:50
  Speaker 19: Yeah.
• 10:50
  Speaker 3: And they're driving out to the country. Speaking of geek activities,
• 10:54
  Speaker 3: that was one for you. Guessing opera. Guessing opera.
• 10:58
  Speaker 13: They're doing pretty good, but they keep raising the stakes. Yeah,
• 11:03
  Speaker 13: but what?
• 11:05
  Speaker 3: Obviously. Moron. Sure, it's handled, but.
• 11:12
  Speaker 13: But yeah, immediately you get that vibe that something's going
• 11:16
  Speaker 13: to go wrong because it's a happy family driving out
• 11:19
  Speaker 13: into the country and that's what happens. It's like a
• 11:23
  Speaker 13: movie somebody was watching last week and actress gets on
• 11:26
  Speaker 13: a bike and goes riding up somewhere. How do you
• 11:30
  Speaker 13: know she's going to get hit by a truck?
• 11:32
  Speaker 2: Well, I feel like that's actually a big... I'm going
• 11:35
  Speaker 2: to totally geek out on this one because I have
• 11:38
  Speaker 2: way watched the Henneke commentary. and I think he's such
• 11:42
  Speaker 2: a brilliant genius, that the movie is so precisely constructed
• 11:47
  Speaker 2: to follow the genres.
• 11:51
  Speaker 13: And if this were a movie, that's the sign that
• 11:53
  Speaker 13: something really bad is.
• 11:54
  Speaker 3: Going to happen. No, it's just the cat running out.
• 11:58
  Speaker 3: That was the fake-out first.
• 12:00
  Speaker 2: To totally Henneke quote, whatever, he took the genre and
• 12:08
  Speaker 2: very intentionally constructed it so that we always are following
• 12:13
  Speaker 2: what these movies do. Like, oh, it's this simple family
• 12:16
  Speaker 2: driving to a cabin. Like, every single section of it
• 12:21
  Speaker 2: is playing you into the game of a horror film
• 12:25
  Speaker 2: or of a torture film.
• 12:26
  Speaker 3: Well, I think what it.
• 12:28
  Speaker 9: I thought it did really interestingly right off the bat
• 12:31
  Speaker 9: is you get this very serene music and you get
• 12:35
  Speaker 9: the calm, you know, landscape going.
• 12:37
  Speaker 20: By, and then we immediately... kicks in with that music,
• 12:41
  Speaker 20: which is very different. I think right off the bat
• 12:45
  Speaker 20: you get that sense of... Oh, and it shifts to
• 12:47
  Speaker 20: the thrash punk.
• 12:48
  Speaker 3: Yeah, it's like we're sort of luring you in with
• 12:50
  Speaker 3: this very serene little situation, and then things are going
• 12:53
  Speaker 3: to be very different than what you expect. I thought
• 12:55
  Speaker 3: that was kind of interesting, just titles. By the time
• 12:58
  Speaker 3: you hit the title screen, you're already like, whoa, wait,
• 13:01
  Speaker 3: what just happened?
• 13:01
  Speaker 2: You kind of know right away this is not going
• 13:05
  Speaker 2: to go well.
• 13:06
  Speaker 3: Well, and it's not going to be... a normal, standard,
• 13:10
  Speaker 3: kind of, again, most, most, even like, psychological thrillers, probably
• 13:14
  Speaker 3: wouldn't open like that, you know, it's, it's, it just
• 13:16
  Speaker 3: seems like.
• 13:17
  Speaker 13: It's sort of, But where you really know how bad
• 13:19
  Speaker 13: it's going to be, is when she's in the kitchen, making, like,
• 13:24
  Speaker 13: getting out food, And the pattern on her dress and
• 13:28
  Speaker 13: the pattern of that wall hanging. This is exactly what
• 13:32
  Speaker 13: a designer would tell you not to do.
• 13:35
  Speaker 2: This for you is the moment you're like, they are
• 13:36
  Speaker 2: not trying to make me comfortable.
• 13:38
  Speaker 5: Yeah.
• 13:38
  Speaker 2: They're trying to make me very uncomfortable.
• 13:39
  Speaker 13: It's like they're similar patterns, similar scale, but they're different.
• 13:46
  Speaker 3: They're clashing in this way.
• 13:47
  Speaker 13: It's like being uncomfortably tickled.
• 13:51
  Speaker 3: For too long and.
• 13:54
  Speaker 2: I'm so smart i don't like this pattern but that's
• 13:57
  Speaker 2: the thing because then i watched the remake.
• 14:00
  Speaker 3: Just like oh they don't really do that really well
• 14:03
  Speaker 3: they have a hanging and they have a dress but
• 14:06
  Speaker 3: no they're not really clashing they're not don't have that
• 14:10
  Speaker 3: much of a relationship but in the first one it's
• 14:12
  Speaker 3: like i i can just see interior designers out there
• 14:16
  Speaker 3: going oh God, no!
• 14:18
  Speaker 7: Turn it off!
• 14:20
  Speaker 3: Did you? It was killing me. It was almost like...
• 14:25
  Speaker 3: I like that that's what made you uncomfortable. It's the
• 14:29
  Speaker 3: little things. Yeah. But that was, I mean, that was
• 14:33
  Speaker 3: a big... That was a nightmare. Everything else was fine. Yeah,
• 14:39
  Speaker 3: everything else was cool. That was easy, but... That wall hanging,
• 14:43
  Speaker 3: I don't know. So... Okay, I guess, I don't know,
• 14:48
  Speaker 3: where do we want to approach it from?
• 14:51
  Speaker 2: I sort of want to just put out there, right
• 14:53
  Speaker 2: from the bat, something very interesting.
• 14:56
  Speaker 6: That Haneke said in his commentary, is that.
• 15:02
  Speaker 2: He was like, if this film is a success, it
• 15:05
  Speaker 2: will be very questionable as to if it's a success
• 15:08
  Speaker 2: for the right reasons. Because the film is intended to
• 15:16
  Speaker 2: be an analysis of violence in film and media because
• 15:20
  Speaker 2: you're watching the analysis as the movie goes along and
• 15:23
  Speaker 2: the viewer is made an accomplice to the killing because
• 15:29
  Speaker 2: the killers are talking to the viewer quite literally into
• 15:32
  Speaker 2: the camera at you and you at one point are
• 15:35
  Speaker 2: asked to pick sides and bet on who you think
• 15:38
  Speaker 2: is going to win. So it is interesting since, I mean,
• 15:43
  Speaker 2: you hadn't seen it, but the film has... has gotten
• 15:46
  Speaker 2: i think much larger than he imagined and i wonder
• 15:49
  Speaker 2: that also makes it questionable to me why he remade
• 15:53
  Speaker 2: it since it was already bigger than he thought it
• 15:55
  Speaker 2: was going to.
• 15:56
  Speaker 3: Be and especially since he didn't change it accordingly like
• 16:00
  Speaker 3: i mean the world had changed a lot in those
• 16:02
  Speaker 3: 10 years and had become especially with where media is
• 16:06
  Speaker 3: concerned i mean because again you're making that little comment
• 16:08
  Speaker 3: in the in the first one about like him flipping
• 16:11
  Speaker 3: through the tv channels and you know That was your
• 16:13
  Speaker 3: main window. But now you open up what the Internet
• 16:16
  Speaker 3: has become just in that 10-year period. Your world is, like,
• 16:19
  Speaker 3: you know, flooded with horrible images now and violence that
• 16:23
  Speaker 3: you probably wouldn't have ever even had any, you know.
• 16:26
  Speaker 3: I mean, we're getting people taking footage of horrible things
• 16:29
  Speaker 3: going on on the other side of the world on
• 16:30
  Speaker 3: their cell phone, uploading it immediately onto the Internet. So,
• 16:33
  Speaker 3: I mean, to me, it almost could have been updated
• 16:35
  Speaker 3: a little bit. I mean, the quick nature that everything changes,
• 16:39
  Speaker 3: specifically where the technology is concerned... seems like it almost
• 16:42
  Speaker 3: could have been updated a little bit, and he really doesn't. Like,
• 16:46
  Speaker 3: that remake is damn near shot for shot. It is
• 16:50
  Speaker 3: frighteningly close.
• 16:51
  Speaker 13: Yeah, he had to admit that they would have both
• 16:54
  Speaker 13: had cell phones.
• 16:55
  Speaker 3: Yeah, that's the deal with that. And going in, I'm like,
• 16:58
  Speaker 3: so I guess it's going to be a cell phone instead.
• 16:59
  Speaker 6: Of a cordless.
• 16:59
  Speaker 13: And the TVs were kind of like old-school TVs, like
• 17:02
  Speaker 13: people might, instead of getting rid of the old TV,
• 17:05
  Speaker 13: put it out at the lake house.
• 17:07
  Speaker 3: So, I mean, I don't know. I thought that was...
• 17:11
  Speaker 3: It was almost interesting that you would almost get, you know,
• 17:14
  Speaker 3: in trouble with a lot of movies for changing it
• 17:16
  Speaker 3: because they would want you, oh, I can't believe you
• 17:18
  Speaker 3: changed this. But with that, because he's making such a
• 17:21
  Speaker 3: commentary from, you know, the get-go, from the first one,
• 17:24
  Speaker 3: it's interesting, again, that it's the same director and that
• 17:27
  Speaker 3: he didn't decide to do more with it. I always
• 17:30
  Speaker 3: thought it was weird for him to try to remake
• 17:32
  Speaker 3: his own. To me, that almost seems really boring, doesn't it?
• 17:35
  Speaker 3: I mean... A shot for shot remake?
• 17:38
  Speaker 2: I mean, I understand the desire to revitalize it since
• 17:43
  Speaker 2: it has become more, what was the word we said,
• 17:46
  Speaker 2: resonant as violence has become more prevalent.
• 17:52
  Speaker 3: In the media. Resonance? But you seem unhappy with prevalent.
• 17:59
  Speaker 2: But now I think it's working.
• 18:01
  Speaker 3: I'm going to get out my vocab book. Hold on.
• 18:05
  Speaker 2: The question of remaking it is, I don't understand totally,
• 18:09
  Speaker 2: but I love how smart the movie is regardless. I
• 18:14
  Speaker 2: do think it could have been remade because it was
• 18:17
  Speaker 2: so shocking for being in 1997, but I wonder if
• 18:21
  Speaker 2: one of the questions is why isn't this movie as
• 18:25
  Speaker 2: shocking now since.
• 18:27
  Speaker 3: That's the other thing I thought was weird is I
• 18:30
  Speaker 3: had heard about this version. I think I totally forgot.
• 18:33
  Speaker 3: about the American remake. And it was one of those,
• 18:36
  Speaker 3: I'm like, well, if he did it to open it
• 18:38
  Speaker 3: up to a wider, mostly American audience, I'm like, it
• 18:41
  Speaker 3: didn't work. Like, I don't remember it getting any big,
• 18:43
  Speaker 3: you know, release. I don't remember people paying attention. And
• 18:46
  Speaker 3: if ever there was a movie you think they would really,
• 18:48
  Speaker 3: you know, take notice of, love it or hate it,
• 18:51
  Speaker 3: it would get some attention. But I don't really remember it.
• 18:54
  Speaker 3: I kind of, once I saw the poster again, I went,
• 18:56
  Speaker 3: oh yeah, that's actually a really cool one sheet that
• 18:58
  Speaker 3: they did for it. But I don't remember it getting
• 19:01
  Speaker 3: any attention when it came out. So if Maybe it's
• 19:03
  Speaker 3: back to his original thinking, maybe, because it wasn't that successful.
• 19:07
  Speaker 7: It worked?
• 19:08
  Speaker 3: Is that how that goes?
• 19:09
  Speaker 2: Well, I still think it became more successful than he
• 19:12
  Speaker 2: thought when he made it.
• 19:14
  Speaker 3: But almost the first one. Like, I really don't know
• 19:16
  Speaker 3: of that many people that, at least talking to people,
• 19:18
  Speaker 3: I haven't heard anybody bring up the remake at all.
• 19:21
  Speaker 2: Oh, everybody just talks about the first one?
• 19:23
  Speaker 3: Yeah, I think so. Fascinating. Which is unusual.
• 19:25
  Speaker 13: Because of that wall hanging and the pattern on the dress.
• 19:28
  Speaker 2: Yeah, it's slightly more disturbing.
• 19:30
  Speaker 7: Yes.
• 19:30
  Speaker 2: And because it's placed in the right time period, it's
• 19:33
  Speaker 2: more disturbing for that time.
• 19:35
  Speaker 3: I think mostly just for you. Anyway.
• 19:39
  Speaker 8: So, the rules of this game are Georgie Sr.
• 19:45
  Speaker 7: Is counted out.
• 19:46
  Speaker 6: Okay?
• 19:47
  Speaker 3: He's up next. There's nothing to be done about it unless...
• 19:50
  Speaker 3: you want to jump in for him, do you?
• 19:54
  Speaker 21: Do you?
• 19:54
  Speaker 1: Beavis is not going to mind.
• 19:56
  Speaker 7: Right, Tubby?
• 19:57
  Speaker 1: Don't call me Tubby.
• 19:58
  Speaker 8: See, he doesn't mind.
• 19:59
  Speaker 3: Just get on with it.
• 20:00
  Speaker 2: This is enough.
• 20:02
  Speaker 8: Enough? You really think it's enough?
• 20:05
  Speaker 3: What about you, Ann?
• 20:06
  Speaker 8: Do you think it's enough? Or do you want to
• 20:08
  Speaker 8: keep playing?
• 20:09
  Speaker 5: Don't ask me.
• 20:11
  Speaker 7: Don't do what they want. It'll be over faster.
• 20:14
  Speaker 19: Oh, come on.
• 20:16
  Speaker 3: Stop being such a coward.
• 20:19
  Speaker 21: Do you think it's enough?
• 20:21
  Speaker 8: I mean, you want a real ending, right?
• 20:23
  Speaker 3: With plausible plot development. Don't you?
• 20:26
  Speaker 6: I don't know.
• 20:26
  Speaker 3: I was going to have everybody address what they thought
• 20:29
  Speaker 3: of the talking to the camera. If that, I don't
• 20:32
  Speaker 3: know that because that's a very specific thing. And a
• 20:35
  Speaker 3: few movies have tried it and sometimes it works and
• 20:38
  Speaker 3: sometimes it goes horribly wrong. I found it unconvincing.
• 20:42
  Speaker 13: In a way, I mean, I recognize that it's a
• 20:45
  Speaker 13: very good movie. It's very well done. There are a
• 20:48
  Speaker 13: lot of things that make it effective and interesting, but
• 20:54
  Speaker 13: I just felt like at that.
• 20:56
  Speaker 3: Point we're seeing a little bit of the ego. Yeah.
• 20:59
  Speaker 2: Oh, I didn't agree at all.
• 21:01
  Speaker 3: We'll talk.
• 21:03
  Speaker 13: I think so because, I mean, it's not a choice
• 21:05
  Speaker 13: throughout the movie.
• 21:06
  Speaker 3: It's just here and there.
• 21:07
  Speaker 13: And it seems like it's supposed to, like, startle me,
• 21:10
  Speaker 13: but I'm not really shocked. I'm not really startled. I
• 21:14
  Speaker 13: just think. yeah, this is really good, but I'm just
• 21:16
  Speaker 13: not really convinced.
• 21:18
  Speaker 3: My version was I almost wanted more or less. Like,
• 21:21
  Speaker 3: it's right in the middle area. It's like if they
• 21:23
  Speaker 3: really decided that's what we're going to do with this movie,
• 21:25
  Speaker 3: that's going to be sort of the gimmick is we're
• 21:27
  Speaker 3: going to talk to the audience and have them really
• 21:29
  Speaker 3: be involved. But it's almost just those touches where I'm like,
• 21:32
  Speaker 3: you can almost pull those little clips out and you
• 21:34
  Speaker 3: wouldn't even notice it.
• 21:36
  Speaker 2: I think that was his intention. I mean, I think
• 21:39
  Speaker 2: his intention throughout was to make this unsettling and to
• 21:42
  Speaker 2: keep people off their guard and guessing so they couldn't
• 21:46
  Speaker 2: put this in a genre. They couldn't say, I know
• 21:48
  Speaker 2: what's going to happen and then.
• 21:49
  Speaker 3: Yeah.
• 21:50
  Speaker 2: You know, because as you're going along, you think you
• 21:52
  Speaker 2: know what's going to happen because you kind of know
• 21:54
  Speaker 2: very early on they're going to all die. Like, what
• 21:58
  Speaker 2: are the chances that they're going to get out?
• 21:59
  Speaker 3: I thought it was going to be a happy ending.
• 22:01
  Speaker 14: I thought at least one would get unloved.
• 22:03
  Speaker 2: But he says even like the first time he has
• 22:06
  Speaker 2: the guy just turn around and wink, that he wants
• 22:08
  Speaker 2: the audience, he wanted the audience to be confused as
• 22:11
  Speaker 2: to if he was winking at them or if the
• 22:14
  Speaker 2: other character was behind the camera and he was winking.
• 22:16
  Speaker 3: And it worked that first time.
• 22:18
  Speaker 2: But he wanted there to be degrees of alienation because
• 22:21
  Speaker 2: then the next time he kind of just, have you
• 22:24
  Speaker 2: ever written down some work? I think the next time,
• 22:26
  Speaker 2: then he kind of just asks the viewer in the middle, like, oh,
• 22:29
  Speaker 2: what side are you on? Let's talk about this. Then
• 22:33
  Speaker 2: really making them an accomplice. Like, now we're having a
• 22:36
  Speaker 2: dialogue about it, a conversation, not just a wink. And
• 22:40
  Speaker 2: then the next time, is that when the rewind is?
• 22:45
  Speaker 3: That's a little later. That one almost crosses the line.
• 22:49
  Speaker 3: And I don't know what purpose it was serving. I
• 22:52
  Speaker 3: understand the talking to part, but... That almost seems like
• 22:55
  Speaker 3: it crossed into a whole different territory.
• 22:57
  Speaker 7: Totally.
• 22:58
  Speaker 2: That one, he said that he put it in there
• 23:02
  Speaker 2: because when you're watching a horror movie or any of
• 23:06
  Speaker 2: these torture movies, there's that moment where the hero rises up.
• 23:11
  Speaker 2: And even in like the first screen, in every screening
• 23:14
  Speaker 2: or the first screenings, the audience is like, they start clapping.
• 23:17
  Speaker 2: I even found myself when that moment happened to be like,
• 23:20
  Speaker 2: oh yes, like somebody did something. And then he stops
• 23:24
  Speaker 2: and rewinds it just to say like, no, you don't
• 23:27
  Speaker 2: get that. You are being, you know, watching these movies
• 23:30
  Speaker 2: because you're not watching a torture movie where you get
• 23:33
  Speaker 2: the joy of the shock and the different things. You're
• 23:36
  Speaker 2: watching an analysis of these movies to say like, look
• 23:39
  Speaker 2: at the reaction you just had. That's somebody killing somebody
• 23:42
  Speaker 2: because you're rooting for the hero. But what if what
• 23:44
  Speaker 2: these movies are really about are the killings? So they're
• 23:48
  Speaker 2: going to die no matter what. The bad guys are
• 23:50
  Speaker 2: going to win. And that's the part of it that
• 23:53
  Speaker 2: you're kind of getting sucked into watching, is the torture.
• 23:57
  Speaker 2: So he rewinds it and says, no, they're going to lose.
• 24:01
  Speaker 2: That's what this movie is. It's about torture. It's about,
• 24:03
  Speaker 2: you know.
• 24:05
  Speaker 3: It's an interesting way to look at it, yeah. I mean,
• 24:08
  Speaker 3: I think... it almost would have made it more grim
• 24:10
  Speaker 3: without that, because you still kind of have that moment.
• 24:12
  Speaker 3: You being the, again, especially watching it, America, you're like, hey, finally,
• 24:16
  Speaker 3: you know, we're going to have some bloodshed from our side.
• 24:19
  Speaker 2: And it makes you acutely aware that you're watching a movie,
• 24:23
  Speaker 2: that this is about these movies. It's not about the
• 24:25
  Speaker 2: story of somebody breaking into a house, of people breaking
• 24:28
  Speaker 2: into houses. It's about the films about this. Yeah, and
• 24:35
  Speaker 2: even at the end, they have this discussion in the
• 24:37
  Speaker 2: boat about You know, when it's in the world of
• 24:40
  Speaker 2: reality versus fantasy, what are the rules?
• 24:43
  Speaker 3: Yeah, I was trying to decide how much of what
• 24:44
  Speaker 3: they were saying was specifically the movie. Like, if everything
• 24:48
  Speaker 3: they were saying was just them sort of talking about
• 24:50
  Speaker 3: the premise of what's going on throughout the entire movie.
• 24:53
  Speaker 2: Yeah.
• 24:54
  Speaker 13: The talking to the camera thing reminds me of Man
• 24:58
  Speaker 13: Bites Dog.
• 24:59
  Speaker 3: Yeah.
• 24:59
  Speaker 13: It's basically a documentary follows a serial killer. And they're
• 25:06
  Speaker 13: trying to be objective and just follow him, but they
• 25:09
  Speaker 13: wind up holding things for him.
• 25:11
  Speaker 3: Yeah. Oh, really?
• 25:13
  Speaker 21: Yeah.
• 25:13
  Speaker 3: It's a good movie. It's a great movie. Yeah, it's
• 25:16
  Speaker 3: well done.
• 25:17
  Speaker 14: I wonder if that's like a new genre, because that
• 25:19
  Speaker 14: story of Leslie.
• 25:20
  Speaker 3: That one's been a while, though.
• 25:22
  Speaker 2: The story of Leslie, what's his face?
• 25:24
  Speaker 3: Oh, yeah. Yeah.
• 25:26
  Speaker 13: Well, you know, what was the one that Oliver Stone did?
• 25:29
  Speaker 13: I felt like he was ripping off.
• 25:31
  Speaker 3: It's very over the top. At the time, I remember
• 25:34
  Speaker 3: kind of liking what he was trying to.
• 25:36
  Speaker 13: Do, but I'm not a big fan of Oliver Stone.
• 25:38
  Speaker 3: It's Oliver Stone. And the idea of him commenting on
• 25:41
  Speaker 3: the media is just ludicrous to me. It's definitely not
• 25:45
  Speaker 3: a subtle movie.
• 25:46
  Speaker 2: I think it plays into the entertainment value a lot.
• 25:48
  Speaker 2: And it's a great, I think, I adore that movie,
• 25:51
  Speaker 2: but it's definitely going in the other direction of being like, well,
• 25:54
  Speaker 2: this is entertaining. Violence is fascinating.
• 25:59
  Speaker 13: But one of the first things you notice about the
• 26:01
  Speaker 13: guys when you can tell things are going to start
• 26:03
  Speaker 13: to go wrong is just how effete they are to
• 26:06
  Speaker 13: be like the scary guys in a movie. Like the
• 26:11
  Speaker 13: one guy, Paul, at least in the Austrian one, he's like.
• 26:17
  Speaker 2: The fat one?
• 26:18
  Speaker 7: No.
• 26:18
  Speaker 3: The talky one. The talky one, yeah.
• 26:22
  Speaker 13: Yeah, his impression to me was kind of like, a
• 26:25
  Speaker 13: less macho Jimmy Fallon.
• 26:28
  Speaker 3: Well, if you can make sure that... It's those short
• 26:32
  Speaker 3: white shorts that are... It's the white shorts and the
• 26:35
  Speaker 3: white gloves. It's amazing. It's very scary. But it only
• 26:39
  Speaker 3: gets worse in the American remake because then... When those
• 26:42
  Speaker 3: two guys come in, I felt like they were being
• 26:45
  Speaker 3: held hostage by two of the three kids from Home Improvement. Yeah.
• 26:49
  Speaker 10: Have you seen them?
• 26:50
  Speaker 13: Yeah, but I remember Michael Pitt from Bully.
• 26:54
  Speaker 3: He was the guy.
• 26:55
  Speaker 13: Wiping the knife blade, and they're like, is he dead yet?
• 26:58
  Speaker 13: He's getting there.
• 26:59
  Speaker 3: They do a better job than I expected, but that
• 27:02
  Speaker 3: initial look that they had, I was just like, I
• 27:05
  Speaker 3: don't know if I'm buying this from them. Well, it's easy.
• 27:09
  Speaker 6: To kink out again. Michael Hanna-case, yeah.
• 27:11
  Speaker 2: That he wanted them to play as archetypes, and they
• 27:15
  Speaker 2: never actually have names. They play, what is it?
• 27:18
  Speaker 3: Tom and Jerry.
• 27:19
  Speaker 2: Tom and Jerry. Peter and Paul.
• 27:22
  Speaker 3: Peter and Paul, yeah.
• 27:23
  Speaker 2: And it's the typical white clown and comic clown that
• 27:27
  Speaker 2: comes from, like, the earliest tag team combo. There's the
• 27:32
  Speaker 2: serious one.
• 27:33
  Speaker 7: Yeah.
• 27:33
  Speaker 2: And then the stupid fat one.
• 27:36
  Speaker 3: You know?
• 27:37
  Speaker 2: Pinky and the brain. I mean, it's all.
• 27:40
  Speaker 3: Laurel and Hardy.
• 27:42
  Speaker 2: And he wanted them to be archetypes, so he never
• 27:44
  Speaker 2: gave them names. And he told the actors, he told
• 27:49
  Speaker 2: the killers, play this movie like it's a comedy, which
• 27:52
  Speaker 2: is why they're always so flippant and whatever. And he
• 27:54
  Speaker 2: told the victims, play this movie like it's a tragedy.
• 27:59
  Speaker 13: Well, when I was watching it, I'm sort of wondering
• 28:02
  Speaker 13: what the intention is. But one of the things that
• 28:06
  Speaker 13: occurs to me is that it kind of could be
• 28:09
  Speaker 13: mocking not God, but like a polite church mouse idea
• 28:20
  Speaker 13: of God. Because the question always is, or often is
• 28:25
  Speaker 13: in literature, how do such horrible things happen if there
• 28:29
  Speaker 13: is a God? And then if you're not talking about God,
• 28:32
  Speaker 13: but just like, The Flanders, Ned Flanders God.
• 28:37
  Speaker 3: How does Ned Flanders.
• 28:38
  Speaker 13: God let such awful things happen? Or even if it's
• 28:43
  Speaker 13: not from a religious point of view, if it was
• 28:47
  Speaker 13: from the point of view of nature. Because they're going
• 28:49
  Speaker 13: out into nature and there's.
• 28:53
  Speaker 3: Always, I don't know.
• 28:55
  Speaker 13: I think that's why horror movies do that is because
• 28:57
  Speaker 13: it taps into a neurotic fear that all the rules
• 29:01
  Speaker 13: of civilization are going to be called off and you
• 29:04
  Speaker 13: never know when and you're not prepared.
• 29:06
  Speaker 2: For people to just suddenly.
• 29:08
  Speaker 13: It's like one of those fears like even though you
• 29:11
  Speaker 13: know the thing is unplugged, you still tap it to
• 29:15
  Speaker 13: be sure the electricity isn't in there.
• 29:17
  Speaker 3: It's true. People do that too, even around here.
• 29:22
  Speaker 13: Sometimes the veneer of civilization is so thin that you
• 29:26
  Speaker 13: just get a snowstorm or a heavy rain and there
• 29:29
  Speaker 13: are people out driving around I'm not stopping at stop signs.
• 29:33
  Speaker 13: Civilization is called off.
• 29:35
  Speaker 3: We've got bad weather.
• 29:38
  Speaker 13: I don't know. But I think that's what it taps into.
• 29:42
  Speaker 13: That's why they always go out to a natural setting and.
• 29:46
  Speaker 3: Things get weird. Well, it's funny you brought in the
• 29:49
  Speaker 3: religious question. I did see online somebody equated it to
• 29:54
  Speaker 3: the book of Job. We've got God and the devil
• 29:57
  Speaker 3: sort of playing this game of, okay, let's put this
• 30:00
  Speaker 3: guy through everything and just kind of see what happens.
• 30:03
  Speaker 3: And there's this sort of experimentation of it. I mean,
• 30:08
  Speaker 3: it really feels that way once you get to where
• 30:10
  Speaker 3: they leave them. That's almost just like they're doing a
• 30:12
  Speaker 3: science experiment. Be like, all right, well, see what they
• 30:15
  Speaker 3: do when we leave them alone for a minute. They're
• 30:17
  Speaker 3: like rats in a cage at that point. They're like,
• 30:19
  Speaker 3: let's see what happens. At this point, if we're not
• 30:21
  Speaker 3: even involved, what do they do?
• 30:23
  Speaker 2: It's totally all in that experimental game realm. Because they
• 30:29
  Speaker 2: are so casual. Like, even when the little boy runs
• 30:32
  Speaker 2: away to the other house, and like, he could get
• 30:35
  Speaker 2: a gun, he could do whatever. But it's like, I
• 30:38
  Speaker 2: almost wonder if it's like the killers know that they're
• 30:40
  Speaker 2: in a movie, and the filmmaker is going to rewind
• 30:44
  Speaker 2: if the victim.
• 30:45
  Speaker 13: This is where I start to suspect the filmmaker a
• 30:48
  Speaker 13: little bit of being a little.
• 30:51
  Speaker 3: a little... I don't know. I think there is, to
• 30:54
  Speaker 3: go on both points, I think the talking to the
• 30:57
  Speaker 3: camera almost does make it a little too cute sometimes.
• 31:00
  Speaker 3: I think it almost could be a very, you could
• 31:03
  Speaker 3: still have that.
• 31:03
  Speaker 2: Even for 97? Even for when it was made? Because
• 31:06
  Speaker 2: there hadn't been that many commentaries on it.
• 31:08
  Speaker 3: I mean, just in general. I think it makes it
• 31:10
  Speaker 3: feel like that.
• 31:11
  Speaker 2: I think it was new and different from the time.
• 31:13
  Speaker 3: I think just the way that it reads. Not even
• 31:15
  Speaker 3: comparing it to anything.
• 31:16
  Speaker 14: I think any time someone tries to do something that's meta,
• 31:19
  Speaker 14: they can easily fall into a big, ridiculous hole with it.
• 31:24
  Speaker 2: But I mean, I think it's just kind of hard.
• 31:26
  Speaker 3: To do something like that.
• 31:28
  Speaker 18: It is.
• 31:29
  Speaker 14: And hit the nail on the head perfectly the entire time.
• 31:33
  Speaker 14: But I like where he was going with it. I mean,
• 31:35
  Speaker 14: I get it. I think it worked in this movie.
• 31:38
  Speaker 2: I mean, if every movie did that.
• 31:39
  Speaker 3: It would be ridiculous.
• 31:40
  Speaker 6: Yeah.
• 31:40
  Speaker 19: It kind of does at points, but I think I
• 31:44
  Speaker 19: fall on both sides of the fence on that one.
• 31:46
  Speaker 19: But then on the what the killers decide to do, like,
• 31:49
  Speaker 19: they do seem very, like, nonchalant about everything.
• 31:52
  Speaker 3: Even when, like, they let her go and she takes off. And, like,
• 31:55
  Speaker 3: had she stopped that first car, she would have gotten away. So,
• 31:58
  Speaker 3: I mean, like, you don't... you know, why did they
• 32:01
  Speaker 3: let that happen? She could have, you know, there's so
• 32:03
  Speaker 3: many points when it's like, well, if this would have
• 32:05
  Speaker 3: happened differently, it all would have been screwed up. They
• 32:07
  Speaker 3: wouldn't have gotten away with it or they wouldn't have
• 32:08
  Speaker 3: gotten to kill her. And I think by the end,
• 32:11
  Speaker 3: the more I thought about it, it's like, I think
• 32:13
  Speaker 3: they just don't care. And I think that's the overall
• 32:16
  Speaker 3: thing is that's how they enter this situation and that's
• 32:19
  Speaker 3: what makes them so frightening and that's why it's this
• 32:21
  Speaker 3: weird experiment is they have no morals, they could care
• 32:25
  Speaker 3: less what happens to the people, but they also don't
• 32:28
  Speaker 3: seem to really care what happens to them. Like, They
• 32:30
  Speaker 3: don't have any stakes in it. They're just like, it's fun.
• 32:33
  Speaker 3: I want to do this. Let's, you know, go there.
• 32:35
  Speaker 3: But I think even if they got killed along the way,
• 32:37
  Speaker 3: I don't think they care about that either.
• 32:39
  Speaker 2: It did seem very careless. I think that something about
• 32:43
  Speaker 2: them being archetypes, to me, dehumanized them, A, in a
• 32:47
  Speaker 2: killer way, but B, in a way where it did
• 32:49
  Speaker 2: feel more to me like the funny game was the
• 32:52
  Speaker 2: director playing the funny game with the audience.
• 32:55
  Speaker 3: I think that's definitely part of it.
• 32:57
  Speaker 2: And the director was playing that funny game of, like, oh,
• 33:00
  Speaker 2: they could get away at this moment. Like, there's so
• 33:02
  Speaker 2: many chances to maybe be out, even at the end. Like, oh,
• 33:05
  Speaker 2: there's a knife in the boat, maybe she could get free. Oh,
• 33:07
  Speaker 2: she's running down the street, there's a car, maybe one
• 33:09
  Speaker 2: of them. And these are these moments that you have
• 33:12
  Speaker 2: in all of these movies, which are spaced out.
• 33:15
  Speaker 3: You can see it as a critique of a movie. Well, definitely,
• 33:18
  Speaker 3: because they set that knife up at the beginning of
• 33:20
  Speaker 3: the movie, and they make that point, like every psychological
• 33:23
  Speaker 3: thriller does, of look, here's the knife, and they didn't
• 33:25
  Speaker 3: see it, but they saw it, and They set that
• 33:27
  Speaker 3: up like so many traditional thrillers do, and then totally, like,
• 33:32
  Speaker 3: throw it out. Like, literally throw it out. It means nothing.
• 33:36
  Speaker 3: And I think that's, by the end of it, nothing
• 33:38
  Speaker 3: really means anything to any, and maybe that is the
• 33:41
  Speaker 3: game the director's playing, is that, you know, these characters
• 33:44
  Speaker 3: didn't matter, the killers didn't matter. I mean, the whole
• 33:46
  Speaker 3: thing is an experiment on you more than anybody else.
• 33:50
  Speaker 14: That's what I like about the movie, because that's just, like,
• 33:53
  Speaker 14: most movies don't involve you that much.
• 33:55
  Speaker 2: It's just, like, And are you going to get excited
• 33:58
  Speaker 2: when Knife's in the Boat, even though you know now
• 34:01
  Speaker 2: that the killers will win no matter what? Because you
• 34:03
  Speaker 2: know that the movie will be rewound if they don't.
• 34:05
  Speaker 3: But don't you still have that moment?
• 34:06
  Speaker 2: She's over there by the knife. You're still playing the game.
• 34:10
  Speaker 3: You're almost trained to do that by watching every other
• 34:13
  Speaker 3: movie the rest of your life.
• 34:15
  Speaker 7: Yeah.
• 34:16
  Speaker 3: It's interesting.
• 34:17
  Speaker 13: It's a funny movie to compare it to. It's so
• 34:20
  Speaker 13: compelling in such a... sort of primal way but it's
• 34:25
  Speaker 13: like uh spielberg's first movie the duel yeah it's just
• 34:29
  Speaker 13: a guy's on a business trip and a truck driver
• 34:31
  Speaker 13: starts messing with him and it's just evil for no
• 34:35
  Speaker 13: apparent reason.
• 34:36
  Speaker 22: It's i mean he always equated that because he followed
• 34:38
  Speaker 22: that up with jaws it's basically jaws on land it's
• 34:41
  Speaker 22: just the evil force that's just constantly following you all
• 34:45
  Speaker 22: it wants to do is destroy you it's faceless it's
• 34:48
  Speaker 22: just a truck that wants to kill this guy and
• 34:50
  Speaker 22: he's It.
• 34:51
  Speaker 13: Was sort of an experiment in minimalism.
• 34:54
  Speaker 3: It is.
• 34:55
  Speaker 13: What do you have to have to make a story?
• 34:57
  Speaker 13: You don't have to have that much. I mean, there's
• 34:59
  Speaker 13: really only one character.
• 35:02
  Speaker 3: That's almost my fault with it. It's kind of a
• 35:04
  Speaker 3: really long... Like, it probably would work.
• 35:05
  Speaker 23: As an hour-long thing, and they tried to make it
• 35:08
  Speaker 23: a full-length movie, which, again, it just shows him being
• 35:11
  Speaker 23: young and learning, because that next thing out is Jaws,
• 35:14
  Speaker 23: which is paced perfectly.
• 35:16
  Speaker 3: So he sort of learned what he needed to learn
• 35:18
  Speaker 3: doing that. But still, it's worth watching. It's an interesting movie, too.
• 35:22
  Speaker 3: You know, one thing that's funny about the banter that
• 35:25
  Speaker 3: the two guys have, I remember reading somewhere, I think
• 35:29
  Speaker 3: it was one of the people who review movies for
• 35:32
  Speaker 3: The New Yorker.
• 35:33
  Speaker 18: Had said that there was, yeah, like David Denby or
• 35:39
  Speaker 18: Anthony Lane, but they said there was no equivalent in German.
• 35:43
  Speaker 2: Hey, I caught that. Took me a second too long,
• 35:48
  Speaker 2: but I caught it.
• 35:52
  Speaker 13: But he said there was no equivalent in German for
• 35:54
  Speaker 13: the American idiom of tough talk, like gangster talk, like
• 36:01
  Speaker 13: you see, I don't know, among mafia guys. And I
• 36:07
  Speaker 13: remembered that because I thought it was such a strange thing.
• 36:09
  Speaker 13: Like in translating gangster movies, there was no equivalent. But
• 36:13
  Speaker 13: I couldn't really quite figure it out because it's not
• 36:16
  Speaker 13: really a slang idiom or anything. It's really just veiled menace.
• 36:23
  Speaker 13: It's like trying to talk like, instead of saying, we're
• 36:26
  Speaker 13: going to break your legs, you say, this is a
• 36:29
  Speaker 13: really nice place you have here. It would be a
• 36:31
  Speaker 13: shame if something happened to you.
• 36:33
  Speaker 3: That's really what the tough talk is.
• 36:36
  Speaker 13: It's non-tough talk. It works so well. Yeah, and Harold Pinter,
• 36:42
  Speaker 13: I think, Does that.
• 36:43
  Speaker 3: I really... Oh, yeah. Yeah.
• 36:45
  Speaker 13: There's... I wound up thinking of Pinter dialogue at places
• 36:51
  Speaker 13: because it's just so non-confrontational.
• 36:55
  Speaker 2: Well, I think he wanted to play on the polite,
• 36:59
  Speaker 2: the idea that these guys walk into this house in
• 37:02
  Speaker 2: the middle of the day with no weapons, and the
• 37:06
  Speaker 2: only reason that they win is because... The victims are
• 37:11
  Speaker 2: playing by polite society rules for too long. They don't
• 37:14
  Speaker 2: react when their instincts tell them they should because they're
• 37:17
  Speaker 2: trying to be polite.
• 37:19
  Speaker 3: And that.
• 37:20
  Speaker 14: Sorry, go on. No, that's funny because I was thinking
• 37:23
  Speaker 14: about that. They mentioned that in, like, Girl with the
• 37:25
  Speaker 14: Dragon Tattoo. I watched that movie. I watched Funny Games
• 37:29
  Speaker 14: Today and watched that last night.
• 37:30
  Speaker 2: And he said, he's like.
• 37:33
  Speaker 2: I asked you back.
• 37:35
  Speaker 14: Into my house, and you knew something was wrong, but
• 37:38
  Speaker 14: you didn't want to be impolite, and you put yourself
• 37:40
  Speaker 14: in danger. Your fear of being impolite outweighs your fear
• 37:43
  Speaker 14: of pain.
• 37:44
  Speaker 2: Which I think is interesting. That societal demand.
• 37:47
  Speaker 14: If you think about that, that's a theme in every movie.
• 37:50
  Speaker 14: That guy walks in, he looks like a polite guy,
• 37:53
  Speaker 14: but there's something wrong with him. He has white gloves on.
• 37:55
  Speaker 3: That's very strange.
• 37:56
  Speaker 14: That's a strike. It was very strange. He's behaving very weirdly.
• 38:01
  Speaker 14: And she surprised me because at first, like from the get-go,
• 38:04
  Speaker 14: she was kind of like, there's something wrong here. But
• 38:07
  Speaker 14: the husband was just like, I don't know what's wrong
• 38:09
  Speaker 14: with my wife.
• 38:09
  Speaker 2: Like, The husband is a tool in the movie. I mean,
• 38:14
  Speaker 2: we should girl out for one second and say that
• 38:17
  Speaker 2: guy sucked. We should never marry somebody like that guy.
• 38:21
  Speaker 2: You had a broken leg. You could crawl across the
• 38:24
  Speaker 2: floor and do something badass to throw badass into our dialogue.
• 38:28
  Speaker 4: What that reminded me of was the story Good Man
• 38:34
  Speaker 4: is Hard to Find when they meet up with the misfit,
• 38:39
  Speaker 4: and he's this killer, and he's going to kill the.
• 38:41
  Speaker 3: And they know. By this point, they know. But they
• 38:45
  Speaker 3: just go quietly and walk off. I mean, there's so
• 38:48
  Speaker 3: much of this that that's why it's so frustrating, that
• 38:51
  Speaker 3: you're just like... At any moment, they could have done
• 38:54
  Speaker 3: so many things... Because most of the time, they still
• 38:56
  Speaker 3: don't have a weapon. Like, the most they have is
• 38:58
  Speaker 3: a golf club.
• 38:59
  Speaker 2: They have the same weapons in the house as the killings.
• 39:01
  Speaker 2: They're all just using what's in the house.
• 39:03
  Speaker 3: They've got a whole kitchen full of knives sitting there.
• 39:04
  Speaker 13: The first time I watched it, like, when the guys left,
• 39:07
  Speaker 13: I'm like, get hold of that gun.
• 39:10
  Speaker 3: Get hold of anything you can get. Anything.
• 39:13
  Speaker 10: No room.
• 39:13
  Speaker 13: They say they might come back. Later, I thought, well,
• 39:16
  Speaker 13: maybe in the second one, I noticed the guy has
• 39:19
  Speaker 13: the shells.
• 39:20
  Speaker 7: Yeah.
• 39:21
  Speaker 3: And I'm like, Maybe they just didn't have shells. But no,
• 39:24
  Speaker 3: they would... There's something. I mean, you can pick up
• 39:26
  Speaker 3: that rifle and beat him over the head with it.
• 39:28
  Speaker 3: You don't even need, like, anything... could have been done
• 39:30
  Speaker 3: along the way, and they just don't. You could get
• 39:32
  Speaker 3: all home alone with it. And I feel like I
• 39:35
  Speaker 3: could get in there and see those moving around in
• 39:37
  Speaker 3: the windows. Raise the banister. Yeah. That would be a
• 39:42
  Speaker 3: very different movie. It's funny that I'm about.
• 39:46
  Speaker 13: that I watched two versions of this... In between planning
• 39:51
  Speaker 13: to watch the remake of Straw Dogs.
• 39:54
  Speaker 2: Oh, I haven't seen the remake. I only saw the
• 39:56
  Speaker 2: old one.
• 39:57
  Speaker 3: I've got it at home, so I'm looking forward to that.
• 39:59
  Speaker 2: Oh, you haven't seen it yet.
• 40:00
  Speaker 13: I haven't seen it yet. I was getting ready to,
• 40:02
  Speaker 13: but it's like, no, I should watch both versions.
• 40:04
  Speaker 3: It kind of was that same thing. I remember it
• 40:06
  Speaker 3: sort of got a lot of people going, oh, you
• 40:09
  Speaker 3: don't want to remake that. And then when it came out,
• 40:11
  Speaker 3: nobody really cared. It didn't make anything at the box office,
• 40:14
  Speaker 3: and now it's coming out on DVD, and I still
• 40:16
  Speaker 3: didn't really hear much about it. Yeah.
• 40:19
  Speaker 6: I don't know.
• 40:19
  Speaker 3: I mean, they keep doing these remakes, and I don't
• 40:22
  Speaker 3: know if people care. I think anybody who had an
• 40:24
  Speaker 3: interest would just be there for the first one anyway,
• 40:26
  Speaker 3: so it's always questionable.
• 40:28
  Speaker 13: I don't know. It's these young kids coming up. They
• 40:31
  Speaker 13: don't care about all our old stuff.
• 40:33
  Speaker 2: This character's older, though, the remade Straw Dogs.
• 40:36
  Speaker 3: He's a pretty good director. Like something like this one, though,
• 40:40
  Speaker 3: where he doesn't change anything either, though. I mean, I
• 40:42
  Speaker 3: understand when they're like, oh, we've got to update it
• 40:44
  Speaker 3: for the kids, but when they don't even change anything.
• 40:47
  Speaker 13: I would do it, like I would take movies and
• 40:49
  Speaker 13: I would just move one thing that bothers me.
• 40:54
  Speaker 7: Just fix it.
• 40:55
  Speaker 2: You're like, God, this movie would have been perfect if.
• 40:59
  Speaker 18: When I get the digital skills, I'm going to go
• 41:02
  Speaker 18: back and I'm going to fix some movies.
• 41:04
  Speaker 3: Okay, thanks, George Lucas.
• 41:06
  Speaker 13: Yeah, that's the problem. Why wasn't Taxi Driver in 3D?
• 41:12
  Speaker 3: Come on!
• 41:14
  Speaker 14: They're releasing Titanic in 3D. No surprise there.
• 41:17
  Speaker 2: Beauty and the Beast.
• 41:18
  Speaker 14: Every movie that's ever been made is being re-released in 3D.
• 41:21
  Speaker 2: I did not know they were re-releasing Titanic in 3D.
• 41:25
  Speaker 3: Cameron has been, like, the last two years working on it. Oh,
• 41:28
  Speaker 3: of course. Some kid, my boy knows, thinks it's a sequel.
• 41:33
  Speaker 6: What?
• 41:34
  Speaker 3: Well, they did a sequel. Aren't they just redoing it
• 41:36
  Speaker 3: in 3D? No, it's Titanic 2, man.
• 41:38
  Speaker 13: They did one of those.
• 41:40
  Speaker 3: Straight to DVD. Really?
• 41:42
  Speaker 6: Yeah.
• 41:43
  Speaker 3: I saw the trailer for it. It looks like a nightmare.
• 41:45
  Speaker 7: What happened?
• 41:45
  Speaker 2: The boat resurfaced?
• 41:47
  Speaker 7: No, no.
• 41:48
  Speaker 3: Okay, get this. They build another boat that big, rename
• 41:52
  Speaker 3: it Titanic, and you're like, oh, gee, I wonder what's
• 41:55
  Speaker 3: going to happen to this one. Oh, that's beautiful. I
• 41:57
  Speaker 3: can't even.
• 41:59
  Speaker 2: I am so excited to hear that there were that many,
• 42:01
  Speaker 2: that enough people got on board with this to actually
• 42:04
  Speaker 2: make the movie.
• 42:04
  Speaker 3: Now that is real.
• 42:06
  Speaker 2: That is real horrible.
• 42:10
  Speaker 13: That's like, who was the kid, oh, Harmony Corrine kept
• 42:15
  Speaker 13: saying he was going to make, he wanted to make
• 42:17
  Speaker 13: a sequel to The Diary of Anne Frank.
• 42:20
  Speaker 6: Huh.
• 42:21
  Speaker 3: God.
• 42:22
  Speaker 2: Do it.
• 42:23
  Speaker 3: I don't think he ever got around to it. Starring
• 42:26
  Speaker 3: Hilary Duff? Yeah.
• 42:27
  Speaker 7: Hilary Duff?
• 42:28
  Speaker 3: Hilary Duff's a good actress. That's all I'm saying.
• 42:31
  Speaker 4: What are you talking about?
• 42:33
  Speaker 13: She was in that movie.
• 42:34
  Speaker 3: What was the movie where she had that condition where
• 42:36
  Speaker 3: she was furry? What? Did you see that movie?
• 42:41
  Speaker 2: Condition where she's furry? What are we talking about now?
• 42:44
  Speaker 3: It was a movie.
• 42:45
  Speaker 13: This poor teenage girl, she started growing body hair.
• 42:50
  Speaker 3: How did we get here? It's that guy, Charlie Kaufman.
• 42:54
  Speaker 3: It's a Charlie Kaufman movie. It's a real movie. I'm
• 42:57
  Speaker 3: not making it up.
• 42:58
  Speaker 2: It's a Charlie Kaufman movie.
• 43:01
  Speaker 3: See, these tangents were on I'm pretty sure. I am
• 43:04
  Speaker 3: pretty sure. You are IMDB on that question.
• 43:14
  Speaker 2: I would love for you to show me up right now.
• 43:20
  Speaker 3: I'm trying to.
• 43:21
  Speaker 7: Oh, God.
• 43:22
  Speaker 13: Now, it's possible I have Hilary Duff confused with somebody,
• 43:25
  Speaker 13: but I don't think so.
• 43:27
  Speaker 3: I don't think so. No, I mean, she's not the
• 43:30
  Speaker 3: main character all the way through it. It's that other actress.
• 43:36
  Speaker 13: What's her name?
• 43:37
  Speaker 3: Meryl Streep?
• 43:39
  Speaker 20: No.
• 43:39
  Speaker 8: No.
• 43:40
  Speaker 13: No, Human Nature is the name of the movie.
• 43:43
  Speaker 2: Human Nature?
• 43:44
  Speaker 3: Human Nature, Charlie Kaufman. Really? Yes.
• 43:47
  Speaker 2: Oh, my God, you are showing me up.
• 43:48
  Speaker 13: Patricia Arquette was the main actress when she's grown up.
• 43:53
  Speaker 3: But when she's a kid, at the beginning of the movie...
• 43:57
  Speaker 3: Stop it. When was this made? It's Huey Duff.
• 43:59
  Speaker 2: When was this made? When did this movie come out?
• 44:02
  Speaker 3: Um.
• 44:04
  Speaker 3: Let's see here.
• 44:05
  Speaker 2: What is that picture?
• 44:07
  Speaker 8: 2001.
• 44:07
  Speaker 3: That's a nice poster, too. 2001. Human nature.
• 44:10
  Speaker 2: When was this in his line of movies?
• 44:12
  Speaker 3: I think it was his first. Oh. He didn't direct this, right?
• 44:17
  Speaker 3: He just wrote it? Directed by Michael Gondry. Oh, God.
• 44:21
  Speaker 7: Really?
• 44:21
  Speaker 3: What is that? Gondry? Wow. So I know what we're
• 44:25
  Speaker 3: watching next time.
• 44:26
  Speaker 13: It was screened out of competition at Cannes.
• 44:30
  Speaker 2: Wow.
• 44:31
  Speaker 3: Hilary Duff. Next time. Young Lyra Toot. She's furry. Covered
• 44:36
  Speaker 3: with body hair. I cannot wait.
• 44:38
  Speaker 7: Yeah.
• 44:39
  Speaker 2: I cannot wait.
• 44:40
  Speaker 3: Oh, God. The things you love her. Yeah. Anyway. Everybody
• 44:44
  Speaker 3: does something like crazy. Well, we normally do that. So,
• 44:49
  Speaker 3: Henneke is a genius. What did he say about furry girls?
• 44:54
  Speaker 2: He probably has a lot to say about them.
• 44:56
  Speaker 3: Probably does, actually.
• 44:58
  Speaker 2: I do have one more geeky thing to say. on
• 45:01
  Speaker 2: Henneke's behalf. He said this is the only film he's
• 45:04
  Speaker 2: ever made that was intended to provoke. People say that
• 45:08
  Speaker 2: his other films were made to be provocative because they
• 45:12
  Speaker 2: are very provocative, but their intention was based in human
• 45:18
  Speaker 2: nature and human circumstances and dealing with feelings of guilt
• 45:22
  Speaker 2: and all these things, but not to provoke the audience.
• 45:25
  Speaker 2: He intended with this one to provoke The audience.
• 45:28
  Speaker 3: Yeah. In general, there was one I found that he says,
• 45:31
  Speaker 3: the ideal scene should force the spectator to look away
• 45:35
  Speaker 3: because he cannot stand it. You get a lot of
• 45:38
  Speaker 3: that here, where it's just so... And almost out of
• 45:40
  Speaker 3: pure frustration, not out of horror, but out of... No,
• 45:43
  Speaker 3: I don't look away. Well, again... I never do that.
• 45:47
  Speaker 3: You never look away. I'm just saying more the, you know,
• 45:49
  Speaker 3: the uncomfortableness of it becomes, you know, comes from that
• 45:52
  Speaker 3: kind of stuff, not the horror of it, because, again,
• 45:55
  Speaker 3: it's arguable whether this is even a horror movie, but... Yeah,
• 45:59
  Speaker 3: I think it's just the uncomfortableness of the situation and
• 46:02
  Speaker 3: the fact that you want to be doing things that
• 46:04
  Speaker 3: your characters aren't. I think that's part of that experiment,
• 46:07
  Speaker 3: is that you're sitting there going, no, why aren't you... Yeah,
• 46:10
  Speaker 3: so I think that's the frustration with it.
• 46:13
  Speaker 2: And you have to sort of keep asking yourself why
• 46:15
  Speaker 2: you're watching it once you.
• 46:17
  Speaker 3: No. No? You're only doing that? I'm still watching it.
• 46:21
  Speaker 3: I'm still watching it. The other thing I was going
• 46:25
  Speaker 3: to go into, I mean, we were going into what,
• 46:26
  Speaker 3: why the... killers succeed when the other people have the
• 46:31
  Speaker 3: same situation at hand, they have the same weapons. I
• 46:34
  Speaker 3: think it also is back to that point I made
• 46:36
  Speaker 3: before of them not caring. I think it just gives
• 46:39
  Speaker 3: you power when you have not only no conscience, but
• 46:43
  Speaker 3: no fear of anything. They don't care if they get killed,
• 46:46
  Speaker 3: they don't care if they go to prison. There's this very...
• 46:49
  Speaker 3: And I've heard this described as a very nihilistic movie,
• 46:53
  Speaker 3: and I can see that. It's like that nothing matters,
• 46:56
  Speaker 3: no matter what. And once you put those characters in
• 46:58
  Speaker 3: that mindset, they do have complete power because there's nothing
• 47:02
  Speaker 3: that can hurt them if you don't care about anything.
• 47:05
  Speaker 14: You know what is really interesting? This is, like, semi-related.
• 47:09
  Speaker 14: A couple of months ago, I saw the movie Drive.
• 47:11
  Speaker 6: Yeah.
• 47:12
  Speaker 14: You know, it was described as a nihilistic movie, and
• 47:14
  Speaker 14: he had no name in the movie as well.
• 47:17
  Speaker 6: Yeah.
• 47:18
  Speaker 14: So it's just almost like, these characters have no names,
• 47:21
  Speaker 14: so it's a nihilistic movie, but it is. But I mean,
• 47:23
  Speaker 14: it's interesting that they do that.
• 47:25
  Speaker 3: This one definitely feels like it.
• 47:27
  Speaker 2: It's so nihilistic. We don't even have a name for
• 47:30
  Speaker 2: the characters.
• 47:30
  Speaker 3: Well, our spiritual leader, Steven Seagal, I think, had a
• 47:35
  Speaker 3: moment in the movie where he has to choose one
• 47:40
  Speaker 3: way he's going to slam his hand on a knife,
• 47:44
  Speaker 3: the other way he's going to mess, and he has
• 47:46
  Speaker 3: to choose.
• 47:47
  Speaker 13: And He does it, and somebody asks him, well, what's
• 47:50
  Speaker 13: the trick?
• 47:51
  Speaker 3: How do you know?
• 47:52
  Speaker 13: He said, the trick is not caring.
• 47:55
  Speaker 3: You don't know. Again, I don't want to side with
• 47:58
  Speaker 3: Steven Seagal, but he's got a point there. He also
• 48:02
  Speaker 3: has an energy drink, so we can't go by what
• 48:03
  Speaker 3: he said.
• 48:04
  Speaker 13: I keep bringing this up, but the killers in Fargo
• 48:08
  Speaker 13: are such an interesting pair of ways of looking at evil.
• 48:14
  Speaker 13: And it kind of reminds me of this because the
• 48:16
  Speaker 13: one guy, he's so slow moving, but he always catches up.
• 48:21
  Speaker 3: It reminded me more of.
• 48:23
  Speaker 2: They're the archetypal fairy, too.
• 48:24
  Speaker 3: Yeah, definitely. They are. But it was funny that, I mean,
• 48:28
  Speaker 3: the only mainstream reference you always get of nihilism is
• 48:31
  Speaker 3: the Big Lebowski characters. And I'm like, they aren't that
• 48:35
  Speaker 3: because that's why they're so, like, bumbling and they, you know,
• 48:38
  Speaker 3: get themselves in trouble along the way is because they're
• 48:41
  Speaker 3: selling that bullshit and then they don't follow through with it.
• 48:44
  Speaker 3: They don't really believe that. It's just their stupid thing
• 48:46
  Speaker 3: that they say. Where these guys, you get the sense
• 48:49
  Speaker 3: that they do not care. And maybe, again, because they're
• 48:52
  Speaker 3: just a tool in this game and really it's all
• 48:55
  Speaker 3: sort of a game. I think that's the whole key
• 48:56
  Speaker 3: of it. That's probably more. Is that in.
• 48:57
  Speaker 2: This movie specifically, they are.
• 48:59
  Speaker 3: Yeah.
• 49:00
  Speaker 2: And they know that they're tools inside of the game
• 49:03
  Speaker 2: and they're out there placing bets with the audience.
• 49:05
  Speaker 7: But it also.
• 49:06
  Speaker 3: gives you that perspective that if ever there was a
• 49:08
  Speaker 3: character that really just did not care one way or
• 49:11
  Speaker 3: the other, that I'm going to murder this woman because
• 49:13
  Speaker 3: I'm hungry now. I mean, by the end, I was
• 49:15
  Speaker 3: just like, wow, there's just, there is no, not even like,
• 49:19
  Speaker 3: you know, feeling towards it, let alone remorse. There's not
• 49:22
  Speaker 3: even joy. It's just, eh, I'm tired of murdering.
• 49:24
  Speaker 2: I think there is joy in this.
• 49:25
  Speaker 3: A little, but.
• 49:26
  Speaker 2: I think he did want, because the movie that precedes this,
• 49:28
  Speaker 2: this is part of, I'm about to geek out.
• 49:30
  Speaker 24: For another second.
• 49:31
  Speaker 2: This is part of a trilogy that Henneke created.
• 49:34
  Speaker 7: Yeah.
• 49:35
  Speaker 2: To discuss violence in film media. And the first one,
• 49:41
  Speaker 2: I think it was the first one, was Benny's video,
• 49:43
  Speaker 2: which is all about this kid who sees a video of,
• 49:47
  Speaker 2: I'm about to hit on your most scary topic, a pig.
• 49:51
  Speaker 2: She is a fear of pigs. Anybody out there who
• 49:53
  Speaker 2: knows her, put a pig in her face.
• 49:55
  Speaker 14: I think I'm over my pig fear, almost.
• 49:59
  Speaker 24: A small one.
• 50:00
  Speaker 3: I just like those instructions. Put a pig in this
• 50:03
  Speaker 3: girl's face.
• 50:04
  Speaker 13: Remember when the Nihilists order a pig in a blanket
• 50:07
  Speaker 13: at Denny's? Just for some reason. But a pig in
• 50:10
  Speaker 13: her face. A pig in a blanket.
• 50:12
  Speaker 3: Really?
• 50:13
  Speaker 13: Yeah.
• 50:14
  Speaker 3: Anyway, so in Denny's video.
• 50:17
  Speaker 2: A pig is slaughtered at the beginning of the film
• 50:19
  Speaker 2: because this kid's parents own a slaughterhouse, and Benny takes
• 50:24
  Speaker 2: a recording of the pig being slaughtered and, like, plays
• 50:27
  Speaker 2: it in slow-mo. And that there's something, and he's... Henneke
• 50:32
  Speaker 2: was studying youth who had become... who were murderers. Youth
• 50:41
  Speaker 2: that were murderers that didn't do it for money, they
• 50:43
  Speaker 2: didn't do it for revenge, and where nobody could pinpoint
• 50:46
  Speaker 2: why these kids who came from like, almost like curiosity,
• 50:50
  Speaker 2: it's total curiosity that they, that they watched, that there
• 50:55
  Speaker 2: was some detachment of watching violence in film or in
• 50:59
  Speaker 2: media and being young enough that they like just see
• 51:04
  Speaker 2: it as this odd separation from themselves. And then they say,
• 51:09
  Speaker 2: when they ask, why did you do this thing? And
• 51:11
  Speaker 2: they're like, I wanted to know what it was like.
• 51:13
  Speaker 2: Like I kept seeing it. And then I, Like a
• 51:15
  Speaker 2: curiosity killed the cat. They wanted to know what it
• 51:18
  Speaker 2: was like. And there's this detached quality to it from
• 51:21
  Speaker 2: seeing it outside of themselves so many times.
• 51:24
  Speaker 13: Curiosity made the cat kill the other cat.
• 51:27
  Speaker 3: Yes. Yes. I think that's where it could have been. Like, again,
• 51:31
  Speaker 3: with the Internet the way it is now and with
• 51:33
  Speaker 3: it totally overrun. I mean, if you want to find
• 51:35
  Speaker 3: horribly violent images, they're out there. So I think that
• 51:39
  Speaker 3: would have been something that could have been thrown into
• 51:40
  Speaker 3: the remake, is this updating of how much new violence
• 51:44
  Speaker 3: is accessible.
• 51:45
  Speaker 2: I kind of personally agree with you. I'm only going
• 51:47
  Speaker 2: to go against Seneca on this one thing.
• 51:49
  Speaker 7: That's it.
• 51:49
  Speaker 2: Since I think he's a genius, is that I would
• 51:53
  Speaker 2: have appreciated an updated remake.
• 51:56
  Speaker 3: Again, because how often do you get to readdress your
• 52:01
  Speaker 3: own material? And I think if you're going to do that,
• 52:03
  Speaker 3: I mean, there's only been a few people that have tried,
• 52:05
  Speaker 3: but you look at somebody like Hitchcock who did it,
• 52:08
  Speaker 3: and did it like 30 or 40 years later, and
• 52:11
  Speaker 3: does an entirely different movie, really. So it's like, if
• 52:14
  Speaker 3: you look at it from that perspective, it would be
• 52:16
  Speaker 3: kind of cool to go back after, again, it'd only
• 52:19
  Speaker 3: been 10 years, but to just sort of look at
• 52:21
  Speaker 3: the way things have changed and be like, well, here's
• 52:23
  Speaker 3: the point I was trying to make. How do I
• 52:25
  Speaker 3: make it in today's society? How do I make it
• 52:27
  Speaker 3: with the things that have changed in the last 10 years?
• 52:29
  Speaker 3: I think that would have been more interesting than just
• 52:32
  Speaker 3: a straight shot for shot. We don't want to remake. Yeah,
• 52:36
  Speaker 3: that would be what it is.
• 52:37
  Speaker 13: The point in the movie, the aristocrats, when the writers
• 52:42
  Speaker 13: for The Onion were trying to figure out what they
• 52:44
  Speaker 13: would have to do to offend their.
• 52:46
  Speaker 3: Audience with the joke. And one of the writers.
• 52:49
  Speaker 13: Thought about it for a minute, and he said, I
• 52:52
  Speaker 13: think one of the aristocrats would have to take some
• 52:56
  Speaker 13: of the shit and put on blackface to offend that.
• 53:01
  Speaker 13: They would have to do race baiting. Before their audience
• 53:05
  Speaker 13: would even take any notice of the joke.
• 53:08
  Speaker 3: There's two lines that have been uncrossed at this point. Yeah.
• 53:14
  Speaker 3: But I don't know. It's odd.
• 53:17
  Speaker 13: I have trouble understanding how he could remake the thing
• 53:21
  Speaker 13: and not have that urge to.
• 53:24
  Speaker 3: Yeah, to do something else. We have to watch this commentary, guys.
• 53:28
  Speaker 2: We have got to watch the Henneken commentary on Disc 2.
• 53:32
  Speaker 13: I think the thing I'm saying, you know, if he
• 53:34
  Speaker 13: says it's his one movie where he's trying to provoke, okay,
• 53:38
  Speaker 13: but maybe my problem with it is just that. Probably,
• 53:44
  Speaker 13: that you feel manipulated and the director's thumb is on it. Yeah,
• 53:48
  Speaker 13: and it just doesn't affect me that much. I don't
• 53:52
  Speaker 13: know if I'm just jaded or what.
• 53:53
  Speaker 3: I'm not emotionless or something. They're all pretty jaded, but... But,
• 53:56
  Speaker 3: I mean, did you, like, did you feel it when
• 53:59
  Speaker 3: the kid.
• 54:00
  Speaker 13: We're past spoiling it, but we know they are. When
• 54:04
  Speaker 13: the kid dies, did that, like, impact you? Because I
• 54:07
  Speaker 13: was curiously unaffected by it.
• 54:10
  Speaker 2: Only mildly. I feel like it's... The movie is very intellectual.
• 54:14
  Speaker 3: Yeah, that's the way I felt it.
• 54:16
  Speaker 2: And he even... I'm such a nerd. Henneke even said
• 54:20
  Speaker 2: that this is an intellectual, like, constructed.
• 54:25
  Speaker 3: It's an intellectual thriller.
• 54:26
  Speaker 2: It's an intellectual thriller. It's constructed in a very specific way.
• 54:29
  Speaker 2: It's the movie that you can feel and see his
• 54:34
  Speaker 2: decision-making inside of. Because his other ones are pretty....
• 54:38
  Speaker 3: More visceral.
• 54:39
  Speaker 2: Visceral, yeah. There's a lot of space for experience.
• 54:46
  Speaker 3: They're more prevalent.
• 54:48
  Speaker 2: More resonating and prevalent.
• 54:53
  Speaker 3: I think that moment reminds me, even aside from the...
• 54:57
  Speaker 3: I mean, it is sort of a horrible moment. I
• 54:59
  Speaker 3: think what elevates it is more the way that it's shot.
• 55:03
  Speaker 3: And that's what I wanted to give credit for, was
• 55:05
  Speaker 3: that decision to stay in the kitchen when everything happens
• 55:09
  Speaker 3: is way... I mean, you could show whatever horrific thing
• 55:12
  Speaker 3: is going on in there, but that moment in the
• 55:15
  Speaker 3: kitchen is.
• 55:15
  Speaker 10: Are you going to have a nerd fit?
• 55:21
  Speaker 3: Nerd points for raising the hand. Here, go on, and
• 55:24
  Speaker 3: then come back around to me.
• 55:25
  Speaker 7: Go on.
• 55:26
  Speaker 3: I'm calling on you. Go ahead. So in Vinny's video...
• 55:29
  Speaker 3: The movie before it discusses the same topic.
• 55:32
  Speaker 2: He does the same thing where essentially most of the
• 55:35
  Speaker 2: violence happens off screen because Henneke said that it is
• 55:39
  Speaker 2: much more effective to hear violence than to see it.
• 55:44
  Speaker 2: Because when you see it, you can say, oh, I
• 55:46
  Speaker 2: know what's happening.
• 55:47
  Speaker 3: That's happening.
• 55:48
  Speaker 2: I'm dealing with it. That's happening. But when you hear it,
• 55:51
  Speaker 2: there's something like it just keeps your imagination active in
• 55:55
  Speaker 2: a way it doesn't have to be if you watch it.
• 55:57
  Speaker 2: So your imagination goes into overdrive when you're listening to something.
• 56:01
  Speaker 3: That's why. And again, Hitchcock did a lot of that.
• 56:03
  Speaker 3: A lot of the leading you down that path but
• 56:06
  Speaker 3: not showing you the final second and leaving that up
• 56:09
  Speaker 3: to your imagination. I think what is so good about
• 56:13
  Speaker 3: that scene is, yeah, we could have seen the special
• 56:15
  Speaker 3: effects of this kid getting his head blown off, but
• 56:18
  Speaker 3: I think it's so much more horrific staying in the kitchen,
• 56:21
  Speaker 3: watching this guy try to make a sandwich or whatever
• 56:23
  Speaker 3: he's doing, While you're hearing all that going on, it's
• 56:26
  Speaker 3: such an interesting shot. There were a couple of those where,
• 56:29
  Speaker 3: even when the killers make her strip, and we just
• 56:33
  Speaker 3: zoom in on her head and stay right there.
• 56:35
  Speaker 13: I was really thankful for that.
• 56:36
  Speaker 3: That's such an interesting way to play it.
• 56:38
  Speaker 13: Because I'm not rubbing against nudity in the film.
• 56:40
  Speaker 3: But it's so conventional to do it the other way.
• 56:42
  Speaker 3: But that kind of... In that context.
• 56:45
  Speaker 13: Yeah.
• 56:47
  Speaker 10: That.
• 56:48
  Speaker 13: I was glad they didn't do that. At any other
• 56:51
  Speaker 13: point in the movie, she can be as naked as
• 56:52
  Speaker 13: she wants.
• 56:53
  Speaker 3: But in that situation.
• 56:55
  Speaker 13: It's just so cruel and designed to be humiliating.
• 56:59
  Speaker 3: And sort of run-of-the-mill, too. That's why I was so
• 57:02
  Speaker 3: afraid he was going to cut away. I was just like, nope, stay.
• 57:05
  Speaker 3: And yeah, he stays on that shot the whole time,
• 57:07
  Speaker 3: which is really well done.
• 57:11
  Speaker 13: It's interesting that he expected the audience to maybe take
• 57:15
  Speaker 13: it one of two ways. Because the The other person
• 57:20
  Speaker 13: who sort of did that a lot was Bernard Shaw.
• 57:23
  Speaker 13: He would write these plays that had this sort of
• 57:27
  Speaker 13: implicit romantic ending, and the audience would go for it,
• 57:32
  Speaker 13: then he'd deny it. I think at the end of Pygmalion,
• 57:36
  Speaker 13: he even wrote that, no, Eliza and Higgins don't get together.
• 57:39
  Speaker 13: That never happens. What would happen is this, and he
• 57:42
  Speaker 13: wrote this whole epilogue to it. No, she would get
• 57:46
  Speaker 13: together with that guy, and she'd wind up running a
• 57:48
  Speaker 13: little bookshop, and she becomes a big fan of H.G.
• 57:52
  Speaker 3: Wells and all this crazy stuff.
• 57:55
  Speaker 13: But whenever people play the play, the audience goes, oh,
• 57:58
  Speaker 13: we don't see them get together, but.
• 58:00
  Speaker 3: You get that feeling.
• 58:02
  Speaker 13: And, of course, in My Fair Lady, you know, it
• 58:04
  Speaker 13: becomes more explicit.
• 58:06
  Speaker 3: Playing games with your audience.
• 58:07
  Speaker 7: Yeah.
• 58:08
  Speaker 3: That's... Again, what sort of the overall arc of this
• 58:12
  Speaker 3: seems to be.
• 58:15
  Speaker 13: I can't remember off the top of my head, but
• 58:16
  Speaker 13: one of his other plays he does almost the exact
• 58:19
  Speaker 13: same thing where he doesn't give you like the romantic
• 58:23
  Speaker 13: happy ending, but he gets right up to it where
• 58:26
  Speaker 13: the audience assumes it.
• 58:28
  Speaker 3: And then he goes, no, I didn't intend that at all.
• 58:31
  Speaker 7: Like, if Woody.
• 58:33
  Speaker 14: And Pink had ended with, instead of her, like, getting
• 58:36
  Speaker 14: picked up.
• 58:36
  Speaker 2: By Jake, like, Ducky comes, like, walking down the subway.
• 58:40
  Speaker 3: That's a bad idea, too.
• 58:41
  Speaker 14: That was the original.
• 58:42
  Speaker 2: Ending for the movie.
• 58:43
  Speaker 7: Really?
• 58:44
  Speaker 6: Yes.
• 58:44
  Speaker 3: Wow.
• 58:45
  Speaker 6: Fascinating.
• 58:45
  Speaker 14: But then, like, they test-screened it, and everyone liked it.
• 58:49
  Speaker 3: I don't like either. Yeah.
• 58:53
  Speaker 2: But I mean, you want her to be single for you.
• 58:56
  Speaker 3: It's a lot, doesn't it? In the original ending of
• 58:59
  Speaker 3: Invasion of the Body Snatchers, the guy just falls in
• 59:02
  Speaker 3: love with a pot, and they live happily ever after.
• 59:06
  Speaker 7: Really?
• 59:06
  Speaker 3: That almost makes the point of it.
• 59:08
  Speaker 2: You have the kind of voice where I.
• 59:10
  Speaker 3: cannot tell. It's here on wiki. You're blaming me.
• 59:15
  Speaker 2: But when he wikied up that natural Hillary Duff was
• 59:20
  Speaker 2: a human matriarch. Yeah, now I'm like, this guy's for reals,
• 59:24
  Speaker 2: and I should listen. Actually, I know.
• 59:26
  Speaker 3: I wrote that just minutes before. You created the little.
• 59:29
  Speaker 2: Poster and turned it around for me to be like, huh.
• 59:33
  Speaker 4: That's my big thing, is I just make up stuff
• 59:35
  Speaker 4: on the.
• 59:35
  Speaker 3: Internet, and then I turn my computer around and I'm like, see?
• 59:38
  Speaker 3: He's been working on that for weeks. And then I'm
• 59:40
  Speaker 3: off repeating.
• 59:41
  Speaker 2: It in all kinds of circles.
• 59:44
  Speaker 3: Yeah. Yeah, the original title of War and Peace. It
• 59:52
  Speaker 3: was war. What does it go for?
• 59:54
  Speaker 2: What is that from?
• 59:59
  Speaker 3: Absolutely nothing. Say it again.
• 1:00:01
  Speaker 13: Yeah, he told that to Elaine, and then she goes
• 1:00:05
  Speaker 13: around repeating it to this Russian author.
• 1:00:07
  Speaker 3: It's horrible. So, is there anything we haven't addressed on
• 1:00:14
  Speaker 3: Funny Games? There's many other tangents we have.
• 1:00:17
  Speaker 14: Well, this is just kind of something that I was
• 1:00:19
  Speaker 14: thinking of when I first started watching the movie. Remember,
• 1:00:22
  Speaker 14: I think it was, like, California, there were these two, like,
• 1:00:25
  Speaker 14: trust fund kids that, like, went on this murderous rampage.
• 1:00:29
  Speaker 2: They were, like, super clean cut.
• 1:00:30
  Speaker 3: Yeah.
• 1:00:30
  Speaker 14: The two guys in the film remind me of them.
• 1:00:32
  Speaker 3: Yeah.
• 1:00:33
  Speaker 2: Yeah. What, do you remember when it was at the
• 1:00:35
  Speaker 2: right time period?
• 1:00:36
  Speaker 3: I was going to say, there's several. I mean, there
• 1:00:38
  Speaker 3: was whatever those kids were that killed their own parents. Well,
• 1:00:40
  Speaker 3: there were the kids who killed their parents.
• 1:00:42
  Speaker 23: Yeah.
• 1:00:42
  Speaker 3: Those guys. They were well-to-do, trust fund kids.
• 1:00:45
  Speaker 2: Yeah.
• 1:00:46
  Speaker 14: That's what those guys reminded me of. I didn't know
• 1:00:48
  Speaker 14: if that was intentional or if.
• 1:00:50
  Speaker 13: Well, they kind of seem a little like droogies, too,
• 1:00:53
  Speaker 13: for some reason.
• 1:00:53
  Speaker 18: Yeah.
• 1:00:53
  Speaker 13: You get a little clockwork orange vibe from them.
• 1:00:57
  Speaker 3: It is sort of that, like, politeness up until the
• 1:01:00
  Speaker 3: point where we kick you in the face. You know,
• 1:01:02
  Speaker 3: it's very.
• 1:01:03
  Speaker 13: And they sort of insist on manners. And then I
• 1:01:06
  Speaker 13: had that idea, like, maybe it's mocking, like, a polite
• 1:01:09
  Speaker 13: idea of nature.
• 1:01:10
  Speaker 3: Or, like, people, you know, it's natural. But, you know,
• 1:01:14
  Speaker 3: natural stuff is hideous.
• 1:01:16
  Speaker 13: I thought it might be doing that in a way.
• 1:01:20
  Speaker 3: Well, it also fits that with, like, the way that
• 1:01:22
  Speaker 3: they operate. I mean, you know, the Druids have that
• 1:01:26
  Speaker 3: little society, and, like, there's one that's in charge, and
• 1:01:28
  Speaker 3: they almost have rules. Where these guys specifically, it's like,
• 1:01:31
  Speaker 3: is Lionel out? And, you know, they have their little
• 1:01:33
  Speaker 3: rules between the two of them.
• 1:01:34
  Speaker 6: Yeah.
• 1:01:35
  Speaker 3: That does still sort of feel like that. I agree. Yeah.
• 1:01:38
  Speaker 11: And then I remember, like, one of the most freaky,
• 1:01:42
  Speaker 11: violent things in film was, like, when they cut to
• 1:01:45
  Speaker 11: a cartoon in Fuckwork Orange.
• 1:01:49
  Speaker 13: That just horrified me. I think it was when he, like, Ashtoreth.
• 1:01:56
  Speaker 3: Yeah. And then they cut to a cartoon.
• 1:01:59
  Speaker 22: Yeah.
• 1:01:59
  Speaker 3: Oh.
• 1:02:01
  Speaker 7: Yikes. Yeah.
• 1:02:04
  Speaker 2: Yeah, I, if there's, like, there's no, obviously, like, moral
• 1:02:08
  Speaker 2: to the story on anything, but I would just give
• 1:02:12
  Speaker 2: a shout out to, like, hey, kids, trust your instincts.
• 1:02:14
  Speaker 2: No need to be polite.
• 1:02:18
  Speaker 3: Trust your instincts.
• 1:02:21
  Speaker 13: It reminds me, too, of just how people get uncomfortable
• 1:02:26
  Speaker 13: in situations, but they just keep pretending. A lot of
• 1:02:32
  Speaker 13: manners is acting. Isn't that what Brando said in.
• 1:02:37
  Speaker 3: The court trial?
• 1:02:38
  Speaker 13: It's just what we use to get through the day
• 1:02:41
  Speaker 13: with people. But Yeah, Adriana dying in The Sopranos. She
• 1:02:49
  Speaker 13: knows she's being driven out to be killed, but she
• 1:02:51
  Speaker 13: just keeps pretending up until the last second.
• 1:02:55
  Speaker 3: We're going to.
• 1:02:55
  Speaker 13: See Tony in the hospital. It's so human, but, you know,
• 1:03:01
  Speaker 13: she should be, like, clawing from the start, but it's
• 1:03:04
  Speaker 13: not until they drive out into the woods, then she
• 1:03:07
  Speaker 13: starts sort of moaning.
• 1:03:09
  Speaker 3: It's so awful. You know what I think.
• 1:03:13
  Speaker 14: Is interesting about this movie, and I don't know if
• 1:03:15
  Speaker 14: this was intentional or not, but it's just like, it
• 1:03:19
  Speaker 14: almost is kind of like an attack on how shallow
• 1:03:22
  Speaker 14: humans are in general. You don't feel guilty about being
• 1:03:28
  Speaker 14: impolite to someone who looks dirty or a hobo or
• 1:03:30
  Speaker 14: someone who doesn't look well-to-do. These were very clean-cut guys.
• 1:03:35
  Speaker 14: If they just looked like bums, you would have no
• 1:03:37
  Speaker 14: problem with them.
• 1:03:38
  Speaker 3: The hell out of my house he would have come
• 1:03:40
  Speaker 3: in and immediately kicked them out but.
• 1:03:42
  Speaker 14: Like these people like look so polite you want to
• 1:03:44
  Speaker 14: believe them it's almost like this weird halo effect like
• 1:03:48
  Speaker 14: you think they're going to be nice guys they look
• 1:03:51
  Speaker 14: nice they're clean they don't smell bad you know like
• 1:03:54
  Speaker 14: what harm can they do but it's just it's interesting
• 1:03:56
  Speaker 14: how like your outward appearance kind of affects people's opinion
• 1:04:01
  Speaker 14: of you.
• 1:04:02
  Speaker 13: So much yeah yeah it does seem like the husband was.
• 1:04:05
  Speaker 2: A Wasn't he awful?
• 1:04:08
  Speaker 3: I'm not going to get on him for being a wimp.
• 1:04:11
  Speaker 2: He was a wimp.
• 1:04:12
  Speaker 3: But when strangers come to your house, well, I mean,
• 1:04:15
  Speaker 3: he was a wimp, but still. And they get into
• 1:04:19
  Speaker 3: something with your spouse. You kind of back this up.
• 1:04:22
  Speaker 3: You don't say, I don't have all the facts.
• 1:04:25
  Speaker 13: I can't be an arbiter.
• 1:04:27
  Speaker 3: You choose sides. You take somebody's side.
• 1:04:32
  Speaker 2: I don't have to explain. We'll just get them out.
• 1:04:35
  Speaker 7: Yes.
• 1:04:35
  Speaker 3: I don't know. That's weird.
• 1:04:38
  Speaker 2: Let's just say he's a wimp.
• 1:04:40
  Speaker 3: Yeah, okay. He's a wimp.
• 1:04:42
  Speaker 13: The other thing I really don't believe in the movie,
• 1:04:45
  Speaker 13: I have to admit, I just, I mean, there are
• 1:04:47
  Speaker 13: things I question. There are things like, I'm not sure
• 1:04:52
  Speaker 13: about that. And there are the things where it just
• 1:04:54
  Speaker 13: seems like, too logical as though it were perfectly planned
• 1:04:59
  Speaker 13: because they're tools of the director. But the one thing
• 1:05:03
  Speaker 13: I don't believe is they push her out of the
• 1:05:05
  Speaker 13: boat and she flips backward like, you know.
• 1:05:09
  Speaker 3: I don't think that can happen. Maybe she did a
• 1:05:10
  Speaker 3: lot of scuba diving.
• 1:05:11
  Speaker 2: I think she would sink.
• 1:05:13
  Speaker 3: I think she would sink. But I don't think she
• 1:05:16
  Speaker 3: would just flip back. It's just against human nature to
• 1:05:20
  Speaker 3: go rigid and flip back like a puzzle piece or something.
• 1:05:24
  Speaker 3: I don't know that she saw it coming. At that point,
• 1:05:26
  Speaker 3: I wasn't prepared for it. It just didn't seem like
• 1:05:29
  Speaker 3: he had enough force.
• 1:05:30
  Speaker 2: You're a details man.
• 1:05:32
  Speaker 3: You are a details kind of guy.
• 1:05:34
  Speaker 13: That really would happen in that way.
• 1:05:36
  Speaker 7: I don't know.
• 1:05:38
  Speaker 13: I just didn't feel it viscerally that she would flip
• 1:05:42
  Speaker 13: back overboard.
• 1:05:42
  Speaker 21: Interesting.
• 1:05:43
  Speaker 3: Count faster, please.
• 1:05:46
  Speaker 8: I mean, how primitive do you think we are? It's
• 1:05:50
  Speaker 8: not a bet if there's nothing at stake.
• 1:05:52
  Speaker 7: Right, Captain?
• 1:05:52
  Speaker 8: I mean, even you need a chance.
• 1:05:55
  Speaker 3: The wind blows where it wants to.
• 1:05:56
  Speaker 8: That's why sailing is fun. Right? Isn't it? Now, don't
• 1:06:06
  Speaker 8: make the same mistake twice. It's not the person counted out.
• 1:06:09
  Speaker 8: It's the one left over.
• 1:06:11
  Speaker 3: Wait a minute.
• 1:06:13
  Speaker 8: I see a new toy.
• 1:06:15
  Speaker 21: I think we have the lady to thank for this.
• 1:06:18
  Speaker 8: Merci, madame. This is going to make things a little
• 1:06:21
  Speaker 8: bit more interesting. It's boring when mutes suffer. We want
• 1:06:28
  Speaker 8: to entertain our audience, right? Show them what we can do.
• 1:06:33
  Speaker 3: The only thing I was going to say to wrap up,
• 1:06:35
  Speaker 3: I thought it was interesting working Tim Roth in the remake,
• 1:06:39
  Speaker 3: and then the immediate thought I came to when I
• 1:06:42
  Speaker 3: saw the cast list was like, Oh, my God, had
• 1:06:45
  Speaker 3: they done this originally? Like, I can so picture in, like,
• 1:06:50
  Speaker 3: a 90s era, like, the Reservoir Dogs, Tim Roth being
• 1:06:54
  Speaker 3: the mouthy one of the two. Oh, yeah. That would
• 1:06:56
  Speaker 3: have been, I mean, yeah, if you could go retrocast that,
• 1:06:59
  Speaker 3: like that. He would have been brilliant. Yeah, it's interesting
• 1:07:02
  Speaker 3: now to make him the wussy husband when, you know,
• 1:07:06
  Speaker 3: it's a few years later. But I'm like, oh, we
• 1:07:08
  Speaker 3: missed the chance. If you were going to make an
• 1:07:09
  Speaker 3: American version, If you could have done it in, like,
• 1:07:12
  Speaker 3: early 90s and gotten Tim Roth as that character, oh, yeah,
• 1:07:16
  Speaker 3: he would have been so good.
• 1:07:16
  Speaker 2: I think Michael Pitt is a great actor, but Tim
• 1:07:19
  Speaker 2: Roth is definitely... Yeah, especially him being able to pull
• 1:07:22
  Speaker 2: that off.
• 1:07:23
  Speaker 3: A master in so many. Yeah.
• 1:07:24
  Speaker 14: Okay, not to sound like an idiot, I meant to
• 1:07:26
  Speaker 14: look this up, like, I know he's on Birdwalk Empire.
• 1:07:29
  Speaker 14: Is he related to Brad Pitt at all? Like, I
• 1:07:31
  Speaker 14: feel really retarded for even asking that, but, like, really?
• 1:07:34
  Speaker 3: Is he? I don't know. I don't think so. Why
• 1:07:38
  Speaker 3: would you.
• 1:07:38
  Speaker 2: Because it's like.
• 1:07:40
  Speaker 2: Oh, Michael Pitt.
• 1:07:42
  Speaker 3: Oh, I thought you were talking about Tim Roth.
• 1:07:44
  Speaker 2: I was like, what?
• 1:07:46
  Speaker 3: I don't know who he is. Is he? No. Tim Roth.
• 1:07:50
  Speaker 2: Tim Roth and Brad Pitt are related?
• 1:07:52
  Speaker 7: No.
• 1:07:53
  Speaker 2: No, I think that Brad Pitt. I don't think so.
• 1:07:55
  Speaker 3: Michael Pitt has a fascinating mouth.
• 1:07:57
  Speaker 7: Yeah.
• 1:07:58
  Speaker 3: If it makes you feel better, we can pretend like
• 1:07:59
  Speaker 3: it is. Yeah. We can start that rumor, too.
• 1:08:01
  Speaker 2: I mean, I feel.
• 1:08:01
  Speaker 3: They both have big eyes.
• 1:08:03
  Speaker 14: Yeah, I feel silly for even, like, asking, but I, like,
• 1:08:06
  Speaker 14: wondered that, and I forgot to.
• 1:08:07
  Speaker 2: Look it up.
• 1:08:08
  Speaker 3: They're married.
• 1:08:11
  Speaker 14: He's one of Brad Pitt's adopted children.
• 1:08:13
  Speaker 3: That could be true. You lose track after a while.
• 1:08:17
  Speaker 2: Yeah, after like the night kid.
• 1:08:19
  Speaker 3: There's got to be one boring white kid in the
• 1:08:20
  Speaker 3: middle of their song. Come on now. Otherwise, I guess
• 1:08:24
  Speaker 3: that wraps up this week's movie. If nothing else, I
• 1:08:29
  Speaker 3: guess we wanted to send out a big thanks to
• 1:08:31
  Speaker 3: Jess here. Thanks for being here. Thank you for having me.
• 1:08:36
  Speaker 3: Teach me how to make cheese.
• 1:08:38
  Speaker 7: I will.
• 1:08:39
  Speaker 2: I'm going to send you a cashew recipe.
• 1:08:42
  Speaker 3: Normally, I give everybody the chance to plug themselves on
• 1:08:45
  Speaker 3: the internet, but are you still... Do you not want to...
• 1:08:49
  Speaker 3: How should people find you, or should they just go
• 1:08:54
  Speaker 3: look for your movies?
• 1:08:55
  Speaker 2: I would love for people to see my movies. I
• 1:08:58
  Speaker 2: would love for people to see my movies. for them
• 1:09:00
  Speaker 2: to do that.
• 1:09:03
  Speaker 7: Yeah.
• 1:09:03
  Speaker 2: The Lie will be coming out on Netflix soon.
• 1:09:08
  Speaker 7: Oh, really?
• 1:09:09
  Speaker 2: Please put it on your Netflix list. I would love
• 1:09:12
  Speaker 2: for you to see it. I'm also a co-writer on
• 1:09:14
  Speaker 2: that movie.
• 1:09:15
  Speaker 7: Really?
• 1:09:15
  Speaker 2: There are lots of us that are co-writers on it.
• 1:09:19
  Speaker 2: I just got done writing my first thing that I
• 1:09:22
  Speaker 2: just wrote by myself.
• 1:09:24
  Speaker 3: Yeah.
• 1:09:24
  Speaker 2: Hopefully someday I will direct that.
• 1:09:27
  Speaker 7: Nice.
• 1:09:28
  Speaker 2: That's sort of my.
• 1:09:28
  Speaker 3: Moving in the future.
• 1:09:29
  Speaker 2: Someday.
• 1:09:30
  Speaker 3: Yeah. Well, Hemingway's there.
• 1:09:34
  Speaker 2: Basically, I'm just going to remake all of Hank's movies because.
• 1:09:37
  Speaker 3: I love him. Yeah, I think we know where you're
• 1:09:40
  Speaker 3: drawing from. But yeah, any other new projects? That you
• 1:09:45
  Speaker 3: want people to look for after that one?
• 1:09:48
  Speaker 2: The Law is the only one coming out anytime soon.
• 1:09:51
  Speaker 2: I have something called Somebody Up There Likes Me and
• 1:09:54
  Speaker 2: a movie called Lumpy. They should be in the mix soonish.
• 1:10:02
  Speaker 2: But how soonish?
• 1:10:04
  Speaker 6: I don't know.
• 1:10:04
  Speaker 3: Film time, so that means nothing in the real world. Well,
• 1:10:10
  Speaker 3: if nothing else, before you go, we know You've sat
• 1:10:13
  Speaker 3: here with us and thrown down plenty of coffee, so
• 1:10:15
  Speaker 3: you're obviously a coffee geek. So, I'm going to give
• 1:10:18
  Speaker 3: you one of the official... Yes! Mickey Meltdown caffeinating movie
• 1:10:23
  Speaker 3: geek coffee mugs. Badass! With a hyphen. Badass! Hyphenated.
• 1:10:30
  Speaker 2: Hyphenated one word?
• 1:10:32
  Speaker 7: Who cares?
• 1:10:33
  Speaker 2: This mug is the bomb.
• 1:10:35
  Speaker 3: So, thus making you an honorary member of the Movie
• 1:10:37
  Speaker 3: Meltdown gang.
• 1:10:38
  Speaker 2: You guys who cannot see this and can only hear
• 1:10:41
  Speaker 2: me describe it.
• 1:10:42
  Speaker 3: It's on the website. If they want to order one,
• 1:10:44
  Speaker 3: they won't, but, you know. You hung in there with
• 1:10:47
  Speaker 3: us for two episodes now, so you earned one.
• 1:10:50
  Speaker 2: Who's this cartoon of? Is this you?
• 1:10:52
  Speaker 3: No, no. I wish I was Steve Buscemi, but.
• 1:10:55
  Speaker 2: Oh, that's super funny.
• 1:10:56
  Speaker 3: That's, you know, my first thought was, you know, from
• 1:10:59
  Speaker 3: Reservoir Dogs. Last fucking thing to eat is another cup
• 1:11:01
  Speaker 3: of coffee.
• 1:11:03
  Speaker 10: This is awesome.
• 1:11:05
  Speaker 3: All right. Otherwise, that about does it. We'll return next week.
• 1:11:07
  Speaker 3: Same geek time, same geek feed. Thanks for listening.
• 1:11:10
  Speaker 14: Thank you.
• 1:11:11
  Speaker 10: Like the first temptation.
• 1:11:22
  Speaker 3: And the last one to.
• 1:11:26
  Speaker 24: Inadvertently restore is the fiction of our youth.
• 1:11:32
  Speaker 7: The fiction of our youth.
• 1:11:35
  Speaker 10: Every time a blinker tastes a sample. Sip upon your.
• 1:11:39
  Speaker 3: Kisses that show.
• 1:12:23
  Speaker 24: There's another minor item that we might discuss another time.
• 1:12:35
  Speaker 3: I won't tell.
• 1:12:36
  Speaker 24: You what, you're not persuasive enough to make me change
• 1:12:42
  Speaker 24: my mind.
• 1:12:42
  Speaker 3: I don't wanna have that dream again.
• 1:12:49
  Speaker 24: I'm gonna make the same mistake.
• 1:12:50
  Speaker 3: Again Asking the word, same line.
• 1:14:54
  Speaker 10: Every time I blink and taste the sun Super for
• 1:15:06
  Speaker 10: your kisses in my first day time Wanna feel your.
• 1:15:13
  Speaker 6: Breath This episode.
• 1:15:56
  Speaker 21: Is a production of Movie Meltdown, produced and edited by
• 1:15:58
  Speaker 21: the Oddity Studios. with opening music performed by the Empires.
• 1:16:02
  Speaker 21: For more on how to sponsor or support the show,
• 1:16:05
  Speaker 21: email producer at moviemeltdown.com.
• 1:16:07
  Speaker 7: Talk hard!