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Transcript

184: The Economy of Murder · Movie Meltdown

• 0:06
  Speaker 1: Hi, I'm Christine Elise McCarthy, and you're listening to Movie Meltdown.
• 0:18
  Speaker 2: Falling Program is a proud member of the Pallava.
• 0:20
  Speaker 3: Family of podcasts.
• 0:22
  Speaker 2: Check out all the shows over at pallava.com.
• 0:24
  Speaker 4: That's P-A-L-L-A-V-A dot com. The following feature has been rated
• 0:29
  Speaker 4: R by the Motion Picture Association of America.
• 0:32
  Speaker 3: It is intended for mature audiences and parental discretion is advised.
• 0:46
  Speaker 5: It's showtime, folks. Enjoy the show.
• 0:52
  Speaker 4: Our nuclear reactor, pumping out one million kilowatts of power.
• 1:22
  Speaker 1: Are you going to bark all day, little doggy?
• 1:29
  Speaker 2: Or are you going to bite?
• 1:40
  Speaker 3: What's up and welcome to Movie Meltdown. I'm Brian.
• 1:43
  Speaker 6: I'm Alan.
• 1:44
  Speaker 5: I'm Fred.
• 1:45
  Speaker 3: And we are coming to you live via digital recording
• 1:47
  Speaker 3: from Christine's bedroom. I should probably explain. We are at
• 1:52
  Speaker 3: the hotel here at the Fright Night Film Fest slash
• 1:55
  Speaker 3: Fandom Fest here in Louisville. And since we're in her room,
• 1:59
  Speaker 3: I guess we should introduce our special guest co-host this week,
• 2:02
  Speaker 3: Christina Leis. Do you throw the other name on there?
• 2:05
  Speaker 7: Yeah, I actually do now. It's just to make people
• 2:07
  Speaker 7: more confused. It's Christina Leis McCarthy.
• 2:10
  Speaker 3: All right. And then we also have filmmaker Miles.
• 2:14
  Speaker 8: Miles Miller.
• 2:15
  Speaker 3: Cool. So, yeah, we were going to do a whole
• 2:18
  Speaker 3: themed episode, but I thought we would invite you guys
• 2:21
  Speaker 3: in and do a little bit with you first. I
• 2:24
  Speaker 3: know most people here at this festival were probably here
• 2:28
  Speaker 3: and know you probably Child's Play, too. This is a
• 2:31
  Speaker 3: very horror-heavy crowd, so they probably know you from that. But,
• 2:33
  Speaker 3: I mean, you've done quite a bit, several seasons on 90210. Actually,
• 2:38
  Speaker 3: I was impressed with the China Beach. I'd forgotten that.
• 2:41
  Speaker 3: I was a big fan of that one, actually.
• 2:42
  Speaker 7: I guess my favorite job is... That's the work I'm
• 2:45
  Speaker 7: most proud of, too, yeah.
• 2:46
  Speaker 5: Very cool.
• 2:47
  Speaker 3: It was a great show, and it was around for years,
• 2:49
  Speaker 3: but it never seemed like it got recognition. I don't know.
• 2:52
  Speaker 3: It got some Emmys and stuff, but it still didn't
• 2:54
  Speaker 3: seem like the audience were really in love with it.
• 2:58
  Speaker 3: It never made huge numbers. It just kept it running
• 3:01
  Speaker 3: for years there.
• 3:02
  Speaker 7: Yeah, it's interesting. It did win a bunch of awards.
• 3:04
  Speaker 7: It got acclaim at the time. It doesn't have any legs, though.
• 3:08
  Speaker 7: It's not one of the shows people look back on
• 3:10
  Speaker 7: or remember as being the great show that it actually was.
• 3:12
  Speaker 7: It's weird.
• 3:13
  Speaker 3: I don't know why. Yeah, it was really well done.
• 3:15
  Speaker 3: I don't know, any other? ER was huge.
• 3:20
  Speaker 7: And by the same people from China Beach.
• 3:22
  Speaker 9: Yeah.
• 3:22
  Speaker 7: So the same, overwhelming a lot of the crew was
• 3:25
  Speaker 7: the same. It was great.
• 3:26
  Speaker 3: In the heat of the night, any other big ones
• 3:28
  Speaker 3: you want to throw in there? You've done quite a
• 3:30
  Speaker 3: few projects.
• 3:31
  Speaker 7: I have. I don't want to talk about that, though.
• 3:34
  Speaker 4: Nothing?
• 3:35
  Speaker 3: I've got good dorky questions, like the black leather hat.
• 3:40
  Speaker 7: That's my hat.
• 3:41
  Speaker 3: I was like, it's got to be hers. It followed
• 3:43
  Speaker 3: her from different projects.
• 3:44
  Speaker 1: Yeah, it's in like seven shows, as are the boots
• 3:46
  Speaker 1: with the spur that I'm wearing currently. These are also
• 3:49
  Speaker 1: in about almost every job I've ever done, these boots appear.
• 3:52
  Speaker 2: Nice.
• 3:53
  Speaker 7: Often with the spur, sometimes without. Actually, mostly without the
• 3:55
  Speaker 7: spur because of sound problems. The spur that jingles, jingles, jingles.
• 4:00
  Speaker 7: It's not good for sound.
• 4:01
  Speaker 3: It's not good for the sound department. But yeah.
• 4:04
  Speaker 7: That's funny you picked that hat up, though. I still
• 4:06
  Speaker 7: own that hat.
• 4:07
  Speaker 2: Well, yeah.
• 4:07
  Speaker 3: A hat person than I am. Anybody who finds a
• 4:10
  Speaker 3: good hat and sticks with it, I like that.
• 4:12
  Speaker 7: I had bad hair. Always many a bad hair day,
• 4:14
  Speaker 7: so that's why that hat was my best friend.
• 4:17
  Speaker 3: Oh, let's see. If you don't want to go into
• 4:20
  Speaker 3: the 90210 stuff... I don't.
• 4:22
  Speaker 1: Have a problem going into it. I'm just not going
• 4:24
  Speaker 1: to initiate it. I'll answer any questions you ask. I'm
• 4:27
  Speaker 1: just not going to volunteer stuff.
• 4:28
  Speaker 3: I wasn't going to have, like, Tiger Beat questions. I
• 4:30
  Speaker 3: was just going to say, like, you know, that was
• 4:33
  Speaker 3: a huge phenomenon at the time. I mean, how... being
• 4:36
  Speaker 3: caught up in the middle of that? Because, I mean,
• 4:38
  Speaker 3: it really was, like, those first five years or so,
• 4:40
  Speaker 3: it was pretty huge as far as pop culture. I mean,
• 4:44
  Speaker 3: what was it like being in the middle of that?
• 4:46
  Speaker 7: It was crazy, actually. They were like the Beatles.
• 4:49
  Speaker 6: And I.
• 4:51
  Speaker 1: Got a lot of the residual effects of it myself. I,
• 4:56
  Speaker 1: for a long time, couldn't go to the mall because
• 4:58
  Speaker 1: I would get chased around by teenage girls and people gasping.
• 5:01
  Speaker 3: You were probably wearing that hat, and they spotted you
• 5:03
  Speaker 3: right off the bat.
• 5:03
  Speaker 7: The hair, too. The head didn't help.
• 5:05
  Speaker 3: That's right.
• 5:06
  Speaker 1: They were both bad for me as far as being incognito.
• 5:08
  Speaker 1: But it was exciting. It's a really rare thing to
• 5:12
  Speaker 1: have happen, and most shows don't get that level of success.
• 5:15
  Speaker 1: It's a really unusual thing to ever have it occur.
• 5:17
  Speaker 1: There's no show like that right now.
• 5:20
  Speaker 3: Including the new one.
• 5:22
  Speaker 7: Yeah, exactly.
• 5:23
  Speaker 1: It was an interesting perspective to get. I think that
• 5:29
  Speaker 1: a lot of people think that that level of fame
• 5:32
  Speaker 1: is fun and exciting and glamorous and it's really great
• 5:36
  Speaker 1: to have experienced.
• 5:37
  Speaker 7: It and know for sure that it isn't.
• 5:41
  Speaker 1: It isn't what you think and it's something that I
• 5:43
  Speaker 1: never need to have again. But it's a luxury to
• 5:49
  Speaker 1: know it and not have to talk yourself into believing that,
• 5:52
  Speaker 1: because you're never going to get it, because most people
• 5:53
  Speaker 1: don't get it.
• 5:54
  Speaker 7: You know, to know that it's not, it's a mirage
• 5:57
  Speaker 7: of complications, really.
• 5:59
  Speaker 2: Yeah.
• 6:00
  Speaker 3: I mean, that's, I guess, the distinction of success and fame, which, again,
• 6:04
  Speaker 3: in today's weird reality TV kind of world, there's a
• 6:09
  Speaker 3: very big difference there.
• 6:10
  Speaker 1: So, yeah, it's... And it's that this paparazzi machine did
• 6:15
  Speaker 1: not exist back then.
• 6:15
  Speaker 4: Oh, no.
• 6:16
  Speaker 1: Jason was huge, and, you know, cover of Rolling Stone...
• 6:20
  Speaker 1: huge and really not able to go anywhere regular, like
• 6:24
  Speaker 1: the supermarket or the bowling or, you know, things that
• 6:27
  Speaker 1: like regular people like us do. Um, but there was
• 6:31
  Speaker 1: nobody camping outside our front door. There was, there was,
• 6:34
  Speaker 1: but we're not, he was the one time we ever
• 6:36
  Speaker 1: had a paparazzi problem. I lived with Jason for five
• 6:38
  Speaker 1: or six years. Um, it's actually kind of a cool story.
• 6:41
  Speaker 1: I was in that Jason had gone to work and
• 6:43
  Speaker 1: I was in the kitchen making coffee or something.
• 6:44
  Speaker 7: He has a knock on the door and I opened
• 6:45
  Speaker 7: the front door and, uh, uh, Oh, come on Curry. Um,
• 6:51
  Speaker 7: From Tim Curry. Tim Curry's standing at my front door.
• 6:57
  Speaker 7: Tim Curry's up there with his dog. And I'm like, oh,
• 7:00
  Speaker 7: my God, Tim Curry's knocking on my door.
• 7:02
  Speaker 1: What's going to be happening here? And he's like, oh,
• 7:04
  Speaker 1: I was just walking my dog, and I could see
• 7:06
  Speaker 1: you across the canyon. There's a bunch of people with cameras,
• 7:08
  Speaker 1: and they're pointing them at your big lenses at your house.
• 7:10
  Speaker 7: I was like, okay. And I told him to go away.
• 7:13
  Speaker 7: And they're like, oh, no, we're photographing the sunrise.
• 7:15
  Speaker 1: They're looking north, and the sun doesn't rise in the north,
• 7:18
  Speaker 1: so I don't think that's what's going on.
• 7:19
  Speaker 7: You might want to close all your curtains and stuff
• 7:21
  Speaker 7: in the back of the house and close your shades. Well,
• 7:24
  Speaker 7: thank you, thank you, and I did.
• 7:25
  Speaker 1: And then about a week and a half later, I
• 7:27
  Speaker 1: was in Georgia doing an episode of In the Heat
• 7:31
  Speaker 1: of the Night.
• 7:32
  Speaker 7: And I'd been there for a couple days, and the
• 7:34
  Speaker 7: next day.
• 7:34
  Speaker 1: I go to work, and I was like, Christine, if
• 7:35
  Speaker 1: you have any problems, if you need anything from us,
• 7:38
  Speaker 1: just come and ask.
• 7:39
  Speaker 7: If you're uncomfortable ever, let us know. I'm like, okay.
• 7:43
  Speaker 7: I don't really know.
• 7:44
  Speaker 1: And three or four people finally had to say, like,
• 7:47
  Speaker 1: I don't know what's going on here. Why is everyone
• 7:49
  Speaker 1: so concerned that I'm uncomfortable? And apparently Hard Copy had
• 7:52
  Speaker 1: run a piece about me. It was kind of about,
• 7:57
  Speaker 1: I have it, it's hilarious, about poor sweet Christine who
• 7:59
  Speaker 1: has to hole herself up in the house every day
• 8:02
  Speaker 1: because she's being stalked by rabid Jason Priestley fans who
• 8:05
  Speaker 1: want her to die.
• 8:06
  Speaker 3: Or Tim Curry.
• 8:07
  Speaker 7: Yeah. And they had this footage of me, and I
• 8:11
  Speaker 7: had to call security on them that day.
• 8:12
  Speaker 1: I closed the curtains and they were in the front
• 8:13
  Speaker 1: of the house and I had to call security and
• 8:15
  Speaker 1: have them chased away. And they have footage of me
• 8:16
  Speaker 1: talking to security and they have footage of me closing
• 8:18
  Speaker 1: the windows in the back of the house. But they
• 8:20
  Speaker 1: made this whole story up that what I was hiding
• 8:22
  Speaker 1: from was not them, hard copy, but rabid teenage girls.
• 8:26
  Speaker 5: How clever of them.
• 8:27
  Speaker 10: Yeah.
• 8:29
  Speaker 3: Hmm.
• 8:30
  Speaker 1: That's the only real paparazzi thing that happened in all
• 8:33
  Speaker 1: of that time, and nowadays.
• 8:35
  Speaker 3: It's, yeah. You can't do anything, right? No. It's weird.
• 8:39
  Speaker 7: It's really not. I don't think it's healthy for anyone, either.
• 8:42
  Speaker 3: Probably not. Again, I just wanted to pick a few
• 8:46
  Speaker 3: of probably the lesser-known ones, one of which was actually
• 8:49
  Speaker 3: something I really liked, and it's been so long because
• 8:53
  Speaker 3: it's not available anymore, but you were on the TV
• 8:56
  Speaker 3: series of A League of Their Own, playing Kit.
• 8:58
  Speaker 7: That is true.
• 8:59
  Speaker 3: I somewhere have a VHS tape of the entire run
• 9:02
  Speaker 3: of that season.
• 9:03
  Speaker 4: Why?
• 9:04
  Speaker 3: Because I like that show.
• 9:05
  Speaker 7: That show was so bad. That show was so bad.
• 9:09
  Speaker 3: My taste is questionable. I realize that.
• 9:13
  Speaker 1: That was the unfunniest show that was ever produced.
• 9:16
  Speaker 3: Well, it's hard to do a... And that's what I thought.
• 9:18
  Speaker 3: It's hard to do a continuation from a movie into
• 9:21
  Speaker 3: a TV... I mean, they've tried on a lot of occasions.
• 9:23
  Speaker 3: How often does it work?
• 9:24
  Speaker 1: So it's... It might have worked if they'd done an
• 9:27
  Speaker 1: hour single camera, but it was a multiple camera sitcom
• 9:29
  Speaker 1: set up and a whole baseball team of women. So
• 9:32
  Speaker 1: you've got like 13 women that have to have something
• 9:35
  Speaker 1: to say in every episode. And they would basically like
• 9:36
  Speaker 1: deal dialogue like cards out, like playing cards. And everyone
• 9:40
  Speaker 1: would have like one line every four and a half pages.
• 9:42
  Speaker 1: And it was not even specific to your character necessarily.
• 9:47
  Speaker 1: And you'd be like, trying.
• 9:48
  Speaker 7: To have like a life, like keep yourself busy while,
• 9:52
  Speaker 7: like a character sitting there just waiting to say your line.
• 9:54
  Speaker 1: You have to act like you've got a life going
• 9:56
  Speaker 1: on for so long that you lose track.
• 9:58
  Speaker 7: And then I'd be like, it's.
• 10:00
  Speaker 1: Really quiet all of a sudden oh It's my line.
• 10:04
  Speaker 7: The worst episode for that of all was the one
• 10:06
  Speaker 7: Tom Hanks directed one.
• 10:07
  Speaker 3: That's what I was going to say. That was one
• 10:09
  Speaker 3: of his first directing jobs ever.
• 10:11
  Speaker 1: And he was really sweet and really funny, but I
• 10:15
  Speaker 1: had the least to do in that episode, and I
• 10:16
  Speaker 1: had the most dropping the.
• 10:18
  Speaker 7: Ball with my line. You must think I'm absolutely retarded because.
• 10:21
  Speaker 3: I could not. He still talks about it.
• 10:24
  Speaker 7: That's good to know. If Tom Hanks is gossiping about me,
• 10:27
  Speaker 7: I'm cool with that.
• 10:28
  Speaker 3: You can't complain about that.
• 10:29
  Speaker 4: No.
• 10:31
  Speaker 9: Yeah, he and Tim Curry.
• 10:33
  Speaker 3: They get together and have lunch.
• 10:34
  Speaker 7: Yeah, exactly.
• 10:34
  Speaker 3: Like, can you believe her?
• 10:35
  Speaker 7: Poor, sweet Christine. Poor, pathetic, blind, forgetting Christine.
• 10:41
  Speaker 3: The only other one I was going to do. I
• 10:44
  Speaker 3: know several of us on the show are big fans
• 10:46
  Speaker 3: of other versions of the Body Snatchers series. We haven't
• 10:49
  Speaker 3: done a whole episode on yours. What was your take
• 10:52
  Speaker 3: on your version? And specifically, I guess, Abel Ferreira is
• 10:56
  Speaker 3: kind of an interesting director. How is he to work
• 10:58
  Speaker 3: with him?
• 10:59
  Speaker 7: Well, I actually just.
• 11:00
  Speaker 1: Told a story about this yesterday. Abel is like wound
• 11:05
  Speaker 1: up like a top. And a lot of nervous energy
• 11:11
  Speaker 1: and pacing. I'm unable to speak. He's so tight, like
• 11:15
  Speaker 1: a snare drum. And he tends to, the good thing
• 11:21
  Speaker 1: about him is that he really trusts whoever he hires,
• 11:23
  Speaker 1: whatever department you're in, whether you're an actor or you're a.
• 11:26
  Speaker 7: DP or whatever.
• 11:28
  Speaker 1: If he's hired you, then he trusts you completely, and
• 11:29
  Speaker 1: he will not question the decisions you make. And with that,
• 11:34
  Speaker 1: just to the point that he doesn't even make you
• 11:36
  Speaker 1: stick to the script at all. As long as you
• 11:37
  Speaker 1: get the point of the story across, as long as
• 11:39
  Speaker 1: whatever had to be.
• 11:40
  Speaker 7: Accomplished in that scene gets accomplished, he doesn't care what
• 11:42
  Speaker 7: words you use to get there.
• 11:44
  Speaker 1: Which sounds great, but it's also really dangerous, and it's
• 11:50
  Speaker 1: maybe too much freedom. I'm really bad in that movie.
• 11:52
  Speaker 1: I had way too much freedom. I didn't know what
• 11:54
  Speaker 1: the hell I was doing. Really too much freedom. and
• 11:58
  Speaker 1: got lost a couple of times, and the story I
• 12:01
  Speaker 1: tell a lot, and I told it yesterday, was really
• 12:03
  Speaker 1: not doing a good job, and really insecure about it,
• 12:05
  Speaker 1: and he's like having me do it over and over again,
• 12:07
  Speaker 1: and not giving me any guidance as to what it
• 12:09
  Speaker 1: is I'm doing wrong, until finally he gets so frustrated,
• 12:10
  Speaker 1: he's pacing back and forth, back and forth.
• 12:12
  Speaker 7: He's like, you know, you gotta just act better.
• 12:17
  Speaker 3: The best directing ever.
• 12:19
  Speaker 1: Which didn't help, as you can imagine, and I don't
• 12:22
  Speaker 1: think I acted any better.
• 12:24
  Speaker 7: So, well, the movie, it's actually, it was shot.
• 12:29
  Speaker 1: In a weird stylized way where everything was wildly over lit.
• 12:35
  Speaker 1: There's huge banks, like the size of a wall, eight
• 12:39
  Speaker 1: by 10 bank of huge hot burning lights that were
• 12:44
  Speaker 1: like serious skin off, even.
• 12:46
  Speaker 7: Got like within a foot of this thing, wall of lights.
• 12:48
  Speaker 7: And then underexposed the film.
• 12:50
  Speaker 1: With this over lit environment, which I guess resulted in
• 12:54
  Speaker 1: a supersaturated color palette. It's a beautiful-looking film, I think,
• 13:00
  Speaker 1: as a result, but they would be lighting. We'd have
• 13:03
  Speaker 1: setups in that movie that we would break for lunch.
• 13:06
  Speaker 1: We almost wouldn't get a shot until dinnertime just because
• 13:08
  Speaker 1: of lighting. And that's all part of him trusting his DP, too. Like, okay,
• 13:12
  Speaker 1: if it takes 18 hours to light it, that's good
• 13:13
  Speaker 1: with me.
• 13:15
  Speaker 7: So, yeah, I think that he's an artist, but he's
• 13:19
  Speaker 7: a crazy one.
• 13:21
  Speaker 3: That's pretty much how the stories go. That's why I
• 13:23
  Speaker 3: wondered how your experience was. Well, I guess we can
• 13:27
  Speaker 3: jump ahead. I know now, I guess which came first
• 13:30
  Speaker 3: because you're involved in programming film festivals and filmmaking. So
• 13:35
  Speaker 3: which led you to the other?
• 13:38
  Speaker 7: I've been doing film festivals for 14 years. I've been
• 13:41
  Speaker 7: doing that for much longer.
• 13:42
  Speaker 1: Programming one in Michigan called the Waterfront Film Festival since 99,
• 13:46
  Speaker 1: I think. And then I made a short film a
• 13:49
  Speaker 1: year and a half ago called Bathing and the Single
• 13:53
  Speaker 1: Girl and that. Got into, I think it's at 86
• 13:56
  Speaker 1: festivals at this point in time.
• 13:59
  Speaker 7: But it's a short, and I wanted.
• 14:00
  Speaker 1: To go to a bunch of the festivals, and the
• 14:01
  Speaker 1: festivals don't fly you in if you're at a short,
• 14:03
  Speaker 1: because it's just a financial thing.
• 14:06
  Speaker 7: So I would pimp myself out any way I could
• 14:08
  Speaker 7: to get to go.
• 14:10
  Speaker 1: I'll do anything for you. I'll program for you. I'll
• 14:12
  Speaker 1: curate a shorts block for you. I'll be a juror
• 14:14
  Speaker 1: for you.
• 14:14
  Speaker 7: I'll do it. And fortunately for me, a bunch of festivals...
• 14:18
  Speaker 7: I took that bait.
• 14:19
  Speaker 3: And you got a lot of work that you weren't
• 14:21
  Speaker 3: prepared for.
• 14:22
  Speaker 1: A lot of more unpaid work, yeah, but a lot
• 14:25
  Speaker 1: of unpaid work, but a lot of sponsored travel.
• 14:30
  Speaker 7: So that's what I did it for. I knew that's
• 14:33
  Speaker 7: what I was asking for, and I got it. So
• 14:36
  Speaker 7: it's been great. It's been really fun.
• 14:38
  Speaker 3: And then, I guess, do you want to move into
• 14:40
  Speaker 3: directing more?
• 14:41
  Speaker 1: Directing is what I can't. went to school for it
• 14:45
  Speaker 1: when I was 18. That's what I initially wanted to be,
• 14:47
  Speaker 1: was a director. I had no desire to be a
• 14:48
  Speaker 1: performer on any level. I was way too shy. And
• 14:51
  Speaker 1: this is never anything I aspired to at all.
• 14:54
  Speaker 7: But as I told the panel.
• 14:55
  Speaker 1: Yesterday, I did a year of film school in Boston
• 14:59
  Speaker 1: at BU, and then I thought, well, there's no point
• 15:01
  Speaker 1: in going to film school in Boston.
• 15:02
  Speaker 7: There's no film industry here. I'll just go to Los Angeles.
• 15:04
  Speaker 1: Back in the day, state schools in California, like UCLA
• 15:07
  Speaker 1: or USC, was $ 600 a year if you were a
• 15:08
  Speaker 1: state resident.
• 15:12
  Speaker 7: So I thought, and BU where I was was like,
• 15:14
  Speaker 7: you know.
• 15:15
  Speaker 2: 18,000 a year.
• 15:15
  Speaker 1: So I'm like, well, I'll just go to California and
• 15:16
  Speaker 1: I'll live there for a year and I'll do some
• 15:17
  Speaker 1: internships and then I'll go to school for almost nothing
• 15:19
  Speaker 1: and I'll get a film degree and at least I'll
• 15:21
  Speaker 1: know my way around the city I'm working in rather
• 15:23
  Speaker 1: than graduating from Boston. Anyway, you know, three or four
• 15:26
  Speaker 1: years later, I'm still a cashier on Rodeo Drive and
• 15:29
  Speaker 1: I'm making six bucks an hour and I can't afford
• 15:32
  Speaker 1: even time off from work to go to.
• 15:33
  Speaker 7: Film school if I could even afford the film school. And, um,
• 15:37
  Speaker 7: To make a long story short, I was like, oh,
• 15:40
  Speaker 7: how can I.
• 15:40
  Speaker 1: Get involved in the film industry with no skills and
• 15:43
  Speaker 1: no talent and no training? I guess I'll be an actor.
• 15:49
  Speaker 1: A lot of actors have no talent and succeed all
• 15:51
  Speaker 1: the time. I don't know why I can't be one
• 15:53
  Speaker 1: of them.
• 15:54
  Speaker 3: That's how that went.
• 15:55
  Speaker 7: It actually is.
• 15:56
  Speaker 3: So now you're finally kicking it into moving into that
• 15:59
  Speaker 3: more of a.
• 16:00
  Speaker 7: That happened by mistake, actually. I've been getting pressure to write, write,
• 16:05
  Speaker 7: write my entire life. It's almost like I'm being punked.
• 16:07
  Speaker 7: Total strangers walk up to me and ask how the
• 16:09
  Speaker 7: writing is going.
• 16:09
  Speaker 1: It's like, I don't understand why.
• 16:12
  Speaker 7: The guy, John Wells, who runs.
• 16:14
  Speaker 1: ER, the creator of ER, whenever I ran into him,
• 16:17
  Speaker 1: he would ask me how my writing was going.
• 16:20
  Speaker 7: He's only ever known me as an actor. I have
• 16:22
  Speaker 7: dabbled in writing. I wrote a couple of 90210s.
• 16:25
  Speaker 1: But it's not how I define myself. So it's a
• 16:28
  Speaker 1: really weird pressure I've gotten just from the universe always.
• 16:31
  Speaker 1: And so a girlfriend challenged me to do this comedy thing,
• 16:35
  Speaker 1: and Leslie Angel said a comedy theater there where you
• 16:37
  Speaker 1: read like a 2,000-word essay, a true comic essay about yourself.
• 16:42
  Speaker 7: She said, I'll do it if you do it. I
• 16:43
  Speaker 7: did it. She didn't do it. It was supposed to
• 16:46
  Speaker 7: be funny. I think it was funny. It seemed to be...
• 16:49
  Speaker 7: Received it as if it were funny.
• 16:51
  Speaker 1: And nobody in town thinks I'm funny, though. And Los
• 16:53
  Speaker 1: Angeles is not even allowed to audition for a comedy.
• 16:55
  Speaker 1: So I thought, oh, I should have taped that. I
• 16:57
  Speaker 1: should have gotten a video of that.
• 16:58
  Speaker 9: You're on a black list.
• 16:59
  Speaker 4: I am.
• 17:00
  Speaker 7: I'm the unfunny list. You know why?
• 17:02
  Speaker 3: A league of their own.
• 17:04
  Speaker 7: See?
• 17:05
  Speaker 3: Yes.
• 17:05
  Speaker 7: I'll never let that thing down.
• 17:07
  Speaker 9: Tim Curry is the bouncer. Like, no, you're not getting in.
• 17:11
  Speaker 4: Yeah.
• 17:12
  Speaker 3: Yeah.
• 17:13
  Speaker 7: It's terrible.
• 17:13
  Speaker 1: So I thought, okay, at least I'll do it again
• 17:16
  Speaker 1: at a different comedy theater thing. and have somebody videotape
• 17:19
  Speaker 1: it so I can give it to my agents so
• 17:20
  Speaker 1: they can at least have the confidence that I have
• 17:23
  Speaker 1: some ability.
• 17:23
  Speaker 7: To be funny.
• 17:24
  Speaker 1: And then a friend of mine who's like an A-list
• 17:27
  Speaker 1: commercial DP saw that, and he said, that's really funny, but.
• 17:29
  Speaker 7: It looks like ass. If you let me direct it,
• 17:32
  Speaker 7: I'll shoot it for you.
• 17:33
  Speaker 1: And he's like, you know, oil of Olay ads and big,
• 17:36
  Speaker 1: you know, huge A-list beauty, he's like the go-to guy for.
• 17:40
  Speaker 7: Beauty, women in beauty things. I was like, yeah, yeah, yes,
• 17:44
  Speaker 7: you can do this. And so we shot a day
• 17:46
  Speaker 7: or two, and.
• 17:49
  Speaker 7: And he shot his beautiful stuff.
• 17:51
  Speaker 1: The stuff that he shot gets singled out a lot for,
• 17:54
  Speaker 1: oh my God, that shot is so beautiful. But he
• 17:58
  Speaker 1: had a different take on it. I had him shoot
• 17:59
  Speaker 1: shots that he refused to cut in for me. He
• 18:03
  Speaker 1: wanted to end the movie with me alone eating a
• 18:05
  Speaker 1: TV dinner. It's a movie about dating, and it's a comedy,
• 18:10
  Speaker 1: not a tragedy. I shouldn't be crying into my hungry
• 18:13
  Speaker 1: man dinner at the end of it.
• 18:15
  Speaker 7: So he got frustrated with me. I was like, I
• 18:17
  Speaker 7: don't care. You can just have the footage. Do what
• 18:18
  Speaker 7: you will. The whole time we had been.
• 18:21
  Speaker 1: Working together, I'd been complaining to another friend who also
• 18:24
  Speaker 1: can be a DP and an editor. And I said,
• 18:28
  Speaker 1: if you'll help me finish it, just shoot the rest
• 18:29
  Speaker 1: of it for me and cut it together. And so
• 18:31
  Speaker 1: I sort of fell into it.
• 18:34
  Speaker 7: By mistake.
• 18:35
  Speaker 1: Every step I took, somebody pushed me to do it,
• 18:37
  Speaker 1: and I didn't intend to direct it, but that's what happened.
• 18:42
  Speaker 3: Well, it looks really good.
• 18:43
  Speaker 4: Thank you.
• 18:44
  Speaker 1: Thank you.
• 18:44
  Speaker 3: And I think there's a little of both in there.
• 18:47
  Speaker 3: It is actually, and you are very funny, but I
• 18:49
  Speaker 3: think what I appreciated was that somebody else out there
• 18:52
  Speaker 3: was suffering, too. So it's good to know the sadness.
• 18:55
  Speaker 3: I was just like, this sounds, you know, gender reversal.
• 18:58
  Speaker 3: But this is pretty familiar, actually.
• 19:00
  Speaker 9: But TV dinner equals tragedy. That's just one of your arms.
• 19:04
  Speaker 3: I eat those every night. Yeah, alone.
• 19:06
  Speaker 7: Oh, and then we'll have an M.O.I. shot of your
• 19:08
  Speaker 7: washer and dryer in the background.
• 19:10
  Speaker 3: I don't know.
• 19:11
  Speaker 9: At the end of Hamlet, they eat TV dinner.
• 19:15
  Speaker 3: I'm pretty sure.
• 19:15
  Speaker 7: Yep, I think it's true.
• 19:18
  Speaker 3: Well then, Miles, you had a film that you've done recently.
• 19:21
  Speaker 3: You were trying to get the word out on that
• 19:23
  Speaker 3: one as well.
• 19:23
  Speaker 10: Oh yeah, Pillow is the title. My brother and I,
• 19:27
  Speaker 10: my brother Josh Miller wrote and directed and produced together.
• 19:31
  Speaker 8: We've been touring for a.
• 19:33
  Speaker 10: Little over a year now. A little few months over
• 19:37
  Speaker 10: a year, I can't remember. Started February 2011 touring. It's
• 19:41
  Speaker 10: kind of wrapping it up right now. But yeah, we
• 19:45
  Speaker 10: have a few more fests to go to and then
• 19:47
  Speaker 10: kind of retiring that. and then working on our feature.
• 19:52
  Speaker 7: Did you watch Pillow?
• 19:53
  Speaker 3: Yes, I did. It visually is like really impressive. Like
• 19:57
  Speaker 3: is it something, and I'm watching trying to figure out
• 20:00
  Speaker 3: how much was like that originally or did you end
• 20:04
  Speaker 3: up working in like, you know, how much was like
• 20:07
  Speaker 3: filters or how much was post- color adjustment, because it
• 20:12
  Speaker 3: has a very signature kind of, like, tone to it.
• 20:15
  Speaker 8: Yes, we were definitely going for those colors.
• 20:19
  Speaker 10: We used a red camera and baked in a look
• 20:21
  Speaker 10: and colored the hell out of it, pretty much.
• 20:24
  Speaker 3: Yeah, because visually it looks really good.
• 20:27
  Speaker 8: Thank you.
• 20:28
  Speaker 2: Did it screen yesterday?
• 20:29
  Speaker 7: No, no, it's not here.
• 20:31
  Speaker 5: Oh.
• 20:31
  Speaker 3: But if we have, I don't know, if you have
• 20:33
  Speaker 3: links or anything, I can put that on the, I
• 20:35
  Speaker 3: can add it to the episode.
• 20:36
  Speaker 10: Absolutely.
• 20:36
  Speaker 2: Yeah.
• 20:37
  Speaker 7: Festivals right now.
• 20:38
  Speaker 8: Yeah, festivals right now.
• 20:39
  Speaker 7: We can't put it out until after the festival.
• 20:43
  Speaker 3: But, yeah, we can definitely tell people it's out there
• 20:45
  Speaker 3: and look for it at festivals.
• 20:47
  Speaker 8: Thank you.
• 20:48
  Speaker 3: That is Pillow. And is yours still making the circuit,
• 20:51
  Speaker 3: or have you run the course?
• 20:52
  Speaker 7: No, mine's still doing a couple, too. We're both going
• 20:54
  Speaker 7: to be at Art of Brooklyn in August.
• 20:57
  Speaker 1: I think we're both there, right? I'm pushing to try
• 21:01
  Speaker 1: to break 100. I want to crest 100. I don't
• 21:03
  Speaker 1: think I'm going to really be able to. I really
• 21:05
  Speaker 1: exhausted all of it. I think all the opportunity there
• 21:08
  Speaker 1: is out there. What are you up to now?
• 21:12
  Speaker 8: 86.
• 21:13
  Speaker 3: There's a lot of cities with a lot of film festivals.
• 21:15
  Speaker 7: You know, but I won't pay entry fees. I can't
• 21:20
  Speaker 7: afford to, frankly. So I have that hurdle of they
• 21:23
  Speaker 7: have to.
• 21:23
  Speaker 1: Waive the fee and they have to have not already passed.
• 21:29
  Speaker 7: Or already screened it. I mean, there are a lot
• 21:33
  Speaker 7: of festivals out there, but I'm just going through Without
• 21:36
  Speaker 7: a Box.
• 21:36
  Speaker 1: I'm ferreting out the ones that aren't even on Without
• 21:38
  Speaker 1: a Box, which I'm sure there are hundreds that aren't on.
• 21:39
  Speaker 7: Without a Box.
• 21:40
  Speaker 3: So what we're saying is if you have a film
• 21:43
  Speaker 3: festival out there.
• 21:45
  Speaker 7: And you want to wave my feet.
• 21:46
  Speaker 3: Get a hold of her. Yeah, we're looking for what?
• 21:48
  Speaker 3: Bathing in the Single Girl.
• 21:49
  Speaker 7: Yeah.
• 21:50
  Speaker 3: What's that website?
• 21:52
  Speaker 7: Bathinginthesinglegirl.com Nice plug. I know.
• 21:58
  Speaker 3: All right. Well, with that, I think we'll take a
• 22:00
  Speaker 3: break and we'll come back with this week's movie.
• 22:04
  Speaker 11: There's nothing else to eat TV dinners They really can't
• 22:09
  Speaker 11: be beat I like them frozen But to understand I
• 22:16
  Speaker 11: throw them in and wave them And I'm abandoning Oh.
• 22:20
  Speaker 10: Yeah Intermission time.
• 22:44
  Speaker 4: Time for that stretch you've been wanting. And best of all,
• 22:49
  Speaker 4: time to take your pick from that scrumptious array of
• 22:52
  Speaker 4: tasty treats waiting for you at the snack bar. Where
• 22:56
  Speaker 4: the popcorn's poppin'. The cold drinks are sparkling. The coffee
• 23:07
  Speaker 4: is steaming. And a luscious treasure of confectionery delights with
• 23:15
  Speaker 4: ice cream and candy and so much more to tempt
• 23:18
  Speaker 4: any taste is waiting for you now at the snack bar.
• 23:23
  Speaker 4: You'll be notified in plenty of time when the next
• 23:26
  Speaker 4: show is about to begin. Help! They're coming! Saturday, May 18th.
• 23:33
  Speaker 2: It is affecting people.
• 23:35
  Speaker 4: A final event for the human population.
• 23:38
  Speaker 7: People are being duplicated.
• 23:40
  Speaker 4: An event you don't dare sleep through.
• 23:42
  Speaker 5: They get you when you sleep.
• 23:44
  Speaker 11: Sit up!
• 23:45
  Speaker 4: And they don't dare live through it.
• 23:47
  Speaker 10: Matthew!
• 23:48
  Speaker 4: May 18th at 10 p.m. They'll be in your home.
• 23:52
  Speaker 5: Invasion of the Body Snatchers. Tweaked Audio, your source for high-performance,
• 24:00
  Speaker 5: noise-reducing earbuds. Available in three styles and seven colors, durable
• 24:05
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• 24:08
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  Speaker 5: Audio earbuds come with a one-year warranty, and now there's
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  Speaker 5: a special deal for Movie Meltdown listeners. Just go to tweakedaudio.com,
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  Speaker 5: and when you check out, enter the discount code MELTDOWN.
• 24:21
  Speaker 5: Then you'll get 33% off and free shipping. Tweaked Audio.
• 24:25
  Speaker 5: Sounds better.
• 24:29
  Speaker 4: Welcome to a night of total terror.
• 24:36
  Speaker 3: That's Mickey Mouse's penis.
• 24:41
  Speaker 2: They don't look to be afraid.
• 24:43
  Speaker 12: They look to be shocked.
• 24:44
  Speaker 7: Here's vagina!
• 24:46
  Speaker 8: Did you see Miley Cyrus' globulous breasts?
• 24:50
  Speaker 12: Night of the Living Podcast.
• 24:53
  Speaker 7: I found more syrup on my pants.
• 24:56
  Speaker 5: Bizarre adventure in fear.
• 24:58
  Speaker 2: There was, however, a guy using.
• 25:01
  Speaker 4: An experience in shock. More shattering than your strangest nightmare.
• 25:06
  Speaker 3: Green and peachy.
• 25:08
  Speaker 12: Night of the living podcast.
• 25:12
  Speaker 7: Ass to mouth is fantastic.
• 25:14
  Speaker 10: Yeah.
• 25:15
  Speaker 3: Holy shit. That just happened. What's that bad man doing
• 25:18
  Speaker 3: to my donkey? A night of total terror.
• 25:23
  Speaker 7: I can't maintain this level of ridiculousness.
• 25:25
  Speaker 3: Maybe it's song.
• 25:26
  Speaker 4: Night.
• 25:39
  Speaker 12: Of the Living Podcast.
• 25:44
  Speaker 3: My mom wants to do a show!
• 25:48
  Speaker 1: This is Monique, the French foreign exchange student who'll be
• 25:51
  Speaker 1: staying with us.
• 25:52
  Speaker 13: This is Diane Franklin with Movie Meltdown.
• 26:03
  Speaker 12: It's time for Sofa Theater.
• 26:07
  Speaker 4: Shit!
• 26:09
  Speaker 12: CINEMA!
• 26:09
  Speaker 4: CINEMA!
• 26:10
  Speaker 5: CINEMA!
• 26:29
  Speaker 7: All right, welcome back to Movie Meltdown Silver Theater.
• 26:58
  Speaker 3: This week's Sofa Theater feature is Man Bites Dog. The
• 27:01
  Speaker 3: year is 1992. The director, does anybody think they have
• 27:04
  Speaker 3: a good handle on how to say these properly before
• 27:07
  Speaker 3: I put.
• 27:07
  Speaker 9: Your name in? No, absolutely not.
• 27:09
  Speaker 3: Let's just go with first names. Remy, Andre, and Benoit
• 27:14
  Speaker 3: is how we're, yeah. So, yeah, before I ruin their
• 27:17
  Speaker 3: last names, yeah, just look it up. You know who
• 27:20
  Speaker 3: we're talking about. Especially if you watch the movie, they're
• 27:23
  Speaker 3: all in the movie. The plot, according to IMDb, In
• 27:27
  Speaker 3: this dark satire, a film crew follows a ruthless thief
• 27:30
  Speaker 3: and heartless killer as he goes about his daily routines,
• 27:33
  Speaker 3: but complications set in when the film crew loses their
• 27:36
  Speaker 3: objectiveness and begin lending a hand. With that, spoiler alert,
• 27:41
  Speaker 3: it's been since 92. Hopefully you've watched it before you
• 27:43
  Speaker 3: get to this point. If not, fair warning. So, with that,
• 27:47
  Speaker 3: where would you like to begin with Man Bites Time?
• 27:49
  Speaker 7: Good Lord, I don't know. I can't start this one.
• 27:52
  Speaker 7: I'll just say this, though. I saw it in 92.
• 27:54
  Speaker 1: It's one of my top ten films of all time,
• 27:56
  Speaker 1: but I probably haven't watched it for at least ten years.
• 27:59
  Speaker 3: I think it's been that long for me. I saw
• 28:01
  Speaker 3: it when it first hit video. It's still pretty vivid
• 28:05
  Speaker 3: in my mind. It's a striking movie.
• 28:09
  Speaker 14: It is.
• 28:10
  Speaker 7: I had a different experience of it this time than before, though.
• 28:14
  Speaker 3: I kind of did, too. Because it's... I mean, I...
• 28:18
  Speaker 3: I definitely see the satire, and it is moments that
• 28:21
  Speaker 3: it's funny, but it seems a lot more cruel this time.
• 28:25
  Speaker 3: And maybe I just lost that part over the years
• 28:27
  Speaker 3: and remembered some of the better, you know, more interesting
• 28:30
  Speaker 3: things and not so much just the nihilistic heartlessness. So, yeah,
• 28:36
  Speaker 3: I don't know. Is that how yours changed?
• 28:38
  Speaker 1: I remember in high school seeing Pink Flamingos and thinking
• 28:41
  Speaker 1: it was the greatest thing ever, and then ten years
• 28:43
  Speaker 1: later seeing it and being like, unable to handle it.
• 28:46
  Speaker 3: At all so it's still great in it's own way it's.
• 28:49
  Speaker 1: A lot to deal with it's just I think age
• 28:52
  Speaker 1: though I think your perspective changes a great deal what
• 28:55
  Speaker 1: you'll accept as.
• 28:56
  Speaker 3: Funny changes so how did yours change since last.
• 29:00
  Speaker 1: Time I it was too long for me this time
• 29:03
  Speaker 1: I was getting really impatient with it this.
• 29:05
  Speaker 10: Time I had a little of that me too I
• 29:08
  Speaker 10: tried to watch it last week again and I had
• 29:11
  Speaker 10: to turn it off and stuff I don't know I
• 29:14
  Speaker 10: thought I was going to have some nightmares of that.
• 29:17
  Speaker 10: I like the brutality of it, definitely still.
• 29:20
  Speaker 3: They don't pull any punches in this one. They're hardcore.
• 29:23
  Speaker 8: There's a lot of comedy in it.
• 29:25
  Speaker 3: And you get that, again, you go into it and
• 29:27
  Speaker 3: right off the bat you realize you're kind of, you
• 29:31
  Speaker 3: start to get that sense of what you're in for.
• 29:33
  Speaker 3: When at first it comes off and it's just brutal.
• 29:35
  Speaker 3: I mean, first scene, he's murdering someone. But then you
• 29:38
  Speaker 3: get into it and when he's explaining the way to
• 29:42
  Speaker 3: weight them down when you're dumping the bodies, it starts
• 29:45
  Speaker 3: off pretty grim, but then he starts talking about little
• 29:47
  Speaker 3: people and what to do with old people because they're
• 29:50
  Speaker 3: more porously boned. And you're like, okay, I kind of
• 29:54
  Speaker 3: see where we're going with this. But yeah, it still
• 29:56
  Speaker 3: continues to get darker and meaner as time goes on.
• 30:00
  Speaker 8: Old people and babies, they're all fair game.
• 30:04
  Speaker 1: Yeah.
• 30:05
  Speaker 3: Again, this movie does not get.
• 30:08
  Speaker 7: I found him a lot more sympathetic, I guess, when
• 30:12
  Speaker 7: I was younger, too. Like, I actually kind of liked him.
• 30:15
  Speaker 3: He's charming, but he's not likable as time goes on. Right.
• 30:19
  Speaker 1: As the movie progresses, it becomes less and less, but
• 30:22
  Speaker 1: even in the beginning, I was less on his side
• 30:25
  Speaker 1: than I was historically.
• 30:28
  Speaker 3: Yeah. And I don't remember all those other problems with him.
• 30:31
  Speaker 3: I just remember him being a killer. But then as
• 30:33
  Speaker 3: you get into it and he's kind of misogynistic. He's racist.
• 30:39
  Speaker 3: He might have homophobic issues. He says he's okay with it,
• 30:42
  Speaker 3: but he seems to be pretty specific.
• 30:44
  Speaker 8: I don't trust him.
• 30:45
  Speaker 3: Yeah, he's... Well, I would hope nobody trusts him.
• 30:50
  Speaker 2: The thing that really bugged me about him the second
• 30:52
  Speaker 2: time around was just how narcissistic he is. Which I
• 30:54
  Speaker 2: guess makes sense because he.
• 30:56
  Speaker 14: But.
• 30:57
  Speaker 2: It just really struck me the second time around. It's
• 30:59
  Speaker 2: just really annoying more than anything. I don't know.
• 31:03
  Speaker 7: He's launching into the poetry.
• 31:04
  Speaker 1: His self-confidence and self-obsession when he's delivering his poetry.
• 31:10
  Speaker 7: Pigeon.
• 31:12
  Speaker 3: Which I think plays into it. It's like you start
• 31:14
  Speaker 3: to realize the way that this thing is set up,
• 31:18
  Speaker 3: that cinema verite thing, it's like it... And it's what
• 31:22
  Speaker 3: I've always said about, again, back to reality TV, it's
• 31:24
  Speaker 3: like there is no real documentary. If people know there's
• 31:29
  Speaker 3: a camera, it changed, the camera changes everything just by
• 31:32
  Speaker 3: being there. And even in like you watch, you know,
• 31:34
  Speaker 3: the bad reality TV, they play up the stupid drama
• 31:37
  Speaker 3: that's going on. But you give this, like in this situation,
• 31:40
  Speaker 3: you give it to him and he just becomes this
• 31:42
  Speaker 3: performer as much as he was a killer before. Now
• 31:46
  Speaker 3: he's got this like showcase for it. And he's just like,
• 31:50
  Speaker 3: it gets more brutal and more ridiculous. And he becomes
• 31:53
  Speaker 3: a little more showboaty about everything he does as the
• 31:55
  Speaker 3: movie progresses. So it's, I think that's sort of a
• 31:58
  Speaker 3: statement that comes in where they're working in sort of
• 32:01
  Speaker 3: the way media is supposed to. But I think more
• 32:04
  Speaker 3: than media, it's just that documentary film thing where it's
• 32:07
  Speaker 3: like there's only so much of it that's going to
• 32:09
  Speaker 3: be true. And then just having a camera there sort
• 32:12
  Speaker 3: of changes what you're trying to do.
• 32:14
  Speaker 9: It's different for me seeing it after seeing The Office.
• 32:18
  Speaker 7: That's funny.
• 32:20
  Speaker 9: Yeah, because I'm more aware of him playing... That's true.
• 32:25
  Speaker 9: To the camera. That's just been exploited. And I don't
• 32:28
  Speaker 9: think I'd seen anything much like that when I first
• 32:32
  Speaker 9: saw it.
• 32:33
  Speaker 7: There was nothing like that. I think that's sort of
• 32:36
  Speaker 7: the terrible thing about time. When it passes, it condenses.
• 32:40
  Speaker 1: And you lose this perspective of the time period that
• 32:45
  Speaker 1: came out and what was going on then.
• 32:48
  Speaker 3: It was groundbreaking.
• 32:50
  Speaker 4: Yeah.
• 32:51
  Speaker 3: I mean, yeah, there wasn't really... anything that was i
• 32:55
  Speaker 3: mean there wasn't.
• 32:55
  Speaker 1: Even cops yet was there was cops even on them
• 32:58
  Speaker 1: like was i don't know i think maybe cops.
• 33:00
  Speaker 3: Was maybe but but even then i mean there weren't
• 33:03
  Speaker 3: like any of this you know found footage run of
• 33:06
  Speaker 3: movies and so i mean even that style of camera
• 33:09
  Speaker 3: work was kind of unconventional certainly for like mass audiences
• 33:13
  Speaker 3: not this crossed over into mass audiences but it it
• 33:16
  Speaker 3: found its audience and and i think it's because it
• 33:18
  Speaker 3: was just so groundbreaking visually and just the brutality of
• 33:22
  Speaker 3: the story and the way that they sort of address things.
• 33:25
  Speaker 2: But the interesting thing is like, if you read the
• 33:27
  Speaker 2: director's statement, they weren't actually going for any kind of
• 33:29
  Speaker 2: satire groundbreaking thing. They just wanted to make a movie,
• 33:32
  Speaker 2: see if they could do it before they moved on
• 33:34
  Speaker 2: to other things. And, um, just people loved it.
• 33:38
  Speaker 7: Yeah.
• 33:38
  Speaker 3: So when I, yeah, when I heard that, cause I
• 33:40
  Speaker 3: saw that like interview they did with them and it
• 33:42
  Speaker 3: sort of like cheapened it a little bit because you
• 33:44
  Speaker 3: realize they didn't have this grand, you know, statement they
• 33:47
  Speaker 3: were trying to make. They were like, we don't have
• 33:49
  Speaker 3: any money, so we have to shoot it this way.
• 33:52
  Speaker 3: We have to make it look like it's a bad
• 33:54
  Speaker 3: camera running through a hallway because that's all we have.
• 33:57
  Speaker 3: In a way, you get the realism of it, but
• 34:00
  Speaker 3: at the same time, they weren't trying for that. They
• 34:02
  Speaker 3: were just some kids in school, and this is what
• 34:05
  Speaker 3: turned out.
• 34:06
  Speaker 7: I think that increases its value, though.
• 34:08
  Speaker 3: I think it does.
• 34:10
  Speaker 2: I think there's a definite appeal to unintentional art.
• 34:12
  Speaker 9: It seems like at the time, I remember everybody talking
• 34:16
  Speaker 9: about how it was about violence and the media yeah
• 34:20
  Speaker 9: but now it doesn't really seem to me like it's
• 34:24
  Speaker 9: the media i don't get that at all it doesn't
• 34:26
  Speaker 9: seem like it's this organized media it's not like you're
• 34:30
  Speaker 9: watching something like network or something it's just or natural
• 34:33
  Speaker 9: born killers yeah well see i hated natural born killers
• 34:37
  Speaker 9: after seeing um yeah as i saw it and i
• 34:40
  Speaker 9: thought oh it's a ripoff of man bites dog and
• 34:43
  Speaker 9: i already just hated Oliver Stone for various reasons.
• 34:47
  Speaker 8: I'm a fan of Natural Born Killers. Really?
• 34:50
  Speaker 3: I am. Well, it's kind of that same thing. I
• 34:52
  Speaker 3: liked it. It seems to do that.
• 34:55
  Speaker 9: I remember people saying that about Man Bites Dog, but
• 34:58
  Speaker 9: I don't see it so much. But yeah, Natural Born
• 35:00
  Speaker 9: Killers is definitely.
• 35:02
  Speaker 3: I liked it at the time, and it's been a
• 35:04
  Speaker 3: long time, so I'm wondering what happens when I revisit
• 35:06
  Speaker 3: it now, that it's probably going to seem very different.
• 35:09
  Speaker 9: I just have trouble with the idea of Oliver Stone
• 35:11
  Speaker 9: commenting on that. It's like, based on what authority is
• 35:16
  Speaker 9: Oliver Stone going to comment on the media doing that?
• 35:19
  Speaker 9: It just seems like he's a participant. I don't see how,
• 35:23
  Speaker 9: you know, how is he outside it to comment?
• 35:27
  Speaker 3: I don't know.
• 35:28
  Speaker 2: Maybe that's the point.
• 35:28
  Speaker 5: I don't know.
• 35:29
  Speaker 2: I haven't seen it, so I don't know.
• 35:32
  Speaker 3: I was going to go into what you thought on, like,
• 35:35
  Speaker 3: because what I think is really different about him, and
• 35:38
  Speaker 3: it's funny that they make him like he's a serial killer,
• 35:40
  Speaker 3: but I'm like, As serial killers go, he's so not
• 35:43
  Speaker 3: like any other serial killer. I mean, he has no
• 35:46
  Speaker 3: normal motivation. It's almost like he's just a glorified robber.
• 35:51
  Speaker 3: It's like all he seems to want to do is
• 35:53
  Speaker 3: kill people and take their money. And the killing, he
• 35:56
  Speaker 3: kind of gets off on it, but it's not really
• 35:58
  Speaker 3: some sort of weird need. It's not some specific system
• 36:02
  Speaker 3: that he has to go through because it's something weird
• 36:05
  Speaker 3: in his head. He consciously knows he's doing it. It's
• 36:08
  Speaker 3: not like he's feeding off of some weird darkness it's
• 36:11
  Speaker 3: like he's conscious of it he just does it because
• 36:13
  Speaker 3: he's it's like it's a job for him it's.
• 36:15
  Speaker 1: A job and he seems to take real pride in
• 36:17
  Speaker 1: being efficient at it like saving a bullet like just
• 36:21
  Speaker 1: yeah effectiveness and efficiency uh economy of murder he's really
• 36:26
  Speaker 1: proud of his skill he's good at yeah but yeah
• 36:29
  Speaker 1: it's all about the money like don't kill a young
• 36:31
  Speaker 1: couple they don't have any money so it's it is
• 36:33
  Speaker 1: all about the money ultimately.
• 36:34
  Speaker 7: Yeah most heroes don't Yeah, right.
• 36:37
  Speaker 3: Maybe he had a thick wallet, sure.
• 36:40
  Speaker 2: He did kind of show some regret after he killed
• 36:42
  Speaker 2: that suburban family. He called them innocents, like those three
• 36:45
  Speaker 2: innocents in there.
• 36:46
  Speaker 10: Yeah.
• 36:47
  Speaker 3: Which almost didn't make sense, really. I'm not sure what
• 36:50
  Speaker 3: that line meant. Wasn't that when he was forced.
• 36:53
  Speaker 7: To go out to the rich neighborhood, though?
• 36:54
  Speaker 1: Because they said, I don't kill people that cause a stir.
• 37:00
  Speaker 7: Little people don't. No one writes in the paper about
• 37:02
  Speaker 7: the little guy getting killed. They write about the big people,
• 37:04
  Speaker 7: so they challenge him. And so I really don't have
• 37:06
  Speaker 7: the nerve to kill him.
• 37:09
  Speaker 3: What was sad in that scene is he seemed almost
• 37:12
  Speaker 3: more upset about not so much the innocence that he
• 37:15
  Speaker 3: just killed, but the fact that they were letting this
• 37:17
  Speaker 3: house go. It needs a coat of paint. He seemed
• 37:22
  Speaker 3: way more upset by that. I was like, that shows
• 37:25
  Speaker 3: you how hardcore this movie is.
• 37:27
  Speaker 9: That's the part of the aspect of the movie that
• 37:29
  Speaker 9: I really enjoy. It's just that sort of misplaced concern.
• 37:34
  Speaker 5: And so.
• 37:37
  Speaker 9: It's so everyday and ho-hum and that it's dry, you know.
• 37:43
  Speaker 3: And I think in the beginning that works to its advantage.
• 37:45
  Speaker 3: I think in the beginning it really becomes kind of
• 37:47
  Speaker 3: interesting when he stops and he starts talking about music
• 37:50
  Speaker 3: or he starts, you know, just going off on his
• 37:53
  Speaker 3: thoughts on architecture. It's like in the beginning it's really cool.
• 37:56
  Speaker 3: I think, like you guys were saying, when you start
• 37:58
  Speaker 3: to get tired of it is that second half when
• 38:00
  Speaker 3: he's still doing that and he's still doing pigeon poems
• 38:03
  Speaker 3: and he's still, like, We get five minutes on Remy's breath,
• 38:07
  Speaker 3: and it's just like, you know, after a while, it's like, okay,
• 38:09
  Speaker 3: you could probably trim some of this.
• 38:11
  Speaker 4: Yeah.
• 38:11
  Speaker 9: It does seem like it could be more like a
• 38:13
  Speaker 9: short story in a way.
• 38:16
  Speaker 3: Probably like an hour run, which, again, is the hardest
• 38:19
  Speaker 3: thing to market, I suppose. But, you know, it does
• 38:22
  Speaker 3: seem like it would probably feel a little better maybe
• 38:24
  Speaker 3: just over an hour.
• 38:24
  Speaker 7: But I didn't have this complaint when I first saw it.
• 38:27
  Speaker 5: Yeah.
• 38:28
  Speaker 7: So, I don't know.
• 38:29
  Speaker 8: I can make it out of the way through.
• 38:31
  Speaker 7: Yeah, over and over.
• 38:32
  Speaker 4: Yeah.
• 38:32
  Speaker 8: Maybe I'm just burnt out.
• 38:34
  Speaker 3: Yeah. Maybe we've changed.
• 38:36
  Speaker 7: Yeah. God forbid.
• 38:38
  Speaker 5: Yeah.
• 38:39
  Speaker 1: I actually watched it this last time with a friend,
• 38:42
  Speaker 1: an author friend of mine from New York.
• 38:44
  Speaker 7: His name is Michael Patrick McDonald, and he's much smarter
• 38:48
  Speaker 7: than me.
• 38:49
  Speaker 1: And he's like, this is like the premonition of Guy Debord, G-U-Y, D-U-B-O-R-D,
• 38:55
  Speaker 1: apparently some French philosopher guy who predicted that.
• 38:58
  Speaker 7: The world was going to be so consumed with consumerism.
• 39:02
  Speaker 1: That it would stop living, people would stop living their
• 39:04
  Speaker 1: lives and only want to watch life happen. They would
• 39:06
  Speaker 1: be disconnected from, and that's what this movie sort of
• 39:09
  Speaker 1: is parodying, is his disconnection and more enjoying talking about
• 39:15
  Speaker 1: what he's done, not really experiencing what he's doing, but
• 39:18
  Speaker 1: wanting to talk about what he's done.
• 39:20
  Speaker 7: And then how much further it's come.
• 39:21
  Speaker 1: Nowadays, where with reality television, how we really have this
• 39:23
  Speaker 1: become about watching other people live their life, right down
• 39:26
  Speaker 1: to the Jersey Shore idiots and people, the real housewives,
• 39:29
  Speaker 1: all those people who are these people?
• 39:31
  Speaker 7: Why do we care? Why does anyone care? I can't imagine.
• 39:34
  Speaker 9: Or even just our own social media.
• 39:37
  Speaker 3: Yeah. Facebook in general is kind of that same thing
• 39:41
  Speaker 3: for every man. If somebody eats.
• 39:42
  Speaker 9: A dessert and they don't Instagram it.
• 39:45
  Speaker 4: Right.
• 39:45
  Speaker 3: It didn't happen. Exactly.
• 39:47
  Speaker 7: I'm the most guilty of that.
• 39:49
  Speaker 1: My Facebook page is nothing but the meals I eat,
• 39:51
  Speaker 1: lovingly photographed.
• 39:52
  Speaker 9: I indulge in some food porn.
• 39:54
  Speaker 7: Yes, food porn, absolutely. It's kind of becoming a problem.
• 39:58
  Speaker 9: But you know what happened to me the other day?
• 39:59
  Speaker 9: I was trying to clear out my computer, and I found...
• 40:03
  Speaker 9: that I had like 9,000 photos in my iPhoto trash,
• 40:07
  Speaker 9: and they were all the photos that I have unselected
• 40:10
  Speaker 9: of my life and my family.
• 40:12
  Speaker 3: It's all of us.
• 40:13
  Speaker 9: Blinking, looking fat, looking stupid. It's an alternate world to
• 40:18
  Speaker 9: the one that I've been creating.
• 40:21
  Speaker 1: You should create another Facebook page and just put those ones.
• 40:24
  Speaker 7: Create an alter ego of just the bad moments.
• 40:28
  Speaker 9: I can't even delete it because it's this whole complete
• 40:31
  Speaker 9: universe that I didn't know I was compiling.
• 40:33
  Speaker 7: That you're in denial.
• 40:35
  Speaker 3: I still say that's a gallery show. The other world.
• 40:39
  Speaker 3: It's horrible, man.
• 40:40
  Speaker 7: I think that's great.
• 40:41
  Speaker 3: You need to blow those up and put them on
• 40:43
  Speaker 3: a wall.
• 40:43
  Speaker 1: I actually have a question about the movie that Michael
• 40:46
  Speaker 1: had a take on it.
• 40:48
  Speaker 7: I'm not going to say what it is until somebody
• 40:50
  Speaker 7: else has said Maybe a take. When he's in the restaurant,
• 40:53
  Speaker 7: they're eating the mussels in the restaurant, and there's that
• 40:55
  Speaker 7: weird nude of him. He's running nude down the dune
• 40:58
  Speaker 7: and rolling around in the sand.
• 41:01
  Speaker 1: It's never referenced in any way. It's cut in there,
• 41:04
  Speaker 1: and when they cut back out of it, he's puking.
• 41:07
  Speaker 1: They cut right back to him puking mussels. So what
• 41:11
  Speaker 1: does anyone think.
• 41:11
  Speaker 7: About what that is?
• 41:12
  Speaker 3: Does anybody? Because I'm not sure.
• 41:14
  Speaker 9: You got me.
• 41:16
  Speaker 8: Maybe it's like a food allergy.
• 41:18
  Speaker 7: Yeah. Well, Michael's thing was he thought that there's nothing.
• 41:22
  Speaker 1: Sort of more visceral than running around naked, literally rolling
• 41:27
  Speaker 1: naked in the sand, that it's a really primal sort
• 41:31
  Speaker 1: of real experience, and that too intense for.
• 41:36
  Speaker 7: Him to deal with.
• 41:36
  Speaker 1: He needs to so be in that just talking about
• 41:40
  Speaker 1: a place and not actually experiencing it, that the... the
• 41:45
  Speaker 1: uh even an idea of a feeling that was real
• 41:48
  Speaker 1: is too intense and he threw up which i kind.
• 41:50
  Speaker 15: Of liked because i i would just skip past that
• 41:52
  Speaker 15: scene and and not need it explained but it's obviously
• 41:55
  Speaker 15: there for a reason and it's in that moment for
• 41:58
  Speaker 15: a reason it's not put someplace else and i just
• 42:01
  Speaker 15: i don't uh I would like to know what those guys,
• 42:03
  Speaker 15: what the Remy would say.
• 42:05
  Speaker 3: Yeah, I'm sure they have some reason that they at
• 42:07
  Speaker 3: least put it back in there, even if they just,
• 42:09
  Speaker 3: I mean, they had to go and shoot it, so yeah,
• 42:11
  Speaker 3: what was the motivation for that?
• 42:13
  Speaker 2: Actually, I had a thought about that when I watched it,
• 42:15
  Speaker 2: because they're all dead by the end. So who was
• 42:17
  Speaker 2: it that found the camera and edited it together?
• 42:19
  Speaker 3: That's true. Because there wasn't any of them. Because those
• 42:21
  Speaker 3: are specific choices, too.
• 42:22
  Speaker 2: Yeah, and there was a lot of interesting stuff. They
• 42:24
  Speaker 2: didn't edit it.
• 42:25
  Speaker 3: It was fancy. Linear? I think you've unlocked the secrets.
• 42:31
  Speaker 8: I mean, they just in-camera edited, probably, right? Just shot
• 42:34
  Speaker 8: it in order, right?
• 42:35
  Speaker 2: No, there's a lot of just quick shots and things
• 42:39
  Speaker 2: of him watching footage that kind of cuts back and forth.
• 42:42
  Speaker 2: It's definitely been put together.
• 42:44
  Speaker 3: I mean, I guess that's the last shot.
• 42:47
  Speaker 9: As it went along.
• 42:47
  Speaker 2: Yeah, I guess there's that.
• 42:48
  Speaker 3: Just add in that last shot. I just thought it
• 42:51
  Speaker 3: was bad muscles. I didn't really think about it that much.
• 42:54
  Speaker 3: It was more one of those things.
• 42:55
  Speaker 7: He drank so much. They were drinking like crazy, but.
• 42:58
  Speaker 1: Yeah, I just feel like, I feel, I mean, I'm
• 43:00
  Speaker 1: not one of those people that thinks, like, I'm going
• 43:02
  Speaker 1: to film school a little bit, and you watch Psycho,
• 43:04
  Speaker 1: and then you're supposed to think that every single, like,
• 43:06
  Speaker 1: the picture, every picture on the wall has a meaning,
• 43:09
  Speaker 1: and the size of somebody's hat, and the color of
• 43:10
  Speaker 1: their shirt, and black and white movie colors, but every
• 43:14
  Speaker 1: single detail was intentional, and having done, I mean, Hitchcock
• 43:18
  Speaker 1: may be different, but having done a lot of movies,
• 43:20
  Speaker 1: I know so much, not wearing that hat because it's
• 43:23
  Speaker 1: symbolic of, like, man's inhumanity to man, It's because the
• 43:26
  Speaker 1: other hat that she was going to wear, somebody spilled
• 43:28
  Speaker 1: something on it, and that's the only one they could
• 43:29
  Speaker 1: get at the last minute.
• 43:30
  Speaker 7: And so some film student somewhere is going to read,
• 43:32
  Speaker 7: you know, some amount of meaning into it. So I
• 43:34
  Speaker 7: don't think that there's meaning into every single thing, although
• 43:36
  Speaker 7: it is in.
• 43:37
  Speaker 1: His movie, in Pillow, I don't think there's a single
• 43:39
  Speaker 1: thing in the frame that's not supposed to be there.
• 43:41
  Speaker 7: It's a perfect film school film, but.
• 43:43
  Speaker 8: Thank you.
• 43:46
  Speaker 7: Which actually sounds gross. That sounds insulting almost, but I
• 43:49
  Speaker 7: didn't mean it that way.
• 43:49
  Speaker 1: Because it's not a film school film, but.
• 43:53
  Speaker 7: But I don't think it.
• 43:54
  Speaker 1: Was unintentional that that nude thing was there and that
• 43:56
  Speaker 1: it was put there. It just seems like that's... Yeah.
• 43:59
  Speaker 9: They went out of their way to do that.
• 44:00
  Speaker 2: Yeah.
• 44:01
  Speaker 8: Maybe he was just being animalistic.
• 44:04
  Speaker 1: More primal than strangling him with the dab of his
• 44:08
  Speaker 1: bare hands.
• 44:08
  Speaker 8: That's just part of it.
• 44:09
  Speaker 7: Yeah.
• 44:10
  Speaker 3: And then he got sick on the muscles.
• 44:11
  Speaker 4: Yeah.
• 44:12
  Speaker 7: No, he also got sick from the muscles.
• 44:13
  Speaker 9: But there is that thing all through the movie.
• 44:15
  Speaker 3: I mean, that's true.
• 44:16
  Speaker 9: It is like sort of inexperienced and then he's outside
• 44:20
  Speaker 9: the experience commenting on it. I guess that I mean,
• 44:24
  Speaker 9: you can't say that doesn't make sense as a reading
• 44:27
  Speaker 9: of the scene. To me, I guess it's just mental laziness.
• 44:30
  Speaker 9: I saw the scene.
• 44:31
  Speaker 3: It registered.
• 44:33
  Speaker 9: I didn't really think too much about what it was
• 44:36
  Speaker 9: or why it was there.
• 44:37
  Speaker 2: I thought.
• 44:38
  Speaker 3: I kind of like... I thought, you've got to be
• 44:41
  Speaker 3: careful with muscles. That is true. But I kind of
• 44:45
  Speaker 3: like when they leave it open. Yeah, I almost hate...
• 44:49
  Speaker 3: In a way, it's kind of nice when you get
• 44:51
  Speaker 3: that behind-the-scenes version and you get every second of the
• 44:54
  Speaker 3: film commented on by the director and he explains everything,
• 44:57
  Speaker 3: but I almost like those where everything's sort of left
• 45:00
  Speaker 3: up to you. It really becomes more of a work
• 45:02
  Speaker 3: of art then because everybody takes from it what they
• 45:05
  Speaker 3: want and you can sort of give that meaning if
• 45:07
  Speaker 3: you want or just sit there and watch it and
• 45:09
  Speaker 3: let it pass by you. I've always kind of liked that,
• 45:12
  Speaker 3: that you can sort of make what you want out
• 45:15
  Speaker 3: of what's on the screen there.
• 45:17
  Speaker 8: I think it's red hair and just a trick. They're
• 45:19
  Speaker 8: just messing with us.
• 45:21
  Speaker 4: Really?
• 45:21
  Speaker 7: No, it's their French. They have to get naked at
• 45:23
  Speaker 7: some point. It's a rule. You have to have male
• 45:26
  Speaker 7: frontal nudity in all French films, don't you?
• 45:27
  Speaker 3: I think it's in the bylaws of the country somewhere.
• 45:32
  Speaker 3: But back to what you were saying before with the commenting,
• 45:35
  Speaker 3: that's another thing. Now that you mention that, like, really
• 45:38
  Speaker 3: has come almost eerily into play now that, like, We
• 45:44
  Speaker 3: aren't just happy doing things. We actually have to then
• 45:47
  Speaker 3: narrate what we're doing, which, back to the social media,
• 45:50
  Speaker 3: everything with Facebook and Twitter is like, not only I'm
• 45:53
  Speaker 3: out doing something, but I'm also going to show you
• 45:56
  Speaker 3: and I'm going to sit here and tell you exactly what...
• 45:58
  Speaker 3: I don't know, it's sort of weird how much that
• 46:00
  Speaker 3: has come to light now and actually is a part
• 46:03
  Speaker 3: of people's everyday lives. It's just standing there like he is,
• 46:06
  Speaker 3: telling you what he's doing and his reason behind it.
• 46:10
  Speaker 3: A big war crime, for example. The toilet crime.
• 46:14
  Speaker 9: On that showbiz end there, I did want to say.
• 46:18
  Speaker 2: What you thought.
• 46:18
  Speaker 3: There were a few moments.
• 46:19
  Speaker 2: That I thought were.
• 46:42
  Speaker 3: Even if unintentional, fun little comments from the filmmaking side.
• 46:47
  Speaker 3: The fact that when they find the other documentary crew,
• 46:50
  Speaker 3: which is a funny scene anyway, that this world is
• 46:53
  Speaker 3: so overrun with serial killers that they're both making a
• 46:56
  Speaker 3: documentary about one. But then when he takes that camera
• 46:59
  Speaker 3: and they're like, no, it's video. And he just drops it.
• 47:03
  Speaker 3: He just breaks it immediately. No, we're shooting film.
• 47:06
  Speaker 9: Yeah, that part reminds me of a guy I knew who.
• 47:12
  Speaker 9: He lived in New York, and there was a local
• 47:14
  Speaker 9: weatherman that just looked like the quintessential weatherman, and he
• 47:20
  Speaker 9: and his roommate started a fan club just to punk
• 47:23
  Speaker 9: the guy. And they were just kidding, and they would
• 47:27
  Speaker 9: write him letters and stuff, and the guy was all
• 47:29
  Speaker 9: into it. But then there was a rival fan club.
• 47:35
  Speaker 4: A real one?
• 47:36
  Speaker 3: Yeah. That got angry at them. It's, we're the real fan.
• 47:39
  Speaker 9: He was like, we were just kidding.
• 47:41
  Speaker 7: We're the official fan club.
• 47:43
  Speaker 4: Yeah.
• 47:44
  Speaker 12: Yeah.
• 47:45
  Speaker 3: Oh, man.
• 47:47
  Speaker 7: You know that Flash Mob? They did that to somebody.
• 47:49
  Speaker 7: You know the Flash Mob in New York? That improv
• 47:51
  Speaker 7: is everywhere or whatever? Yeah. They did a thing where
• 47:54
  Speaker 7: they found some.
• 47:54
  Speaker 1: Local band and they had a couple of CDs out
• 47:58
  Speaker 1: and so they had 200 people get the CDs and
• 48:00
  Speaker 1: learn every word to every song and then 250 people
• 48:02
  Speaker 1: showed up to one of their shows and were like
• 48:05
  Speaker 1: screaming and singing every like every lyric to every song
• 48:09
  Speaker 1: and the.
• 48:09
  Speaker 13: Band's like oh my god like we're we're bon jovi
• 48:12
  Speaker 13: yeah and ended up being coming when it was revealed
• 48:16
  Speaker 13: that It was meant to be a fun thing and
• 48:18
  Speaker 13: it ended up coming across as really mean.
• 48:24
  Speaker 7: It wasn't intended to be mean and that's how it
• 48:25
  Speaker 7: ended up happening.
• 48:26
  Speaker 2: What if they all really actually liked the band?
• 48:29
  Speaker 7: I don't think they did.
• 48:31
  Speaker 8: I think that's where the meanness comes out. I think
• 48:34
  Speaker 8: they picked the band out for a reason.
• 48:36
  Speaker 3: Probably.
• 48:37
  Speaker 7: It was just a band that wasn't well known.
• 48:39
  Speaker 1: A band that would really be blown away by 250
• 48:42
  Speaker 1: people knowing every word to.
• 48:43
  Speaker 3: Every one of their songs. Maybe it was a marketing scam.
• 48:46
  Speaker 3: The band themselves planted this group to go get 250
• 48:49
  Speaker 3: new listeners.
• 48:50
  Speaker 7: Yeah, publicity.
• 48:51
  Speaker 3: That's a pretty good scheme right there.
• 48:53
  Speaker 8: Or the club, you know, sell some tickets.
• 48:55
  Speaker 7: Yeah, there you go.
• 48:57
  Speaker 5: They probably did.
• 48:57
  Speaker 7: I might try that.
• 48:59
  Speaker 3: The other one I thought was funny was the fact
• 49:02
  Speaker 3: that as they get into this movie, they don't have
• 49:05
  Speaker 3: the money to make this movie, and he starts financing
• 49:08
  Speaker 3: the movie. So then you've got basically the producer is
• 49:11
  Speaker 3: a horrible murderer. Right. It's a cutthroat killer. That seemed
• 49:16
  Speaker 3: a little... That that seems like it has to.
• 49:18
  Speaker 9: Be intentional yeah it's just beautiful that was the stuff
• 49:21
  Speaker 9: that i really remember loving about the movie and how
• 49:24
  Speaker 9: they just start helping him a little like hold yes
• 49:28
  Speaker 9: i love that that slow like they've become more and
• 49:32
  Speaker 9: more involved in.
• 49:33
  Speaker 1: It They become completely involved in it by the end.
• 49:37
  Speaker 9: But there are so many things that are like that
• 49:39
  Speaker 9: that just weren't around when that movie came out, like
• 49:42
  Speaker 9: The Sopranos. And now looking at it, it just seems
• 49:49
  Speaker 9: like something that's in media. But at the time, it
• 49:52
  Speaker 9: was so new and different.
• 49:54
  Speaker 3: I think that's why they got that response. I think
• 49:56
  Speaker 3: it would be really different to find a kid now
• 49:59
  Speaker 3: and watch them be here, watch this, and they'd be like, whatever, whatever. Again,
• 50:03
  Speaker 3: it's the same style I see most movies now. It's like, oh,
• 50:05
  Speaker 3: just watch Chronicle. It's kind of like that.
• 50:07
  Speaker 4: Right.
• 50:08
  Speaker 3: Which, you know, this is very different. And I think
• 50:11
  Speaker 3: what works better about this versus a lot of those
• 50:13
  Speaker 3: movies is they're not trying, I mean, they don't have
• 50:15
  Speaker 3: to come up with this weird convention of there's a
• 50:17
  Speaker 3: camera on all the time. They are just making a documentary.
• 50:21
  Speaker 3: They're telling you, where like Chronicle, they go to so
• 50:23
  Speaker 3: many steps to be like, and then we are in
• 50:26
  Speaker 3: a gas station. Here's the video camera from the gas station.
• 50:29
  Speaker 3: Like they have to. try so hard to pull this together,
• 50:32
  Speaker 3: which is kind of why I'm sick of the found
• 50:34
  Speaker 3: footage thing. It's such an effort on the filmmaker and
• 50:37
  Speaker 3: you to buy into it as the audience, whereas this
• 50:40
  Speaker 3: is just like, here, we have a camera. We're telling
• 50:42
  Speaker 3: you we have a camera.
• 50:43
  Speaker 1: Does Modern Family ever explain why they're talking to a camera?
• 50:46
  Speaker 3: I've wondered that since the first episode.
• 50:48
  Speaker 7: I think the show's great. But I think I've watched
• 50:53
  Speaker 7: every episode and there's never a reference to why they're
• 50:55
  Speaker 7: talking to a camera.
• 50:56
  Speaker 4: Yeah.
• 50:56
  Speaker 3: We just accept that now.
• 50:57
  Speaker 9: That convention from like the British office now on the
• 51:00
  Speaker 9: American show has gotten so casual. They're making like a
• 51:05
  Speaker 9: 50-hour documentary about this paper office.
• 51:08
  Speaker 1: Right, right.
• 51:08
  Speaker 9: And if you hadn't seen the beginning of it, then
• 51:13
  Speaker 9: you'd look at, who was it that said, like you'd
• 51:15
  Speaker 9: look at Jim looking at the camera and think, That guy's.
• 51:18
  Speaker 8: A terrible actor.
• 51:21
  Speaker 3: He's the worst.
• 51:24
  Speaker 8: I read some interesting things about the cinematography in Chronicle.
• 51:27
  Speaker 3: I haven't seen that.
• 51:29
  Speaker 10: Just how the camera became smoother as the powers. That
• 51:33
  Speaker 10: sounded like a different take on it.
• 51:35
  Speaker 3: It was better than I expected, actually. It's pretty well
• 51:38
  Speaker 3: done for what it is. I think it's just one
• 51:40
  Speaker 3: of those that's almost... they're tapping into so many things
• 51:43
  Speaker 3: that are already played out. It's like another superhero movie,
• 51:46
  Speaker 3: another found footage movie, that it's like they're just trying
• 51:49
  Speaker 3: to pack them all into one movie. But it's still
• 51:51
  Speaker 3: a lot better story than I expected out of it.
• 51:53
  Speaker 3: And for the limited budget, it all looks pretty good.
• 51:57
  Speaker 8: I'm pretty tired of that found footage.
• 51:59
  Speaker 3: Yeah, it's over now at this point.
• 52:01
  Speaker 10: Do you think Man Bites Dog influenced what was Behind
• 52:06
  Speaker 10: the Mask?
• 52:08
  Speaker 3: I think yeah the more i the more i heard
• 52:11
  Speaker 3: about that as it came out i was like it
• 52:13
  Speaker 3: kind of feels like that same thing only done more
• 52:15
  Speaker 3: slasher style but yeah i i think they would have
• 52:19
  Speaker 3: to they would have to own up to you know
• 52:21
  Speaker 3: having seen that at some point but i don't know
• 52:23
  Speaker 3: that you brought up the the them getting more involved
• 52:26
  Speaker 3: i think that is also where it starts to get
• 52:29
  Speaker 3: so like it's a good thing some of the things
• 52:31
  Speaker 3: happen at the end Happen at the end because I
• 52:34
  Speaker 3: think you'd be, like, by the time you get to
• 52:35
  Speaker 3: the couple and the rape scene, you're kind of done
• 52:38
  Speaker 3: with these guys. You know, it's like you're going along
• 52:41
  Speaker 3: with them in the beginning when they're just, here, help
• 52:42
  Speaker 3: me drag this over here. But, like, by the time
• 52:45
  Speaker 3: they're at that point, you're like, I don't really care
• 52:47
  Speaker 3: what happens to any of these people now. It's like,
• 52:49
  Speaker 3: I'm done with you. And that's a hard scene to watch.
• 52:53
  Speaker 3: And the most disturbing thing, I think, is the husband
• 52:56
  Speaker 3: doesn't seem that concerned.
• 52:58
  Speaker 7: Yeah, that's really weird. He's like in shock or something.
• 53:00
  Speaker 3: Maybe. He just seems like he's just standing there.
• 53:02
  Speaker 12: Yeah.
• 53:03
  Speaker 7: Really weird. Like, he doesn't even know he's in frame.
• 53:05
  Speaker 3: Yeah. You know? Which maybe he didn't. Maybe that was
• 53:08
  Speaker 3: part of it. And he just shut down.
• 53:11
  Speaker 15: Yeah.
• 53:11
  Speaker 2: Yeah.
• 53:12
  Speaker 3: It was, yeah. I mean, that's a weird scene. And
• 53:14
  Speaker 3: that's the thing. I think, had that been earlier in
• 53:16
  Speaker 3: the movie, like, you wouldn't, you really would just sign
• 53:18
  Speaker 3: off and not even want to finish watching it.
• 53:20
  Speaker 4: Yeah.
• 53:21
  Speaker 3: They at least made that progression kind of build to
• 53:23
  Speaker 3: the point where you know something's coming by the time
• 53:26
  Speaker 3: it gets that bad. Yeah.
• 53:28
  Speaker 7: And what's the name? Jeannie? Is it the hooker woman?
• 53:31
  Speaker 7: What's her name?
• 53:32
  Speaker 2: Jenny.
• 53:32
  Speaker 4: Jenny?
• 53:33
  Speaker 3: Yeah.
• 53:34
  Speaker 7: The scene toward the end of the dinner table.
• 53:36
  Speaker 3: With the gun.
• 53:37
  Speaker 9: Yeah.
• 53:38
  Speaker 1: And everyone's sitting at the table with a blow over
• 53:39
  Speaker 1: their face and not even acknowledging it.
• 53:43
  Speaker 7: She's his friend.
• 53:45
  Speaker 1: She's the best friend he has that you see in
• 53:47
  Speaker 1: the movie and that he would treat even her... Even
• 53:50
  Speaker 1: if she's just terrified of him and gets treated that way,
• 53:52
  Speaker 1: it makes him... If that happened in the beginning, again, I.
• 53:55
  Speaker 7: Think he would check out and be like, I guess
• 53:56
  Speaker 7: I'm not.
• 53:57
  Speaker 3: Well, and that was weird just because he... I mean, again,
• 54:00
  Speaker 3: you see how desensitized he is. Like, he didn't even notice,
• 54:04
  Speaker 3: you know, barely. I mean, he just kept eating his cake,
• 54:07
  Speaker 3: you know.
• 54:07
  Speaker 4: Yeah.
• 54:07
  Speaker 3: Where at least everybody else was still traumatized. Like, even
• 54:09
  Speaker 3: the cameraman, you know, the guys on the crew still
• 54:13
  Speaker 3: hadn't gotten that far. Like, he's just so far gone that...
• 54:16
  Speaker 3: But you would almost think, okay, he's totally, you know,
• 54:19
  Speaker 3: there's nothing left of him. But by the time he
• 54:21
  Speaker 3: gets to his, were we calling him his girlfriend? What
• 54:25
  Speaker 3: was she exactly? When she gets killed at the end
• 54:27
  Speaker 3: there and he actually does cry, that almost seemed out
• 54:31
  Speaker 3: of character at that point. You didn't even realize there
• 54:34
  Speaker 3: was that humanity left in him that he could be.
• 54:36
  Speaker 9: Yeah, but it seemed kind of self-pitying.
• 54:38
  Speaker 4: In a way.
• 54:39
  Speaker 3: Maybe. Maybe because somebody else got to do it.
• 54:41
  Speaker 9: Look what happened to me.
• 54:43
  Speaker 3: I was going to kill her eventually. You could almost
• 54:45
  Speaker 3: give him the parents, but he didn't seem like he
• 54:48
  Speaker 3: paid much attention to her anyway. So the fact that
• 54:51
  Speaker 3: he gets to this weird scene where he starts crying,
• 54:53
  Speaker 3: but yeah, maybe it was for selfish reasons. Once again.
• 54:56
  Speaker 4: I don't know.
• 54:57
  Speaker 2: I felt like he had genuine feelings towards Valerie just
• 54:59
  Speaker 2: as a friend, even though he treated her like shit.
• 55:02
  Speaker 2: I don't know. It felt real to me.
• 55:05
  Speaker 3: I think he did, but it weird. Yeah, I mean,
• 55:07
  Speaker 3: to me, he just seems so gone, you can't even
• 55:09
  Speaker 3: imagine him crying.
• 55:10
  Speaker 2: He was washing off her flute, you know, because that
• 55:12
  Speaker 2: was hers.
• 55:12
  Speaker 3: Again, that all seemed out of character.
• 55:15
  Speaker 2: Yeah, but, you know, we're seeing just this other side
• 55:18
  Speaker 2: of him now. It's there.
• 55:19
  Speaker 3: He's not heartless, as is the IMDb, but it's deep
• 55:22
  Speaker 3: in there. Yeah, the very buried essence that maybe at
• 55:25
  Speaker 3: one point he wasn't a horrible, horrible person.
• 55:28
  Speaker 2: Which, one thing that I kept wondering about was how
• 55:30
  Speaker 2: come so many people were just okay with him just...
• 55:34
  Speaker 2: killing people i.
• 55:35
  Speaker 3: Think i mean within the the crew i think that
• 55:39
  Speaker 3: again was sort of if you want to read into
• 55:41
  Speaker 3: it that commentary of how impossible it is to make
• 55:44
  Speaker 3: a film so if you we've been trying to make
• 55:46
  Speaker 3: this documentary for years so you know if i got
• 55:48
  Speaker 3: to go along with a couple of murders it does
• 55:51
  Speaker 3: seem like there was a little a little sort of
• 55:53
  Speaker 3: wink to that sort of mentality but yeah all the
• 55:56
  Speaker 3: other people who came in and sort of came to
• 55:58
  Speaker 3: realize that and were okay with it or.
• 56:01
  Speaker 7: Everyone's got to eat. Do you know what he does
• 56:03
  Speaker 7: for a living? He's like, yeah, we don't eat. Do
• 56:05
  Speaker 7: you have a problem with that? Well, you know, everyone's
• 56:08
  Speaker 7: got to eat.
• 56:10
  Speaker 3: Again, that's the fun stuff. That sort of attitude makes
• 56:15
  Speaker 3: it really kind of clever, the way that they put
• 56:17
  Speaker 3: it together.
• 56:18
  Speaker 1: Yeah.
• 56:18
  Speaker 7: Times were hard.
• 56:22
  Speaker 9: To me, that does pull you along more than we
• 56:26
  Speaker 9: watched the two versions of Funny Games. And that just
• 56:29
  Speaker 9: seems like it's planned from the start, and everything's... At
• 56:33
  Speaker 9: least this has emotion to it, and you find, like,
• 56:37
  Speaker 9: you know, it's gradual. They get more and more involved,
• 56:41
  Speaker 9: and by the end of the movie, you're someplace different.
• 56:45
  Speaker 3: I think that's why it sort of disturbs people as well,
• 56:48
  Speaker 3: is I think you're in that point of view of
• 56:51
  Speaker 3: the crew... And the more they get involved, the more
• 56:54
  Speaker 3: you kind of feel like you're getting sucked into it.
• 56:56
  Speaker 3: And you're almost like.
• 56:57
  Speaker 9: And you maybe question things in your life and reality.
• 57:02
  Speaker 9: You're in that mode. What have I become okay with?
• 57:04
  Speaker 3: Yeah. Would I help them drag the body over there?
• 57:07
  Speaker 3: You know, it sort of puts you in that point
• 57:09
  Speaker 3: of view. And then it's like. Do you start to
• 57:11
  Speaker 3: feel responsible? Do you start to feel guilty because you're
• 57:14
  Speaker 3: sort of going along for the ride with this movie?
• 57:17
  Speaker 3: It's a weird thing. It's evolving. Yeah, it's more than
• 57:19
  Speaker 3: most of these type of movies or definitely anything at
• 57:22
  Speaker 3: that point had been. I think that's probably one of
• 57:25
  Speaker 3: the most affecting things is that the documentary style works
• 57:30
  Speaker 3: enough that it sort of sucks you into it, which
• 57:32
  Speaker 3: a lot of documentaries don't do that. It's almost more
• 57:35
  Speaker 3: like educational and you just sit there and you watch
• 57:37
  Speaker 3: this one. it's not a real documentary, but it's set up.
• 57:40
  Speaker 3: I mean, there is never a moment when it's not,
• 57:42
  Speaker 3: you know, pretending to be a real documentary and it
• 57:44
  Speaker 3: still works visually as though you were watching a documentary.
• 57:48
  Speaker 3: And I think maybe that's why people were sort of
• 57:51
  Speaker 3: taken aback when they watched it that first time and
• 57:53
  Speaker 3: were like, Oh, okay. I think, I mean, there were
• 57:56
  Speaker 3: people that were worried that maybe this was a little
• 58:00
  Speaker 3: too real when it came out. So yeah, I don't know.
• 58:03
  Speaker 3: I think that's probably why it's so, it's sort of
• 58:06
  Speaker 3: hung on over the years and, it's still impressive in
• 58:08
  Speaker 3: its own way.
• 58:10
  Speaker 8: Did they try to market it as real?
• 58:12
  Speaker 3: I don't think so. I think they made it very
• 58:16
  Speaker 3: obvious that it was at least scripted, but I think
• 58:19
  Speaker 3: even then, there were people, again, there's always somebody that's like,
• 58:21
  Speaker 3: oh my god, I can't believe they're making this. There's
• 58:24
  Speaker 3: probably some idiot.
• 58:24
  Speaker 7: That bought into it.
• 58:26
  Speaker 1: I remember thinking or reading somewhere that it had been
• 58:29
  Speaker 1: inspired on some level by Henry Portrait of a Serial Killer,
• 58:33
  Speaker 1: that movie.
• 58:33
  Speaker 3: Henry Lucas.
• 58:34
  Speaker 7: Yeah, it's sort of a I'm a parody of that.
• 58:39
  Speaker 3: Which is also really disturbing.
• 58:41
  Speaker 8: Yeah, that's, that's, that disturbs me.
• 58:42
  Speaker 3: Yeah, yeah. But yeah, in a way that's effective, which
• 58:48
  Speaker 3: in the same way that this one is, it's, yeah.
• 58:50
  Speaker 3: So maybe that's... Well, I think that, I.
• 58:51
  Speaker 1: Mean, I've always said that if you're going to show violence,
• 58:54
  Speaker 1: whether it's rape or murder or whatever, like in Irreversible,
• 58:59
  Speaker 1: which probably has the two of the most unbelievably violent
• 59:02
  Speaker 1: scenes I've ever witnessed in my life, they, it's, It
• 59:07
  Speaker 1: should be upsetting.
• 59:07
  Speaker 7: It should be disturbing. It's immoral, I think, to show.
• 59:10
  Speaker 1: A scene of somebody being raped or bludgeoned to death,
• 59:13
  Speaker 1: and it doesn't affect you.
• 59:15
  Speaker 3: It's glamorized.
• 59:16
  Speaker 7: Yeah, you're eating popcorn during it, and this is great.
• 59:20
  Speaker 7: It shouldn't be that way. That desensitizes people, and watching
• 59:23
  Speaker 7: it is disturbing.
• 59:24
  Speaker 3: It doesn't. We just had that piece with Donnie Fritz,
• 59:27
  Speaker 3: and he was talking about working with Peckinpah, and that's
• 59:29
  Speaker 3: what he said. He's like, he wanted his violence to
• 59:32
  Speaker 3: be real so that you would watch it and go,
• 59:35
  Speaker 3: I don't want any of that. That it's not cartoon,
• 59:38
  Speaker 3: it's not fun, it's horrifying, and you take that away
• 59:42
  Speaker 3: from the movie as I don't want that in my life.
• 59:45
  Speaker 3: That's why he made it so brutal. So I think
• 59:48
  Speaker 3: you get this out of Man Bites Dog as well.
• 59:51
  Speaker 8: What's Killer Inside mean?
• 59:53
  Speaker 3: I've started watching that and didn't get to finish it,
• 59:58
  Speaker 3: but it's weird. Yeah, I did not expect it to
• 1:00:00
  Speaker 3: do what it was doing.
• 1:00:01
  Speaker 10: That has a brutal murder scene that just gives me chills.
• 1:00:05
  Speaker 3: And a weird tone to it as well. You get
• 1:00:08
  Speaker 3: sort of comfortable with this character and then things start happening.
• 1:00:11
  Speaker 8: Have y'all heard of them remaking Man Bite Dog?
• 1:00:15
  Speaker 2: What?
• 1:00:16
  Speaker 14: I know.
• 1:00:17
  Speaker 9: I haven't heard that either.
• 1:00:18
  Speaker 7: They're going to be naked with Ryan Gosling.
• 1:00:23
  Speaker 3: I'm just going through the sand. You know they would.
• 1:00:26
  Speaker 3: They'd give him anything at this point. Yeah.
• 1:00:30
  Speaker 8: I just looked at the catalogs.
• 1:00:32
  Speaker 9: So do you do that like just with any movie
• 1:00:34
  Speaker 9: people are talking about?
• 1:00:35
  Speaker 3: You heard they're remaking it? That's the first time.
• 1:00:37
  Speaker 8: I want to start doing that.
• 1:00:39
  Speaker 5: Really?
• 1:00:39
  Speaker 7: He's working it out on you guys.
• 1:00:40
  Speaker 3: It doesn't take much because they really are remaking everything.
• 1:00:43
  Speaker 3: So at this point it wouldn't surprise me if they tried.
• 1:00:45
  Speaker 3: Especially because it's found footage style. We could make it
• 1:00:48
  Speaker 3: so they found this. Yeah.
• 1:00:51
  Speaker 8: I'm scared of what they're going to do to the exorcist.
• 1:00:53
  Speaker 3: Really. How many times can they keep trying to tell
• 1:00:56
  Speaker 3: that story?
• 1:00:56
  Speaker 9: That was another movie that like after seeing it again,
• 1:01:00
  Speaker 9: and time had passed, because I had forgotten the 70s.
• 1:01:05
  Speaker 7: That thing holds up for me.
• 1:01:07
  Speaker 9: Oh, yeah, but, I mean, there are all these things
• 1:01:09
  Speaker 9: in it, like, you forget. Like, she goes to a doctor,
• 1:01:13
  Speaker 9: and he's like, cigarette?
• 1:01:14
  Speaker 7: Yes.
• 1:01:16
  Speaker 3: And then they, what.
• 1:01:18
  Speaker 2: They give her Ritalin?
• 1:01:20
  Speaker 3: Yeah.
• 1:01:20
  Speaker 9: Your child is, and that was new back then.
• 1:01:22
  Speaker 3: That was, like, pretty recent. Experimental drugs.
• 1:01:24
  Speaker 6: Yeah, it was.
• 1:01:26
  Speaker 3: Was it Ritalin or was.
• 1:01:26
  Speaker 8: It like lithium or something? I don't know what they
• 1:01:30
  Speaker 8: were doing.
• 1:01:30
  Speaker 9: It was Ritalin in the movie and I was like, wow.
• 1:01:33
  Speaker 9: And then they have that party and the guy can't
• 1:01:36
  Speaker 9: stand up or walk and they're like, take your keys,
• 1:01:38
  Speaker 9: go home.
• 1:01:39
  Speaker 3: And then everybody's shocked when he's dead the next day.
• 1:01:42
  Speaker 3: I'm like, What happened? So I must not. It's so 70s.
• 1:01:47
  Speaker 3: I've got an idea. It's just amazing.
• 1:01:50
  Speaker 1: I love it that you talk about it because it's
• 1:01:52
  Speaker 1: so much more than a movie that you couldn't get
• 1:01:53
  Speaker 1: away with.
• 1:01:54
  Speaker 8: Yeah.
• 1:01:55
  Speaker 7: That's hilarious.
• 1:01:56
  Speaker 8: Pick your keys.
• 1:01:57
  Speaker 3: Get home.
• 1:01:59
  Speaker 7: You're too drunk to be at this party.
• 1:02:01
  Speaker 8: I'll start the car for you.
• 1:02:02
  Speaker 3: There's a lot of movies that used to do that.
• 1:02:04
  Speaker 3: What do you do?
• 1:02:06
  Speaker 9: It's a great movie. But it has that 70s stuff
• 1:02:11
  Speaker 9: that you just forget that people lived differently. People still
• 1:02:18
  Speaker 9: drive through liquor stores, but back then you didn't even
• 1:02:21
  Speaker 9: stop the car.
• 1:02:24
  Speaker 8: They gave you a glass of ice. They still do, actually.
• 1:02:31
  Speaker 2: Going back to the idea of the audience becoming complicit,
• 1:02:33
  Speaker 2: I actually watched a movie on Friday night here at
• 1:02:35
  Speaker 2: the festival called Zero Killed, which Basically, what it was,
• 1:02:38
  Speaker 2: it's a documentary. Back in 1996, the filmmaker, he interviewed
• 1:02:42
  Speaker 2: people about their murder fantasies, just whatever they wanted. And
• 1:02:45
  Speaker 2: he said, I'll make this into a short film, but
• 1:02:47
  Speaker 2: you have to act in it as either the murderer
• 1:02:49
  Speaker 2: or the victim. And it became this art project. And
• 1:02:52
  Speaker 2: then 10 years later, he sat down with them and
• 1:02:54
  Speaker 2: interviewed them about various themes of violence, the idea of vengeance,
• 1:02:58
  Speaker 2: the death penalty, torture. It's a European film, by the way,
• 1:03:00
  Speaker 2: so it's much different than it would be made here.
• 1:03:02
  Speaker 2: And so the result is this documentary about people talking
• 1:03:05
  Speaker 2: about their murder fantasies acting them out and then talking
• 1:03:08
  Speaker 2: about violence. And it was really fascinating and pretty chilling.
• 1:03:12
  Speaker 3: I bet.
• 1:03:13
  Speaker 7: Does everybody have a murder fantasy?
• 1:03:15
  Speaker 9: Well, you know, I heard a related project, and it
• 1:03:19
  Speaker 9: was just stories.
• 1:03:20
  Speaker 5: It was on the radio.
• 1:03:22
  Speaker 9: And it was surprised how evolved some, they weren't just
• 1:03:25
  Speaker 9: like they had thought about it vaguely.
• 1:03:27
  Speaker 7: I want a club her to death.
• 1:03:28
  Speaker 3: No, not that.
• 1:03:29
  Speaker 9: They had got to the point of like having somebody
• 1:03:32
  Speaker 9: over for dinner. They got that far with it. it
• 1:03:35
  Speaker 9: was just shocking. It's like all these, all these like,
• 1:03:39
  Speaker 9: I don't know. I, no, I don't really, I've.
• 1:03:41
  Speaker 7: Got a winning the lottery.
• 1:03:45
  Speaker 2: Well, like I've got a two and a half year
• 1:03:46
  Speaker 2: old and you see all these things in the news
• 1:03:48
  Speaker 2: about kids being abducted and stuff. And I, I've worked
• 1:03:50
  Speaker 2: out in my mind, like if somebody was to harm
• 1:03:53
  Speaker 2: my child, exactly what would happen. I love that was
• 1:03:57
  Speaker 2: inspired by my viewing of lady vengeance where at the
• 1:03:59
  Speaker 2: end they capture the guy who killed all their children
• 1:04:02
  Speaker 2: and they just go at him. I was like, this
• 1:04:04
  Speaker 2: is what I would do. And I won't go into
• 1:04:05
  Speaker 2: that here.
• 1:04:06
  Speaker 7: Don't eat his face.
• 1:04:07
  Speaker 8: I spit on your grain of yourself.
• 1:04:09
  Speaker 3: Yeah, yeah.
• 1:04:10
  Speaker 8: I mean, there's, I don't know, you could start fantasizing
• 1:04:13
  Speaker 8: about that a little bit. If it's dark, go around
• 1:04:15
  Speaker 8: the room. I'll go last.
• 1:04:16
  Speaker 3: Yeah.
• 1:04:19
  Speaker 9: I don't want to incriminate myself.
• 1:04:22
  Speaker 2: There was an interesting quote in the film. One of
• 1:04:23
  Speaker 2: the people says, talking about how everybody's got this dark
• 1:04:28
  Speaker 2: thing inside them, and she says, people who are afraid
• 1:04:30
  Speaker 2: of the abyss refuse to see it. And, I don't know.
• 1:04:36
  Speaker 7: Maybe I'm just dumb.
• 1:04:36
  Speaker 3: I'm pretty dark.
• 1:04:37
  Speaker 9: I just don't feel like killing him. I've had a
• 1:04:40
  Speaker 9: tremendous urge to punch somebody in the side of the
• 1:04:43
  Speaker 9: head just all day.
• 1:04:45
  Speaker 7: Here at this particular convention?
• 1:04:47
  Speaker 9: Well, no, because it's been too funny. It's like I
• 1:04:53
  Speaker 9: haven't been here enough. The difference between comedy and tragedy is, like,
• 1:04:57
  Speaker 9: if you're part-time.
• 1:04:58
  Speaker 5: Or if you're full-time.
• 1:04:59
  Speaker 8: Yeah.
• 1:05:00
  Speaker 9: But at work, yeah, sometimes at work, I've had that
• 1:05:04
  Speaker 9: urge to just, if I just hit them in the head.
• 1:05:07
  Speaker 7: I think we've all had that urge.
• 1:05:09
  Speaker 3: Yeah.
• 1:05:10
  Speaker 2: He found 49 people with pretty involved fantasies.
• 1:05:14
  Speaker 3: Wow.
• 1:05:15
  Speaker 7: Fetishized death fantasies.
• 1:05:16
  Speaker 2: Like, some of them were, like, there was a guy, ah, anyway.
• 1:05:18
  Speaker 3: It's a sick world is what we're seeing.
• 1:05:20
  Speaker 2: Yeah. Great film, though, you know, if.
• 1:05:23
  Speaker 9: What's the name of it?
• 1:05:24
  Speaker 2: Zero Killed.
• 1:05:27
  Speaker 9: So I guess does it disqualify them if they actually
• 1:05:31
  Speaker 9: kill somebody?
• 1:05:33
  Speaker 3: It can't be in the movie anymore.
• 1:05:34
  Speaker 7: No, it's not a fantasy. Right, right.
• 1:05:38
  Speaker 2: He had 50 and one of them actually killed him
• 1:05:40
  Speaker 2: so that one had to go away.
• 1:05:42
  Speaker 3: Well, anything else to wrap up Man Bites Dog?
• 1:05:45
  Speaker 8: No. Go check it out.
• 1:05:48
  Speaker 3: We ruined it for you. Yeah, you were supposed to
• 1:05:50
  Speaker 3: watch it earlier. You did it wrong, but.
• 1:05:53
  Speaker 3: Alright otherwise I guess is there new projects you guys
• 1:05:58
  Speaker 3: have in the works that you want to spread the
• 1:06:00
  Speaker 3: word about to people or nothing new to pass along
• 1:06:03
  Speaker 3: just go find your short films and bring it to
• 1:06:06
  Speaker 3: your film festivals people listening.
• 1:06:08
  Speaker 2: Yes I need 14 Trauma Dance doesn't charge I think.
• 1:06:13
  Speaker 1: I submitted to them yeah yeah they must have said
• 1:06:17
  Speaker 1: no it's not on my it's not on my one
• 1:06:19
  Speaker 1: million laurels so.
• 1:06:22
  Speaker 7: Yeah I'm pretty sure I did I'd.
• 1:06:23
  Speaker 2: Love to go there. It's free to get into, apparently.
• 1:06:26
  Speaker 3: All right.
• 1:06:28
  Speaker 9: So how's your writing going?
• 1:06:31
  Speaker 7: I've written a novel.
• 1:06:32
  Speaker 1: I've written a novel, but I just turned in for
• 1:06:35
  Speaker 1: the second time to my agent just this past week,
• 1:06:38
  Speaker 1: so I'm not.
• 1:06:39
  Speaker 7: Going to talk about that until it's published.
• 1:06:42
  Speaker 9: Really?
• 1:06:42
  Speaker 2: Really.
• 1:06:43
  Speaker 7: It's not getting published yet. That's why I'm not.
• 1:06:45
  Speaker 8: Talking about it yet.
• 1:06:46
  Speaker 9: I was doing that because you said everybody asks you
• 1:06:48
  Speaker 9: how's your writing going.
• 1:06:49
  Speaker 7: Oh, you just being a wise ass?
• 1:06:52
  Speaker 3: Imagine that. So they are.
• 1:06:56
  Speaker 7: Substantial novel, yeah.
• 1:06:57
  Speaker 2: Wow.
• 1:06:58
  Speaker 7: Based on the short, actually. Somebody saw the short and
• 1:06:59
  Speaker 7: was like, oh, you should write a novel based on that.
• 1:07:01
  Speaker 1: Once again, just tell me to do it and hit
• 1:07:03
  Speaker 1: me like a domino and I'm going to go.
• 1:07:05
  Speaker 3: That's great. I'll have to come up with some elaborate
• 1:07:07
  Speaker 3: plan and shove you into it.
• 1:07:09
  Speaker 7: You know what you should do?
• 1:07:12
  Speaker 3: Well, we can put these together and come up with
• 1:07:13
  Speaker 3: a really elaborate murder. You know, what you should do.
• 1:07:18
  Speaker 2: I was wondering, was the short based on any actual experiences?
• 1:07:20
  Speaker 12: Of course.
• 1:07:21
  Speaker 2: Yeah, completely.
• 1:07:22
  Speaker 3: Again, 100%.
• 1:07:23
  Speaker 2: That's pretty good.
• 1:07:24
  Speaker 3: That's the only thing that gave me some peace that
• 1:07:26
  Speaker 3: other people were suffering out in the world. Yeah, you
• 1:07:28
  Speaker 3: don't make that up. It's, yeah, it is really well, again,
• 1:07:31
  Speaker 3: really well shot. And I like the way you piece
• 1:07:34
  Speaker 3: it together, that it's this story from all these different
• 1:07:37
  Speaker 3: sort of scenarios.
• 1:07:38
  Speaker 1: And, that's just to keep pacing going otherwise it's a
• 1:07:42
  Speaker 1: ten minute monologue it.
• 1:07:44
  Speaker 3: Makes it really interesting yeah thank you I like it
• 1:07:46
  Speaker 3: that way.
• 1:07:46
  Speaker 1: Thank you it's all shot in my house for free
• 1:07:49
  Speaker 1: with a crew of two actually a crew of one
• 1:07:51
  Speaker 1: for half of it and a crew of two for.
• 1:07:52
  Speaker 9: The second that's kind of inspiring thank.
• 1:07:55
  Speaker 1: You which is why I said I think the thing
• 1:07:57
  Speaker 1: with the man bites dog that it was just sort
• 1:07:59
  Speaker 1: of accidental we did it this way because it's all
• 1:08:01
  Speaker 1: we had yeah I think there's I think there's I
• 1:08:04
  Speaker 1: see almost more value in that they still tried with
• 1:08:06
  Speaker 1: to even attempt with nothing is braver to have it
• 1:08:10
  Speaker 1: all you know packaged up with a bow.
• 1:08:12
  Speaker 3: And then do it yeah well i i think you
• 1:08:15
  Speaker 3: almost have to go in that way yeah so i
• 1:08:17
  Speaker 3: think yeah it turns out really well on occasion these
• 1:08:20
  Speaker 3: are two and.
• 1:08:22
  Speaker 1: I was really lucky that the guy the two guys
• 1:08:23
  Speaker 1: that shot it and the guys both of them edited
• 1:08:25
  Speaker 1: too they're both really like really really good at what
• 1:08:27
  Speaker 1: they do it wasn't like me trying to learn how
• 1:08:30
  Speaker 1: to edit on that movie i got everyone that did
• 1:08:33
  Speaker 1: what The sound is bad for half and good for
• 1:08:37
  Speaker 1: half because the good half is when I had two people.
• 1:08:39
  Speaker 7: I was the only guy with a camera. Bad sound
• 1:08:41
  Speaker 7: is when I had just the guy with the camera.
• 1:08:42
  Speaker 2: The DP. Yeah, I didn't notice a little bit of
• 1:08:44
  Speaker 2: a discrepancy there, but yeah.
• 1:08:45
  Speaker 1: Yeah, a lot of sound. So if it looks really pretty,
• 1:08:47
  Speaker 1: the sound is bad. If it looks not quite as pretty,
• 1:08:49
  Speaker 1: but the sound is good, that's how you know which.
• 1:08:51
  Speaker 9: Person shot which.
• 1:08:51
  Speaker 3: It all balances out.
• 1:08:53
  Speaker 4: Yeah.
• 1:08:53
  Speaker 7: What do you got to do it was free it
• 1:08:55
  Speaker 7: was free.
• 1:08:56
  Speaker 2: So did you have to recite the whole thing like
• 1:08:58
  Speaker 2: for each four.
• 1:08:58
  Speaker 1: Million times could you do it for us right now
• 1:09:01
  Speaker 1: I probably could and I can do it just like
• 1:09:04
  Speaker 1: that because I did it I shot that like one
• 1:09:05
  Speaker 1: day in January and then one day in March and
• 1:09:07
  Speaker 1: a day in April and a day in October because
• 1:09:09
  Speaker 1: I would shoot it and get cut together and then
• 1:09:11
  Speaker 1: go to really giant portions where it's really boring I
• 1:09:15
  Speaker 1: need to cut that up cut that up cut that
• 1:09:17
  Speaker 1: up and think of what I could shoot to cut
• 1:09:18
  Speaker 1: it in there And like, you know, what else can
• 1:09:21
  Speaker 1: I shoot? And just drop in as a little insert stuff.
• 1:09:24
  Speaker 1: But it has to be able to seamlessly.
• 1:09:27
  Speaker 14: With the dialogue go, you.
• 1:09:29
  Speaker 1: Know, volume and attitude and tone and everything has to
• 1:09:32
  Speaker 1: match completely because he'll cut in the middle of a sentence.
• 1:09:35
  Speaker 7: You know, and so it's a different, yeah.
• 1:09:37
  Speaker 3: So, yeah, I can do, it's.
• 1:09:39
  Speaker 7: Like Mick Jagger saying satisfaction. You can do it.
• 1:09:43
  Speaker 3: Yeah, it became a performance more than anything with all
• 1:09:46
  Speaker 3: the pauses in the right spot and hitting the right words. And, yeah,
• 1:09:50
  Speaker 3: it comes together really nice.
• 1:09:51
  Speaker 7: And the exact same pace and everything. So, yeah, I
• 1:09:55
  Speaker 7: could have killed myself.
• 1:09:58
  Speaker 3: So with all that, plug it again. What's the website?
• 1:10:01
  Speaker 7: Bathinginthesinglegirl.com.
• 1:10:03
  Speaker 5: Very cool.
• 1:10:04
  Speaker 3: And then did you have one for yours or? No,
• 1:10:07
  Speaker 3: I don't have a website. Just look for Pillow. It's
• 1:10:09
  Speaker 3: on Facebook.
• 1:10:10
  Speaker 7: There's a Pillow page on Facebook.
• 1:10:11
  Speaker 8: Pillow film on Facebook.
• 1:10:13
  Speaker 3: Very cool.
• 1:10:14
  Speaker 8: Become one of the friends, please. Need more friends.
• 1:10:16
  Speaker 2: Definitely.
• 1:10:17
  Speaker 3: Especially investors.
• 1:10:18
  Speaker 7: Yeah, investing friends.
• 1:10:21
  Speaker 3: That's even better. I'm still looking for that, too.
• 1:10:23
  Speaker 8: My best friends.
• 1:10:26
  Speaker 3: Well, we want to say thank you to both of
• 1:10:27
  Speaker 3: you for sitting in with us this week. Thank you.
• 1:10:29
  Speaker 7: Thanks for coming to my bedroom.
• 1:10:31
  Speaker 5: No problem.
• 1:10:32
  Speaker 3: We don't get that offer every week, let me tell you. Well,
• 1:10:35
  Speaker 3: except from Fred, but that doesn't count.
• 1:10:38
  Speaker 2: He doesn't offer us a bath.
• 1:10:41
  Speaker 3: Thank you once again to Fright Night Film Fest as
• 1:10:42
  Speaker 3: well for letting us carry on here this weekend and
• 1:10:46
  Speaker 3: do what we do. Otherwise, I think that is about it.
• 1:10:50
  Speaker 3: We will return next week. Same geek time, same geek feed.
• 1:10:53
  Speaker 3: Thanks for listening.
• 1:11:08
  Speaker 14: Man Bites Dog Man Bites Dog Man Bites Dog Man
• 1:11:22
  Speaker 14: Bites Dog Dank afternoon on a train on the Rhine Nobody.
• 1:11:33
  Speaker 3: Told us what's on his mind. Ladies, ladies, come from behind.
• 1:11:42
  Speaker 6: Thinking of muscles, he's taking his time.
• 1:11:47
  Speaker 3: How far will this take me? How far will it go?
• 1:11:52
  Speaker 6: Mozart is not just his passion, you know It's laying
• 1:11:58
  Speaker 6: in wait till the shepherd's asleep Then releasing the giant.
• 1:12:04
  Speaker 12: That's sleeping beneath.
• 1:12:07
  Speaker 14: Man bites dog Man bites dog.
• 1:12:17
  Speaker 3: Man bites.
• 1:12:20
  Speaker 6: Dog Pigeons with oily feathers that fall Explaining their passions
• 1:12:33
  Speaker 6: and selling us all On memories of robberies and murders
• 1:12:39
  Speaker 6: begun An endless display.
• 1:12:43
  Speaker 3: Of the power of the gun.
• 1:12:46
  Speaker 6: He really loves his work, but he's just having fun.
• 1:12:50
  Speaker 3: But it's only a movie, it's just an idea.
• 1:12:55
  Speaker 14: Three Belgian film students were having a.
• 1:13:02
  Speaker 11: Beer.
• 1:13:11
  Speaker 7: Housekeeping.
• 1:13:11
  Speaker 9: Who could that be at this time of night?
• 1:13:13
  Speaker 3: What did we do?
• 1:13:14
  Speaker 1: Oh, my God.
• 1:13:15
  Speaker 4: Hi, Mitch.
• 1:13:21
  Speaker 8: No, thank you.
• 1:13:21
  Speaker 11: No, thank you.
• 1:13:23
  Speaker 2: We're naked.
• 1:13:24
  Speaker 7: We're French. You don't want any part of us.
• 1:13:29
  Speaker 3: That's probably true.
• 1:13:35
  Speaker 8: There's equipment set up.
• 1:13:36
  Speaker 3: Yeah.
• 1:13:37
  Speaker 1: We're doing a porn movie in here.
• 1:13:41
  Speaker 3: Another one.
• 1:13:42
  Speaker 5: This episode is a production of Movie Meltdown, produced and
• 1:13:45
  Speaker 5: edited by the Oddity Studios, with the opening music performed
• 1:13:48
  Speaker 5: by the Empires. For more on how to sponsor or
• 1:13:51
  Speaker 5: support the show, email producer at moviemeltdown.com.
• 1:13:54
  Speaker 4: Talk hard!