Latest / All The Right Movies / Boogie Nights (1997) | Ep. 17 - Part 1

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Boogie Nights (1997) | Ep. 17 - Part 1 · All The Right Movies

0:04
All right, movies. For Dirk Diggler, the future is
0:09
something to look forward to, not to fear.
0:13
He is a creative man of many interests.
0:15
Film, poetry, karate, music and dance.
0:19
He is a man of passion and mystery.
0:22
He is a man of lust. Dirk Diggler's bright shining
0:34
light blazes through the LA pawn scene as he heads up Jack
0:37
Horner's adult empire. It all threatens to fall apart
0:40
in a haze of drugs and violence, but Dirk's surrogate family
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stick together through thick and thin.
0:45
Controversy surrounded Paul Thomas Anderson's dazzling
0:48
odyssey through the golden age of pawn pride release, but
0:51
critics and audiences embraced it.
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Megan PTA, the new Wunderkin director of the 90s.
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My name is Luke and with me are Brock Landers AKA Westy.
1:00
I want to name something that can cut glass, you know, razor
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sharp. Like, yeah, when I close my
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eyes, I see this thing, this big sign and this name.
1:07
It's bright blue neon lights with, like, purple outline.
1:10
The name is just so bright and so sharp.
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And the sign, it just blows up because the name is so powerful.
1:14
It says Westy. And chest Rockwell AKA Matt.
1:19
My fucking wife, man. She's down there, some idiots
1:21
Dick and her. Everybody's standing around
1:23
watching. All the right movies like simple
1:25
Pleasures, like butter in our ass and lollipops in our mouth.
1:28
But that's just us. That's just something that we
1:31
enjoy. Call us crazy, call us pervert,
1:33
but we know one thing. We're not the King of Dirk.
1:55
Hello and welcome to All the Right Movies, a podcast on
1:57
classic and hit films with a great big reputation.
2:01
Today we're delving into the murky waters of 70's porn
2:03
industry as we discussed the dysfunctional family unit of
2:06
Paul Thomas Anderson's Boogie Nights.
2:09
Oh yeah. A very big one.
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Yeah, Yeah. Now before we get into it, we
2:14
have got an important announcement, so listen up.
2:17
Unfortunately we've lost a key member of our team.
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Pi has decided to wrap on ATRM, so we're now a four Wheeler.
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Obviously Pi will be a huge miss, but we're all still great
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pals. And what up to Pi if he's
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listening? What API?
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He's not listening, is he? He's not listening.
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So because our resources reduced, we've decided to
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suspend the podcast and put all of our time into YouTube.
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So this will be the very last podcast by us and we'll be
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moving to YouTube. You might have seen some of our
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YouTube videos which are great. Very high class, very high
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class. Always.
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Yeah, on videotape. That's the future.
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Yes, it is. Although we're very sad to see
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Pi go and not to be bringing your podcasts every two weeks,
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we are really excited about this new venture where we'll be doing
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a number of different videos. Among other things going up
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regularly will be episodes of The Cutting Room.
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That's where we discuss a film similar to what we do here and
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decide whether it makes the cut or is left on the cutting room
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floor. So you'll get to see our ugly
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mugs on a regular basis over on YouTube, and we're aiming to get
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those up every two weeks as well, just like the podcast.
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Yeah, exactly. It means we can start again.
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We can revisit films that we've already done.
3:27
It's a new snappy format. So, you know, you get to see
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clips of the films. What's not alike?
3:31
You know, exactly, Absolutely. Yeah.
3:33
I mean I've been re listening to some of our earlier stuff and
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you know, Jaws, Ghostbusters, The Terminator, they need a
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redo. Yes.
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Unlistenable. Unprofessional.
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But you know, do sign up for peer on so you can listen to
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those unlistenable, Yeah, early episode.
3:52
Compare and contrast. Compare and contrast, obviously.
3:54
See where we came from, where it started.
3:56
Which was nothing. Nothing.
3:58
Absolutely nothing. Recorded Recorded on a potato,
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by the sounds of it. So we understand some of you may
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not use YouTube. So if you become an ATRM Patreon
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supporter, yeah, that thing again, you won't miss out.
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We are going to make the audio from all of our YouTube videos
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available to all of our parents. So basically they're going to be
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podcasts. And this will include all past
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and future episodes of The Cutting Room, all past and
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future episodes of our interview show Life and movies, any other
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videos that we may do. And we've got some good ideas
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and all of the audio podcasts and interviews that we've done
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over the last three years or so. In total, there's an archive of
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121 episodes available now. That's available right now.
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Yeah. And always will be.
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Always, yeah. You're not losing anything by
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signing up. You you're always gaining if
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anything. Gain 121 times.
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Yeah, exactly. If that wasn't enough, we'll
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create an additional exclusive cutting room video only for our
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patrons every month, and the audio from that will be made
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available as well. Yeah.
4:59
Loads of contents. Big.
5:01
Changes, but still loads of content available.
5:03
A list bigger than Dirk Douglas cock.
5:05
Yeah, absolutely. Our presence will be bigger than
5:09
Diggler's Dick. A beautiful thing.
5:15
And your support on Patreon would really help us out to go
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to patreon.com/all the Right Movies to sign up.
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I mean as soon as you want to. Yeah, absolutely.
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We won't charge you $10 just to listen to it either.
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Well, pretty much we will monthly.
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All right, we'll charge you $20. It's worth it.
5:38
OK, OK, back to business then fellas.
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For the last time, Matt, why do you want to talk about buggy
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nights? Because they are always the best
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in town. He's.
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The best of last, doesn't he? All the big ones.
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Yeah, all the jokes have been dying to get in here, even if
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it's about like untouchables I've got in any use for now,
5:58
Yeah. All that.
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Yeah, all that. No, this one, I think first of
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all, there's a list of directors who we need to cover on classic
6:05
before we wrap it up. And Paul Thomas Anderson is
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definitely on that list. And he's made a few films he
6:10
could have covered. But for me, he's one of those
6:12
film makers where to properly understand him, you go back to
6:15
the beginning. And I know this isn't his debut.
6:18
That's Hardy. That was a couple of years prior
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to this. But this is the first one where
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you had complete control. So it makes sense to to come to
6:25
this film. And secondly, this film came out
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in a period that I've got a huge affection for, which is that
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late 90s period. I just turned 19, so there was
6:35
no restrictions on what I could go and see the cinema anymore or
6:38
what I could rent. And it was like the floodgates
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opened and it just seemed to coincide with all these new
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voices in cinemas or Tontino, Danny Boyle, Spike Jones and PTA
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was very much part of that in this film.
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Made me feel like what it must have been like to be in the 70s,
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watching the likes of The French Connection and Apocalypse Now.
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It felt like this is a film from my generation.
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Really felt like it was going to be talked about for decades.
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And indeed, here we are. Excellent.
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And, well, it's, I mean, obviously a really important
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film in the history of cinema, PDA's second film that you said,
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and one that really made people stand up and take note.
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But not for me. I saw it when it came out on VHS
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because of all the buzz surrounding it, but never went
7:21
back to it. And I revisited it about four
7:23
years ago. Wow.
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Yeah. For some reason I just didn't
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get pulled into it. So I had only seen it twice
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before we decided to talk about it today.
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So I don't have a history with it, no nostalgia, and I was
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pretty much a blank canvas going into it for this.
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So I'll save my thoughts for later to keep you in suspense.
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Nice. But fittingly, the film does
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celebrate its 25th anniversary later in the year.
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So we're keeping it relevant. Yeah, of course.
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What about you, Westie? I'm the same as you.
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Look, to be honest, this was one that I never really felt like I
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could engage with at the time when it came out.
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It always felt like a bit of a parody to me.
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So I was in the more, you know, at that time, 97.
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So we're talking what Pulp Fiction, we're talking about
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Soderbergh, we're talking about Tarantino, we're talking about,
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you know, this kind of like real video store directors who are
8:08
coming out. And I know PTA was one of them.
8:10
But to me, this this material never really interested me.
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It didn't really seem like it was going to be something that I
8:15
could engage with. It just seemed a bit throwaway.
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Not a big porn guy. Well, I'm a huge porn guy, but I
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didn't really know it was about that because it was just like
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Boogie Nights. So I just thought it was that
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one of them 70s kind of, you know, I wasn't into like disco
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music at the time. I was quite serious.
8:30
You're OK Computer had just come out.
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I was listening to Radiohead. I don't want to go watch Boogie
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Nights, you know what I mean? It was that kind of vibe.
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So for me it kind of went under the radar a little bit.
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And since then it is a really important film.
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I know how important it is to cinema and how how influential
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it is to a lot of film makers. How influential, influential it
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was and how much he was prepared to Tarantino.
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But it's almost like The Rolling Stones and The Beatles and I was
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like, I'm Tarantino and just made us kind of ignore this.
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You made your choice. Yeah.
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And I just for that reason, I kind of ignored it.
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And like you, I hadn't seen it for a very, very long time.
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I saw it about two years after it came out, watched it didn't
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really hit home and it just sat on the shelf for years and years
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and years. And like, yeah, I came back to
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it a pretty much a blank canvas again.
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I've forgotten a lot of it. I watched it again and yeah,
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I'll save it for as we go through and as we talk about it.
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And that's too in suspense and obviously Matt loves it, so
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we'll see where we go. Oh yes, excellent.
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A lot of drama there. Boogie Nice was written and
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directed by Paul Thomas Anderson and shot on location in earlier
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produced by PTA, Joanne Seller, Lloyd Levin and John Lyons for
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Lawrence Gordon Productions and distributed by New Line Cinema.
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Released on October 10th, 1997, it has an ensemble cast
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including Mark Wahlberg, Burt Reynolds, Julianne Moore, John C
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Reilly, Don Cheadle, William H Macy, Heather Graham, and Philip
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Seymour Hoffman. Yep.
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We're headed to Los Angeles, beautiful San Fernando Valley
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for the start of Boogie Nights. Never will I feel.
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This. That little instrumental piece
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you heard from the start of the film was put in specifically the
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IPTA, the bookend the film. You can hear it at the end as
10:30
well. He wanted this kind of like
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broken circus tone, which sounded like a funeral dirge to
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then kick into this amazing Discord number, Best of my love
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by the emotions. And then bang.
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We're in 1977 at Hot Tracks nightclub.
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This is our first scene. And Westie, you're going to get
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the ball rolling here. Yeah, I'll get the ball rolling
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this the way this opens. I know PT had some trouble with
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the title of Hard 8, and he's kind of fighting with that.
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So he just put Boogie Nights up there in lights, right?
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You can't really change the title of this film.
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That's what it is. And the camera cranes down and
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it moves around and you've got this.
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It's an incredible, incredible piece of work this, and no pun
11:08
intended, but this is a really cocky film.
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This is a really, it's a really pretentious, jumped up little
11:15
bastard. And you can tell he's just so
11:18
confident in what he's doing, where the cameras going.
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He's all of his characters, all of the performances, He knows
11:24
everybody. He knows how to direct.
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Everybody knows where everybody's gone.
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Even from that hug that Guzman gives at the start of the camera
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just moves around seamlessly. And then it's in the club and
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the tracks back and it's just moving around everybody.
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The introduced to all of the characters in one shot.
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And I just thought to myself, well, that's an obvious kind of
11:43
Goodfellas reference to that tracking shot going into the
11:45
restaurant. Yeah.
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But then I've looked into it a little bit more and I thought
11:48
the film popped into me head from 1992, which is The Player
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by Robert Altman. Sure.
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Have you seen that? The way that introduces every
11:56
single character, that tracking shot at the opening of that
11:58
film, that's 8 minutes long. Yeah, it's huge, isn't?
12:01
It and I think that was far more of an influence on PTA of where
12:04
he's coming from and he's kind of getting these real giants of
12:07
cinema and almost trying to reinvent it with like this neon
12:11
kind of real vibey fast twist. And this shot really just show
12:16
you exactly what this film is and how confident it is and it
12:19
just zips along from this moment.
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There's so many of these shots, like in nearly every scene where
12:25
you introduce new characters or a new situation, there's one of
12:27
these tracking shots as if it's just easy.
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It's one of the hardest things to do.
12:31
It's one of the hardest things to choreograph, to block, to
12:34
light, where you don't see any of the lights in the shot.
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And it's 360. It's all the way around and it's
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moving through different scenes and different scenarios and it's
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just really, really brilliant the way it introduces every
12:44
character and they get enough time for you to for you to
12:47
discover who they are. It's just a fleet moment, but
12:51
nobody's wasted. You kind of see everybody.
12:54
I just think the opening of this film is seriously one of the
12:58
most confident openings to any film that I've ever seen from a
13:01
like, well, almost the first time director to have complete
13:04
control over everything and have cast and crew like this, this
13:06
big, and to do this is just absolutely mind blown.
13:10
It's brilliant. Yeah, just the staging and the
13:14
blocking of that three minute tracking shot.
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Yeah, it's ridiculous, mind boggling, Anderson said.
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I saw the valley the way that David Lean saw the desert in
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Lawrence of Arabia. Yeah.
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And he did that shot when Burt Reynolds is Drake drives the car
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in and then the camera cranes down and then follows them in.
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And he said to Burt Reynolds, he was like, wasn't that amazing?
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And Burns, like I can name 50 films that have that same shot,
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Like you're not doing anything. Yeah.
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Paul Thomas Anderson kind of felt like he was doing something
13:39
brand new, and what he's doing is he's reinventing cinema
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almost in a slick way, in a stylish way, in a really
13:46
accessible way, like Matt said for a younger generation.
13:49
You mentioned Goodfellas and the player there, Robert Altman and
13:53
Martin Scorsese, surely the two biggest influences on PTA in
13:56
this film. Yeah, absolutely.
13:58
Without shout of doubt, yeah. No doubt that camera work, it's
14:01
insanely good. But I do particularly like the
14:03
introduction of Royal Girl and then Little Bill when they go to
14:06
see Jack and Amber at the table because first of all, Roller
14:08
Girl, it's that first glimpse you get into that mother
14:10
daughter relationship. That's what's got going on with
14:13
Amber when she's talking around. And I was like, don't forget to
14:16
call that woman about the things.
14:17
If you don't keep the appointment, you're going to
14:18
miss out, blah, blah, blah. And then she can see there's
14:21
something wrong with the way Roller Girl is standing.
14:23
She's like, what's wrong with you?
14:24
And goes, well, I have to go pee.
14:27
So, yeah, Gordon. So she sells such a child, which
14:30
is obviously a bit disturbed and considered what she's going to
14:33
do later on in the film. But it's the first hint you get
14:36
at what is the big theme in the film, which is that it's about
14:38
family in this connection of people or family and they're the
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mother and daughter. But then I love little Bill as
14:44
well because straight away you see he is that guy, you know,
14:47
you're in this great nightclub, everyone's having an amazing
14:50
time and he's worrying about work the next day, hustle and
14:54
Jack about it, Which scene we do and what do we do and who's
14:57
involved, What's going on? I got.
14:58
To ring Scally, I got to ring these guys.
15:00
Yeah, yeah, just. Can't relax for a minute and I
15:03
think it's an amazing mullet and Tash combo from Macy that's
15:06
huge. It's wonderful.
15:08
I don't know if it's, I don't know if it's deliberate, but he
15:11
kind of bumps into someone in this scene.
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Like. Really.
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Totally accidental. Yes, totally accidental and
15:17
that's just like Macy to ATI think it's fantastic as well.
15:20
And I know he was reluctant to take the part at first because
15:23
he he was sick, he said of being the go to guy for losers in
15:27
films of Fargo. PTA screened Hardy at forum and
15:29
Macy watched it and rang up and said dude I'll do the Yellow
15:32
Pages if you want I've to seen. It amazing.
15:37
Lovely. But I want to talk about the
15:39
moment that Eddie and Jack first see each other.
15:43
Yeah, I think there is something sexual about the exchange that
15:46
Eddie and Jack have. They see each other over the
15:48
club and it goes into slow more, and it's almost like they're
15:51
both locking eyes on the person who's going to change their
15:53
life. And that's exactly how it turns
15:55
out, kind of, for better or worse.
15:58
And the kitchen scene, Jackass. Why he doesn't get a job washing
16:00
dishes in Torrance, his hometown.
16:02
Why take the bus all the way here?
16:04
He knows there's something bringing them to LA.
16:06
It's where all the depravity happens, where he can get his
16:08
thing out for $5 and people are queuing up to see it.
16:10
So in Jack's mind, I suppose if people are going to pay 5 or
16:14
$10, then they'll spend money on seeing it on the big screen.
16:17
He knows he's got something on his hands.
16:19
So that, for me, sets up this world under the glitz and glam
16:21
of the club with all the beautiful people.
16:23
There's a CD underbelly just out the back and a kind of a
16:26
metaphor for the film. Or really like that, yeah.
16:29
Oh, I think you need all that bass.
16:32
I mean, if you want a system to handle what you want, yeah, you
16:35
need the. Bass.
16:37
After this scene we catch glimpses of all the key players
16:39
personal lives, Amber, Eddie, Roller girl, little bill and his
16:43
adulterous wife book and the fabled TK421.
16:49
You need that bass. Oh, you definitely need that
16:53
bass. Take a 41.
16:56
That's named after a Stormtrooper, isn't it?
16:57
in Star Wars? Yeah, Brilliant.
17:01
Jack and Eddie have a meeting. They go back to Jack and Eddie
17:03
shows off his prowess with Roller Girl.
17:05
He then quickly leaves home after a blaze and argument with
17:08
his mother. And our next sequence is the
17:10
pool party at Jack's, where we learn more about this family of
17:13
porn. Really.
17:17
Since for the week. Family of porn.
17:19
Well, not me, it's the film. I'm just saying it as is.
17:26
And I'm going to kick us off here.
17:27
And I want to talk about the Colonel in this scene, but in
17:30
general, a very complicated character to discuss because of
17:35
what we find out later about his his hideous activities.
17:38
Yeah, yeah. All his ass in jail and on re
17:41
watches. That really resonates in this
17:43
scene because he shows up at this party with a girl who looks
17:46
really really young. So I'm guessing it's a good bed
17:49
that she's underage, which obviously is hideous.
17:53
And the first thing she says, the only thing she talks about
17:56
is getting some coke. And the next time we see her,
17:59
she's old deed and her limp body is dragged out of the party and
18:02
going to be dumped at some hospital somewhere, potentially
18:04
left for dead. And this is the story that the
18:07
Colonel tells Jack when he gets arrested later on.
18:09
It's another girl, but it's pretty much a carbon copy of
18:11
what happens in this scene. So how many girls has he done
18:14
this to get them cooked out of their mind and then take
18:16
advantage of them? Yeah.
18:19
So although the subject matter is really grim in the film, the
18:21
tone for the most part is light and and often hilarious.
18:26
But there are also these unspoken moments that aren't
18:28
really explicit in the film, like this one, which give the
18:32
film a lot of sinister, kind of unpalatable layers.
18:34
When you come to rewatch and you come to think about the
18:36
implications of this scene and that scene, although it's never
18:39
shown on screen or talked about. And I think that happens a lot.
18:43
A more upbeat tone is when John C Reilly and Mark Wahlberg
18:47
finally meet. What a joy that is.
18:54
We'll get into this with the right.
18:55
And I think the dialogue, especially in this bit, is just
18:58
so good. It is just back and forth, but
19:01
it's John C Reilly, just pure John C Reilly.
19:03
This is just almost himself. He's inventing himself in front
19:07
of your eyes. You're just like, this guy is
19:09
electric. He's amazing.
19:11
And Wahlberg's brilliant in the scene as well.
19:13
And it's just like, what do you squat?
19:15
And they decide this back and forth.
19:16
It's like, do you want to Margarita?
19:18
Super super. You know, it's like 3.5.
19:21
It's absolutely brilliant turns at every every single guy.
19:24
He's like, what do you work out at?
19:26
No, I would have seen you. I'm there every day once the
19:30
Margarita and he's like drinking the tequila out the bottle as
19:33
he's. Pouring in slug.
19:34
Just damn little bits. And just as he kind of like
19:37
flicks that blender on and he's just leaning on top, he's like,
19:41
can't hear you. You know, He's just trying to be
19:43
cool and he's trying to be hip. And it's just great.
19:45
Like all the way through this whole sequence in the house
19:47
party. I mean, there's a great tracking
19:48
shop which we've discussed at the top of the film.
19:51
It happens again here. It goes right way around the
19:53
party and you kind of say everyone then happens again.
19:55
So you've just got this real kind of movement, and this for
19:59
me is when it kind of hits home what kind of film this is going
20:01
to be. There's that exchange between
20:03
them two which holds the film together for me.
20:05
It's that kind of glue that they've got in their
20:07
relationship. I think it really, really works
20:09
from that to the pool scene when they kind of compete with each
20:12
other and they're just jumping in and doing different.
20:13
That's just so funny. Full flip.
20:16
You've got to put your legs all the way around.
20:20
He's like, yeah. And he's just underneath the
20:21
water like Grimace and. You just think, well, that
20:24
shouldn't really work. It should just be like, why?
20:26
Why is it gone from 1 tone to the other tone?
20:28
And it's not. It's just a young director who
20:30
really is having loads of fun with this.
20:32
That sequence between him at that exchange between John C
20:35
Reilly and Mark, well, but when they first damn characters first
20:37
meet each other, I just think it's absolutely fantastic.
20:40
They're best friends. Immediately people tell me I
20:42
look like Han Solo. Really.
20:46
You see Star Wars? Yeah, like 100 times.
20:51
Incredible, the shot that goes around the pool and the water
20:55
and I was influenced by that insane one take shot from I Am
20:59
Cuba. We, if you haven't seen that,
21:00
it's I mean it's something else. We've tweeted about it a couple
21:03
of times. It's got a huge reaction as well
21:05
because it's outstanding. Yeah, it's unreal.
21:08
PDA said that he was very proud that he we came back up out of
21:11
the pool for dialogue. Yeah.
21:13
Really complex shot. Really complex shot, ridiculous.
21:16
And the soundtrack as well in this in this whole sequence is
21:19
so so. Good.
21:21
Well, it's one of the music choices I want to talk about
21:23
because when that sequence. Yeah.
21:25
When lonely boy players, are they?
21:27
Fantastic Andrew Gold. Yeah, Andrew Gold.
21:30
Yeah. Because, I mean, first of all,
21:32
how on earth Don Cheadle and Louise Guzman kept a straight
21:35
face to you in the sequence? I don't know.
21:37
We just stood up having this really serious chap both from
21:40
button to the waist, obviously. Yeah.
21:42
She was wearing just like, cowboy suit kind of thing.
21:45
But it's Guzman that that, like, yellow number that looks like
21:48
your grand's curtains. And The thing is right, like
21:51
Cheetos and decent shape, you know?
21:54
Yeah, great. Great, great neck.
21:56
Great neck, not huge good just hanging out dog tags.
21:59
Like it? Doesn't.
22:00
Care. It doesn't give a.
22:02
Shit. Yeah.
22:03
It doesn't give a shit. It's hilarious, but it's it's
22:05
then it it turns out because, like, that phone keeps ringing
22:08
and ringing and he answers and it's someone looking for Maggie
22:12
and turns out someone's mother. So Right.
22:14
Well, back on Finder, but no one knows who Maggie is.
22:16
And it's actually quite sad when you think about because that's
22:19
Amber and no one knows Amber's real name, the one you know what
22:22
by a persona. And I just love that pushing you
22:24
get on Julian Marsh's snort in the core.
22:27
And the song ramps up and she looks up and she doesn't have a
22:30
clue that her son's wanting to find her, despite the fact
22:32
earlier on in the film. So it's desperate to speak to on
22:34
the phone. Yeah.
22:35
Yeah, yeah. It's in a different place, just
22:37
playing a totally different person.
22:38
It's that as well. It's really, really brilliant
22:41
visual storytelling. It's like, oh, it's just some
22:43
kid looking for a mum and then it cuts straight to her.
22:45
They didn't mind the coat you just got.
22:47
That's who he's talking about then.
22:48
Brilliant. Not.
22:49
Pushing and then you can see she's more concerned with Dirk
22:52
outside buying them up there. Exactly, exactly.
22:55
Yeah, Her attention is focused now on Eddie because she's the
22:59
the kid. She's the she wants.
23:00
She wants to mother him. She's forgotten about her actual
23:03
kid. Horrendous.
23:04
And As for she only goes back to her biological child when Dirk
23:08
kicks off and leaves the business.
23:10
Yeah, yeah. I must also mention this moment
23:13
with Little Bill and his wife when she's having the second of
23:15
her bunker thongs. You might have noticed that
23:20
Little Bill says and and you know for the listener, he's a
23:23
warning. Cover your ears for the easily
23:25
offended. He says my fucking wife has an
23:27
ass in her cock and that wasn't scripted.
23:31
Macy got his words mixed up, but Anderson decided to keep it in.
23:34
When he came back to the rewatch on this, I rewinded a few times.
23:37
I was thinking as in what, what thoughts he talking about?
23:40
Did he actually say? That.
23:42
It's characters so flustered as well isn't she's played by Nina
23:46
Hartley was like a real life porn star and she took like
23:49
William H Macy on a few sets just so we can understand like
23:52
the whole vibe of everything that was going on.
23:53
But she's actually brilliant. She is in the film like she's
23:57
just thinking about performance is just fantastic.
23:59
She's great. Wouldn't expect her to be that
24:01
good, but she is actually brilliant.
24:03
PTA was a big fan of her work and thought she'd be able to
24:06
give some point as to the cast about shooting upon scene, but
24:08
things got a little wild there for a moment.
24:10
Obviously hardly after all tricks.
24:12
She was often walking around the set naked like porn sets instead
24:17
of simulating the sex scene. She wanted to do them for real
24:20
to speed things up, but obviously she couldn't do that.
24:23
But Robert Elswick, the DP, swears blind that she was
24:26
actually having sex in one of the scenes, but obviously she's
24:28
denied this. Yeah, I know who I trust.
24:35
Do you know what Hartley gave people or as a leave and gift
24:38
when shooting wrapped? Yeah, she gave them like a copy
24:40
of each of her films, didn't she?
24:42
What did she give to Macy? Which one was it?
24:43
Was it was a deluxe box said about anal penetration starring
24:46
herself. That's how it's.
24:51
Described. Deluxe, Butt said.
24:56
Nina Hartley's guide to anal sex.
24:59
Classic. I'm sure Macy used that going
25:04
forward. Thanks, that'll come in handy.
25:09
Wow. So at the end of the scene,
25:11
blowing up in neon lettering, Eddie chooses a name which can
25:14
cut glass. Dirk Diggler.
25:16
Not Westy. Not Westy.
25:18
Obviously, and that'll be shit. Second choice.
25:20
Yeah, not to choose. Should we go westy?
25:31
The director. As is often the case with films
25:37
where the writer and director of the same, the story, the
25:39
screenplay and the direction in Boogie Night is interlinked
25:41
because it was written and directed by PTA.
25:44
We're focusing our attention solely on his work as director
25:47
on Boogie Nights in this section.
25:49
Matt, what do you think of his work here?
25:51
He's 26 when he makes this. Unbelievable. 26 This film has
25:57
such scope and so many moving parts to it, and it's exactly
26:01
what Wesley said. This film is cocky and it does
26:04
have a youthful arrogance to it because he's basically on.
26:07
I can handle all this amazing soundtrack, incredible camera
26:11
setups, a huge cast of veteran actors.
26:13
Yeah, I can do all that. And The thing is, he does.
26:16
But when I say there's an arrogance to it, I don't mean in
26:18
an off putting where I just mean in the way that he's just so
26:21
confident in what he can do that he just doesn't have any doubts
26:25
about the fact that he can pull all this on.
26:27
It's. Arrogant, but it's not
26:28
pretentious. Yeah, yeah, that's it.
26:30
Well, that's why the film keeps me on its side, because it
26:32
doesn't alienate me. And all these things that he's
26:35
putting in this film, this huge cast, the soundtrack, the camera
26:37
setups, it's all in a film about the porn industry as well.
26:41
So it's not as even if he's picked an easy thing to make a
26:43
film, Yeah. Exactly.
26:45
In the film just has this whole energy to with this verve, this
26:49
sense of creativity and through all these characters, all these
26:52
like myriad of plot lines that are going on, he just keeps
26:55
serving up like great scene after great scene after great
26:58
scene. You get scenes that are tragic,
27:00
scenes that are hilarious, scenes that are incredibly
27:02
tense. But I think the thing that makes
27:05
this film we watchable for me is he never makes the film feel
27:07
sleazy, which I think is really key for film set in the porn
27:11
industry. There's actually very little sex
27:13
in this film and what you do see, it isn't meant to be
27:16
titillating, which I think is surprisingly mature from a 26
27:20
year old making a film about the porn industry.
27:22
So it's ultra confident, it has this style, it has this energy.
27:26
But I do look at this film now with the perspective of knowing
27:30
what Anderson is like now as a film maker, because we've
27:33
mentioned already it's obviously hugely influenced by Scorsese
27:36
and Altman. And that's fine.
27:38
We've all seen other film makers try to copy Scorsese and they've
27:41
done it nowhere near as well as what PTA does here.
27:44
And normally, you know, if it was easy to make films like
27:47
Scorsese, everyone would make films like Scorsese.
27:50
So it's not an easy thing, what he's done here.
27:52
It's just it's not his voice yet.
27:55
It's a 26 year old going, oh, do you like Scorsese?
27:58
Because I love Scorsese and see what I can do.
28:00
Isn't this like Scorsese? And at that age, it's completely
28:03
understandable because I'd say he's.
28:04
Just he's 20. Still.
28:06
And if you're going with that now, I'm 41 exactly, yeah.
28:11
And if you're going to copy a master like that, at least do it
28:14
as well as Bucky Nights. But with the perspective of no
28:17
one, what films he would later do.
28:18
I think this is the work of a highly, highly gifted mimic,
28:22
rather than someone who's got their own identity yet.
28:25
And I get it. And that's going to come with
28:27
it. OK.
28:28
I will just reiterate something that you said as well there my
28:32
2626 and it's not a low key drama, no or anything like that.
28:37
2 1/2 hours. He wanted to make it longer
28:40
ensemble peace period peace about the porn industry.
28:45
That's that's a bold choice for your second feature as a 26 year
28:48
old kid. I think you can tell his
28:51
affection for the industry in the era because of the my new
28:54
detail that he goes to, to make it authentic, like the
28:57
attitudes, the location, the dialogue, but most of all the
28:59
costume. The costumes are on fire in the
29:03
film they're out of. Control on point as well.
29:06
Oh, insane. Every single kind of, you know,
29:08
year that is depicted, everything is on point.
29:11
It's. Amazing it is.
29:13
The majority of the wardrobe was picked up at this warehouse that
29:15
had unused costumes from all eras, and they wound up spending
29:18
about 15 grand at this place. And he picked out one of Sonny
29:23
Borno's old stage costumes, which Cheadle wears in the film.
29:26
Nice, nice. Amazing.
29:29
What he wears with that wig. This is Rick James.
29:36
It's original. I think it's a pretty impressive
29:45
that a film with this subject matter and this runtime just
29:47
whizzes along. It doesn't feel like a 2 1/2
29:50
hour film and it's in the camera choices and the edit.
29:53
In a lot of the sections the action is cross cut with a
29:56
number of different storylines playing out over the top of each
29:58
other. I think really great
29:59
storytelling keeping things whizzing along at a fair place
30:02
and all underpinned by a killer soundtrack as well.
30:06
It's an explosion of a real talent in PTA.
30:09
Go back to what you were saying. Maddie has made more mature
30:11
films, more complex films, but I don't think he's made a film as
30:14
fun as this in his career. And just to pick out a tiny
30:18
moment, there's this incredible moment that holds on Turk for
30:22
about a minute. Rahad Jackson's scene.
30:24
Yeah, yeah, yeah, yeah. He goes from this drug fueled
30:27
out of his box to an awful realization of where his life is
30:31
messed up. He's LED him to this place and
30:33
then he snaps up and it's time to leave.
30:35
He realizes how messed up his life has become and to get him
30:38
to this place and it's. All.
30:41
Yeah, exactly. Yeah, it's a really bold choice
30:45
to let the camera stay there, static for that long, and almost
30:48
certainly inspired by the lingering shot of Jimmy in
30:52
Goodfellas. Yeah.
30:53
Turns you out of your love. Yeah, But it's just, it's
30:56
captivating. How much can you read from just
30:58
that one shot? Yeah, and he was told to cut
31:01
that down, and then PTA said no, that's the best shot in the
31:03
film. You're 26 when he made this, but
31:07
when he wrote the Dirk Diggler story, he was 17, right?
31:12
And he's enough. Spinal Tap doing a short film
31:15
about a guy in the porn industry.
31:17
And I've watched that and it is actually brilliant.
31:19
It's, you know, it's really entertaining and it does whip
31:22
by. And to me, this has the same
31:23
kind of pace, the same kind of tone, the same kind of
31:26
excitement as something like Casino.
31:28
But to me, it's just like he's just got too much to play with.
31:31
He's trying to say too many things at once.
31:33
It's just a kid with just have too many sweets, too much cork.
31:36
He's just talking about blah, blah, blah.
31:38
Slow down, find a story, find a pace, find a narrative, find an
31:42
underlying point to it all. And I think that's my main, my
31:45
main problem with this is that a lot of it is style over
31:48
substance, and a lot of the style does really work.
31:51
And I don't think he's mature enough to understand what the
31:53
substance is, what the context is, and what he's actually
31:56
trying to say. I think it is quite a flawed
31:59
film in that way and that it is very flashy, it is very
32:02
entertaining and it is very funny.
32:03
It does really work, but really it's quite thin.
32:06
But I think from a direction point of view, you cannot really
32:09
say anything negative about it. It's just so confident.
32:11
I don't know if he regrets the direction of this.
32:14
I mean, if you spoke to him now after he did like Phantom Thread
32:17
and you go, what do you think your direction on Boogie Nights
32:19
thing was a bit over the top? You'd be like, yeah, I think it
32:21
was a bit over the top. Think you did too much there,
32:26
Paul, do you? Yeah, yeah, yeah, yeah, yeah.
32:27
So enough shit. Some of it's got a stick and
32:29
it's just like, it's just an onslaught of just everything
32:33
that you've got access to. Good.
32:35
Yeah, if someone said to be all W you were doing a film, right?
32:37
It's going to be in LA. It's going to be a period piece
32:39
about the porn industry. I'm like, yes, yes, 35 mil
32:43
camera. OK, we're going to turn around.
32:45
We're going to flip that. We're going to do like a real
32:47
parody of like the 70s cop shows and we're going to make a real
32:50
thing of that. We're going to shoot it on 35
32:52
mil and project it, then just shoot it on the screen and we're
32:54
going to make it look weird and we're going to do this and yes,
32:57
three hours long. Yes.
32:59
And I just felt he was just like that, just like, that's the vibe
33:05
you get from it. Just a really excited, really
33:07
talented young man. I don't think Paul Thomas
33:11
Anderson is crafting a film here.
33:13
I think he's just absolutely exploding a film here.
33:17
It is. It feels like he's had this
33:18
built up for so long that he's just, I am doing everything
33:22
that's everything I want to do. Yeah.
33:25
Everything that's in me brain. And I'm making it as complicated
33:27
as possible for everyone around us just because I need that kind
33:30
of satisfaction. And the good thing about that is
33:33
the direction really pays off for the audience.
33:34
You you're as satisfied as he is because you know he's not going
33:37
to leave a scene until he is satisfied with it.
33:39
It absolutely works. The direction of Boogie Nights
33:41
is, yeah, there's nothing like it, I don't think.
33:44
Yeah, Very, very vibrant, very exciting.
33:47
Very much. Like Westie mentioned, the
33:50
origin of Boogie Nights started in 1988 when he made the
33:53
mockumentary short The Dirk Diggler Story.
33:56
It did have the characters Jack Warner.
33:57
Reed Rothschild was influenced by This Spinal Tap and inspired
34:01
by porn actor John Holmes. It is available on YouTube if
34:05
you're interested. Yeah, from Westy.
34:08
Yeah, it's worth a watch. Do you know the guy who plays
34:10
Dirk Diggler? Do you know he's in Boogie
34:11
Nights? Yeah, he's in the record store,
34:13
isn't he? At the start, Yeah, he's the.
34:14
Guy trying to sell the stereo. Stereo two.
34:16
Yeah, yeah. PTA wanted to expand the story
34:19
into a feature and you got enough heat from his feature
34:22
debut Hardy. It's to get studios interested
34:24
in him as a talented director. New Line wanted to do a Miramax
34:27
and we're looking for their own Quentin Tarantino and saw PTA as
34:31
their guy after reading his 300 page script about a porn actor
34:36
with an enormous penis. Mine would be like 2 pages long.
34:44
PTA was really frustrated about his experience on Hardy.
34:47
At his debut, he laid down strict ground rules to New Line.
34:50
It's going to be 3 hours and it's going to be an NC 17
34:53
rating. But they said pick one of those,
34:56
you can only have one of the two.
34:57
So he decided that getting an R rating was going to be a
34:59
challenge and that he was up to the challenge.
35:01
Yeah. He got inside the industry
35:04
expertise in the shape of legendary porn actor Ron Jeremy,
35:07
who advised on the film and even invited cast onto a real porn
35:11
set to see how things went down. All of the cast accepted his
35:15
invite apart from Burt Reynolds, who said and no porn.
35:19
I don't need to see that because PT is a big porn guy.
35:27
He had a stash of VHS tapes with porn bloopers and outtakes.
35:30
I mean, who's got VHS of bloopers and outtakes from
35:33
pornography? That's mental.
35:38
Probably had them since he was like 17.
35:40
As well. Brilliant.
35:43
But he used those as inspiration for some of the lighter moments
35:45
in the film. And The Dock Within.
35:47
The film, directed by Amber Waves, was based on the 1981
35:50
documentary Exhausted John C Holmes.
35:53
The real story and the I Do My Own blocking bit was pretty much
35:58
word for word. Nice.
35:59
All right. In A Touching moment, the
36:01
actress who plays Eddie's mother, Joanna Gleeson, when she
36:04
was at the reading, she asked PTA for the scene between her
36:07
and Wahlberg was based on his own experiences with his mother,
36:11
and he went quiet and didn't answer.
36:13
In an interview years and years later, he said that he went to
36:16
his mother like years and years later to beg for forgiveness for
36:19
his behavior as a kid. Touching moment all.
36:22
Right. So that's pretty close to home
36:24
then. Very.
36:25
Close to home, tough moment. Before he threw out all of these
36:27
porn bloopers. Get rid of that shit.
36:33
I'm going to sign off our section on PTA with a quote from
36:35
the great man himself, which kind of gives an insight into
36:38
his morality, I suppose. He said.
36:40
Most people don't share my moral sense, which is I'll must a bit,
36:44
but I have to clean it up very quickly afterwards.
36:50
PTA well, I'm. Not I'm not going to comment on
36:55
that expand. On that.
36:57
Just going to leave our listeners without thought to be
36:59
honest the. Cast.
37:06
We're starting off in the only place possible in the cast Mark
37:09
Wahlberg as port karate expert and pawn king.
37:13
Karate. A man of passion and mystery.
37:16
A man of lust. Doug Diggler.
37:19
He is a back belt. Westie Wahlberg is Diggler.
37:25
What are your thoughts? Wahlberg is Diggler.
37:27
I really enjoy his performance in this.
37:29
I think he's really, really good.
37:30
And like Paul Thomas Anderson said, he's like, it's not a
37:33
trained actor and that's obvious.
37:35
He's just a real ball of energy and talent.
37:37
And I think he is Dirk Diggler, to be honest.
37:39
He is the character. It's it kind of is Marky Mark
37:42
looking for what he wants to look for, not knowing what he
37:44
wants. But he wants something.
37:45
He wants to be something. He wants to be big.
37:47
He wants his name and lights. And I think that really, really
37:50
translates to the Mark Wahlberg's kind of vibrancy and
37:53
what he wanted from Hollywood. And I think it's perfect
37:56
casting. I know the original custom was
37:58
Leonardo DiCaprio and he worked with him on The Basketball
38:01
Diaries where he plays Mickey. And I think he's that's a great
38:03
performance. It's really under the radar, you
38:06
know, Paul Thomas and was looking for the star.
38:07
DiCaprio got Titanic and he suggested Wahlberg.
38:10
Wahlberg, come on. But I do think this is perfect
38:12
casting. I'm not a big fan of Wahlberg
38:14
overall. I count about 5 films that I
38:16
like him in. Yeah.
38:17
This for me is that, you know, it's not Mark Wahlberg to me,
38:21
it's Dirk Diggler. And that's one of the finest
38:24
things I could possibly say when you get who becomes the part and
38:27
becomes that role. And he's done really well not to
38:30
just stick to this part. I think he saw that coming and
38:32
didn't want to be type cast. To me, it's a, it's a full
38:35
package and it really, really, really works.
38:37
I think he's brilliant. It really is a full package.
38:41
God Almighty, every fucking time.
38:46
I mean, I mean, it's a pretty amazing transformation that from
38:49
the kid that we see in hot tracks at the start, very
38:52
unassumed and shy and nervous looking kid to the guy whose
38:55
power and crystal meth has gone to his head when he becomes the
38:59
king of Dirk. And throughout the film, I think
39:02
he plays a few performances in the lifespan of the six odd
39:05
years. And although Wahlberg isn't the
39:07
finest actor in the world, like you were saying, Westie, I think
39:10
he does very well here. Probably a career high in a
39:13
career of relative laws. I would say it's.
39:16
Up there. Dirk's success is charted by his
39:18
appearance at the Adult Film Awards.
39:20
He's at the second one. He's all enthusiastic, happy to
39:23
be there, really like overwhelmed by the awards that
39:26
he's getting for best cock and stuff like that.
39:30
Well, you would be with. You wouldn't be, Of course you
39:33
wouldn't. But by the 4th he's expecting of
39:37
his awards and his speeches simply thank you.
39:40
And then he's off, of course. Yeah, you know it's me again.
39:43
Of course it is. And he plays the strung out
39:45
junkie and Amber Heard doc really well.
39:48
I like his claiming that that he saved 1000 marriages because of
39:51
his porn acting did. I say this in the camera.
39:56
Takes his glasses off. That's brilliant.
40:00
And I think he's really great in that scene with his mother.
40:03
I mentioned it under PTA. Heartbreaking.
40:05
And it highlights just how much of a kid Eddie is.
40:08
He's screaming why you're being mean to me and stuff like that's
40:10
really quite unbearable to watch.
40:13
And I think that's reinforced in the party scene after that when
40:17
he's acting like a kid in the pool doing bombs and stuff like
40:20
that. And it's pretty gut wrenching to
40:22
see that innocence kind of ripped away from.
40:25
Him. And finally, his patchwork denim
40:28
suit as Brock Landers is a thing of beauty.
40:31
It is a thing that is a stunning piece.
40:33
What a piece. A joy to behold.
40:36
It's a joy. Great hold.
40:37
Yeah. Matt, what do you think of
40:40
Wahlberg? Very much in agreement with you
40:42
too. And I was kind of dreading this
40:44
part a little bit because like Westie, I'm just not a Wahlberg
40:46
fan in general. Like he's he's often quite bad a
40:49
lot of the times or he can mean good things, but he's the worst
40:52
thing about it. So coming back to this, I was, I
40:55
was pleasantly surprised. I've forgotten how good he isn't
40:57
this because I don't think he's the best actor in the film.
41:00
I don't think it's the best performance in the film.
41:01
But no, definitely, definitely better than you'd expect.
41:05
Much better. And it is because I think PTA
41:08
knows how he is. That naivety that he has didn't
41:11
just channel that that as he says, that kind of rawness that
41:15
he's got and put that on screen. So those things you mentioned
41:18
like, yeah, totally great. Just convinced me, like, how
41:20
naive he is at the beginning, how eager to please he is.
41:23
And like, the awards and when he gets his house, like, how, like,
41:26
delighted he is to show it all off to Amber, like, oh, I've got
41:28
this and I've got this and I've got this over there.
41:31
He is just like, yeah. And that painting's the worst
41:34
fucking painting I've ever seen in my life.
41:36
So he's saying that's really good.
41:37
It's fucking atrocious. That painting of Little Bill.
41:41
Yeah. It's done in Omar.
41:43
She's wonderful. A massive forehead.
41:47
Jack just laughs as he walks past it at the end.
41:52
Yeah, but once you get out of that naivety stuff and you get
41:55
into the 80s and you see that Igor take control and he gets
41:57
coked up. He's really good nose bits, like
42:00
you say look and he but he pushes the aspect just enough.
42:02
He does become unlikable, but not so much that you totally
42:05
lose. And it's in the form.
42:07
So at the end, when he's had to resort to prostitution and he's
42:10
in the car and he gets beaten up, you still feel sorry for him
42:13
because deep down he can still see that young kid behind the
42:16
eyes. And I think it's down to
42:17
Wahlberg. And we'll talk about this one.
42:19
We'll get there. But I think it is down to
42:21
Wahlberg that that emotional beat at the end lambs when he
42:24
does come back to track for forgiveness.
42:26
So yeah, it's it's a really good performance like Wahlberg.
42:29
And where I think he actually excels is the films within the
42:32
films, because it's got to be wooden acting on purpose.
42:36
It's it's really bad dialogue. They're ridiculous, but they've
42:39
got to take it seriously at the same time.
42:41
And I think that's a very difficult balance to pull off.
42:44
And I think Wahlberg is brilliant in all laws, yeah.
42:46
Yeah, it's not good. Yeah, it's excellent.
42:49
Yeah, the. Best place seen in Los Angeles,
42:55
It's. Excellent.
42:57
It's excellent. There's an amazing bit when he's
43:00
as Brock Landers and he's running towards the screen and
43:03
it's just before the title card comes up to Diggler as
43:05
Brooklanders and he's running across the roof.
43:08
And he's really running crap. On his feet.
43:11
But then he does his karate, shit karate, but it freeze
43:14
frames and he looks amazing. As we like to hear.
43:21
And as Westie mentioned as well, Mark Wahlberg wasn't first on
43:24
the list to play Dirk Diggler. I mean he wasn't a star by any
43:27
means apart from his Mark Mark pop career and this was a real
43:31
star making turn for him. Leo DiCaprio was on board
43:34
originally but ended up passing so he could star in Titanic.
43:37
Joaquin Phoenix was asked but wanted no part of it.
43:39
Ben Affleck, Matt Damon, Christian Bale, Ethan Hawke were
43:42
also considered. DiCaprio eventually recommended
43:45
Wahlberg to PDA, and he took a meeting with him.
43:48
Wahlberg was initially unsure, especially considering the
43:51
backlash that Showgirls got, which is based in the similar
43:54
industry. But after reading 30 pages of
43:56
the script he knew was something special.
43:58
And when he met PTA, he said, listen, I love these 30 pages,
44:01
and I know I'm going to love the rest of it.
44:03
But I just want to make sure before I really fall in love
44:05
with it and want to do it, that you don't want me because I'm
44:07
the guy who will get in his underwear.
44:09
Based on his Calvin Klein ads, Yeah.
44:11
Yeah. But he also told PTA that he had
44:13
an extra inch on Leo, which was the clincher.
44:18
Of height. I.
44:21
Don't in the research that wasn't specified, but I guess
44:25
height I imagine. Height.
44:27
What else could it be? DiCaprio would later say that
44:30
turning down Boogie Nights was his biggest regret.
44:32
Really. And despite Wahlberg's claim,
44:35
that isn't all Wahlberg in Diggler's pants.
44:37
A prosthetic was used. I mean, obviously, Christ.
44:40
Digging tunnels like Charlie Bronson.
44:47
The first one that was made was far too big.
44:49
Wahlberg said that it was modelled on John Holmes and went
44:52
past his knee, so the shorter one, which fit around Wahlberg's
44:56
own penis. Now we're getting down and dirty
44:59
here, but it's the subject. That is, you know, what do you
45:01
expect? The film's DP, Robert Ellsworth,
45:05
was impressed by Wahlberg's commitment to the role.
45:07
He said. What Mark Wahlberg did in that
45:09
movie was all sorts of things that he had to absolutely commit
45:12
to. He had to put a prosthetic cock
45:14
on his own cock, you know what I mean?
45:16
That's, and an awful lot of an actor it is.
45:20
Yes, I know what you mean. Robert, if you fairly.
45:25
Literally. Specific, but most of the time
45:30
during shooting they didn't use the oversized appendage.
45:33
A Stockman was filled with bird seed and used as a stand in the
45:37
Stockholm was kept warm in a trunk over the weekend and when
45:40
they came back to it, it had to be replaced because the seeds
45:42
started to sprout. Just a disgusting image.
45:45
It is a. Disgusting image.
45:46
She had a cucumber wrapping tinfoil.
45:50
Get that in the power zone. You've got the touch.
45:57
Mark Wahlberg was lucky enough to take the prosthetic home as a
46:00
keepsake of the film. It keeps it locked away from his
46:03
kids, of course, and he's recently said that it started to
46:05
dereerate. It happens to us all.
46:09
Well, he's up a certain age now. That's it for you.
46:14
We've mentioned PT as influences, the scenes where
46:16
Dirk's looking into the mirror, particularly at the end, second
46:18
himself or talking to himself directly influenced by the final
46:21
scene in Rachel Ball where Lamotta is doing a similar
46:24
thing. Yeah.
46:25
Which was itself an homage to Brando in On the Waterfront.
46:29
Yeah, hey. Did you ever see that movie Star
46:32
Wars? About four times.
46:35
People tell my look like Han Solo.
46:38
Really. Our second cast member is the
46:41
pawn king of San Fernando Valley, the patriarchal Jack
46:44
Horner, played by Burt Reynolds. I think he's very, very good
46:48
here. Deadpan, funny, like not, not a
46:51
flicker. His delivery, I think it's pitch
46:53
perfect. And although he brought his
46:55
movie star eco to the set, there are a number of stories, and
46:57
we'll get to them, caused a lot of problems.
47:00
I think it's that movie star Eco that makes Jack who he is and
47:04
that you need somebody with that screen presence, somebody who's
47:06
seen it all and been around the block a few times, the world
47:09
weary, ham on fears because I've seen it all before kind of
47:12
attitude, and I think Reynolds uniquely brings that to the
47:16
character. Yeah, definitely.
47:18
The character of Jack was based on Bob Chin, who was right?
47:22
The director of the majority of John Holmes's work.
47:24
They've been comparisons made to Gerald Demiano.
47:27
He directed Deep Throat and he was innovative in the genre at
47:30
the same outlook as Jack in that he wanted to make real films
47:33
with story and character and. Hair as well.
47:36
Hair is identical to Jack. Yeah.
47:40
And Tarantino made this great point about the character.
47:42
He loved the film, but he said that the one thing that sticks
47:44
out is that Jack makes out like he's this great artist, like
47:47
Damiano did. He wanted to legitimize the
47:49
industry and make pieces of art, and he knows a good film from a
47:52
piece of shit. But when he's in the editing
47:54
room, he says that the Brocklanders film is probably
47:56
his best yet. And it's absolute shit.
48:00
Yeah, yeah, crap. He would know a good film when
48:02
he sees one, yeah. Exactly.
48:03
Tarantino argued that that character would know it's crap,
48:07
and yeah, that that rings true with things.
48:09
Doesn't really feel consistent about the character.
48:12
It's supposed to be a shit film. Absolutely.
48:14
Even the consistency of the gunshot sound is off when Brock
48:19
shoots the first one, and then the second one's a completely
48:21
different sound. So it's supposed to be shit, but
48:24
that director shouldn't think it's good.
48:26
Yeah. It's, it's a, it's a flaw on the
48:28
character. It's a flow on the character.
48:29
Yeah, yeah. Wesley, what do you think of
48:31
Reynolds as Horner? I think he's fantastic and he's
48:34
really, really brilliant. And I was surprised to learn
48:36
that he wasn't having a great time on set and that he didn't
48:39
get on with Paul Thomas Anderson because it does not come across
48:41
at all in the film. He anchors the film and he
48:45
brings a real kind of, you know, that that weight that we always
48:48
talk about and that real kind of distinguished gentleman kind of
48:52
vibe to it. And I think Burt Reynolds is one
48:54
of the only things or not one of the only things, but he's one of
48:56
the main things that stops this film going into that sleaze area
49:00
to stop it going into that to that moment where, you know, he
49:04
can say things. But it's just it is very
49:06
grounded and it's very realistic and it's very believable.
49:09
And you get that from the character.
49:10
And when he's arguing about, you know, videotape coming in and
49:13
he's on about film and he's young authors and artists and he
49:16
believes in that. You kind of get that from from
49:18
Burt Reynolds. You know, that's what he would
49:21
believe in. He wouldn't go to videotape.
49:22
He would say, I'm to stick with film.
49:24
That's where I'm from. I'm not.
49:25
Going to go to TV. I'm a movie star.
49:27
Yeah, exactly. And he brings that, you know,
49:29
that real gravitas to the character and he looks great.
49:33
And it just seems that he's getting on so well with
49:35
everyone. He's just this real character
49:37
that you just trust in the whole film.
49:40
And I think he stops it from becoming too miserable.
49:42
He stops it to be from becoming too too much of A depravity, too
49:46
much of AI Can't watch this. This is too CD.
49:48
You know, he brings real elegance to the film.
49:51
And I think that's, you know, to his real credit and the fact
49:54
that he, you know, he didn't get on with Paul Thomas Anderson.
49:56
But I can see why based on what we were talking about in the
49:59
direction. And, you know, he's trying to
50:00
tell the Reynolds what to do. But you wouldn't have that film
50:04
with Burt Reynolds. And it's somebody had to lose.
50:06
And unfortunately, it was Burt Reynolds turn around and saying,
50:08
you know, I don't want anything to do with this film.
50:10
For him to have a problem with this film.
50:12
Surely you should have watched this back and go, you know what?
50:15
I've got to swallow me pride and say Paul Thomas Anderson
50:17
actually fucking nailed. This.
50:18
Yeah. Because what else?
50:20
What else has he done? He did striptease in 96 that was
50:24
a shower of shit. And then he was in the Bean
50:26
movie in 97 just before this. Why?
50:29
And then he's in something like this where it's just a young
50:31
director. Yes, he's a bit of an upstart.
50:33
Yes, he's a bit of a pain in the ass, but look what he's done.
50:35
Look how good you are in it. Look how good he's made you
50:37
look. And he wanted him, you know, for
50:39
the next film. We wanted them for Magnolia.
50:41
Or I think anyway, you wanted to keep it going and better as I
50:44
know I'm not doing it. And I think to me, that's just a
50:46
pride thing, unfortunately, because if you'd embraced it the
50:49
same way as Travolta embraced it, I guess in Pulp Fiction.
50:53
And just when you know, this is a real resurgence for who I am
50:56
and took it as a positive, I think will be in a completely
50:58
different situation. But the the great thing is
51:01
watching this film without doing research, he's having a great
51:03
time. It looks like he's having a
51:04
great time and it really works. And it's a.
51:06
Fucking excellent. Great.
51:07
Fucking excellent performance. He really, really shines in this
51:09
for me. Probably the best performance in
51:11
the film, I think. Yeah, superb.
51:13
Love them. You need a huge alpha male star
51:16
as Jack, but you what you need is an alpha male from a previous
51:18
generation, which is exactly what you get with Reynolds.
51:21
Who's not threatening either with no threats.
51:23
Exactly, exactly. Yes, this huge aura, but it's
51:27
charisma and it's charm. He doesn't come across like the
51:29
kind of man you'd expect to be a veteran porn director.
51:32
You feel like he genuinely cares about every single person on his
51:36
film set. It's easy or or anything like
51:39
that. You never lose sight of the fact
51:41
that actually, though, if you put him too far, he could RIP
51:44
someone apart with his bare hands if he's provoked enough.
51:46
He's just got that feel to him. And I was saying like the big
51:49
sauce the time. I know De Niro was linked with
51:52
it one point and all. Nicholson was, and I just don't
51:55
think any of them could have brought Reynolds to us because I
51:57
think he judges that performed so perfectly and like we've just
52:01
been saying, stops at feeling sleazy.
52:03
And I'm not sure any of those others could have done that.
52:05
Like that first scene where he talks to Eddie and he's
52:07
essentially seducing him. He's seduced an amazing
52:09
lifestyle. Yeah, that could.
52:11
Have been horrible in the wrong hands.
52:13
And it's the same as when he's talking about his films and he's
52:15
he's given Eddie the whole spiel about how good his films are and
52:19
you just sit there like enraptured as if he's talking
52:21
about like proper Oscar winning cinema.
52:23
Even when he gets to. And when they spurred out that
52:26
joy juice, they just got to sit in it and you're like, yeah,
52:29
totally. Yeah, yeah, you've got to sit in
52:32
that. What's next?
52:33
Yeah. Part of The thing is, which
52:36
we've talked about already, it does feed into the film that
52:39
Reynolds wasn't having the best of times.
52:41
I think I've already came the fact that he was envious of
52:43
Wahlberg because he was like, that was me 20 years ago, why
52:47
didn't I have this role 20 years ago?
52:49
And now I'm the old man on set. And yeah, he, he fell out pretty
52:52
spectacularly with PTA because he wanted to improvise a bit.
52:55
PTA wouldn't let him. He had a fight with Thomas Jane
52:58
at one point. They got William.
53:00
Mitch Macy tells his story where he was his first day on set with
53:03
Reynolds. And apparently what Macy does
53:05
whenever he's in the film with someone for the first time,
53:08
he'll say something like really insulting about one of their
53:10
films, but just as a joke to break the ice in a Macy's words,
53:13
I said something about Smokey and the Bandit, and while we I
53:17
thought Bert was going to jump across the bed of me and smack
53:20
all my teeth out. So right.
53:21
Right. You know, he was clearly not to
53:24
be revoked. And it got so bad at one point.
53:27
I know like an assistant who'd worked with him before I said
53:29
one of the producers, look, Bert's got a thing in his
53:32
contract that if he punches the director in the face, he can't
53:34
be fired because he has a temper.
53:36
It's just accepted that's going to happen at some point.
53:39
Fucking yes man. What a guy.
53:41
He's a great character, fantastic performance.
53:43
Yeah, I think it just feels as though he's very sensitive about
53:46
his reputation and he was surrounded by basically these
53:50
young kids doing something quite sordid.
53:53
And I think that really exposed him to, is this what I've I've
53:56
become? I can't get a gig anywhere else
53:59
and this is what I'm doing. I think that's I'm just reading
54:01
between the lines, just like the Diggler role.
54:04
Like the fellows have mentioned, there were a number of names in
54:07
the mix for the part of Jack Warner, Bill Murray, Harvey
54:10
Keitel, Jack Nicholson, De Niro, Albert Brooks, Warren Beatty,
54:14
Sydney Pollock who are all either declined or were deemed
54:17
unsuitable. I'd love to see Pollock in there
54:19
minds. Pollock would have been great.
54:21
Pollock would have worked, yeah. Yeah, very nice.
54:23
BD declined because he saw himself more in the Dirk Diggler
54:27
role. He did of.
54:31
Course he did. Outrageous.
54:35
Reynolds didn't want to do it and turned it down a few times.
54:37
He felt like he'd been letting down his fan base doing a role
54:40
like this. He angrily told PTA where to go
54:42
after. Have you continued to pursue
54:45
him? PTA said to him if he brought
54:46
that energy to the role, he'd win an Oscar.
54:49
And it was a much publicized spat on set.
54:52
We've talked about it. Reynolds and PTA generally
54:55
encouraged improvisation on set. All the actors, apart from Burt
54:58
Reynolds, who insisted should read his lines verbatim.
55:01
Reynolds got more and more pissed off considering his
55:03
experience and PTA's inexperience.
55:06
He screamed at him. You little fucking punk kid.
55:08
Don't tell me what to do. That's what someone of the crew
55:11
members said, and the whole thing culminated in a fistfight
55:14
or would have A crew member didn't catch Reynolds arm as he
55:17
went in for the kill. Cocked.
55:21
Anderson and Wahlberg both suggested that Reynolds was high
55:23
on set as well. Right, that doesn't help.
55:27
And Reynolds continued this narrative after the shooting
55:29
rapped when he saw a rough cut of the film.
55:31
He fired his agent for recommending the role and made
55:34
his unhappiness public knowledge.
55:36
Wahlberg said that his behavior cost him a potential career
55:39
comeback and was quoted as saying he would have won the
55:41
Oscar. Has he not?
55:42
Had he not dug himself such a hole?
55:44
Yeah, he distanced himself from the film, which is why I think
55:46
he didn't win it. Yeah, it was big news.
55:48
I remember it come when he came out and it was big news, yeah.
55:51
I'm looking forward to seeing you in action, Jackson.
55:53
You've got a great big cock. I guess so.
55:57
Yeah, I see it. Really.
56:00
Please. OK, so moving on, it's a huge
56:02
cast. We've mentioned it.
56:03
We're not going to go through them all in detail, but we've
56:05
got a couple of Patreon questions here to cover our
56:08
favourites in the cast. So first Patreon question from
56:11
Craig Rooney. Hello, Craig.
56:13
Hello, Craig. Craig says in a cast of this
56:16
size and quality, which actor gives the best performance of
56:19
the film and why? We're not including Wahlberg or
56:22
Reynolds here because we've already talked about them.
56:24
So, Matt, do you want to go first?
56:27
Who you're picking out as your fave?
56:29
Yeah, we've talked about him already, but I do want to go up
56:31
back to the Han Solo look alike. That is Johnson Riley.
56:34
A. Dead ringer.
56:36
It's a dead ringer. Uncanny.
56:39
I mean, there's Is there ever a time when it's not a good thing?
56:41
Now John C Reilly in your film. He's.
56:44
Just wonderful. Isn't he always honored?
56:46
He's always great and I love him.
56:47
He's such a warm presence because he's not the type person
56:52
you expect to be a porn star, which makes it all the funnier.
56:54
He's slightly dopey. Terrible poetry.
56:58
She's so. Great.
57:00
Great magic though. Great magic.
57:02
Magic. Amazing but so engaging as a
57:05
presence. And what like is that?
57:07
It's you get the instant friendship with Dirk.
57:09
There's that little bit of one upmanship to go through.
57:11
You know, we've said already what he benched 350, you know,
57:14
when the countdown and neither of them see it after three.
57:16
You didn't see it. It's it's it's friendly and he's
57:22
straight in there as a mate, someone who's ultra reliable.
57:25
He's a really confident presence and I think he does a lot, a bit
57:28
like Reynolds, to just dispel any potential sleaze in this in
57:31
this film, John C Riley, course, he's not sleazy.
57:34
Yeah, brilliant. Yeah, he's great in surprisingly
57:37
good nick, considering my mind's eye view of what John C Reilly
57:42
looks like in Speedos, which I obviously don't think very
57:46
often. I'll pull back on that.
57:50
I might, that might not make the edit.
57:55
I love his interview in the Diggler dock.
57:57
He's got. He's actually got a kernel of a
57:59
good point about movie violence, but then it all crumbles and his
58:02
delivery is fucking atrocious as well.
58:04
Yeah, yeah, yeah. Well, let's.
58:07
Just let's just forget, let's forget about movies.
58:09
I'll fuck on my own time you. Can't fuck forever.
58:18
Who's your cast member that you're picking out?
58:20
I'm going to go for Julianne Moore because I think she's just
58:23
incredible in this film and she has the most to do emotionally.
58:28
She has the most to do in in terms of actually transforming
58:31
from a character and going through something and having
58:34
that being that mother figure. And I think she plays that so
58:37
well. She plays the, you know, the
58:39
distance from her own child so well.
58:41
She plays the the emotion, but she brings a depth to it that
58:44
you can actually buy into and that you actually, I believe.
58:48
And I think it's just she's just fantastic.
58:51
She's so watchable. I think when she has that scene
58:53
with Roller Girl and she's like, are you going to be me mom?
58:55
I'm going to say you me mom, and you just say yes, you know, and
58:57
I don't want to leave this room. Yeah, I don't want to leave this
58:59
room either. You know, just it just brings a
59:02
real elegance and a real weight, just much like Burt Reynolds
59:05
does, I think because she's just on his arm, you know, when you
59:09
see her on screen, she's just electric.
59:11
And this, I think she's just fantastic, a real presence
59:14
before she was a real presence, to be honest.
59:17
And she was, you know, she just shows that read.
59:19
She's capable of anything. And what she went on to do after
59:21
this is based on, probably based on this performance, it's just
59:25
incredibly believable, incredibly lovable character as
59:28
well, incredibly flawed at the same to just all of them things
59:32
all mashed together. I think it's just incredible
59:34
that she pulled that off. I think she's just absolutely
59:36
100% fantastic in the film. It's a really complex character
59:40
and it's a great performance and we probably could have had it in
59:44
the cast, but it would been a much bigger conversation.
59:47
And there was not much in the research about Julianne Moore's
59:49
performance. But yeah, she is the architect
59:52
of her own downfall. She loves Dirk and sees them,
59:55
sees herself as a surrogate mother, but she does have sex
59:57
with him and she's the reason he does.
59:59
Cork in the 1st place is all very messed up, all very
1:00:02
complicated. And I mentioned earlier, tapping
1:00:04
into what I said, the sinister unspoken things that reveal
1:00:08
themselves. After the credits roll, you
1:00:10
start thinking about the film, that scene with Roller Girl and
1:00:12
Amber where she's asking if she can be her mother.
1:00:14
She says yes, all the while they're doing piles of cork.
1:00:17
But what goes on said is that those two almost certainly do
1:00:21
porn scenes together as well. The same with Dirk.
1:00:24
It's just, it's all, it's all very.
1:00:26
It's all very complex, all very, very.
1:00:29
Yeah, it's a very confused of about, you know, an emotion and
1:00:32
a family unit and this whole kind of belonging, really.
1:00:37
Well, I'm going to go for Don Cheadle, who plays Buck Swap.
1:00:41
Big Book. Big book.
1:00:43
Incredible. This is hi Fidelity.
1:00:45
Very important. Very important.
1:00:48
I love him in that TK 421 scene. Oh, I think you really need all
1:00:52
that bass. Yeah.
1:00:54
Hilarious. Do that in store.
1:00:55
Very little cut. Amazing.
1:00:58
Yeah. Hilarious when the customers
1:01:01
stumbling on the price and book just cuts in.
1:01:03
Deadly serious. I have this very unit in my
1:01:06
home. Do you?
1:01:07
Yes, I do. Yes I do.
1:01:10
I was going to put this a track in.
1:01:11
No, you're listening. You get that freaky dicky.
1:01:15
It helps me. You feel that?
1:01:20
When he fumbles through the technical stuff that he's
1:01:22
clearly bullshitting the modification that takes it up
1:01:25
another 3 or 4 quarts per channel, but that's really kind
1:01:30
of technical talk that doesn't concern you.
1:01:32
But he's all about the technical and he doesn't know what he's
1:01:35
talking about. Yeah.
1:01:36
Brilliant. And yeah, that country western
1:01:39
number without any irony whatsoever.
1:01:42
But I think that's the tragedy of book.
1:01:44
He's a man completely out of place and uncomfortable in his
1:01:47
own skin. He wants to be a cowboy, you
1:01:49
know, that's his thing. But it's not cool and he gets
1:01:52
pushed back from everyone about it.
1:01:53
So he tries to go with what's expected, including that Rick
1:01:57
James braided wig that he's wearing at New Year's Eve party,
1:01:59
for example. But it's beautiful that Jesse
1:02:02
loves him for who he is, cowboy outfits, sunrises and all.
1:02:06
And who the hell doesn't love Don Cheadle?
1:02:08
He's a highlight in anything. Yeah, he's class.
1:02:11
Unless he's a cockney, but it's fine.
1:02:13
Apart from the Cockney Barney rabble.
1:02:17
Barney Rabble Nice to be working with real crooks again.
1:02:22
Hang on to your knickers. Oh, OK, now there's a certain
1:02:28
whiff of indulgence here on my part with our second Patreon
1:02:32
question. This one is from.
1:02:34
You just want to answer this. This one is from Peter
1:02:37
Sutcliffe. Hello, Peter.
1:02:39
Hello, Peter. Peter asks, are there any films
1:02:42
that Luis Guzman doesn't elevate with a sheer presence?
1:02:45
I'll stay silent. Westie Go.
1:02:47
Is there any that he doesn't? There's one that he doesn't,
1:02:49
which is Black Ray and everything else, yes.
1:02:51
And I even you guys, when you might not see Matt, you might
1:02:54
have, but I have because I've got two young children.
1:02:56
So I had to watch Journey to the Mysterious Island and he fucking
1:03:00
elevates that as well. He's.
1:03:01
Great in that and you know what else he's brilliant in and he
1:03:04
really elevates is the hard way he's.
1:03:06
Brilliant. He isn't in that.
1:03:07
And he's also fucking excellent in Crocodile Dundee. 2
1:03:11
Brilliant, yeah. The elevate, yeah, you're right.
1:03:14
The elevates everything but black rain because that can't be
1:03:17
elevated by anybody. But yeah, everything else.
1:03:19
Absolutely agree. Oh, wonderful.
1:03:21
Excellent. Matt, what about you?
1:03:23
Yeah, shameless this like by you.
1:03:25
I know you know, really interesting questions.
1:03:29
You know, you'd be like. 15 questions in.
1:03:30
Films within films, you know, What would your porn names be?
1:03:33
You're like Guzman, no straight in with that.
1:03:36
It's the last episode. Yeah.
1:03:40
No, he he is a great character actor and obviously every film
1:03:43
he's in, he does bring something to and and yeah, like any great
1:03:46
actor, he does improve every film he's in.
1:03:48
I don't know if I would go all the way and say elevates with
1:03:52
she your presence. So because if you took him out
1:03:54
of this, it's not going to be shit all of a sudden.
1:03:57
Yeah, if you take him out of Magnolia, that's not going to be
1:03:59
safe. You take him out of traffic,
1:04:01
that's not going to be shit. So yeah, I always love to see
1:04:03
him in something, but I wouldn't put him up there with like the
1:04:06
best in terms of she presence. You see him on screen and you're
1:04:09
like, that's. I'm happy.
1:04:11
Yeah, great. Sadly, in two hours, boom, boom,
1:04:14
boom. Yeah, I was, if you like, Yeah.
1:04:16
Wow. Don't be don't be surprised if
1:04:19
your piece doesn't make it in the final cut, OK?
1:04:23
I've got a good story though all.
1:04:24
Right. OK, great.
1:04:26
Yeah, because he was one of the actors that went into an actual
1:04:28
porn shoot at one point to take notes.
1:04:30
And when he arrived to said that there's a balcony if you just go
1:04:33
up there and watch. So he's watching the scene
1:04:35
taking place and Goose and said, well, the guy who was involved
1:04:38
looked up, pointed to me and yelled, hey, I know you and
1:04:41
Gooseman just went, well, that's fucked up.
1:04:43
And then, in his words, next thing you know, he goes limp.
1:04:49
Did he have his belly out? He's just.
1:04:51
Super proud of his expanding. Girth in this film, something to
1:04:55
be applauded. Proud as a Peacock?
1:04:57
Letting. It all hang out.
1:04:58
Oily torso. Fantastic.
1:05:01
In that opening scene, he's the king of the club.
1:05:03
He knows everybody. Consummate Horst and his
1:05:06
reaction to Book when he's showing off his cowboy outfit on
1:05:08
the dance floor, it's just hilarious.
1:05:10
He's clearly taken aback by it, but he doesn't want to hurt
1:05:13
Books feelings. I like it if you like it man.
1:05:19
Table #10. Yeah, so I'll watch.
1:05:22
Guzman and. Anything personal favorite?
1:05:24
As discussed on many occasions and will continue as well,
1:05:27
continue to be. Yeah, just because I'm moving
1:05:30
to. YouTube doesn't mean that Guzman
1:05:31
won't. Be prominent?
1:05:32
No, no, he'd be even more prominent in.
1:05:35
The YouTube channel every time. So I think we've covered the big
1:05:41
boys and girls. There, but there are a few other
1:05:43
standouts and we'll get to those later in the show.
1:05:45
But I think we all agree, stellar performances all around.
1:05:48
Yes, huge. Hi, I'm Melanie Rose.
1:05:58
I'm a voice actor. On that love podcast.
1:06:01
Wow, that's a huge round of applause.
1:06:04
I kind of have to say that I deserve it.
1:06:06
I'm awesome. So why am I here?
1:06:09
Where are my notes? OK, found it.
1:06:12
I just wanted to promote why you, the audience, should listen
1:06:15
to our lovely podcast one, we love romance.
1:06:19
Actually, I don't. I'm more into noir films, but
1:06:23
two, we entertain. At least that's what's written
1:06:26
on here. I'm still not sure.
1:06:29
Three, we're funny. I am.
1:06:32
I'm not too sure about the other actors. 4 I guess there isn't a
1:06:37
fourth reason why you should listen You love me.
1:06:41
There's a reason to listen to us, or me to be precise.
1:06:45
Anyway, check out that Love podcast and follow us.
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Bye bitches. Thank you to that Love podcast
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Movies is also sponsored by Foul Play, a true crime podcast.
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1:08:29
With his name in place, Dirk makes a reputation for.
1:08:32
Himself in the industry, climbs up the ladder, introduces us to
1:08:35
his iconic character Brock Landers, picking up awards along
1:08:38
the way. The next scene that we're
1:08:40
looking at is at the dawn of a new decade.
1:08:42
Hello, 80s, goodbye success and happy families.
1:08:45
And I'm going to go first here. And I just want to talk about
1:08:48
Philip Baker Hall as Floyd Gandoli in this scene.
1:08:51
What a performance. Lovely Baker.
1:08:54
Hall we've talked about. Him before he's got an ice cool
1:08:58
entrance with driver's seat by sniffing the tears playing over
1:09:01
the top. Amazing.
1:09:03
And he's amazing in anything big hall.
1:09:05
But he's in the meeting. He's talking about moving the
1:09:07
videotape. He knows what time it is.
1:09:09
The industry is going to be turned upside down with the new
1:09:11
technology and Horner knows he's right.
1:09:14
But he's resistant against it because he sees himself as the
1:09:17
artist. Yeah.
1:09:19
Really great scene yeah, but it's his dialogue in the scene
1:09:22
with Jack I quoted at the top. Just just magnificence dialogue,
1:09:28
comedy, gold butter in his ass and lollipops in his mouth.
1:09:31
But that's just me. That's just something that I
1:09:33
enjoy. What the fuck That is just me
1:09:36
that could. I couldn't have anticipated that
1:09:38
from this almost sweet look and unassuming old man actually
1:09:42
didn't age Macy and got that the wrong way around the.
1:09:46
Butter. In my mouth and lollipops in my
1:09:48
ass. Just what I like.
1:09:52
That's just me in the background.
1:09:54
When Floyd is seeing these outrageous things, Robert
1:09:57
Ridgley, who plays the Colonel, he's in there, and you can see
1:09:59
him howling away at Baker Hall's dialogue, killing himself
1:10:04
laughing, which I'm not surprised PTA blurred him out,
1:10:06
but it's clear to see that he's laughing away.
1:10:09
Yeah, because it's improvised, isn't it?
1:10:11
It's improvised. Is it?
1:10:12
Improvised. I did not know that.
1:10:14
Wow. I mean, who improvised?
1:10:16
Why? Dialogue.
1:10:19
Holy shit. Just.
1:10:22
Incredible like. That one's Emmy.
1:10:24
I know he shows. Up later on, but he really makes
1:10:26
an imprint on the film just with that 2 minutes thing.
1:10:29
Yeah, I think there's another actor to talk about.
1:10:32
Here and it's. A very tornly different scene
1:10:34
because it's Philip Seymour Hoffman.
1:10:36
Is Scotty the great Hoffman. Great Hoffman.
1:10:40
And it's. Just that same way he tries to.
1:10:42
Get Stirk. And then he has the emotional
1:10:43
breakdown in the car when he gets rebelled and I'm just
1:10:46
drunk, man. I'm just out of my mind.
1:10:48
Yeah, I. Mean this scene in a lot of.
1:10:50
Ways it sums up what's great about this film because you
1:10:53
could watch the scene in isolation and think well well
1:10:56
this must be about this guy. This must be Scott Eastville,
1:10:58
not Dirk's because it has that ability to make everyone feel so
1:11:02
important in their scene and you think well this scene it's so
1:11:05
good and it's so emotional must be about this guy.
1:11:08
How can it not be? But it's not it's just this
1:11:10
little side plot that's written and performed really beautifully
1:11:14
and you get so much from it. And the way that I personally
1:11:17
read it is Scotty is this young gay guy who's probably
1:11:20
ostracized from his actual family.
1:11:22
So he's found this family instead, just like some point
1:11:24
who don't care what his sexuality is.
1:11:26
Yes, warm there, but it's still so sad to say how desperate he
1:11:30
is to impress Dirk. You can see he's building up the
1:11:32
courage to wait from because he wants to swore this new car and
1:11:36
it's it's really pitiful in a lot of ways.
1:11:38
I take you. We need to assault, begging him.
1:11:40
Kind of kiss you, kind of kiss you.
1:11:43
And please, do you want to kiss? Do you?
1:11:44
Want me? Do you want to kiss me or?
1:11:46
Yeah, if there's any difference. And I think Wahlberg plays that
1:11:50
scene really well as well because it doesn't get
1:11:53
unpleasant when he rejects them. It's just like, yeah, sorry,
1:11:56
that's just not me. It's not what I'm interested in.
1:11:58
There's not. I mean, he embraces him as well,
1:12:00
doesn't he? But no judgment, yeah.
1:12:01
Yeah, there's no embraces. Like, let's just let's just go
1:12:03
back inside. It still tells him he loves him,
1:12:05
which is so, yeah. But then obviously Scotty stays
1:12:08
behind. He has that like, mini breakdown
1:12:09
in the cards. It's just it's a small scene,
1:12:12
but it's really heartbreaking. I think it's yeah, it is.
1:12:14
It is. It is.
1:12:16
And I think what you were. Saying Matt.
1:12:17
As well is I think this encapsulates the tone of the
1:12:21
entire film really, because you've got it is quite funny,
1:12:25
but then it becomes heartbreaking.
1:12:27
And I think the there's a really great choice from PTA to hold on
1:12:30
him in the car calling himself an idiot and crying in his eyes
1:12:33
because I think a different director would have cut when
1:12:36
Dirk walks away, losing the emotion and the poignancy of the
1:12:39
whole thing track back into the house with him.
1:12:41
Yeah, just a really. Tragic figure.
1:12:44
Yeah, I'm going. To go for another tracking shot,
1:12:46
obviously. New Year, New Year's Eve, and
1:12:49
it's little Bill is finally had enough.
1:12:52
He witnesses his wife just one last time just taking the
1:12:56
fucking piss out of who he is and he's just had enough and is
1:13:00
that it's just a wonderful that wonderful tracking shot in, sees
1:13:04
what's going on, walks out of the car, sits in the car, pulls
1:13:07
a gun out. And Paul Thomas Anderson said in
1:13:09
one of the screenings, there was a bunch of guys and once you got
1:13:13
the car at the glove box, they were just like screaming and
1:13:15
just cheering when he was loading it and walking back in
1:13:17
like right, just going to fucking get his nice one.
1:13:19
He's going to do what he needs to do.
1:13:21
Goes back in. And then it's just so well
1:13:23
played out. It's so well choreographed
1:13:25
because you get the countdown as he goes in the room 543 and that
1:13:30
you shoot some on the 321 and say they're three bullets, a
1:13:32
Bang, Bang, bang the counter, right, Happy new year, boom,
1:13:36
right. It's not happy new year.
1:13:37
And they were cheering when he shot his wife and the guy, which
1:13:40
was meant to be a lot more graphic.
1:13:42
It was meant to be like bullets and really shot them.
1:13:45
But they cut that out and just held that shot and Macy comes
1:13:49
out again. I know it was spoke well,
1:13:50
William H Macy, but I mean this kind of performance where he
1:13:53
does play that complete lost soul.
1:13:56
He's incredible. He's never going to be able to
1:13:59
do it again because he did it so well at Fargo when he did it so
1:14:01
well in this. And this sequence for me is just
1:14:04
peak H Macy. This is what he is born to do.
1:14:07
This, this very performance, this track and shot is what he
1:14:11
was made to do as an actor because he just sells every
1:14:13
second of it. And then when he turns a gun on
1:14:15
himself and it's just bang, that is just an absolute shocker.
1:14:19
And Paul Thomas Anderson said these guys were cheering when he
1:14:21
shot his wife and the stopped and they were still cheering and
1:14:24
he shot himself and then they were just silent.
1:14:27
And he's like, that's the reaction that I.
1:14:28
Wanted from that moment. That's the reaction I wanted
1:14:30
from that scene. And that's how good Macy isn't,
1:14:33
that it's perfect. It is, yeah, incredibly like
1:14:36
comedy and. Tragedy again, combined he
1:14:39
really juxtaposes and well because when the camera starts
1:14:41
tracking little Bill, you know what's going to happen.
1:14:44
He's going to find his his girlfriend or wife in bed with
1:14:47
somebody else. Hilarious.
1:14:48
Yeah, incredible because it's been played for laughs the
1:14:51
previous. Two times exactly.
1:14:52
Exactly. Yeah.
1:14:55
His character is loosely based. On.
1:14:56
Porn actor Kyle Jammer, whose girlfriend Jill Kelly was having
1:15:00
an affair with actress PJ Sparks, spelled with 2X's and
1:15:04
another porn actor. Jammer later shot himself in the
1:15:08
face on Kelly's front lawn. The face.
1:15:10
Yeah. Christ, wow, some people.
1:15:13
Told me the food in here was really.
1:15:15
Good, good It's not good it's. Probably the best place to eat
1:15:19
in all Los. Angeles, it's excellent.
1:15:22
So with the death of little Bill, the advent of.
1:15:24
Videotapes and Dirk's burgeon and drug habit.
1:15:26
The wheels start to come off. Amber director, hard hitting
1:15:30
documentaries shown the real Dirk Diggler.
1:15:32
The Colonel gets busted. There's a wedding in the family
1:15:35
and a new addition to the team which threatens Dirk's
1:15:37
dominance, leading to an explosive bust up with Jack.
1:15:41
Our next sequence starts in 1983 at Sound City Recording Studios,
1:15:45
where Reed and Dirk are laying down some classic tracks and
1:15:48
ends with Amber's failed custody hearing.
1:15:52
And I'm going to start us off by talking about Dirk and Reed in
1:15:54
the recording studio and their failed attempts to get their
1:15:57
tapes back. Please do.
1:16:00
Yeah, I mean. 100. Percent comedy gold.
1:16:03
You got the touch. I mean, I think you should
1:16:06
repeat that then. Yeah, yeah, yeah, yeah.
1:16:11
Reed in the background. Grooving away and Dirk.
1:16:13
Claiming that the bass is taken away from the vocal.
1:16:17
That was a fine that ever happened.
1:16:19
The man Dirk Spectacular vote Golden Tonsils is what he is.
1:16:24
I mean, that song, you've got the touch, which it'll sound
1:16:28
familiar for for a couple of reasons.
1:16:30
Firstly, it sounds to me that it's a RIP off of Jump by Van
1:16:33
Halen, that synth intro. Yeah, yeah, do, do, do.
1:16:37
But also, it's a real song by Stan Bush.
1:16:41
It appeared in the 1986 film Transformers.
1:16:45
Yes, the Transformers movie, and it was originally written for
1:16:48
Cobra, but Stallone said no, which I understand considering
1:16:51
the number of bangers on that soundtrack.
1:16:53
Bangers. And now we're going to listen to
1:16:59
a cut. Of Dirk's fine vocals.
1:17:02
And then we're going to segue into the actual song just to
1:17:04
give you a feel for the different, different versions.
1:17:07
Get ready to punch the air. You got.
1:17:12
The touch, you got the power. A great track.
1:17:42
Sang twice beautifully there. Yeah, yeah, all, all the songs
1:17:47
are great. Though.
1:17:49
Feel Rock You. Feel, feel, feel my.
1:17:56
Heat. Repeat that.
1:17:58
Repeat that a bit more. Feel.
1:17:59
Feel. Feel, feel, feel, feel.
1:18:02
Feel my heat? Were you rolling on the
1:18:06
rehearsal? Incredible, but my favorite.
1:18:09
Part is the interaction with the recording studio guy, he says.
1:18:13
It's not an. MP it's a YP your.
1:18:15
Problem and Reed says, but now you're talking about my head
1:18:18
MPYPI don't understand this industry jargon.
1:18:24
There's magic on those tapes that's ours.
1:18:26
I need to get that magic to the recording company and Dirk jumps
1:18:30
in and he tries to. Explain it in.
1:18:32
Simple arithmetic. Well, all right, 123.
1:18:34
We're guaranteed a record deal, our stuff is that good.
1:18:38
Amazing. And they're just absolutely.
1:18:41
Frenzied Dirk doesn't know what a catch 22 is.
1:18:43
He gets confused about that, but it just captures the man year of
1:18:47
the. Whole segment.
1:18:48
And I think it really feeds off the energy from the roller girl
1:18:51
Amber storyline that's happening at the same time they cross cut
1:18:55
and they all, like both of them, build up into this frenzy.
1:18:58
Great movie director. And Robert Downey Junior's dad,
1:19:02
Robert Downey senior plays the record studio guy that Durkan
1:19:06
reader argument with, right? Yeah, yeah.
1:19:08
And he plays a part in a moment. Later in the film.
1:19:10
But we'll, we'll get to that. Yeah, OK.
1:19:13
I think it's really important. Here.
1:19:16
About the junk position between film and tape and how important
1:19:20
tape is and how it's destroying everybody's lives that they
1:19:23
can't get the tapes back. Jack doesn't want to record on
1:19:26
tape. Very good.
1:19:27
You know, it's got that real kind of negative connotation
1:19:30
towards anything that has to do with with a taped kind of
1:19:34
medium. And I really enjoy that.
1:19:35
I love where it's cross cut with with a few different sequences
1:19:38
here that really build the pace and it's really, really good.
1:19:41
But the thing that sticks with me about the whole sequence is
1:19:43
just book just trying to get that bank loan.
1:19:46
And it's just he's just such a genuine character and it's the
1:19:49
only character that you see not actually performing on the films
1:19:53
sexually, you know, even though he is a pawn.
1:19:55
So but you don't see it, you don't know.
1:19:56
I don't really buy into the fact that he is one necessarily.
1:19:59
It doesn't really come across to me that that way He wants to get
1:20:02
out as well, doesn't he wants to he kind of wants to get out, but
1:20:04
it doesn't really feel like he's in there.
1:20:06
Doesn't feel like he's part of it.
1:20:07
He's never really been happy. So he's got his own identity.
1:20:10
And it's something that he just did kind of not really of his
1:20:14
own accord, something that he wasn't necessarily proud of.
1:20:16
And it was always the stereos and always, you know, trying to
1:20:19
get his own way and make his own way, even though, you know, a
1:20:22
black man in the late 70s, you should be in.
1:20:24
You shouldn't be in the country and West and you should be into
1:20:26
this. And I think it's a really
1:20:28
interesting character from that regard.
1:20:30
And he goes in and it's the fact that, you know, it's, it's
1:20:33
covered over that, yeah, you're a porn star and you're not going
1:20:36
to get any money from the bank. But it's also kind of this this
1:20:39
racial undertone as well from this kind of, you know, this,
1:20:43
this white kind of totalitarian, like I'm a I'm a bank manager
1:20:47
and you're not getting anything. Oh, yeah, because you're a porn
1:20:50
star. But I think it's also because
1:20:51
he's a black man at that time asking for money from an
1:20:54
establishment. And I don't think they trust him
1:20:56
either way. And they're just happy that he
1:20:57
has that as an excuse to say Noble can't because of that.
1:21:01
And I love that. I love the way that everyone's
1:21:02
choices in the past for what they've, you know, to become
1:21:07
part of this family are now backfiring.
1:21:10
And, you know, you've got you've got Amber and you've got Roller
1:21:12
girl trying to make a new family together.
1:21:14
But the whole sequence with with book on for that bank loan, I
1:21:17
think it's just it's just heartbreaking.
1:21:18
It really is heartbreaking stuff.
1:21:20
One of the most, you know, genuine characters of the whole
1:21:22
film, being denied something for doing something that he didn't
1:21:26
necessarily want to do in the 1st place.
1:21:27
Wants to be a genuine standard person of society and isn't
1:21:30
allowed to. And I think that's it.
1:21:33
Yeah. It's beautifully played out by
1:21:34
Cheadle as well. I think his performance in that.
1:21:36
Oh yeah, he's great. He's fantastic.
1:21:38
Brilliant. Yeah.
1:21:39
Yeah. The Human Torch was.
1:21:40
Denied. A bank loan.
1:21:47
We're to undermine everything I've just said.
1:21:55
No, I think this. Whole sequence is created true
1:21:59
and ramifications really, And I think it's really brilliantly
1:22:05
illustrated with Amber here when she goes to that custody hearing
1:22:08
because Amber is really fundamentally a very likable
1:22:12
character. And you're watching a here where
1:22:14
she's done up as smartly as she can make herself such completely
1:22:18
presentable, completely respectable.
1:22:20
But you can still see how fragile she is and she has no
1:22:24
one on her side. He should just need to have a
1:22:26
lawyer to represent her. And I think Anderson shoots us
1:22:29
in a really interest rate because first of all, she's
1:22:31
nearly cut out of the frame entirely.
1:22:33
She's barely there on the side. And then when he slowly zooms in
1:22:37
on her, it cuts off from the judges in the middle of the shot
1:22:40
and it cuts off from her ex-husband and his lawyer who on
1:22:43
the right hand side the shot. She was always isolated.
1:22:46
She's always surrounded by Dead Space because everything is
1:22:49
stacked against her in the scene.
1:22:51
And even at the end when she stood out side sobbing, no one
1:22:54
has support her and all these people just walking past her and
1:22:57
not one stops to ask how she is like, why is this woman, you
1:23:00
know, in absolute hysterics? And this is despite the fact
1:23:04
that, yeah, we've seen her who run up the cork and, you know,
1:23:07
not answering the phone when it's obviously a son on the
1:23:09
other end. So, you know, she's clearly no
1:23:11
Angel and she does lie about that in in this heroin.
1:23:14
But I think more is so good and and the writing is is so good
1:23:19
for her character in the scene that you're still on the side
1:23:21
and you're pretty devastated. That's just not going to get the
1:23:24
second chance with the Sun. That character has done as well.
1:23:28
It is. Quite.
1:23:28
Amazing that you are on her side and as well I mean in any other
1:23:33
director I may have looked. This or any other, right, I
1:23:35
would look at this and go, well, this is her redemption.
1:23:36
This is her way back. And Jack would come in, Dirk
1:23:40
would come in, Roller Girl would come in, and they would all sit
1:23:43
with her and back her up and make sure that she gets custody.
1:23:45
And it would all be like this real family coming together and
1:23:48
her kind of, you know, repenting all of our sins and becoming a
1:23:51
better person. But it doesn't work like that.
1:23:53
She descends outside alone and broken down.
1:23:56
And I think that's a really bold choice.
1:23:58
Yeah, I think I like that it cuts.
1:24:00
When the. Judge asks, what was that?
1:24:03
When was the last time you were arrested and what was the
1:24:05
charge? We don't need to know.
1:24:07
It's fucked up immediately. It's not going to.
1:24:09
It's not going to work out, No. Amber's family issues were
1:24:12
inspired by similar events experienced by porn star
1:24:15
Veronica Hart. And Veronica Hart plays the
1:24:18
judge in the scene as well. All right, OK.
1:24:21
PTA called her the Meryl Streep of porn.
1:24:24
Well, he would know. Yeah.
1:24:26
Yeah. Expert big porn guy.
1:24:28
John. Doe plays Amber's.
1:24:30
Estranged. Husband.
1:24:31
He was the bassist and singer in LA punk band X.
1:24:35
He also played the bartender with the Tash in Roadhouse.
1:24:39
He's been a lot of other things. And keep your ears peeled and
1:24:43
your eyes open because I will be interviewing him soon, so look
1:24:46
out for that in the next few weeks.
1:24:48
Brilliant. John Doe.
1:24:50
Yeah. So inevitably, everything is
1:24:53
crumbling. Around Dirk and his colleagues.
1:24:55
And it's going to get a whole load worse before it gets any
1:24:58
better. Yep.
1:25:03
The crew. The crew on Boogie.
1:25:07
Nights. We're starting with Paul Thomas
1:25:08
Anderson here. Again, but this time we're
1:25:10
talking about him as writer Westie.
1:25:12
What do you think of the screenplay for Boogie Nights?
1:25:15
It's to me evident that this was 3. 100 pages cut down to 180
1:25:20
pages. I think he has a lot of ideas.
1:25:24
He had a lot of ambition. The Dirk Douglas story obviously
1:25:28
was the start of it, and right now, in your late teens is
1:25:31
ridiculous. And then to make it into a
1:25:34
screenplay that tries to flesh out a story and a narrative when
1:25:37
it was based on Spinal Tap. If you try to flesh out Spinal
1:25:41
Tap into a narrative, it'd be quite similar, but I hear you're
1:25:45
going to follow. What they're going to do, it
1:25:48
seems. To just be very linear.
1:25:49
It's a very kind of linear arc, if there is such a thing.
1:25:53
They all end up back where they started and just go through the
1:25:57
motions and go through these experiences, and you go through
1:26:00
these experiences with these people.
1:26:01
But at the end of the story, I don't really feel like any of
1:26:04
the characters learn anything apart from book.
1:26:06
Obviously he gets his own place and leaves, but I think everyone
1:26:10
else is just kind of stuck where they've always been.
1:26:13
And that's to me quite depressing.
1:26:15
Just kind of same of this is the life that these people have got,
1:26:18
whether they like it or not. And no matter what choices they
1:26:22
make, whether it's positive or negative, they're going to end
1:26:24
up being back here because this is where they are and this is
1:26:27
their life and this is where they deserve to be, I guess.
1:26:31
And I've always found that quite, quite depressing and
1:26:33
always wanted us to go to a not to a cheesy uplift, an ending,
1:26:37
but at least something else where it didn't, it didn't
1:26:40
settle where it feels that you're starting to watch the
1:26:42
film again. Yeah.
1:26:44
And I think Paul Thomas Anderson had.
1:26:47
He must have. Had a lot of choices of what
1:26:49
he's going to put in here. Some of the scenes that he does
1:26:50
decide to put in here are absolutely flawless.
1:26:52
Don't get us wrong, brilliant set pieces, brilliant, brilliant
1:26:56
sequences. But I think he's chosen these
1:26:58
sequences and cut it down to 180 pages because he's read it and
1:27:01
went what's going to look the best?
1:27:04
Which scenes can I make look really good?
1:27:07
Which are the? Most.
1:27:07
Dynamic visually, which are the most dynamic stylistically.
1:27:12
And I think he's chosen the story based on the stylistic
1:27:15
nature of the scenes as opposed to the emotional or the content
1:27:19
of the scenes. And that's where the writing for
1:27:21
me becomes quite mixed for Boogie Nights.
1:27:23
So I have got a bit of an issue with it because it's not one of
1:27:26
them films where I feel fulfilled by the end of it.
1:27:29
Visually, it's stunning, but emotionally, I don't really feel
1:27:32
like I get any kind of resolution.
1:27:33
And I think that is down to him and I think that is down to the
1:27:36
right and then the choices that he makes within that, right.
1:27:38
OK, fair points. I don't think that PTA.
1:27:41
Is moralizing with this story. It's not an indictment of the
1:27:44
porn industry and those within. I think he's got great affection
1:27:47
for it, and that despite the sleaze that surrounds that,
1:27:49
there are still good people who deserve happiness and a family
1:27:52
around them. Yeah, but I think it would be
1:27:55
irresponsible. For him to make a celebration.
1:27:57
Of the year without you on the pitfalls of the excess and the
1:27:59
potential corruption of youth and morals.
1:28:01
So we get Dirk's spiral and drug use, Amber's inability to have
1:28:05
access to a son as a result of the choices that these
1:28:07
characters have made. So I think the balance in the
1:28:09
writing is very good. OK, now I mentioned family
1:28:13
there, and I think this is something that.
1:28:14
Obviously he's. Interested in something you
1:28:16
mentioned on a period episode a few months back, Matt?
1:28:19
He puts these weed characters together with these fascinating
1:28:22
results and Jack and Amber, surrogate parents, book, Dirk
1:28:26
Roll a girl, etcetera. The children and amazingly the
1:28:28
results are quite touching. These people who are on the
1:28:31
fringes of society and being let down or have let down their
1:28:35
family have found happiness or people they can relate to.
1:28:40
If I do have some complaints, it's in a couple of areas in the
1:28:43
writing, and they are nitpicks. But we really don't get to
1:28:47
understand how and why Dirk's home life is so bad, why he's
1:28:50
pushed to the point of leaving. Although that blazing scene with
1:28:53
him and his mother does do a good job of taking a shortcut
1:28:56
because it is really hard to watch and you can't feel the
1:28:58
emotion there. But it's just it's plunked in.
1:29:01
He's he's already having a bad time, but we don't know why.
1:29:04
Yeah. And the other thing is the
1:29:06
character of Todd Parker, played by Thomas Jane Allore.
1:29:09
I think it's a good performance. It just shows up in the midpoint
1:29:12
of the film and it's not really made clear to me who he is or
1:29:15
what his role is. But he needs to be in there
1:29:18
because he's a major partner in the Rahad.
1:29:20
Jackson scene at the. End.
1:29:22
But for me, I don't know what he.
1:29:23
I think like listening back and reading and watching back of the
1:29:27
film. He's a dancer.
1:29:28
Yeah, but I don't really. But that's not made very clear.
1:29:32
He's introduction to the character.
1:29:33
You think he's going to be a threat to Duke?
1:29:35
You definitely do. You definitely do need to.
1:29:38
Be a bad influence on him, Yeah. So I think that character is not
1:29:42
written very well. Matt, what do you think of the
1:29:45
writing on Boogie Nights again? It's very striking that he's 26
1:29:50
running. Rights this and I think it's
1:29:52
unbelievable. It's unbelievable with a little.
1:29:55
Bit of naivety. Thrown in there for me.
1:29:57
I think, I mean, from a positive angle, he just has this really
1:30:02
uncanny ability to create so many believable and different
1:30:05
and interesting characters all in this one film.
1:30:08
And I kind of mentioned it, I suppose, when I talked about
1:30:11
Scotty. This feels like this film could
1:30:13
be about anyone if it wanted to be so.
1:30:15
It could be about Amber and Roller Girl and their
1:30:17
relationship. Like say, it could be about
1:30:19
Scotty. It could be about book story,
1:30:21
trying to leave the pawn industry behind, and it's not
1:30:25
it's about Doug. But I still feel I know those
1:30:27
characters and I know the background each and one of them.
1:30:29
And that's really cleverly done. No one is there for me just as a
1:30:32
fill of character and the way that Anderson weaves all the
1:30:36
characters together and all that different storylines that's, you
1:30:39
know, really pretty accomplished and pretty impressive.
1:30:42
What really resonates for me or and it's the reason I find the
1:30:46
film very watchable is is why you've essentially been seen
1:30:49
there, Luke. I think it's a very warm and
1:30:51
affectionate film for all these characters.
1:30:54
I think you've said it yourself, it's incredibly non judgmental
1:30:57
about these characters and it makes a big deal about the fact
1:31:00
that the Aura family, yes, they're in an industry where
1:31:03
people will make these big, instant and big moral judgments
1:31:07
about them. But I don't think PTA ever does
1:31:10
that and never feels like anyone has been punished.
1:31:12
No, he does. So some ramifications, but
1:31:16
doesn't go over the top of those.
1:31:18
Yeah, I think there's real compassion to his writing here.
1:31:21
Where the naivety is for me is that he's like a dog.
1:31:25
And if you throw a ball for a dog will go after the ball.
1:31:27
This is like someone's thrown 10 balls in the air and like he
1:31:30
wants to go for the ball and he's got so many plates
1:31:32
spinning. So he will do things like that
1:31:34
amazing scene with Bill and his wife when he kills and then he
1:31:36
kills himself. But I would like to see a bit of
1:31:39
after effect of that. I'd like to see what do people
1:31:41
think of Bill's decision to do that.
1:31:43
I'd like to see a little more reaction from Amber is to lose
1:31:46
in custody because it's it's amazing that scene.
1:31:48
I said it is, but it kind of gets forgotten about as the film
1:31:51
goes on. And I think that's just him
1:31:53
being young and naive and just so many plates in the air, which
1:31:57
is impressive. And it's got so much ambition.
1:31:59
But just a few of them could be a bit more finely drawn, I
1:32:01
think. OK.
1:32:03
Yeah. Fairpoint.
1:32:04
Fairpoint all round I think. Anderson was raised in San
1:32:08
Fernando Valley. And was heavily influenced.
1:32:10
By the pawn studios around him. He found his dad's video copy of
1:32:14
porn classic The Opening of Misty Beethoven and was hooked.
1:32:17
From that day on. He was nine years old.
1:32:21
Wow. Outrageous.
1:32:23
Yeah. Jesus Christ, he said when I was
1:32:26
a 17. Year old.
1:32:27
I was completely immersed. In watching porno in a kind of
1:32:30
horny young boy way, but also in a sort of filmmaking way, which,
1:32:34
you know, an education. And he was getting his kicks at
1:32:36
the same time, which is nice. Win, win.
1:32:38
But it's nice, Yeah. And this was the time when he
1:32:41
conceived and shot. The Dirk Diggler story.
1:32:43
He said the real seduction of the porn industry was in the
1:32:45
imagined backstories, the circumstantial tragic comedies
1:32:49
of the cast and the crew on the name Dirk Diggler, he.
1:32:53
Said, you know he wasn't. Too sure how he came up with it.
1:32:56
He just came to him when he was 17 years old, he said.
1:32:59
I think a good pawn name has to have two GS in it.
1:33:02
It just looks good and sounds good.
1:33:04
And a key is pretty important as well.
1:33:06
So there you go, if that's what you're looking for.
1:33:12
And the moment at the end. The hilarious moment when?
1:33:14
They're unveiling the Rodriguez brothers sign and it's
1:33:18
misspelled. That wasn't planned.
1:33:20
That's a cue. It's a cue.
1:33:22
The Rodriguez. Brothers.
1:33:24
That's obvious. It's supposed to be.
1:33:29
AG. Anderson misspelled it in the
1:33:30
screenplay. And decided that it would make a
1:33:32
funny. Scene.
1:33:32
And it absolutely does. Yeah, absolutely incredible.
1:33:37
I want to fuck. It's my big Dick.
1:33:39
So everybody get ready. Fucking.
1:33:40
Now moving over to our next crew member, we're talking about
1:33:44
cinematography. By Robert Elswit Matt, what do
1:33:48
you think of the cinematography here?
1:33:50
I think it's great. I think Goodfellas is as we've
1:33:53
said. Before the very, very big
1:33:55
influence on the film, and I think you get that he was well
1:33:57
because those amazing shots like the Open, we've talked about the
1:34:01
one at the pool where that camera's sneaking around in
1:34:03
between counters, in and out of the pool.
1:34:06
It's clear to see where it's coming from.
1:34:07
But it's like that direction, You've still got to be able to
1:34:10
pull it off. And this feels like he's just
1:34:13
pulled it off without break in a sweat.
1:34:14
And I love the various looks that this film goes through.
1:34:17
So it's really sunny and pride at the beginning gets
1:34:20
progressively dark as the film goes on.
1:34:23
And I do love the recreation of all those porn films, that
1:34:25
crappy film quality, they are excellently done.
1:34:29
Really, really feel like not like the genuine thing.
1:34:31
And you know, you look at Elswit, there's a
1:34:33
cinematographer, you know, the guy knows what he's doing.
1:34:36
He did 6 films with PTA. He's done Good Night and Good
1:34:39
Luck. He's done Night Crawl.
1:34:40
He did two of the Mission Impossible films as well.
1:34:42
So the guy is great. And I think he just delivers
1:34:45
everything this film needs in terms of Torn, in terms of look
1:34:48
and in terms of camera movements.
1:34:50
And I think what he does is he's 20 years older than PTA, but he
1:34:53
takes all that youthful energy that PTA has probably quite
1:34:57
undisciplined energy as well. And he puts it on screen.
1:35:02
But I know when Elsewhere took the gig at first his.
1:35:04
Wife told him. Not to do it because she'd read
1:35:07
the script and he gave her this big speech about, Oh no, it's
1:35:10
about love, it's about family. This is going to be a classic
1:35:12
American film. And she just looked at him and
1:35:14
went, You're so full of shit, you just want to see the naked
1:35:17
girls. It's a fair cop.
1:35:27
The cinematography, I think it's dazzling, these.
1:35:29
Amazing long takes like, you know, we've said it the one at
1:35:32
the start, the one that tracks little Bill when he goes on the
1:35:34
the murder suicide spree, the one around the pool, the one
1:35:37
right at the end that tracks Jack through the house and picks
1:35:39
up with everybody playing happy families, right Oh yeah, yeah,
1:35:42
yeah. I think PT is really flexing his
1:35:44
muscles because you. Know he can and.
1:35:46
In else, but he's got someone who can keep up with him and
1:35:49
bring his vision to vibrant life.
1:35:50
And I don't think that that's no main feat because PT is going
1:35:54
off like a firecracker and for somebody just to keep up with
1:35:57
him, I think he's amazing. Quite literally in some scenes.
1:36:03
The steady Cam. Operator Robert Vidor said Else.
1:36:05
What was the dominant organizer of everything?
1:36:08
The DP. He was very strong, and if the
1:36:10
director said something, he would rebold it.
1:36:12
Yeah. Matt, did you see what I did
1:36:15
there? We went first.
1:36:16
We didn't let didn't let Wesley kind of come in and embarrass
1:36:21
us, but that's what he's going to do now.
1:36:23
So Wesley, would you like to embarrass us elsewhere?
1:36:25
The cinematographer? Not at all.
1:36:27
I just I totally agree. We'll leave it there.
1:36:35
No, not at all. Yeah, like you guys have said,
1:36:38
he's a very, very. Grounded figure.
1:36:39
And I think this is the rule that Burt Reynolds should have
1:36:41
had from an actress point of view.
1:36:43
And he does it from a cinematographer's point of view.
1:36:45
He takes the energy of a young man.
1:36:47
He takes the the vibrance of a young man turns into something
1:36:50
very mature, very watchable, very elegant, very expensive.
1:36:54
And you could he could have been easily the one who turns around
1:36:57
and has a fistfight as opposed to Burt Reynolds.
1:36:59
It could have been Ellswick or you want a crane and you want to
1:37:01
track that down. You want to do a tracking shot
1:37:02
that's too many. You want to introduce all the
1:37:03
cup what you're doing that for. But he doesn't argue and he
1:37:06
allows that camera to move. He allows that camera to flow.
1:37:09
He did hard 8 and they didn't have the money to do an
1:37:12
anamorphic film. So the kind of just cheated it a
1:37:14
little bit by putting the, you know, the lines on for 2:30 for
1:37:18
2/3 to one, which is an anamorphic ratio.
1:37:20
So they get the money in. So what does he do?
1:37:22
Anamorphic lenses to shoot this 2-3 to one anamorphic ratio.
1:37:26
So it looks very cinematic. There's no way to hide with it.
1:37:29
Else but knows what he's doing. And I feel honestly that else
1:37:32
but it was as excited as Paul Thomas Anderson shooting this
1:37:35
film. I think you get that vibe from
1:37:38
it. He's really enjoying what he's
1:37:39
doing. He's allowed to become, you
1:37:42
know, a real father figure. And I think you're talking about
1:37:44
a family within the film. I think there's a family within
1:37:46
the crew. And I think the amount of times
1:37:48
that Else but worked with Paul Thomas Anderson after this is
1:37:51
testament to that. It's not in any way any kind of
1:37:56
ego or pretentiousness in the way that this is shot.
1:37:59
It is very much somebody with open arms welcoming and of brand
1:38:02
new talent. And I really think, I mean, it
1:38:05
almost brings fucking tears to me eyes to think that somebody
1:38:08
who's 20 years older has embraced a young talent to this
1:38:11
degree where people don't even know who Robert Elswood is.
1:38:14
Everyone knows who Paul Thomas Anderson is and that's the step
1:38:17
back that he took on this film and he has got every single part
1:38:22
to play as much as Paul Thomas Anderson, if not more, in how
1:38:25
good this film looks and how good this film flows and how
1:38:28
good this film feels and how good this film is.
1:38:31
Fantastic. Wonderful words, as expected.
1:38:37
Cinematographer and later director Barry Sonnenfeld was
1:38:40
bummed out when he heard like Boogie Nights was in production
1:38:42
because he'd always planned to make a film about his experience
1:38:45
of being a porn DP. He actually shot 9 porn films in
1:38:49
a nine year stretch. OK, Bang Bang bang.
1:38:53
More. Than one.
1:38:56
Nine bangs. That's.
1:39:01
Not an MP, that's a wipe. Your.
1:39:04
Problem. I'm up with the money and I'll
1:39:06
give you. The tapes, that's it.
1:39:08
Okay, all right, now you're talking about my head, all
1:39:10
right? I don't know this industry
1:39:11
jargon. Why PMP?
1:39:12
Whatever. Okay, finally, as part of the
1:39:14
crew, we're talking about the music in the film soundtrack.
1:39:18
Westie. Yes, you've got the touch.
1:39:20
Go for it, You've got the power. Yeah, this is going to be one of
1:39:22
the top five soundtracks. Of all time.
1:39:29
In the way that Scorsese does it so well, In the way that
1:39:32
Tarantino. Does it so well in the way that
1:39:33
was spoke about it countless times on these classic episodes
1:39:37
and how easily this could have just been a cliche.
1:39:39
How easily this could have been an eye roll or a yawn.
1:39:43
You know, like, you sexy thing, buy hot chocolate.
1:39:46
Yeah, right. I'm doing it.
1:39:48
It's seventies, 1977. It's it's based on, you know, at
1:39:51
the porn industry. Yeah.
1:39:52
Do you want a hot chocolate? You know, you sexy thing?
1:39:55
The first I would alarm bells would go off in my head if that
1:39:57
was not. Yeah, I can't.
1:39:59
No, there's no chance. There's no way that's not.
1:40:01
That's no way that's going to work.
1:40:03
And you just kind of go Afternoon Delight by the
1:40:05
Starland Vocal Band. Do you want that in there?
1:40:07
No, that's not going to work. That's too.
1:40:09
It's too on the nose, It's too cheesy.
1:40:11
Every single song in this film is almost like a master class
1:40:17
like Scorsese does in Casino, where it just basically marries
1:40:21
the scene. Everything.
1:40:23
Every song marries the scene. It marries the narrative, it
1:40:26
marries the tone, it marries the characters.
1:40:28
It does everything. You know, a fight with his mom
1:40:31
kicks him out the house, he runs out the house, he goes to Jack's
1:40:34
house where he's been invited. And then you've got that
1:40:36
incredible version of Mama told me not to come by, you know,
1:40:39
Three Dog Night, not the fucking Stereophonics Tom Jones.
1:40:42
I'm asking fuck off this version.
1:40:45
And it's just Mama told me not to come.
1:40:48
It's so obvious and so much like if anyone else had done this,
1:40:53
they would just it would just be almost like, oh God, it's tired.
1:40:56
I feel a bit, you know, a bit sick about how obvious that is,
1:40:59
but it works. It's just one of them
1:41:01
soundtracks where like Matt mentioned on the Casino episode
1:41:05
where he said I'll I love this soundtrack when I'm watching the
1:41:08
film and it's the same, this is my basically exactly the same as
1:41:11
Matt, but this is my version is I love this soundtrack when I'm
1:41:14
watching the film, But if I listen to the soundtrack, I get
1:41:17
bored very quickly. Just independently by itself.
1:41:20
It doesn't really work for me because I've heard these songs a
1:41:22
million times and the cliches upon themselves.
1:41:26
Yeah, OK, they all work. But when you put them in this
1:41:28
film and they just have this energy and it builds the film
1:41:33
for him to pick these and to play them when he does, and for
1:41:36
it not to be a cliche, it's nothing short of a fucking
1:41:39
miracle. And it really works.
1:41:41
It's amazing. It is amazing.
1:41:43
What do you think? Yeah.
1:41:45
I just don't know how he gets away with you sexy.
1:41:48
Thing in this it's like that should have been the first one
1:41:51
you could yeah, it works and I can't explain it the whole
1:41:54
thing. I mean I've been humming these
1:41:56
songs to myself last few days. All different ones to gloriously
1:42:00
or to revisit. Huge wealth of songs to choose
1:42:03
from and I like how he does pick massive numbers.
1:42:05
So, you know, opening with Best of My Love at the beginning,
1:42:08
ending religion thing at the end, but the song isn't that to
1:42:11
me anyway, which were much more obscure.
1:42:14
And, you know, I mentioned Lonely boy band of gold I love
1:42:17
Fooled Around and Fell in Love by Alvin Bishop as well.
1:42:21
Yeah, we're just having sex in the driveway.
1:42:23
That's New Years and so. Jessie's girl, Obviously we'll
1:42:27
get to that whole scene later. I just think great songs used
1:42:30
amazingly well in Simon's. That you just think it's one of
1:42:33
the Sandra acts speaks for itself.
1:42:36
You know, just the amount of great scenes that are great
1:42:38
because of the songs in them. And I know when he got the right
1:42:41
to live and think Jeff Lynne asked for preview, which he was
1:42:44
really nervous about in case he didn't like it and took the
1:42:47
rights back. So when he was screening it, he
1:42:49
sat a few rows behind him and he was just watching the back of
1:42:52
Jifflin, Jeff Lynne's head, trying to gauge reaction.
1:42:54
He said when the film ends and living thing kicks in,
1:42:57
apparently just Jeff Lynne's both of his arms that just shot
1:43:00
up in triumph and he walked out. That's when he knew he was old.
1:43:04
Yeah, because Jeff. Lynne's against.
1:43:06
Violence and sex in movies, right?
1:43:07
But if? The if you hear living thing you
1:43:09
think of a massive Dick. That'll do.
1:43:11
Yeah, you can use it, Paul. Not a problem.
1:43:13
I'll I can handle. That.
1:43:15
That's my song. You know you would.
1:43:19
Expect a film called Boogie Nights to include.
1:43:21
The disco classic of the. Same name by Heat Wave, but Heat
1:43:24
Wave lead lead singer Johnny Wilder.
1:43:26
Junior was a devout Christian and said that the song was about
1:43:29
dancing, not porn. Fair enough.
1:43:32
Yeah, fair enough. Yeah.
1:43:33
It's not right. It's fine.
1:43:35
So. PT is all over the crew with.
1:43:37
His writing and his. Song choices.
1:43:38
But he found ADP in Robert Ellsworth that really spoke his
1:43:41
language. Absolutely.
1:43:46
The end. Picking up where we.
1:43:50
Left off, we're looking at the sequence where Jack conducts an.
1:43:53
Experiment with Royal Girl called On the Lookout an
1:43:56
inventive name. I think he just made that up on
1:43:58
the spot. This is cross cut with Dirk
1:44:00
being picked up at a drive through and book.
1:44:02
Getting in deep with doughnuts. That isn't a metaphor.
1:44:08
That could have gone. Very wrong if you, yeah.
1:44:12
When you said cross cut there, I thought you.
1:44:13
Want to say something very different?
1:44:15
Yeah, tender hoot, here are. We going to finish this soon.
1:44:21
We've done so well so far, a few mistakes along the way.
1:44:26
But you'll never hear. So.
1:44:32
I'm going to start off with Roller Girl.
1:44:34
And there's a really ominous presence in this scene, with
1:44:36
those bells of doom ringing in the soundtrack.
1:44:40
We know something's up. Roller Girl trying.
1:44:42
And feeling to be sexy with. Those pouty glances at the
1:44:44
camera? Awful.
1:44:47
And it all gets uneasy when the guy says that he.
1:44:49
Used to go to school with. Roller Girl, that's him right at
1:44:52
the start of the film in the class.
1:44:54
But nevertheless, he went to school there.
1:44:55
But he's in there. And despite how uncomfortable
1:44:58
and uneasy it all feels, Jack's dialogue is hilarious.
1:45:03
And he's saying things like don't just ram it in there.
1:45:05
This isn't a hole in the wall. This is Roller Girl.
1:45:07
Be respectful. This is Roller Girl.
1:45:09
Yeah, you know something's going to go wrong, and things really
1:45:12
do. Change when the.
1:45:13
Car stops, the footage goes from being the handheld like film,
1:45:18
like the stock film, to actually part of this film.
1:45:21
It switches and the guy says that Jack film.
1:45:23
Jack's films are shit now and that really touches a nerve with
1:45:26
them. And the reason that he explores
1:45:28
into this geyser of violence is because he knows what the kids
1:45:31
saying is true. Yeah, he's really touched
1:45:34
enough. He's making shit films.
1:45:35
He's sold out, he's making video or the arts, gone out of his
1:45:38
work and has really, really disturbing when rolling the
1:45:41
girl, slamming her skates into his head while he's helpless.
1:45:44
Yeah, yeah, horrendous. And talk about Roller Girl for a
1:45:48
moment. Taking the role did seem.
1:45:50
To backfire on Heather Graham, who couldn't get a gig in
1:45:52
Hollywood for a couple of years after this and she even
1:45:56
considered taking a role in a soft core erotic film before
1:45:59
being cast in the second Austin Powers Powers film.
1:46:01
It was things got that bad and in my head she kind of just
1:46:05
disappeared from public view. A real shame because I think
1:46:08
she's fantastic. She's really fantastic in this.
1:46:11
But that's which from the character, from this sweet and
1:46:14
innocent, you know, bubble gum girl to this monster that she
1:46:18
unleashes on this guy and she's being dragged out in the car.
1:46:21
Fuck you and hope you die and all this kind of stuff that it's
1:46:24
chill and stuff. Yeah.
1:46:26
Brilliantly done though. It's totally believable.
1:46:28
It's totally. Believable and the rule she got
1:46:30
an awesome powers. It's a parody.
1:46:32
Of this one, really. Yeah, Yeah, yeah, you're right.
1:46:35
Yeah. I never thought of it like that.
1:46:36
Yeah. Felicity shag.
1:46:37
Well, it's when it all goes a. Bit sour this part of the film
1:46:42
isn't. It and it is a bit, it is a bit
1:46:44
hard to watch because not one character really gets away with
1:46:47
anything positive or pleasant that happens.
1:46:50
And I think when Dirk gets picked up by Joe in the truck,
1:46:54
you just think, right, OK. And it seems quite genuine.
1:46:58
And you think, oh, you fall into a false senses of purity where
1:47:01
you just think because the film has been quite safe to that
1:47:04
point. But you see the violence from
1:47:06
Roller Girl, you see what's happening there and it kind of
1:47:08
cross cuts between the two. And you think, I think Derek's
1:47:12
just not look for it anymore. And he's just, you know, he's
1:47:14
past his best. And just think, oh, that's as
1:47:16
bad as it's going to get. And you don't.
1:47:17
I didn't see this coming. And I didn't again, when I
1:47:19
watched it again, actually, I totally forgot about it.
1:47:21
And it does take you from left field.
1:47:23
It's just, it's horrible the way that switches and that torn
1:47:26
switches and you get put through that.
1:47:29
But the worst thing about the whole thing is that Dirk's just
1:47:31
back where he was. It's $10.
1:47:33
It's $5, you know, and he had this, he had this whole empire
1:47:38
and he kind of ruined it for himself.
1:47:39
And you just think, well, is there any coming back from this?
1:47:42
The way that it's shot, the way Paul Thomas Anderson puts you in
1:47:45
that truck, you're right next to him, you're in that, you're in
1:47:48
there. It's quite claustrophobic.
1:47:49
And then when it kicks back and it fires, it nose dives a little
1:47:53
bit too hard, do you think? I think so, personally.
1:47:58
I think it just nose dives a little bit.
1:47:59
Too hard and then comes back. But to me it could be a bit more
1:48:02
of a subtle dive for one of the IT could nose dive for one of
1:48:06
the characters. That's fine, but when everyone
1:48:08
starts getting hit at once, to me it just seems like a really
1:48:12
dark, shadowy, kind of real murky part of the film that's
1:48:17
quite swampy for me. I don't really feel like there's
1:48:20
any point. I don't feel there's any
1:48:21
retribution for it. I don't think anyone learns
1:48:23
anything by it because they always just ended back where
1:48:25
they were anyway. So I think it's just a bit of a
1:48:28
kick in the guts because Thomas Anderson knows you can pull that
1:48:32
emotion because you've been with that character.
1:48:34
You've been with all of these characters and he's just like,
1:48:37
oh, well, let's just give them a kick in and let you let you
1:48:39
watch them have a kick in. But there's no real point in
1:48:42
that because it's just going to be fine anyway.
1:48:44
There's no retribution, there's no consequences.
1:48:46
That yeah, there's no consequences, no.
1:48:47
Retribution. There's no redemption.
1:48:49
There's no point. Nobody learns anything by it
1:48:52
because they just go back to where they were from.
1:48:54
So for me it's a real dip, this part of the film and it really
1:48:56
takes it takes a few kind of notches off of me.
1:49:01
It's a bit too, it's a bit too low.
1:49:02
It's a bit of too low blow for me.
1:49:04
It's a bit of a sick now. So this is the part of the film
1:49:07
that really kind of just pulls me back a little bit and and and
1:49:10
spoils it a little bit, to be honest.
1:49:12
OK, OK, hey, it's interesting. He's seen.
1:49:16
Here because there's a scene after this.
1:49:17
Thought I thought was going to end really badly for the
1:49:20
character in this went book. Buys those doughnut.
1:49:22
Me too. Yeah.
1:49:23
So I was just on edge throughout.
1:49:25
Because I thought. Oh, no, where this is going soon
1:49:28
as that robber Anderson, of course, slow more first time saw
1:49:31
thought, oh God, he's just going to be out of there, isn't he?
1:49:33
Yeah, then he doesn't. But then it goes even worse
1:49:37
because obviously the robber gets taken out.
1:49:38
The guy sitting with a gun, he takes him up.
1:49:41
He gets taken up by the Rodney accident, takes the cashier out.
1:49:44
And all this carnage is happening while Silent Night is
1:49:46
playing over the section saying this over over Christmas.
1:49:50
And then when Focus was standing there, like covered in blood,
1:49:53
he's in his white suit. So it's an amazing image.
1:49:55
But I was like, and he's looking at the cash on the floor.
1:49:57
I was like, Oh yeah, I know what's going to happen.
1:50:00
He's going to take the money, but the cops are going to show
1:50:02
up because they've had the gunshots and he's a black guy,
1:50:04
the scene of the crime, and he's got the money in his hands and
1:50:07
they're just going to get him down, no questions asked.
1:50:09
And there's going to be a real sickener.
1:50:11
So I like it how it doesn't do that.
1:50:13
He actually gets away Scott free with this money.
1:50:15
And, you know, I definitely agree with Wesley's point that
1:50:18
this whole section is, is quite grim.
1:50:20
But this I think is, is the, the, the positive note that you
1:50:23
need because before this, you've had the scene in the bank where
1:50:26
he gets turned down unjustly for the money, which has been really
1:50:29
harsh on him. So, you know, which is nonsense
1:50:32
when you think about it. Just this moral judgement of the
1:50:35
job that he's had saw that can't be seen to be doing business
1:50:38
with somebody like him. Yeah.
1:50:40
Which is, which is again, racial and there's that little tone as.
1:50:43
Well, not necessarily where he's been from.
1:50:45
Yeah, courses so to see. Book get this money and.
1:50:48
Obviously his wife heavily pregnant as well, which just
1:50:50
adds to the tension. God, is he going to get killed
1:50:52
before, you know, his child is born?
1:50:54
For this scene to go completely the opposite way I was expecting
1:50:57
it to, it's it turns out to be real highlight actually, because
1:51:00
it just starts off so obviously. But it ends with a big kind of
1:51:03
like sigh of life, who he actually got away with it and
1:51:06
got. Yeah, it is a big relief to me.
1:51:10
He's in a desperate situation when he created when he leaves
1:51:13
the. Car and she's pregnant and he
1:51:14
goes into the into the door. I think he's going to hold that
1:51:17
place up. He's desperate.
1:51:19
I feel like he's good. He's walking.
1:51:21
He's looking at the door and say I'll have that 10, that's for
1:51:23
Christmas, all right? They give us the money.
1:51:24
And I expect him to be like, right.
1:51:26
And I think if there was an undertone where he was going to
1:51:28
do that but had to have the gun in his pocket and didn't, and
1:51:33
someone else did it anyway, that for me would be joyous.
1:51:36
Yes. Great.
1:51:38
Yeah. Yeah.
1:51:39
And I do get you what you mean there.
1:51:41
Are there are there are no consequences for roller girl,
1:51:43
There's no consequences for what happens to to Dirk and no
1:51:46
consequences to book ad I do like.
1:51:51
That like the previous scene, it all.
1:51:53
Crosscuts and the energy from Roller Girl feeds into the Dirk
1:51:55
scene, which both feed into the book scene.
1:51:58
Because you know something terrible is going to happen and
1:52:00
you think, well, I certainly think that book's going to go
1:52:03
because of what's going on in those two scenes, and also
1:52:07
better. Still, that they all.
1:52:08
Happen in the same location. The the the aftermath of all of
1:52:12
those. Those two scenes are picked up
1:52:15
when Buck comes into the donut shop, which I think is a smart
1:52:18
move. Very nice.
1:52:19
It's Cosmo. It's Chinese in our final
1:52:26
section. We're headed the long.
1:52:27
Way down as. Dirk Reed and Todd masterminded
1:52:31
a drug deal with silk and bathrobe lunatic Rahad Jackson
1:52:35
and all hell breaks loose. We're obviously talking about
1:52:38
the drug deal gone wrong. Westie, kick us off.
1:52:42
I mean, it's just great from the get go.
1:52:44
Isn't it just a set up for this? Whole scene is just fantastic
1:52:47
when they're sat around the table and that camera is just
1:52:50
spinning. You get vibes of the planning
1:52:52
from Reservoir Dogs when they're all just sat around the table
1:52:55
and the cameras kind of going around.
1:52:56
Well, countless of the films where you've just got that
1:52:59
spinning camera, where there's just working on certain things.
1:53:02
But the dialogue here works really well.
1:53:04
I think Thomas J And when he say he's got more money than God,
1:53:08
fucking great like. Fill it up with big and powder.
1:53:11
He's not going. To try it and you just think,
1:53:13
hold on a second, this is quite flawed from the start.
1:53:15
Yeah, it's a crap plan. Probably is going to try it like
1:53:18
this is. This is shit plan.
1:53:21
And then it just, it spins around and they get more and
1:53:24
more convinced. And he's like, look, I know what
1:53:25
I'm doing, Trust me. And you just don't trust this
1:53:28
character whatsoever. But even, like, predating this,
1:53:32
there's a great, great sequence that's just like a montage.
1:53:34
It was so well shot by elsewhere where Thomas James keeps coming
1:53:37
into the room and then snapped past them.
1:53:39
And they're just like, they sit up and they're in the same
1:53:42
position with different clothes every time.
1:53:44
Like, yeah, well, you found it. They close up on the knife.
1:53:46
And it's just all these different things.
1:53:48
You can tell he's not to be trusted and kind of builds that.
1:53:50
And then that spiral and round the round the table just builds
1:53:53
the tension, builds the tension, ramps it up, ramps it up, ramps
1:53:55
it up. And then when they arrive at the
1:53:57
house and he's like he'd be got, he's got the gun.
1:54:00
And like, say if you've got a gun as well, he's like, no, just
1:54:05
be quiet. And then.
1:54:06
That's where the humor. Comes into it and you.
1:54:07
Just think, right, OK, I've witnessed what's going to
1:54:09
happen, surely this is going to be bad.
1:54:11
But at the same time, he injects that comedy and carries it
1:54:14
forward and probably one of the most memorable sequences of the
1:54:17
whole film and one of the most memorable performances of the
1:54:20
whole film. And Alfred Molina, I think the
1:54:22
whole thing is just absolutely brilliant from start to finish.
1:54:26
Yes, it is. Yes it is.
1:54:28
I mean, I just want to talk about.
1:54:29
Alfred Molina here, like forever.
1:54:31
Yeah, I'll be here forever. I can't get enough of this
1:54:35
performance. I mean take it like the actor is
1:54:39
this mild mannered English fella and he inhabits this role like
1:54:42
very few have ever known. I put him up there with Oldman's
1:54:45
Drexel from True Romance. He's amazing.
1:54:49
Sean Penn and John Turturro were both considered for the role.
1:54:52
I love both of those guys but Molina is so unbelievably good.
1:54:56
I just wouldn't change anything about it.
1:54:59
I want a Netflix spin off. Who doesn't?
1:55:02
That would be amazing. Laugh out loud funny like when
1:55:05
he's doing the. Full band.
1:55:07
Main thing for Sister Christie. Incredible.
1:55:30
I love that song. Great.
1:55:32
Hadn't heard the songs until. Three days before.
1:55:35
Yeah. Brilliant.
1:55:39
He's. Completely out of control.
1:55:40
When he's playing Russian roulette.
1:55:42
And things. Have gone downhill quickly for
1:55:44
doing. That image of.
1:55:49
Laughing with a gun. Hilarious.
1:55:53
When he's talking about his mixtapes.
1:55:55
He he dislikes. The order of albums and then it
1:55:57
goes silent and a firecracker goes off.
1:56:00
The first time he acknowledges it and his explanation is
1:56:03
priceless. It's Cosmo.
1:56:05
Like, you know, don't worry about it.
1:56:06
It's Cosmo. He's Chinese, Chinese.
1:56:08
And then this is a. Slightly about experience.
1:56:17
Everything. He's Chinese.
1:56:18
Oh, that's fine. It's brilliant though, again.
1:56:21
We're talking about. Tapes and how they.
1:56:22
Rule. And like, I don't like anything
1:56:25
telling me what I should listen to, when I should listen to it.
1:56:27
And then the tape stops and then plays the side B.
1:56:30
It goes on to side B because it's got to stop somehow.
1:56:32
You've got to be dictated to somehow.
1:56:35
And even the tape has to stop and then tell you when it's
1:56:37
going to start again, which is fucking brilliant.
1:56:39
He pulls his face when it stops. Like, what are you going to do?
1:56:42
He. Said this fucking thing.
1:56:44
Yeah, Wahlberg. Riley and Jane start reaction.
1:56:48
To the. Firecrackers going off were
1:56:49
real. The reason that Molina doesn't
1:56:51
react to them is because he's got an earpiece in playing the
1:56:53
music and the dialogue, but muffling everything out.
1:56:56
Incredible. PTA said that much.
1:56:59
Porno and. Cocaine, it's bound to lead the
1:57:01
sister Christian, which is fair enough.
1:57:04
Yes, it's absolutely fair enough.
1:57:06
I mentioned that Robert Downey. Senior plays a part in the.
1:57:09
Film. And this is the scene where the
1:57:11
guy who's dropping the firecrackers is lifted from a
1:57:13
moment in his film Putney Swap, a character in that does the
1:57:16
same thing. Yeah.
1:57:18
And Peter used the word swap from that film.
1:57:20
For Don Cheadle's. Character in this oh OK but then
1:57:23
jessie's girl comes on and he's. Dancing around, adding.
1:57:26
Lyrics getting the real lyrics wrong.
1:57:29
Just an incredible sight in his bathroom probe.
1:57:32
Incredible. I'm so jealous.
1:57:41
I'm so jealous. I wish I had Jesus and.
1:57:46
I when it all kicks. Off his bodyguards, down, and he
1:57:48
comes. Blazing out of his room with a
1:57:50
shotgun crazed. Just my favorite performance in
1:57:54
in a film of great performances and he isn't actually the scene
1:57:58
was cut. There was a three hour cut of
1:58:00
the film initially and there was a seat a part of the scene cut
1:58:03
where the cops arrive and he keeps on getting bigger and
1:58:07
bigger arsenal of weapons until the end.
1:58:08
He gets like an anti tank gun glory like.
1:58:14
Scarface, Scarface. To Jessie's girl.
1:58:18
That'll be fucking brilliant. I'm so jealous.
1:58:22
So with Jessie's. Girl.
1:58:26
The whole. Scene was influenced by a
1:58:28
similar incident that happened involving.
1:58:30
Porn actor John Holmes. In 1981, Holmes and a gang of
1:58:34
mafia heavies reportedly broke into a drug house and murdered
1:58:37
three people in an act of retaliation known as the
1:58:40
Wonderland Murders. Holmes and the gang were later
1:58:43
tried and acquitted. It's a fascinating story if you
1:58:45
want to look further into it. Yeah, yeah, it is.
1:58:47
I mean, horrendous, awful, but yeah, I mean, Sister Christian
1:58:53
can't, can't get enough. 99 red balloons coming on.
1:58:56
Just yeah. Yeah, doesn't even kick in.
1:58:58
Just the intro, just until he comes.
1:58:59
Outside and then. It's when they go outside and
1:59:01
yeah, the shotgun, the. Window blows up.
1:59:07
That's so good. Yeah, because after this, this
1:59:09
is when it all starts. To wind down isn't.
1:59:11
It and I think for all this huge sprawling cast, multiple
1:59:16
storylines, it ties them all so beautifully, and specifically
1:59:20
with Dirk and Jack. And I don't think Wahlberg's
1:59:22
ever had a better scene than after the deal goes wrong and he
1:59:25
gets back to Jack's and he just apologizes and he just asks for
1:59:29
help because he's at rock bottom, nearly throwing his life
1:59:33
away. Literally all that ego, all that
1:59:35
cork is gone and he's just that little kid again.
1:59:38
We saw at the beginning getting upset because his mother's
1:59:41
turned pictures off the wall. And I just love Jack's reaction
1:59:45
as well because there's no bitterness.
1:59:47
He's not holding a grudge about this.
1:59:48
It's just, yeah, you're forgiven.
1:59:50
Come get it, OK? Come back home.
1:59:53
It's. It's where you've always
1:59:54
belonged, I think. That's really.
1:59:56
Beautifully played by the pair of them.
1:59:58
And then you go from that into the final montage of the film,
2:00:00
which is God only knows which. That song, I mean, it's almost a
2:00:04
cheaty as that song. All the songs are almost a cheat
2:00:09
on there. That's the point.
2:00:11
I mean this one mean, I think Paul McCartney said it best, he
2:00:13
said. It's one of the.
2:00:14
Fewest few songs that would uses them to tease every time, which
2:00:17
are totally wonderful and it's when it all comes together.
2:00:20
I think it's only then that you realize God, I've got so much
2:00:23
affection for all these characters.
2:00:25
Absolutely. You know when he started to say
2:00:27
like how their stories who have ended.
2:00:30
CC book has finally got a store. Reed's got.
2:00:33
Reed's got his magic show on stage.
2:00:36
So fucking brilliant. Naughty, naughty.
2:00:41
Whoops. Maurice has got the school
2:00:46
blokes even though the name spelled wrong.
2:00:49
And the bit that really sounds out to me, though, it's just so
2:00:51
nice to see Scotty there and he's happy and he's filming the
2:00:54
birth of Book and Jesse. So yeah, because it would be
2:00:57
awful. He's right in there, like it
2:01:00
would have. Been awful if the.
2:01:01
Last thing you saw of him was that shot of him sobbing in the
2:01:03
car. You never saw him again.
2:01:05
He's seen me like, oh, he's all right.
2:01:07
He's got his friends. He's going to get through this,
2:01:09
you know, Even the Colonel gets the end.
2:01:11
He deserves being made someone's bitch in prison.
2:01:14
Sure, Yeah, absolutely. This monarch works.
2:01:16
Out. Yeah.
2:01:17
Ties it all up beautifully. And then you see a massive.
2:01:20
Cock. But that's it.
2:01:25
You spoke about my, you know, when he went to goes.
2:01:28
Back or Eddie goes back and sees Jack and apologize and ask for
2:01:31
help. Like how did Burt Reynolds say
2:01:33
that and not like it? Yeah, yeah, exactly.
2:01:36
How did you watch that? And just what?
2:01:37
I don't like this. Film like, yeah, come on.
2:01:40
Yeah, it's got so much hard right at the end there.
2:01:42
Yeah, I think it must be an. Ego thing.
2:01:44
He must have saw that. You know what?
2:01:45
That's fucking. Brilliant.
2:01:47
Yeah. I don't think he wanted to back
2:01:48
down, did he? From Yeah.
2:01:50
Basically, the He'd made his school Hollywood bravado.
2:01:53
Isn't it? It's just a real.
2:01:54
Shame. So everyone is back together.
2:01:57
One weird messed. Up dysfunctional.
2:01:59
Family and we finally get Dirk's big reveal. 13 inches is a tough
2:02:03
load. Looks normal to me.
2:02:14
Reception and awards. Despite the studio.
2:02:19
'S. Demands PDA's original cut at
2:02:20
Boogie Nights. Was three hours long.
2:02:22
New Line Co founder Bob Shea made his own 2 hour cut of the
2:02:25
film and test screened it in Pasadena.
2:02:28
Anderson was so enraged that he walked among the viewers and
2:02:30
told them how shit the film was and that they were all going to
2:02:32
hate it. He did this to encourage low
2:02:35
test scores, which the film got. Brilliant.
2:02:38
Jumped up a little prick. Brilliant.
2:02:42
He's struggling. Compromise on the.
2:02:45
Runtime of the film. By cutting some big scenes out,
2:02:47
one of which is where it's revealed that Dirk's parents
2:02:50
have been killed in a car crash by his porn rival Johnny Doe.
2:02:54
Yeah. Too much.
2:02:56
Yeah. Yeah, No.
2:02:57
Not too complicated, Totally not.
2:02:59
Necessary. Despite the cuts, PTA to submit
2:03:02
the film to the. MPAA 18 times before getting an
2:03:06
R written they were threatened to slap it with an NC 17.
2:03:09
And their main problem with the scenes with the little Bill's
2:03:12
wife, they complained that there was a lot of humping and talking
2:03:15
at the same time and which they didn't didn't care for at all.
2:03:19
But just wondering what the unrealistic one or the other so.
2:03:22
They should reshot the scene so she.
2:03:23
Could do a. Couple of thrusts, then talk,
2:03:26
then go back to thruston. They were happy with that.
2:03:30
Yeah, OK, keeps. Keep that in mind.
2:03:31
Keep that in mind. Listeners, Yeah.
2:03:38
But when it finally got its release, it was a big hit
2:03:41
considering the. Subject matter on a budget of
2:03:43
$15 million, it returned 43.1 million worldwide.
2:03:47
Not in the billions that Titanic got that year, or even the 250
2:03:51
million that been returned that year have been, we've referenced
2:03:55
it a couple of times already. 250 million?
2:03:58
What the fucker? God.
2:04:00
But still a hell of a lot more than expected.
2:04:02
By a rookie. Director.
2:04:03
About the porn industry, a period piece as well.
2:04:06
Yeah, critically, you've gotten a universal acclaim, The
2:04:10
Observer said not since the mysteriously reclusive Terrence
2:04:13
Malick has there been such an explosion of sheer talent on the
2:04:16
American movie scene. Yeah, Entertainment Weekly said
2:04:19
Boogie Nights an epic tale. Of porn pleasure.
2:04:21
And excess offers a pure hit of exhilaration than any movie this
2:04:25
year. And finally, our final time with
2:04:28
Ebert Roger. What did he give it out to?
2:04:31
Four 3 1/2 cocks. How many cocks for you?
2:04:37
Man 3 for ME3. Take 3 can you?
2:04:48
I don't know where the third one is.
2:04:54
Roger gave it. A big four out of four.
2:04:57
Four cocks. Yeah, yeah, just the four.
2:05:00
He said Boogie Nights. Is an epic of the low Rd. a
2:05:03
classic Hollywood story set in the shadows instead of the
2:05:06
spotlights, but containing the same ingredients, fame, envy,
2:05:09
greed, talent, sex and money. He loved it.
2:05:12
Couldn't get enough of it all. 13 inches.
2:05:19
And now Boogie Nights has an IMDb score of seven point. 9 out
2:05:23
of 10 and 93% on Rotten. Tomorrow's big news.
2:05:27
Yeah, everyone loved it, and that's consistent with the
2:05:29
award. Season as well.
2:05:30
Where Boogie? Nights got nominated at a number
2:05:32
of ceremonies. PTA Reynolds and Julianne Moore
2:05:35
were nominated at the Oscars, Moore was nominated at the
2:05:38
Golden Globes, and Reynolds picked up Golden Globe for best
2:05:41
supporting. He later sold his award for
2:05:43
$21,000, taking his dislike of the film to the grave.
2:05:50
So just one major reward. I'm guessing that the.
2:05:52
Subject matter was. A little too hot to handle for
2:05:56
the the Academy, yeah. All the right movies ranking.
2:06:04
We have our very own. 13 inch big reveal here.
2:06:07
The huge ATRM written our final section ever.
2:06:13
Big news. Yeah, Matt, summary and score
2:06:16
out of 10 for. Boogie Nights.
2:06:18
I've really enjoyed going back to Boogie Nights.
2:06:20
There's a. Real joy to it.
2:06:22
It's full of energy and it's definitely the kind of film you
2:06:25
watch and you go, well Jesus Christ, this guy, someone to
2:06:28
watch, isn't he? I mean, how does he do all this
2:06:30
at that age? Because put together that cast
2:06:33
to match with that soundtrack, to keep hold of all these
2:06:36
storylines, to fill it with such creativity and amazing
2:06:40
cinematography, but above all else, to put all these things in
2:06:43
the film about pornography. And like I said, when we talk
2:06:47
about the direction, it never once feels seedy or unpleasant
2:06:51
in in that respect. I mean, it doesn't back away
2:06:54
from the consequences to some people's actions here and some
2:06:57
people's sources. But I think the tone of the
2:06:59
script is so well judged, which is why so re watchable.
2:07:04
And also because performances across the board are just
2:07:07
excellent. It's one of the best acted films
2:07:10
of the 90s, I would say. So the only flaw for me, and
2:07:14
it's a very. Personal thing.
2:07:16
It's how you look at a film is I think I have to look at this
2:07:19
from the perspective of who Paul Thomas Anderson is now, and I
2:07:22
look at this film and I enjoy so much.
2:07:24
But I know he's got there Will be Blood in two films time and I
2:07:28
know he's got Inherent Vice and even Licorice Pizza.
2:07:32
Those films for me, his his voice, that's who he is as a
2:07:37
person. Like I said when I talked about
2:07:39
him in the director, this is a film by an incredibly talented
2:07:42
mimic who just want to show you that he can do what Scott says
2:07:45
he can do, and that's fine and he does it brilliantly.
2:07:49
But ultimately I just think because there was more to come
2:07:51
from Paul Thomas Hanson and better to come from him, I have
2:07:54
to to talk to Mark. So it gets a nine from me.
2:07:59
Still big? Yeah, it is still big.
2:08:01
Not. 13 inches but still big but I'd be.
2:08:03
Happy with it. We.
2:08:06
Were 9 inches. Yeah, fucking right.
2:08:12
SD what about you? Yeah, very much the same.
2:08:15
As Matt, I mean, I feel like this is one of them films.
2:08:17
That when I come back to it, it's just like I've said, I have
2:08:20
got issues with it. I did thoroughly enjoy it.
2:08:22
It zips along. It's got so much confidence.
2:08:25
It's got so much energy. It's got so much vibrance.
2:08:27
It's got so much confidence. It's it's just brilliant to have
2:08:31
somebody of that age at that time in Hollywood making
2:08:34
something like this and just going, this is what I want to
2:08:36
make. Fuck you.
2:08:37
And we need more people like that now.
2:08:38
We need more people to stand up be especially now with the
2:08:41
access that we've got to film making equipment.
2:08:45
You can make it on your phone. Just you need somebody just
2:08:47
good. Now this is what I want to make.
2:08:48
Fuck you. And it's just you can tell he
2:08:50
believed in the material. Tell he believed in himself.
2:08:52
More importantly, which I think is what anyone should take from
2:08:54
this film, is that self belief that Paul Thomas Anderson has,
2:08:57
no matter how big the crew, no matter how intricate the camera
2:09:00
moves, no matter how of an ensemble of the cast it was.
2:09:03
He was not fazed by any of it. And that needs to be applauded.
2:09:06
And that will always be applauded by me every single
2:09:09
step of the way. But it does fall down in the
2:09:11
story element. It does fall down in the content
2:09:15
of where this is going, what the characters are doing, what they
2:09:17
learn from it, what the moral compass is.
2:09:20
It doesn't seem to have one. To me.
2:09:22
It's very much style over substance.
2:09:24
And like Matt said, I would, I'd go to Magnolia after this and
2:09:27
say that's him, right? He will go.
2:09:30
That's a voice that's completely original film.
2:09:32
This, like Matt said perfectly, is a mimic of like who he wants
2:09:37
to be and he's not quite there yet.
2:09:39
It's still a really enjoyable film, but for me it's not one
2:09:42
that I'll go back to again and again, and I probably won't for
2:09:44
another couple of years. And I like to go on a journey
2:09:47
when I watch a film and I like to feel moved and changed by the
2:09:49
end of it, and I don't by the end of Boogie Nights.
2:09:51
I do stylistically, I do technically.
2:09:54
And for me, that's the reason this will probably get one of
2:09:56
the lowest marks I've given anything and I'm going to get a
2:09:59
given in the hour. 10. Yeah, fair enough.
2:10:01
Yeah, that's fine. Covered.
2:10:03
With relative fresh eyes, like I said at the top, I found a lot
2:10:06
more than I anticipated having watched it about 3 or 4 times in
2:10:09
the last week or so. I think the performances, like
2:10:12
you say, Matt, top notch across the board, an ensemble piece,
2:10:15
and I really love an ensemble cast and this is really one of
2:10:19
the best soundtrack. The same PTA is an incredible
2:10:22
talent and you can see that from the first real to the last.
2:10:25
I think his judgment of Tony is very, very good.
2:10:28
It's equal parts hilarious, sinister heartbreak, and it's a
2:10:32
film I will now rewatch many times, I think.
2:10:36
But I'm not going to give a top marks because there are those
2:10:39
net fix that I mentioned in the screenplay.
2:10:41
And I can't help thinking that AV is too closely into being
2:10:44
derivative of Scorsese. Just that shared too much for
2:10:47
me. Yeah.
2:10:48
Yeah. So Boogie Nights gets a huge 9
2:10:50
out of 10 for me. OK.
2:10:53
Fair scores. I think.
2:10:54
I think so, yeah. All round, yeah.
2:10:57
Nothing outrageous there. Nothing outrageous.
2:10:59
Well, wait. Until the Patriots goes.
2:11:01
OK, 5. Our. 4th score for Boogie Nights
2:11:06
comes from our ever dependable and Much.
2:11:08
Loved period supporters. They've been voting in their
2:11:11
droves, but I've picked out some comments first, so here they
2:11:14
come final time and thank you everybody for voting, commenting
2:11:18
on every episode that we do. Yes, thank you guys, Justin
2:11:21
fellas, said Virtuoso. Period piece.
2:11:24
Direction and cinematography. Great performances and casts
2:11:27
which remind us of how cool Burt Reynolds can be.
2:11:31
And best of all, a killer soundtrack which manages to
2:11:33
include Jethro Tull and the 1986 Transformers animated film Power
2:11:37
Ballad. You got the touch. 10 out of 10
2:11:43
Transformers took it. Over the top there about.
2:11:46
Dean Jones said one of those films.
2:11:48
That could go on forever and I wouldn't.
2:11:50
Get bored. Expertly made with an amazing
2:11:52
balance of comedy and drama. Has to be a 10 for me.
2:11:55
Wow. Yeah.
2:11:57
Andy Freeman. Less of a review, more a comment
2:12:00
on his life, I suppose. He said PTA made this incredibly
2:12:05
confident film when he was only 26.
2:12:08
What have I done with my life? That's it.
2:12:11
No review. No.
2:12:12
No score. No score.
2:12:14
No, it's. All it's all right mate.
2:12:15
We all feel the same. Yeah, if you can, don't worry.
2:12:17
About it we're not called Paul Thomas.
2:12:19
Anderson. We're talking about his life.
2:12:26
15. Years older than him when he was
2:12:28
doing this. And finally, a cold.
2:12:32
Cup of coffee from a new patron. This is Jeff Stanczyk, Jeff
2:12:36
said. Boogie Nights is slimy and
2:12:38
erratic. Thin story all around.
2:12:41
Perfect characterization of the universe it is filmed in.
2:12:44
Not a fan of Wahlberg, but Alfred Molina's scenes kept me
2:12:47
tuned in 5 out of 10 hitting us where it hurts.
2:12:52
Yeah, got to have your. Critics.
2:12:54
Yeah. A slight mixed.
2:12:56
Bag there so taking all. Votes into consideration.
2:12:59
What do you think Boogie Nights averaged out of 10 from our
2:13:01
patrons, fellas, Nine, I'll go. 8.50.
2:13:08
Westie. The final time, you got it.
2:13:10
Right, 9 out of 10. Yes, very nice.
2:13:14
What an achievement. Well, the final time I thought
2:13:20
that we might have been a bit more fanfare.
2:13:22
Than that to be. No, it's good.
2:13:23
I mean, yeah, fantastic. I'm not going to blow me on
2:13:25
trumpet, though. I'm 13.
2:13:26
Inches 13 inches you could not with.
2:13:30
Your back anyway. It's what the Zimmer frames for
2:13:36
get better leverage. Wow, I don't know.
2:13:40
How many of these are? Going to make the cut but.
2:13:42
Hopefully all of them. It's the last episode we can get
2:13:44
away with. Give us a shit.
2:13:45
This is what we're going to lose, parents.
2:13:48
On. There were no.
2:13:50
Consequences for roller girl or books well.
2:13:52
There should be no. Consequences for us.
2:13:54
Exactly. It's the Boogie Nights of a
2:13:55
podcast. We can do anything.
2:13:58
So with all four scores combined, Boogie.
2:14:00
Nights overall score is 35 out of 40.
2:14:04
Fair, fair, very good score. To.
2:14:08
Check that out and. How it fares against?
2:14:10
All the other films that we've. Covered on the podcast, go to
2:14:13
alltherightmovies.com/leaderboard. Yeah, as mentioned, you can sign
2:14:17
up to be an ATRM Patreon support of I visit andpatreon.com/all
2:14:21
the Right Movies, get access to all of the podcasts that we've
2:14:24
produced and more besides as we transition to YouTube and bring
2:14:28
you hours of outstanding video content.
2:14:31
You could even say they are excellent.
2:14:35
You could say that. You will be saying that yes,
2:14:38
excellent, yes. So.
2:14:41
As we said, this is our last. Episode of the.
2:14:44
Podcast, but we will be back in two weeks where you'll be able
2:14:47
to hear highlights show from the podcast from the last three
2:14:52
years, almost three years. That should be almost too funny,
2:14:55
I would imagine. Yeah, that would be the best
2:14:57
episode. Most downloaded we'll get loads.
2:15:01
Of advertising for all the glads.
2:15:02
We're going to do this again. And also get in touch if you've
2:15:09
got some highlights. From our podcasts over the last
2:15:13
three years. Then get in touch.
2:15:14
You can get in touch with us on Twitter, all social media
2:15:17
platforms. You can get in touch with us on
2:15:19
our website as well and let us know what parts you think we
2:15:23
should conclude in the highlights reel.
2:15:25
Yes, please do, because if you're as you're listening, just
2:15:27
if there's anything. That stands out because we're
2:15:29
going to have to go through everything.
2:15:30
I can't remember anything I've said in the last three years, if
2:15:32
I'm completely honest. Yeah.
2:15:34
And it's going to be down to me to call it so if everybody could
2:15:36
just. Get involved, please.
2:15:38
Give it, give it the Great. That'd be fine, yeah.
2:15:42
And after that? We will be putting out that.
2:15:45
Interview with John Doe that will come out after and then
2:15:48
that will be it. We'll be moving everything to
2:15:50
YouTube. That's youtube.com/all the right
2:15:53
movies. We'd love it if you can join us
2:15:55
over there. Yes, we will see you over there
2:15:57
and you will see us over there. Absolutely.
2:15:59
Yeah. So not the end of an era, but
2:16:02
the. End of a chapter in the
2:16:03
fascinating history of all the right movies.
2:16:05
We're moving to pastures new and we'd encourage everybody to come
2:16:08
on the ride with us. Yes please, we're moving over.
2:16:10
Still going to be the same though.
2:16:12
Still, yeah, it's just going. To be the same old magic.
2:16:15
There's magic in those tapes and there's magic in those videos.
2:16:18
Exactly. We're going to get a deal.
2:16:20
No one needs them tapes. We're guaranteed a record
2:16:24
contract. We'll just.
2:16:28
Repeat the same bit over and over again.
2:16:30
Really fine. For our patrons, we will be back
2:16:33
with. Our Patreon exclusive double.
2:16:35
Feature podcast for the last time, where we'll be discussing
2:16:38
2 great films. The poll for that is live as we
2:16:40
record now, so it's not confirmed what the films will
2:16:43
be, but very far in the lead, surprisingly.
2:16:47
Skyfall and Nights Out. Oh, nice, great.
2:16:50
Yeah, yeah. Because we are.
2:16:53
Changing to YouTube Our presence won't change on social media.
2:16:57
As always, we are at 80 right movies on Twitter at all the
2:17:01
under score right movies on Instagram.
2:17:03
There's our Facebook group search for that join that lively
2:17:06
discussions great guys where on these do yes loads of stuff and
2:17:10
of course our website is all the right.
2:17:11
Movies.com. And that is a rap, fellas.
2:17:13
Almost three years and 121 podcasts in total.
2:17:18
Yeah, yeah. Thank you everybody for being
2:17:20
the best. Audience we could hope for,
2:17:22
hopefully. You'll join us on YouTube.
2:17:24
Until the next time, everyone, thank you very much for
2:17:26
listening. Thank you very much for
2:17:27
listening. We didn't think anybody would,
2:17:29
so we are as. Surprised as well.
2:17:31
Yes, thank you so much. Three years, that's incredible.
2:17:34
So thank you. All yeah, everyone, thank you so
2:17:36
much. I like cinnamon in particular.
2:17:59
I like to see people fucking on. Film and I don't want to win an
2:18:02
Oscar and I don't want to reinvent a wheel.
2:18:05
I like simple pleasures, like butter in my ass, lollipops in
2:18:09
my mouth. That's just me.
2:18:10
That's just something that I enjoy.
2:18:11
Call me crazy. Call me a pervert.