Steve and Anthony get Amish-sexy with Witness.
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00:19 --> 00:25 [SPEAKER_03]: Welcome to Properly Howard, a podcast that we use classic films and other old fiction.
00:26 --> 00:29 [SPEAKER_03]: Today we take a look at the Amish Riller Witness.
00:29 --> 00:38 [SPEAKER_03]: starring Harrison Ford, witness is a film about a detective who has to go into hiding to protect himself and a young Amish boy from evil Danny Glover.
00:39 --> 00:41 [SPEAKER_03]: Also, a guy gets killed by corn.
00:42 --> 00:46 [SPEAKER_03]: With me to discuss this, as always, is Dr. Anthony Lidon.
00:46 --> 00:47 [SPEAKER_00]: Look out for corn, man.
00:48 --> 00:48 [SPEAKER_00]: Yeah.
00:49 --> 00:49 [SPEAKER_03]: Yeah.
00:50 --> 00:51 [SPEAKER_00]: Courtenous.
00:52 --> 00:57 [SPEAKER_03]: Yeah, this was this was really brought to you by the pro gluten crowd like hey everybody just just so you guys know.
00:59 --> 01:00 [SPEAKER_03]: Corn's not the answer.
01:01 --> 01:02 [SPEAKER_00]: Steve are you good at whacking?
01:06 --> 01:10 [SPEAKER_03]: I mean, I used to be really good.
01:14 --> 01:14 [SPEAKER_00]: Pass your prom.
01:15 --> 01:16 [SPEAKER_03]: Yeah.
01:16 --> 01:17 [SPEAKER_03]: I mean, I go whack.
01:20 --> 01:21 [SPEAKER_03]: I wouldn't put it in my bio.
01:29 --> 01:32 [SPEAKER_00]: I'm really curious to hear you talk about this movie.
01:32 --> 01:36 [SPEAKER_00]: Yeah, this could go any number of ways.
01:36 --> 01:38 [SPEAKER_00]: I really enjoy this movie.
01:39 --> 01:40 [SPEAKER_00]: This is the kind of movie that I'm thinking.
01:40 --> 01:44 [SPEAKER_00]: It's Steve sitting watching this, just hating every moment of it.
01:46 --> 01:47 [SPEAKER_00]: Oh, why would you say that?
01:47 --> 01:48 [SPEAKER_00]: I don't know.
01:48 --> 01:55 [SPEAKER_00]: I mean, it's certainly not the kind of movie that I could see you just sitting down doing joy by yourself.
01:56 --> 01:58 [SPEAKER_00]: No, unless you did want to do some wacky.
02:00 --> 02:09 [SPEAKER_03]: It's funny because I kind of always avoided this movie growing up, say, say more.
02:10 --> 02:11 [SPEAKER_03]: Mostly because my mom liked it.
02:11 --> 02:16 [SPEAKER_03]: And I just didn't trust her, her, her, her film instincts.
02:17 --> 02:21 [SPEAKER_03]: So I'm like, well, I'm like, what could this even be about?
02:22 --> 02:28 [SPEAKER_03]: You know, it's like, because I just, it's an interesting like cover, it's just just Harrison Ford.
02:29 --> 02:36 [SPEAKER_03]: It's like, it's all you need to know, like it's called a witness and the cover is just Harrison Ford's face essentially.
02:36 --> 02:38 [SPEAKER_03]: He's not the witness, no, which is kind of
02:39 --> 02:40 [SPEAKER_03]: feels a little misleading.
02:40 --> 02:42 [SPEAKER_00]: This is an eighty five, right?
02:42 --> 02:47 [SPEAKER_00]: So a person, yeah, Harrison Ford is enough to sell a movie.
02:47 --> 02:52 [SPEAKER_00]: Like what what more do you need besides this blockbuster face?
02:54 --> 02:54 [SPEAKER_03]: Right.
02:54 --> 02:56 [SPEAKER_03]: And but it was filmed in eighty three, which I think is interesting.
02:56 --> 02:59 [SPEAKER_03]: So I do what I don't know is if there was like a gap.
02:59 --> 03:04 [SPEAKER_03]: Yeah, I don't know because I'm always interested in when something like takes a couple years to
03:04 --> 03:05 [SPEAKER_03]: from filming.
03:05 --> 03:17 [SPEAKER_00]: Yeah, usually when those kinds of things happen, it's because someone had a conflict and they had to drop out or something like that, or they had someone scheduled and then they decided to go a different direction.
03:18 --> 03:31 [SPEAKER_00]: I don't know what ended up happening with this one, but I did note that even though it's in eighty five release date, the world itself is set in nineteen eighty four, which is kind of an odd move.
03:33 --> 03:35 [SPEAKER_00]: for a movie to do.
03:35 --> 03:43 [SPEAKER_00]: Usually, if you want someone to know the exact date of a movie, it's either sort of the distant past or the distant future.
03:44 --> 03:47 [SPEAKER_03]: Right, it's interesting that it's just like a few days ago.
03:47 --> 04:01 [SPEAKER_00]: Well, Harrison Ford's blockbuster phase was enough to sell this movie, but not enough to get Star Wars loving action figure owning Steve Osborne.
04:02 --> 04:08 [SPEAKER_00]: to revisit the movie because it had the stink of your mother on it.
04:08 --> 04:10 [SPEAKER_03]: Yeah, I mean, it's just like she liked it.
04:10 --> 04:21 [SPEAKER_03]: So I'm like, I just thought it was, I'm like, oh, I think this movie is about Harrison Ford, you know, just falling in love with an amateur woman.
04:22 --> 04:24 [SPEAKER_00]: Well, that's kind of what it is.
04:25 --> 04:29 [SPEAKER_00]: Well, yeah, that's definitely a major part of this movie.
04:30 --> 04:31 [SPEAKER_00]: What's not to like about that?
04:32 --> 04:37 [SPEAKER_03]: I mean, that's fine, but like, I mean, you didn't tell me to be shooting and and and throat slid.
04:37 --> 04:41 [SPEAKER_03]: And then I'm like, well, maybe maybe young Steve would have been a little bit out.
04:42 --> 04:44 [SPEAKER_00]: So what about what about old Steve?
04:45 --> 04:47 [SPEAKER_00]: How did you feel about this movie?
04:48 --> 04:50 [SPEAKER_00]: Forced forced by me to watch it.
04:52 --> 04:53 [SPEAKER_03]: Hey, I mean, turn about as fair play.
04:54 --> 04:55 [SPEAKER_03]: It's, I like it.
04:56 --> 04:56 [SPEAKER_03]: Oh, good.
04:57 --> 04:57 [SPEAKER_03]: I love it.
04:57 --> 04:57 [SPEAKER_03]: I love it.
04:57 --> 04:59 [SPEAKER_03]: I love it.
04:59 --> 04:59 [SPEAKER_03]: I don't.
04:59 --> 05:00 [SPEAKER_03]: I mean, there are parts of it I don't.
05:01 --> 05:03 [SPEAKER_03]: Mostly, I don't love the soundtrack.
05:04 --> 05:06 [SPEAKER_00]: I was gonna talk to you at the soundtrack.
05:06 --> 05:08 [SPEAKER_00]: It was so noticeable.
05:09 --> 05:10 [SPEAKER_00]: It's pervasive.
05:10 --> 05:15 [SPEAKER_00]: It's so pervasive and sort of in place of dialogue.
05:16 --> 05:23 [SPEAKER_00]: A lot of the time, a lot of this movie is sort of a long, slow, ponderous camera.
05:29 --> 05:30 [UNKNOWN]: you.
05:58 --> 06:04 [SPEAKER_00]: It made me think like, this is kind of what Stranger Things is playing with at times.
06:05 --> 06:06 [SPEAKER_00]: Yeah, yeah.
06:06 --> 06:13 [SPEAKER_00]: I'm sure there were a lot of movies during this time that Stranger Things borrowed from.
06:14 --> 06:23 [SPEAKER_00]: But that this particular movie set in the, you know, this particular music overlayed against shots in the Midwest.
06:23 --> 06:26 [SPEAKER_00]: It did kind of remind me of Stranger Things.
06:28 --> 06:29 [SPEAKER_00]: So you didn't love the score.
06:30 --> 06:33 [SPEAKER_03]: Didn't love the score and it was a bit distracting.
06:36 --> 06:45 [SPEAKER_03]: Not so much that it was like a problem, but it did like, I think it did sum up prevent me from getting maybe like fully engrossed in what was going on.
06:46 --> 06:50 [SPEAKER_03]: I knew, I knew the movie was about a witness.
06:52 --> 06:57 [SPEAKER_03]: Now, you know, and, and Amish, it's a much more interesting movie than I would have thought.
06:58 --> 07:02 [SPEAKER_03]: because of how much time it spends in, you know, the homage world.
07:03 --> 07:17 [SPEAKER_00]: It's funny because on rewatch, because I think I rewatch this last year or something, all of the scenes in Philadelphia, this movie has a lot more Philadelphia in it than I remembered.
07:18 --> 07:23 [SPEAKER_00]: I think the part that really sticks with you is the amount of time that he's, you know,
07:23 --> 07:26 [SPEAKER_00]: raising a barn out in the middle and nowhere, whatever.
07:26 --> 07:26 [SPEAKER_00]: Right.
07:28 --> 07:38 [SPEAKER_00]: But there's a lot of sort of gritty, cop movie, you know, dirty, cop kind of stuff happening in this movie.
07:39 --> 07:39 [SPEAKER_03]: Right.
07:39 --> 07:40 [SPEAKER_03]: And then you got the Amish in the city.
07:40 --> 07:44 [SPEAKER_03]: I would have liked to see a little more Amish in the city like Crocodile down to yours.
07:45 --> 07:48 [SPEAKER_00]: This is one of these fish out of water stories.
07:50 --> 08:00 [SPEAKER_00]: because it's a little, it's interesting because they do bring that, they do bring the Amish into the big city first and foremost.
08:00 --> 08:10 [SPEAKER_00]: In fact, that's kind of the conceited of the movie is that this boy witnesses a harrowing crime perpetrated by Danny Glover.
08:11 --> 08:17 [SPEAKER_03]: And he's just chillin' like, I mean, he's really level headed, he's not screamin' another man, being homage hardens a man, you know what I mean?
08:18 --> 08:21 [SPEAKER_03]: He turns some butter as a kid and you can put up with a lot.
08:22 --> 08:27 [SPEAKER_00]: I liked that the kid, like he's never been in a bathroom stall before probably.
08:29 --> 08:33 [SPEAKER_00]: But he does the classic bathroom stall move, you know?
08:34 --> 08:34 [SPEAKER_00]: Yeah.
08:35 --> 08:41 [SPEAKER_00]: Go underneath the side wall and then stand up on the on the bowl.
08:43 --> 08:46 [SPEAKER_00]: And that will usually throw most villains.
08:47 --> 08:48 [SPEAKER_03]: Yeah, they won't double check.
08:48 --> 08:52 [SPEAKER_03]: I'm not going to spend the four seconds to look at that stall.
08:52 --> 08:55 [SPEAKER_03]: I'm not going to spend the four seconds to look at that.
08:55 --> 08:58 [SPEAKER_00]: It's a backtracking and we don't backtracking.
08:58 --> 09:03 [SPEAKER_03]: This is also, I mean, that's where you got to kill them.
09:06 --> 09:07 [SPEAKER_03]: There's no other place to kill them.
09:07 --> 09:09 [SPEAKER_03]: Well, I already checked the stalls.
09:11 --> 09:11 [SPEAKER_03]: So that's it.
09:11 --> 09:12 [SPEAKER_03]: No one's going to walk in.
09:12 --> 09:15 [SPEAKER_03]: No one's going to walk in when you're just
09:16 --> 09:18 [SPEAKER_03]: like loudly slice in a guy's throat.
09:22 --> 09:23 [SPEAKER_03]: I mean, it is Philadelphia.
09:23 --> 09:23 [SPEAKER_03]: I get it.
09:25 --> 09:32 [SPEAKER_00]: So, so we were talking about the, I sort of my new theory of the difference between film detectives.
09:33 --> 09:38 [SPEAKER_00]: The cannoli detective versus the donut detective.
09:39 --> 09:45 [SPEAKER_00]: Does Harrison Ford strike you as fitting into one of these categories?
09:46 --> 09:47 [SPEAKER_03]: Oh, he's hot dog detective.
09:48 --> 09:49 [SPEAKER_00]: I was going to say, do we need a new category?
09:51 --> 09:54 [SPEAKER_03]: I mean, I haven't my notes.
09:54 --> 09:57 [SPEAKER_03]: I could watch an entire movie of Harrison Ford in the hot dog.
09:58 --> 09:59 [SPEAKER_00]: All right.
09:59 --> 10:04 [SPEAKER_03]: So just trying to be just he just he went right down on that.
10:04 --> 10:05 [SPEAKER_03]: Just pounding the hot dog man.
10:06 --> 10:07 [SPEAKER_03]: It just like like he just
10:08 --> 10:11 [SPEAKER_03]: That was a Joey Chestnut, two-biter, man.
10:11 --> 10:11 [SPEAKER_03]: It was crazy.
10:12 --> 10:18 [SPEAKER_00]: So these were the different categories of film detectives.
10:19 --> 10:24 [SPEAKER_00]: The donut detective loosely associated with Chicago.
10:26 --> 10:27 [SPEAKER_00]: These guys wear suits.
10:27 --> 10:28 [SPEAKER_00]: They're older.
10:28 --> 10:28 [SPEAKER_00]: They're fatter.
10:29 --> 10:32 [SPEAKER_00]: They're almost always Scottish or Irish descent.
10:33 --> 10:36 [SPEAKER_00]: And they're a very mustache-forward people.
10:37 --> 10:48 [SPEAKER_00]: whereas the cannoli detective, greysier, plain clothes, younger, could have been gangsters, like they're from the old neighborhood.
10:48 --> 10:51 [SPEAKER_00]: Some of their friends are gangsters and they decided to go into the cop.
10:52 --> 11:05 [SPEAKER_00]: So I think if I had to place Harrison Ford in one of these categories, I'd probably go with the cannoli cop.
11:05 --> 11:07 [SPEAKER_00]: He just happens to not be corrupt.
11:08 --> 11:11 [SPEAKER_00]: But this is really a cannoli cop kind of movie, right?
11:11 --> 11:15 [SPEAKER_03]: Yeah, because of the, because of the primary thing is because of the corruption, right?
11:16 --> 11:24 [SPEAKER_00]: But he's wearing a suit and an eating a hot dog definitely puts him closer to donuts to me than cannolis.
11:25 --> 11:27 [SPEAKER_00]: Or do we need an entirely new category?
11:27 --> 11:36 [SPEAKER_03]: Yeah, because I mean, he's bite by seeing him like, he primarily was eating savory stuff in this one.
11:36 --> 11:37 [SPEAKER_03]: So I think that that's maybe
11:38 --> 11:44 [SPEAKER_03]: Maybe there's something to maybe there's a clue into a good cop is he's going to maybe he's going to get a slice or he's going to get a hot dog.
11:44 --> 11:46 [SPEAKER_03]: He's going to get something on those lines, you know.
11:47 --> 11:53 [SPEAKER_00]: According to his sister, he decided to be a cop because he thinks he's always right.
11:54 --> 12:04 [SPEAKER_00]: He kind of has a love view of the rest of the police force who can't, you know, distinguish criminals from a bag of elbows.
12:07 --> 12:10 [SPEAKER_00]: And, you know, he's got a gun.
12:10 --> 12:14 [SPEAKER_00]: He feels like he's out on the street trying to make things right.
12:14 --> 12:20 [SPEAKER_00]: In other words, he's more cowboy than he is street cop.
12:21 --> 12:22 [SPEAKER_00]: Well, he's more honest.
12:23 --> 12:26 [SPEAKER_00]: Maybe deep down he's a little omnisch, right?
12:26 --> 12:36 [SPEAKER_00]: But I think a new category of hot dog cop for he's more Americans sort of like classically American hero kind of guy at least that's how we've used himself.
12:37 --> 12:51 [SPEAKER_03]: Yeah, in fact, I think he's over American and because it's an interesting there's there's almost an element of the white savior motif, but it's in a white world.
12:52 --> 12:58 [SPEAKER_03]: But it, so it goes to the point of almost like an American, like a truly American savior to that degree.
13:00 --> 13:01 [SPEAKER_00]: That's interesting.
13:01 --> 13:12 [SPEAKER_00]: So it is sort of a cross-cultural thing, you know, clearly in a clearly sort of cultures are clashing, right?
13:12 --> 13:14 [SPEAKER_03]: This is essentially just a, this is where Avatar came from.
13:20 --> 13:27 [SPEAKER_00]: You know, you kind of put him against the rest of the cops of Philadelphia, and he's almost wearing a white hat.
13:29 --> 13:38 [SPEAKER_00]: He's almost like a non-complicated virtuous heroic old Western sheriff or something like that.
13:39 --> 13:48 [SPEAKER_00]: You take the same guy and you put him in the middle of Lancaster, Pennsylvania, and he just looks so much greasier.
13:51 --> 14:03 [SPEAKER_00]: He's sort of the dirty outsider who sort of represents, you know, the worldliness and everything that you know, you don't want your children, you don't want your child to grow and be like that guy.
14:03 --> 14:07 [SPEAKER_00]: So it's interesting fish out of water.
14:08 --> 14:09 [SPEAKER_00]: Contrast.
14:10 --> 14:11 [SPEAKER_03]: Yeah, no, it's I think
14:14 --> 14:19 [SPEAKER_03]: It's a very, actually, I give the director a lot of credit in this in the way.
14:19 --> 14:32 [SPEAKER_03]: I feel like it was a very definitely handled film because I think it could have been real easy to maybe just really play up the juxtaposition of the world's colliding now.
14:33 --> 14:36 [SPEAKER_03]: I think there was a certain care to it.
14:38 --> 14:40 [SPEAKER_03]: It is interesting.
14:40 --> 14:41 [SPEAKER_03]: It felt like
14:43 --> 15:12 [SPEAKER_03]: He's respectful about you know what I mean like it could have been easy to really make the John book character Just scoffing at all this like everything about it, but he did it's a little bit of that right a little bit will sure because I mean it's it's totally different environment, but but I mean you know he he like he feels remorse if Like because he kind of introduced the kid to a gun and inadvertently right there's like there's a there
15:13 --> 15:15 [SPEAKER_03]: He's not fighting the issue.
15:16 --> 15:25 [SPEAKER_03]: He's very, I don't know, he is pretty respect, and I think that's important for his character because that feels consistent with this good cop, right?
15:27 --> 15:33 [SPEAKER_03]: He fancies himself to be smarter than the rest, and he fancies himself to be just a better cop.
15:35 --> 15:36 [SPEAKER_00]: Yeah, he's smarter.
15:36 --> 15:37 [SPEAKER_00]: He's more righteous.
15:38 --> 15:38 [SPEAKER_00]: Right.
15:39 --> 15:46 [SPEAKER_00]: He's usually right, you know, he's usually correct in his assessments of, you know, how to do police work.
15:47 --> 15:52 [SPEAKER_00]: He's in his, he makes sense as a good guy in his world.
15:52 --> 15:56 [SPEAKER_00]: He actually makes zero sense as a good guy in their world.
15:57 --> 15:57 [SPEAKER_03]: Right.
15:59 --> 16:05 [SPEAKER_03]: And so they had, and so I think it's interesting, too, that they could have, they're much more like,
16:05 --> 16:22 [SPEAKER_03]: uneasy with him being there mostly and I don't know I mean part of it is because he represents the outside but it's also just it's just an outsider you know it's kind of really shows the sort of the inclusive nature of and the isolated nature of their life.
16:24 --> 16:25 [SPEAKER_03]: I think it's really carefully done.
16:25 --> 16:31 [SPEAKER_03]: We're we're being brought into this world most I mean I'm gonna I don't know how many others people saw this I don't know how you would.
16:33 --> 16:35 [SPEAKER_03]: But you have
16:36 --> 16:42 [SPEAKER_03]: We were supposed to be able to relate to the John book character as we go into the to this homage community.
16:43 --> 16:46 [SPEAKER_03]: And I think if you make them to stand off, I sure if you make them to rebellious.
16:48 --> 16:51 [SPEAKER_03]: The two worlds seem like you're just watching two worlds.
16:51 --> 17:00 [SPEAKER_03]: I think you need to go into this world feeling like you can somewhat relate to or at least empathize with John book so that you can go on this journey with them.
17:03 --> 17:19 [SPEAKER_03]: And by him kind of being the little more polite and a little bit respectful, sort of helps move this story along in a way that you do resist some lazy, tropey type stuff where if they're just at odds and that's the movie.
17:19 --> 17:27 [SPEAKER_03]: And then at the end, everybody gets together and they break bread and they're a little bit more modern and he's a little bit more omish and everybody's better for it.
17:28 --> 17:31 [SPEAKER_03]: That's a lot of times how these types of worlds colliding things.
17:32 --> 17:33 [SPEAKER_03]: play out.
17:33 --> 17:42 [SPEAKER_03]: And it really didn't, you know, and I think that that's a real, like I said, definitely direct to get to that.
17:42 --> 17:49 [SPEAKER_03]: And so that way, we can see this world and maybe have an appreciation for it as opposed to just seeing it maybe as like, that's weird.
17:50 --> 17:51 [SPEAKER_00]: Okay, let me ask you this.
17:51 --> 17:56 [SPEAKER_00]: Is this movie better if they hook up at some point?
17:58 --> 17:59 [SPEAKER_00]: I don't think so.
17:59 --> 18:00 [SPEAKER_00]: I don't think so either.
18:00 --> 18:05 [SPEAKER_00]: Is this movie better if they live happily ever after?
18:05 --> 18:06 [SPEAKER_00]: No, no, no, no.
18:07 --> 18:08 [SPEAKER_00]: I don't think so either.
18:08 --> 18:13 [SPEAKER_00]: Is this sort of like almost like a Jane Austen kind of plot?
18:14 --> 18:16 [SPEAKER_00]: It's like, I love you.
18:17 --> 18:17 [SPEAKER_00]: You love me.
18:18 --> 18:20 [SPEAKER_00]: It's just not going to work.
18:20 --> 18:26 [SPEAKER_00]: Society because of society, you and I will always kind of be star cross lovers.
18:27 --> 18:31 [SPEAKER_03]: What I like about it is that in this is all kind of implied, right?
18:31 --> 18:40 [SPEAKER_03]: And I think that's a lot of really what's really well done is there's a lot of implied things as opposed to having it be exposition or explain how it works.
18:40 --> 18:53 [SPEAKER_03]: Like there's like I felt like I got the idea that like not only is this not gonna work, but one of us is gonna have to compromise something that's kind of who they are, their identity, which you know, fine, do that.
18:53 --> 18:57 [SPEAKER_03]: However, that's gonna put a burden on the other person.
18:58 --> 19:06 [SPEAKER_03]: because if she goes to the city, now he's got like, oh yeah, I love you, but now I have to like teach you how to vacuum or whatever, you know, like it's just kind of like, you know what I mean?
19:06 --> 19:10 [SPEAKER_03]: It's like, like, everything is gonna be different for for him.
19:10 --> 19:17 [SPEAKER_03]: And it's like, that's the net puts him in it in a different, either way, it changes the power dynamic, right?
19:17 --> 19:19 [SPEAKER_03]: If he stays there, he's got to be brought along.
19:19 --> 19:23 [SPEAKER_00]: I feel like I'm not the vacuum.
19:24 --> 19:27 [SPEAKER_00]: They would have lived happily at that.
19:30 --> 19:33 [SPEAKER_03]: Like I didn't know how to do laundry till I was married.
19:35 --> 19:38 [SPEAKER_03]: So I was I was homage for Heather for a while.
19:40 --> 19:46 [SPEAKER_03]: And that changed the power dynamic because it didn't make it I didn't appear charming.
19:46 --> 19:51 [SPEAKER_03]: I didn't appear like I was coming from an isolated world.
19:52 --> 19:55 [SPEAKER_03]: She just thought I was maybe a little dumb and I was a baby.
19:56 --> 20:02 [SPEAKER_03]: I'm not saying that's what I'm just people are, but like that changes the power dynamic if he's got to go through and like like sure.
20:03 --> 20:07 [SPEAKER_00]: So I think the more obvious solution is he becomes on this.
20:07 --> 20:16 [SPEAKER_00]: Like he sees the air of the the ways of the city and he decides he's going to give it up and follow his heart.
20:17 --> 20:21 [SPEAKER_03]: And that would make that would that could you could sell that.
20:21 --> 20:25 [SPEAKER_03]: I think you could you could possibly sell that, especially given what he just had to go through.
20:25 --> 20:31 [SPEAKER_03]: And like, hey, the job I have is, you know, it's a lot more corrupt than I even realized.
20:31 --> 20:51 [SPEAKER_03]: It's dangerous, you know, I mean, it's on point though, like, can you really, can you, the Harrison Ford Alexander good enough, you know, dance off or whatever's going to end up having to happen for her hand is, that's a lot for him to have to take on.
20:51 --> 20:53 [SPEAKER_03]: I like John book and everything, but if it's a dance off,
20:54 --> 20:55 [SPEAKER_03]: I'm going with good enough.
20:58 --> 21:11 [SPEAKER_00]: So I really enjoy the Eli lap character in this movie because I think he could read like Lithgow and foot loose, you know, sure.
21:11 --> 21:16 [SPEAKER_00]: He could be like, no, these are these are our ways, our ways are right.
21:17 --> 21:19 [SPEAKER_00]: We don't allow rock and roll in our community, right?
21:20 --> 21:22 [SPEAKER_00]: He does do that a little bit.
21:22 --> 21:31 [SPEAKER_00]: And you, you could almost say like in this, and this, you know, this religious community is even more severe than, and isolated, and anti-cultural than the one in Footloose.
21:33 --> 21:35 [SPEAKER_00]: But this guy's got a point, I think.
21:37 --> 21:43 [SPEAKER_00]: And because he is making some interesting points, it almost makes you think,
21:44 --> 21:46 [SPEAKER_00]: I don't know who's right in this conversation.
21:47 --> 21:53 [SPEAKER_00]: And I think that this kind of gets brought to the head with the two different gun talks that they give to the little boy.
21:53 --> 21:58 [SPEAKER_00]: What's the kid's name again in this movie?
21:59 --> 22:00 [SPEAKER_00]: The Samuel.
22:01 --> 22:01 [SPEAKER_03]: Yes, Samuel.
22:02 --> 22:08 [SPEAKER_03]: So Samuel could look as hot for some reason as to be in like every religious thing in film or TV.
22:08 --> 22:09 [SPEAKER_00]: What else was he in?
22:10 --> 22:11 [SPEAKER_03]: Well, he was in leap of faith.
22:12 --> 22:16 [SPEAKER_03]: Okay, which and going to write just jump stones the most recent season.
22:17 --> 22:18 [SPEAKER_00]: Oh, all right, did not know that.
22:20 --> 22:21 [SPEAKER_00]: He gets two gun talks.
22:21 --> 22:25 [SPEAKER_00]: The first gun talk is, you know, that's a loaded gun.
22:26 --> 22:28 [SPEAKER_00]: You should never mess with a loaded gun.
22:29 --> 22:30 [SPEAKER_00]: Here, let's take out the bullets.
22:30 --> 22:32 [SPEAKER_00]: You can admire it.
22:32 --> 22:36 [SPEAKER_00]: You can even hold it while I'm here, but don't do it while I'm not here, right?
22:37 --> 22:42 [SPEAKER_00]: That's the first gun talk he gets from the Philadelphia detective.
22:43 --> 22:45 [SPEAKER_00]: The second gun talk he gets is from Eli.
22:47 --> 22:52 [SPEAKER_00]: That thing was designed to kill people, and that is against our beliefs.
22:52 --> 22:53 [SPEAKER_00]: We don't do that.
22:54 --> 22:57 [SPEAKER_00]: And if you, if you touch it with your hand, you will let it into your heart.
22:58 --> 23:07 [SPEAKER_00]: It's almost sort of like an extreme view on, you know, seeing no evil, hear no evil, speak to evil kind of thing.
23:08 --> 23:13 [SPEAKER_00]: I'd like that these are both characters that I empathize with.
23:13 --> 23:15 [SPEAKER_00]: Neither one of these guys is presenting a sort of
23:16 --> 23:20 [SPEAKER_00]: full-on bad guy, you definitely know, don't listen to that guy, right?
23:22 --> 23:32 [SPEAKER_00]: I think that you could easily take both of these gun talks as a person meant, well, that person makes sense in their culture.
23:33 --> 23:35 [SPEAKER_00]: That's the right gun talk.
23:36 --> 23:38 [SPEAKER_00]: I don't think there's a writer wrong answer here.
23:39 --> 23:45 [SPEAKER_03]: Well, and I think to why I liked what they did with the Eli character, like you said, I mean, he's
23:46 --> 23:53 [SPEAKER_03]: He could have been more, you know, just firearm brimstone, thou shalt not believe it at that.
23:54 --> 23:56 [SPEAKER_03]: But they give them a little nuance.
23:57 --> 24:05 [SPEAKER_03]: And any of the, like, the, like, impatient sport, exasperation that, like, I would sense from him, kind of goes along.
24:05 --> 24:13 [SPEAKER_03]: It feels like, you know, when you're in the community and you're, you're successfully isolating, you don't really have to have these conversations.
24:14 --> 24:16 [SPEAKER_03]: There's not a gun that's gonna show up.
24:16 --> 24:20 [SPEAKER_03]: So you don't have to have the gun talk, you know?
24:20 --> 24:29 [SPEAKER_03]: So there's kind of this like you get used to just everything kind of going well and then you have to sort of I really don't want to even have to do this.
24:29 --> 24:31 [SPEAKER_03]: This is why I've isolated.
24:31 --> 24:33 [SPEAKER_00]: You're having conversations about buttons.
24:34 --> 24:40 [SPEAKER_03]: Yeah, so it's like I don't like I just didn't think I had to do this any.
24:40 --> 24:41 [SPEAKER_03]: or at all.
24:41 --> 24:42 [SPEAKER_03]: And now I have to.
24:43 --> 24:49 [SPEAKER_03]: And it's like, there's this, so I feel like there's an authentic exasperation, but not necessarily like, like, oh, how very, you know what I mean?
24:49 --> 24:50 [SPEAKER_03]: It's like, this is entered their world.
24:51 --> 25:00 [SPEAKER_03]: So I felt, like I said, there was obviously the cultures are at odds, but they weren't battling each other at per se.
25:00 --> 25:03 [SPEAKER_03]: And there was a necessary quality to it.
25:03 --> 25:04 [SPEAKER_03]: And I think people appreciated.
25:04 --> 25:09 [SPEAKER_03]: So I didn't, you know, and so there's all these moments that could have really played up
25:09 --> 25:16 [SPEAKER_03]: in the didn't and I think that that was really helpful like again the what's what's his name in the movie a Daniel.
25:19 --> 25:25 [SPEAKER_03]: Obviously interested in Rachel obviously you know bodies not even cold but on to the next one and.
25:26 --> 25:50 [SPEAKER_03]: And he's smitten and he's trying to do like this is like you could just like you get a glimpse of like what this culture of how it operates right like oh you're talking about the blonde guy who's quarantined on Rachel yeah yeah yeah and so it's like but he you don't get a sense necessarily that he's a bad guy he's just kind of also a product of this environment of this world of this you know sort of male centric
25:51 --> 25:52 [SPEAKER_03]: world, right?
25:52 --> 25:57 [SPEAKER_03]: And he makes sense in this, in this particular culture, why not?
25:57 --> 25:58 [SPEAKER_03]: Right.
25:58 --> 26:07 [SPEAKER_03]: And so, but like we see him as sort of this adversary because we're rooting for John book and maybe this Rachel relationship is authentic, right?
26:07 --> 26:09 [SPEAKER_03]: So, so we're rooting for that.
26:09 --> 26:16 [SPEAKER_03]: But when Daniel's in there, I like, I mean, it could have been so easy that like he had a best Daniel or he had to do something.
26:16 --> 26:18 [SPEAKER_03]: And you know, like, you know, he doesn't happen, right?
26:18 --> 26:19 [SPEAKER_03]: In fact, Daniel,
26:21 --> 26:33 [SPEAKER_03]: shows more restraint during the whole ice cream scenario of which, you know, could be perceived as weakness or it could be perceived as strength depending on which culture you're kind of wanting to get on board with.
26:35 --> 26:46 [SPEAKER_03]: So like there were so many elements where they could have done something else to really kind of pump up maybe our support of John book, but they don't.
26:46 --> 26:58 [SPEAKER_03]: and I think it's like, like even Daniel sort of accepts them during the, uh, uh, barn raising, like there's this element of like, yeah, well, hey, you're not, maybe you're not so bad.
26:58 --> 27:00 [SPEAKER_03]: You can raise barn, you're not worthless.
27:00 --> 27:06 [SPEAKER_00]: In the lesser movie, John book and Daniel would have like a sign competition or something.
27:06 --> 27:07 [SPEAKER_03]: Right.
27:07 --> 27:14 [SPEAKER_03]: We're like a log rolling competition or, or there's a, like, they sabotage his, his hammer.
27:17 --> 27:18 [SPEAKER_03]: Right.
27:18 --> 27:30 [SPEAKER_03]: And so like so I was really it was funny because I'm watching this movie kind of waiting for those moments and they didn't happen so then I'm like finding myself even more like enjoying and being at peace with with the story that they're telling.
27:32 --> 27:43 [SPEAKER_03]: And so I I'd like that I like that quite a bit but then they would also then cut to like they're all having a meal and like they're still kind of like making like a little googly eyes that each other and like okay back to that that tensions back right like it's not like okay well
27:44 --> 28:01 [SPEAKER_00]: he's fine he could build a barn therefore he's got our blessing like that doesn't happen so I like that too and then the ending I mean let's like wait before we move on to the ending there's a lot of making love with your eyes in this movie like they are full on making love
28:02 --> 28:09 [SPEAKER_00]: across the room with their eyes, you know, even to the point where it's like, man, everyone knows what everyone knows exactly.
28:09 --> 28:11 [SPEAKER_00]: You do what it's thinking, right?
28:11 --> 28:14 [SPEAKER_00]: So, it's a sexy movie, man.
28:15 --> 28:16 [SPEAKER_03]: It's pretty sexy.
28:16 --> 28:17 [SPEAKER_03]: It's, um, it's interesting, right?
28:17 --> 28:29 [SPEAKER_03]: Because it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it
28:32 --> 28:43 [SPEAKER_00]: I love it when Daniel is walking to the barn raising with Harrison Ford and he says, is your hole getting better yet?
28:46 --> 28:53 [SPEAKER_00]: Like to call it to call it someone's gunshot wound a hole is so dismissive.
28:56 --> 29:21 [SPEAKER_00]: It's like full-on arm a shade like none of us are walking around the holes like that man Exactly, we only have the holes that God gave us You City folk with your extra holes Really like that the other thing I liked about this Coming down to the end is that you know like we said it's a very quiet very ponderous movie and then you've got this scene
29:21 --> 29:23 [SPEAKER_01]: It's like explosive staccato yelling
29:51 --> 29:58 [SPEAKER_03]: Well, it's wild that, like, instead of a big shootout necessarily, they just, they just shout.
29:59 --> 30:06 [SPEAKER_03]: They're both just disappointed in each other in such a way that they just, just, just lecturing each other.
30:07 --> 30:08 [SPEAKER_00]: It's happening.
30:08 --> 30:12 [SPEAKER_00]: Like, it's happening, like, their words are machine gunfire.
30:13 --> 30:13 [SPEAKER_00]: Yeah.
30:13 --> 30:15 [SPEAKER_00]: I just laugh every single time.
30:15 --> 30:17 [SPEAKER_00]: It's, it's unintentionally funny.
30:17 --> 30:18 [SPEAKER_00]: Like, there are.
30:19 --> 30:21 [SPEAKER_00]: There are intentionally funny moments in this film.
30:22 --> 30:26 [SPEAKER_00]: But to me, it just is so incongruous with the rest of the film.
30:27 --> 30:27 [SPEAKER_03]: Right.
30:28 --> 30:29 [SPEAKER_03]: Yeah, totally.
30:31 --> 30:33 [SPEAKER_03]: But do you feel, does it feel authentic?
30:34 --> 30:35 [SPEAKER_00]: I don't know, man.
30:35 --> 30:36 [SPEAKER_00]: It's just too funny.
30:36 --> 30:42 [SPEAKER_00]: Like you just gotta take it down just one notch in order for that to work because this is supposed to be your climax to the film.
30:42 --> 30:43 [SPEAKER_00]: And I'm just cracking up.
30:44 --> 30:45 [SPEAKER_03]: Well, it's an interesting climax, right?
30:45 --> 30:46 [SPEAKER_03]: Because you do this.
30:46 --> 30:48 [SPEAKER_03]: They shout, they try to shout each other to death.
30:49 --> 30:55 [SPEAKER_03]: And then it just sort of gives up later, right?
30:55 --> 30:56 [SPEAKER_03]: Because there's too many homage people.
31:00 --> 31:01 [SPEAKER_00]: I think this is important.
31:03 --> 31:09 [SPEAKER_00]: I think that this is a really important element if you are going to take pacifism seriously.
31:11 --> 31:13 [SPEAKER_00]: If you want pacifism to work,
31:15 --> 31:20 [SPEAKER_00]: You have to have a situation where the other person can experience shame.
31:20 --> 31:25 [SPEAKER_00]: I really think at the end, Harrison formed just shames him.
31:25 --> 31:26 [SPEAKER_00]: He's like, what are you going to do?
31:26 --> 31:27 [SPEAKER_00]: You're going to shoot him?
31:27 --> 31:28 [SPEAKER_00]: You're going to shoot them?
31:28 --> 31:31 [SPEAKER_00]: How is this going to end for you?
31:31 --> 31:37 [SPEAKER_00]: And it's just, it's just a series of questions that really shames this guy.
31:38 --> 31:45 [SPEAKER_00]: And it could be that, you know, he just sees the innocence in these people, and he's not willing to sort of bring Philadelphia to Lancaster, right?
31:47 --> 31:51 [SPEAKER_00]: But I think a lot of people misunderstand that it's a ran out of corn.
31:52 --> 31:56 [SPEAKER_00]: Well, death by corn is a really bad way to go.
31:58 --> 32:03 [SPEAKER_00]: But I think that there's something important, this movie is saying something important about the passive as lifestyle.
32:05 --> 32:08 [SPEAKER_00]: If you view passivism is like, well, you just get beat up.
32:08 --> 32:10 [SPEAKER_00]: You just get metastore the ice cream.
32:11 --> 32:11 [SPEAKER_03]: Exactly.
32:12 --> 32:13 [SPEAKER_03]: Well, weaponizing desserts.
32:14 --> 32:19 [SPEAKER_00]: If you just have to get bullied with ice cream cones every now and again, it kind of sucks to be a pacifist.
32:19 --> 32:25 [SPEAKER_00]: Like you want someone to get out of that buggy and just, you know, break bus that guy's nose, right?
32:26 --> 32:26 [SPEAKER_00]: Right.
32:28 --> 32:30 [SPEAKER_00]: But as that scene tells you, like,
32:31 --> 32:31 [SPEAKER_00]: Okay.
32:31 --> 32:33 [SPEAKER_00]: Well, did it feel good?
32:33 --> 32:34 [SPEAKER_00]: Because guess what?
32:34 --> 32:35 [SPEAKER_00]: You just invited more violence.
32:36 --> 32:36 [SPEAKER_00]: Exactly.
32:36 --> 32:37 [SPEAKER_00]: Yeah.
32:37 --> 32:47 [SPEAKER_00]: And as the audience member, you're thinking, yeah, like every, everyone in Lancaster Pennsylvania should have one Ohio Amish in their crew to kind of be their gun, right?
32:47 --> 32:48 [SPEAKER_00]: Totally.
32:49 --> 32:55 [SPEAKER_00]: But as soon as that happens, all of a sudden they know, you know, they know they know where to find him.
32:55 --> 32:59 [SPEAKER_00]: And now the any Glover and a shotgun are coming to Amish town.
33:01 --> 33:09 [SPEAKER_00]: So I think that this movie is very smart in the way it kind of portrays the virtues of passiveism, even if it shows its limitations.
33:11 --> 33:18 [SPEAKER_00]: So anyway, the point I'm making is that if it's going to work, someone's going to be able to feel ashamed.
33:19 --> 33:20 [SPEAKER_00]: This sort of Martin Luther King's thing is like,
33:21 --> 33:28 [SPEAKER_00]: If we can get white suburban America to feel a sense of shame about what's going on, then we can change things.
33:29 --> 33:43 [SPEAKER_00]: I wonder though, if we kind of lost our ability to feel shame, in other words, I wonder if this movie could work today with sort of the way things are in our world.
33:44 --> 33:45 [SPEAKER_00]: You want to bring shame back.
33:46 --> 33:50 [SPEAKER_00]: I think I think shame can be a useful tool.
33:52 --> 34:01 [SPEAKER_00]: Um, you know, if it's between a gunfire and just yelling at someone till they feel ashamed of themselves, maybe the second is the better choice.
34:01 --> 34:03 [SPEAKER_00]: Hmm.
34:04 --> 34:05 [SPEAKER_00]: Do you think that this movie could work today?
34:06 --> 34:07 [SPEAKER_00]: I don't, I don't think it would.
34:07 --> 34:07 [SPEAKER_00]: I don't.
34:09 --> 34:09 [SPEAKER_03]: I might just agree.
34:09 --> 34:15 [SPEAKER_03]: I mean, it's, um, I mean, I just watched it for the first time and granted I have
34:16 --> 34:17 [SPEAKER_03]: older sensibilities.
34:17 --> 34:20 [SPEAKER_00]: Well, you just built a goat shed.
34:20 --> 34:26 [SPEAKER_00]: So you probably sort of like building an entire, you know, giant barn that probably seem like pornography.
34:26 --> 34:26 [SPEAKER_00]: Yeah.
34:27 --> 34:27 [SPEAKER_03]: Yeah.
34:27 --> 34:31 [SPEAKER_03]: I'm, I'm, I'm almost adjacent, at least the last couple weeks.
34:34 --> 34:43 [SPEAKER_03]: You know, so like there's an element where like, when I'm out there, you know, when I'm out there doing my thing, I'm, I feel like I'm breaking urban.
34:45 --> 34:46 [SPEAKER_03]: You know, like I'm out there.
34:48 --> 34:49 [SPEAKER_00]: That's your room springer.
34:50 --> 34:57 [SPEAKER_03]: That's my room springer is is is putting shingles on a shed and and so I do.
34:57 --> 35:06 [SPEAKER_03]: Yeah, I mean, I think I might make the argument that not only could it work, but I think it probably should be given a shot to work.
35:06 --> 35:07 [SPEAKER_00]: Interesting.
35:07 --> 35:26 [SPEAKER_00]: because you know you would you would still have the culture clash I mean I don't imagine right I don't I don't know how much more modern Amish have become I don't know if they have like smart buggies there I'll tell you what you know living in this part of the world there's lots of different iterations of Amish culture
35:28 --> 35:45 [SPEAKER_00]: But for the most part, there's still pretty suspicious of technology, but I was in Lancaster, Pennsylvania recently, and you would go buy a coffee shop, and there'd be a bunch of horse and buggies just parked outside of the coffee shop.
35:46 --> 35:51 [SPEAKER_00]: They don't have electricity at night, but of course, they want a nice coffee.
35:52 --> 35:56 [SPEAKER_00]: It's a very, it's just a complex way to live your life, I guess.
35:57 --> 36:03 [SPEAKER_03]: Yeah, and so, I mean, because I think the things would hold, right?
36:03 --> 36:04 [SPEAKER_03]: You still don't have a culture clash.
36:08 --> 36:11 [SPEAKER_03]: I think this movie could be made today.
36:11 --> 36:14 [SPEAKER_03]: I just don't know if it would be made this way today.
36:15 --> 36:17 [SPEAKER_00]: All right, let's say you do make this movie today.
36:18 --> 36:20 [SPEAKER_00]: Who do you cast in the Harrison Ford part?
36:21 --> 36:24 [SPEAKER_03]: Do they have to be like, smoldering and sexy?
36:25 --> 36:26 [SPEAKER_03]: For sure.
36:26 --> 36:49 [SPEAKER_00]: probably a little bit uh... john christensky i'm not sure i like bulked up john christensky bulked up he looked at him he's bulked up but he's still he's still uh... he's still got a sweet face
36:50 --> 36:50 [SPEAKER_00]: You're right.
36:50 --> 36:51 [SPEAKER_00]: He does.
36:51 --> 36:54 [SPEAKER_00]: Oh, he's he's not Harrison Ford.
36:54 --> 36:55 [SPEAKER_00]: Good luck in though.
36:55 --> 36:56 [SPEAKER_00]: Nobody's Harrison Ford.
36:56 --> 37:07 [SPEAKER_00]: Is there a trope of cliche or a device that you like of this one?
37:07 --> 37:10 [SPEAKER_03]: I love I love pulling out shotguns.
37:12 --> 37:14 [SPEAKER_00]: The shotguns out of the trunk.
37:14 --> 37:18 [SPEAKER_03]: Yeah, it's just such a I just there's something about like I
37:18 --> 37:22 [SPEAKER_03]: I get worried if I put like a bottle of wine in the trunk and I feel like it's just going to jossle.
37:24 --> 37:27 [SPEAKER_03]: The confidence it's just cruising around a shotgun in your trunk is impressive.
37:29 --> 37:33 [SPEAKER_00]: I do like the, um, I like any good police line up.
37:35 --> 37:37 [SPEAKER_00]: Like I just want to move you with a police line up.
37:38 --> 37:41 [SPEAKER_00]: You know, you tell me if movie has a police line up in and I probably don't like it.
37:42 --> 37:44 [SPEAKER_00]: And of course, you know, these police line ups.
37:45 --> 37:46 [SPEAKER_00]: Do they ever work?
37:47 --> 37:48 [SPEAKER_00]: Have they ever worked in any movie?
37:49 --> 37:50 [SPEAKER_00]: I don't know.
37:50 --> 37:57 [SPEAKER_03]: I think there was like, I wrote another note and maybe this show shows my culture clash is when they're eating the hot dogs.
37:57 --> 38:01 [SPEAKER_03]: Like, I didn't know that the omniscient children could just so freely burp.
38:03 --> 38:04 [SPEAKER_03]: Like, that wasn't other reason.
38:04 --> 38:06 [SPEAKER_00]: No, that just praised you.
38:06 --> 38:08 [SPEAKER_00]: This shows he has a good appetite.
38:08 --> 38:11 [SPEAKER_03]: Yeah, so that sort of, that sort of softened me like immediately.
38:11 --> 38:14 [SPEAKER_03]: I'm like, oh, maybe I could maybe maybe I could be a little honest.
38:17 --> 38:29 [SPEAKER_03]: And I will say though, like the scene where Samuel is admiring the trophies and then sees Danny Lover, that scene is incredible.
38:29 --> 38:44 [SPEAKER_03]: It is so incredibly shot, the slight slow motion, the tension there and the way that Harrison Ford just very slowly and subtly takes his pointer finger and puts it away is
38:47 --> 38:53 [SPEAKER_03]: There's a couple of scenes in this movie where Peter, we are really like, shows off.
38:53 --> 38:55 [SPEAKER_03]: And I think that scene is for sure one of them.
38:56 --> 38:59 [SPEAKER_03]: I really, really like how that was put together.
38:59 --> 39:00 [SPEAKER_00]: It was a great scene.
39:01 --> 39:07 [SPEAKER_00]: And my memory had it wrong when I was watching the scene, I was thinking, okay, this is when Danny Glover walks in.
39:09 --> 39:12 [SPEAKER_00]: And I was thinking, yeah, it's kind of, I don't know if that works.
39:13 --> 39:15 [SPEAKER_00]: Then I realized that was a note at all.
39:15 --> 39:16 [SPEAKER_00]: He doesn't walk in.
39:16 --> 39:19 [SPEAKER_00]: He just happens to see the newspaper clipping.
39:21 --> 39:28 [SPEAKER_03]: And I immediately knew his, the guys he was telling the, everything to was was in honor.
39:29 --> 39:31 [SPEAKER_00]: Oh, yeah, of course, of course.
39:32 --> 39:39 [SPEAKER_03]: And is it safe to say that the barn raising scene is to this movie as the volleyball scene is in Top Gun.
39:42 --> 39:45 [SPEAKER_00]: A lot of repressed sexuality happening.
39:45 --> 39:50 [SPEAKER_03]: Yeah, just a hammering in the sign and just the drink in each other's lemonade come on.
39:52 --> 39:55 [SPEAKER_00]: I, there is some sensual lemonade drinking in this one.
39:55 --> 39:59 [SPEAKER_03]: Yeah, I mean, he's like, dude, good enough is like mouth in that.
39:59 --> 40:18 [SPEAKER_00]: glass on any hands it over in Harrison Ford gladly drinks his lemon hands it right back and even before that happens I think that Harrison Ford is using the wood planer and Rachel comes in and brings him a glass lemonade and he does
40:18 --> 40:21 [SPEAKER_03]: Oh yeah, just pouring down his face like this.
40:22 --> 40:29 [SPEAKER_00]: And she's looking at him like I've never seen a man do that to eliminate glass.
40:29 --> 40:34 [SPEAKER_03]: That's a man like so here's the thing because they're from concentrate dog.
40:35 --> 40:39 [SPEAKER_03]: They're peeling and they are twisting and they are juicing.
40:40 --> 40:47 [SPEAKER_03]: So that's a labor love and he just took like that was a moment where like he took the hard work for granted showing that he's a city boy.
40:48 --> 40:53 [SPEAKER_03]: But she also was just like, man, like, if he could do that, would lemonade.
40:55 --> 40:56 [SPEAKER_03]: Where does it end?
40:56 --> 40:57 [SPEAKER_03]: What else did that mouth do?
40:58 --> 40:59 [SPEAKER_00]: What might he do?
40:59 --> 41:01 [SPEAKER_00]: What the glass of milk?
41:02 --> 41:03 [SPEAKER_00]: Yeah, no boy.
41:06 --> 41:10 [SPEAKER_00]: Is there a tweak that you would make those movie to improve it?
41:12 --> 41:13 [SPEAKER_03]: Oh, the sound, the score.
41:13 --> 41:14 [SPEAKER_03]: This score.
41:16 --> 41:19 [SPEAKER_00]: It's just one more time, you just, it's just too much.
41:19 --> 41:19 [SPEAKER_01]: Let it go, Paul.
41:20 --> 41:20 [SPEAKER_01]: Put the gun down.
41:20 --> 41:21 [SPEAKER_01]: Put the gun down.
41:21 --> 41:21 [SPEAKER_01]: Put the gun down.
41:21 --> 41:21 [SPEAKER_01]: Put the gun down.
41:21 --> 41:22 [SPEAKER_01]: Put the gun down.
41:22 --> 41:23 [SPEAKER_00]: Put the gun down.
41:23 --> 41:23 [SPEAKER_00]: Put the gun down.
41:23 --> 41:24 [SPEAKER_01]: Put the gun down.
41:24 --> 41:24 [SPEAKER_01]: Put the gun down.
41:24 --> 41:25 [SPEAKER_01]: Put the gun down.
41:25 --> 41:25 [SPEAKER_01]: Put the gun down.
41:25 --> 41:25 [SPEAKER_01]: Put the gun down.
41:25 --> 41:26 [SPEAKER_01]: Put the gun down.
41:27 --> 41:27 [SPEAKER_01]: Put the gun down.
41:27 --> 41:28 [SPEAKER_01]: Put the gun down.
41:28 --> 41:28 [SPEAKER_01]: Put the gun down.
41:28 --> 41:29 [SPEAKER_01]: Put the gun down.
41:29 --> 41:29 [SPEAKER_01]: Put the gun down.
41:29 --> 41:30 [SPEAKER_01]: Put the gun down.
41:30 --> 41:30 [SPEAKER_01]: Put the gun down.
41:30 --> 41:31 [SPEAKER_01]: Put the gun down.
41:31 --> 41:32 [SPEAKER_01]: Put the gun down.
41:32 --> 41:32 [SPEAKER_01]: Put the gun down.
41:32 --> 41:33 [SPEAKER_01]: Put the gun down.
41:33 --> 41:33 [SPEAKER_01]: Put the gun down.
41:33 --> 41:34 [SPEAKER_01]: Put the gun down.
41:34 --> 41:35 [SPEAKER_01]: Put the gun down.
41:35 --> 41:35 [SPEAKER_01]: Put the gun down.
41:35 --> 41:35 [SPEAKER_01]: Put the gun down.
41:36 --> 41:36 [SPEAKER_01]: Put the gun down.
41:36 --> 41:38 [SPEAKER_01]: Put the gun down.
41:38 --> 41:38 [SPEAKER_03]: Put the gun down.
41:38 --> 41:39 [SPEAKER_03]: Put the gun down.
41:39 --> 41:39 [SPEAKER_03]: Put the gun down.
41:40 --> 41:40 [SPEAKER_03]: Put the gun down.
41:40 --> 41:41 [SPEAKER_03]: Put the gun down.
41:41 --> 41:41 [SPEAKER_03]: Put the gun down.
41:41 --> 41:42 [SPEAKER_00]: Put the gun down.
41:42 --> 41:43 [SPEAKER_00]: Put the gun down.
41:43 --> 41:44 [SPEAKER_00]: Put the gun down.
41:44 --> 41:44 [SPEAKER_00]: Put the
41:45 --> 41:46 [SPEAKER_00]: Creamer doing a bit.
41:47 --> 41:51 [SPEAKER_03]: Yeah, yeah.
41:52 --> 41:53 [SPEAKER_03]: Just the more you play that the more I like it.
41:56 --> 41:57 [SPEAKER_00]: Just too much man.
41:57 --> 41:58 [SPEAKER_00]: It's just way too much.
41:58 --> 42:00 [SPEAKER_00]: You gotta take it down a notch.
42:02 --> 42:03 [SPEAKER_00]: This is gonna be better where's her on par.
42:03 --> 42:04 [SPEAKER_00]: They run Howard money.
42:06 --> 42:10 [SPEAKER_03]: You know, I was feeling pretty properly Howard.
42:11 --> 42:12 [SPEAKER_03]: I could see.
42:12 --> 42:14 [SPEAKER_03]: For a good for a good chunk of it.
42:15 --> 42:37 [SPEAKER_03]: And I tend to lean that way, but I think I'm gonna give it a Howard plus one, because I think Howard fully capable, but like there was a lot of resistance to some of those trophy and cliche elements and the ending is so great.
42:40 --> 42:41 [SPEAKER_00]: Yeah, yeah.
42:42 --> 42:43 [SPEAKER_00]: Yeah, I was going to say properly Howard.
42:43 --> 42:50 [SPEAKER_00]: You know, it's not really, I can't really think of a Howard analog to this movie.
42:50 --> 42:56 [SPEAKER_00]: It has he ever done a movie in like, in a cornfield.
42:57 --> 43:04 [SPEAKER_03]: I feel like most of his movies are like, I feel like he was born on a cornfield and he was, yeah, maybe so.
43:05 --> 43:08 [SPEAKER_00]: Cornwell pop up where you least expected.
43:09 --> 43:12 [SPEAKER_03]: Very amount of time spent on the corn killing.
43:18 --> 43:22 [SPEAKER_00]: I mean, do you think, do you buy it?
43:22 --> 43:26 [SPEAKER_00]: Do you buy that he's just going to sit there and let it rain down on him?
43:28 --> 43:28 [SPEAKER_00]: Look, man.
43:30 --> 43:31 [SPEAKER_00]: until it happens to you.
43:31 --> 43:33 [SPEAKER_00]: I feel like I've watched this movie a number of times.
43:33 --> 43:37 [SPEAKER_00]: It feels like at first it kind of choked him out.
43:37 --> 43:44 [SPEAKER_03]: Like it was like, yeah, because clearly like it's not thought that was an interesting element, too, is that he's like, it's a suffocating.
43:45 --> 43:53 [SPEAKER_00]: It suffocates in disoriented first and then it just completely sort of covers him.
43:54 --> 44:03 [SPEAKER_03]: I think if there had been a scene where like he's digging to get out like trying to get to the door, but it's like causing more like it just keeps on piling in like digging in the sand.
44:04 --> 44:06 [SPEAKER_03]: Maybe that would have maybe helped the scene a little bit.
44:06 --> 44:14 [SPEAKER_03]: Because then it feels like there was like if you have a panicking and trying to get out as opposed to just like, ah, corn, I guess it'll stop though, right?
44:15 --> 44:17 [SPEAKER_00]: I like that it completely confounded Danny Glover.
44:18 --> 44:23 [SPEAKER_03]: Oh yeah, that's the thing I thought was, those are little value at it elements because I think that would stop you, right?
44:25 --> 44:27 [SPEAKER_03]: What's going on there?
44:28 --> 44:28 [SPEAKER_03]: Yeah.
44:28 --> 44:32 [SPEAKER_03]: So there is an element of like, so I think that's important too because they're out here, right?
44:33 --> 44:42 [SPEAKER_03]: These are, you know, city cops kind of coming in and I think they're probably just figured, look, man, we just got to go into an homage country and bust some skulls if we have to with the homage country.
44:43 --> 44:49 [SPEAKER_03]: And so they are immediately kind of like, what do you do?
44:51 --> 44:51 [SPEAKER_03]: I think there is a,
44:52 --> 44:54 [SPEAKER_03]: You know, the bell.
44:55 --> 44:56 [SPEAKER_00]: The bell ring.
44:59 --> 45:02 [SPEAKER_00]: I was expecting a shotgun maybe.
45:02 --> 45:04 [SPEAKER_03]: Yeah, everything.
45:04 --> 45:05 [SPEAKER_03]: Yeah, everything.
45:05 --> 45:09 [SPEAKER_03]: That's like, like, because I think you keep waiting for them to get the gun.
45:09 --> 45:10 [SPEAKER_00]: Yep.
45:10 --> 45:10 [SPEAKER_03]: Right.
45:10 --> 45:16 [SPEAKER_03]: And that's what you're, and I think that's what the movie does really well is you're waiting for them to get the gun and
45:17 --> 45:21 [SPEAKER_03]: Just like a lot of other things that you're expecting to happen in this sort of culture.
45:22 --> 45:27 [SPEAKER_03]: Don't happen and I think that's it's I don't I don't believe a lot of that's accidental.
45:27 --> 45:31 [SPEAKER_03]: I think that that I think the directors intentionally subverting expectations.
45:31 --> 45:35 [SPEAKER_00]: Yeah, it would sort of be a typical Hollywood move to have the little boy.
45:37 --> 45:38 [SPEAKER_00]: get for Eli.
45:38 --> 45:46 [SPEAKER_03]: Or Eli takes the shot right after after having this big speech about what it means, but like in order to save a life, he had to take a life and then that sort of complicates it, right?
45:46 --> 45:47 [SPEAKER_03]: That's not even that add of an idea.
45:47 --> 45:50 [SPEAKER_03]: It's just that I think this is way better.
45:51 --> 45:53 [SPEAKER_00]: This is a lot more effective just to bring that bell.
45:54 --> 45:54 [SPEAKER_00]: Yeah.
45:55 --> 45:56 [SPEAKER_00]: And maybe that's what they're trying to tell you.
45:58 --> 45:58 [SPEAKER_00]: I don't know.
45:58 --> 46:05 [SPEAKER_00]: I don't know if I have a good movie analogy to this from Howard's filmography.
46:06 --> 46:09 [SPEAKER_00]: But it just feels to me like, this is a good movie.
46:10 --> 46:13 [SPEAKER_00]: I wouldn't call it a great movie, but I enjoyed every time I watch it.
46:13 --> 46:17 [SPEAKER_00]: It's a movie that I think it works.
46:18 --> 46:20 [SPEAKER_00]: It could easily work as a crime drama.
46:20 --> 46:26 [SPEAKER_00]: It's like two parts staring at each other longingly and one part gritty crime drama.
46:27 --> 46:34 [SPEAKER_03]: Well, this was nominated for Best Picture, Best Director, Best Actor, one for Best Screenplay.
46:35 --> 46:41 [SPEAKER_03]: nominated for art direction cinematography one for film and it was kept this nominated for best original score.
46:42 --> 46:43 [SPEAKER_03]: Interesting.
46:44 --> 46:45 [SPEAKER_03]: So this was I mean.
46:47 --> 46:48 [SPEAKER_03]: Golden Globes.
46:50 --> 46:52 [SPEAKER_03]: Best picture best director best screenplay being all these nominees.
46:52 --> 46:56 [SPEAKER_00]: Now I want to know what I want to know what one best picture in eighty five.
46:57 --> 46:59 [SPEAKER_03]: That's a great question.
46:59 --> 47:01 [SPEAKER_03]: That's I don't know.
47:04 --> 47:04 [SPEAKER_03]: Out of Africa.
47:06 --> 47:08 [SPEAKER_00]: Not dissimilar.
47:09 --> 47:13 [SPEAKER_03]: So your, your, your, your best picture nominees were out of Africa.
47:13 --> 47:15 [SPEAKER_03]: The color purple kiss of the spider woman.
47:16 --> 47:17 [SPEAKER_03]: Pritzie's honor and witness.
47:18 --> 47:24 [SPEAKER_00]: So I'll tell you what, there's some very, there's some strong similarities between this movie and out of Africa.
47:25 --> 47:26 [SPEAKER_00]: This movie's better.
47:26 --> 47:28 [SPEAKER_00]: I don't know if you revisited out of the Africa.
47:28 --> 47:29 [SPEAKER_00]: I have not revisited.
47:29 --> 47:30 [SPEAKER_00]: It's been a long long time.
47:31 --> 47:32 [SPEAKER_00]: It's not great.
47:33 --> 47:34 [SPEAKER_00]: This is probably of all of those.
47:34 --> 47:37 [SPEAKER_00]: I don't think I ever saw kids of the spider woman.
47:38 --> 47:43 [SPEAKER_03]: Yeah, your best actor nominees were William hurt who won for kids of the spider one.
47:44 --> 47:45 [SPEAKER_03]: Harrison Ford James Garner.
47:46 --> 47:47 [SPEAKER_03]: Jack Nicholson a John Boyd.
47:48 --> 47:49 [SPEAKER_00]: James Gardner.
47:50 --> 47:51 [SPEAKER_03]: Yeah, for Murphy's romance.
47:51 --> 47:54 [SPEAKER_03]: I got him right in that down right now.
47:58 --> 48:02 [SPEAKER_03]: The best actor in a supporting role, although the winner was Donna Meachie from Cocoon.
48:03 --> 48:08 [SPEAKER_00]: Speaking of... So this was the Cocoon year.
48:09 --> 48:10 [SPEAKER_00]: This was a Cocoon year.
48:12 --> 48:13 [SPEAKER_00]: Interesting.
48:14 --> 48:19 [SPEAKER_03]: Also nominated for best actor in a supporting role from Jagged Edge, is Robert Loja.
48:19 --> 48:25 [SPEAKER_03]: And you get the opportunity I get to say Robert Loja, I do.
48:25 --> 48:30 [SPEAKER_03]: So the best writing for screenplay written director for the screen, witness beat out.
48:31 --> 48:34 [SPEAKER_03]: Back to the future, Brazil, the official story and the purple rows of Cairo.
48:35 --> 48:35 [SPEAKER_00]: Huh.
48:37 --> 48:40 [SPEAKER_00]: Which Kevin Bacon character could you in certain of this movie to enhance it?
48:41 --> 48:44 [SPEAKER_03]: Oh, in this movie.
48:45 --> 48:51 [SPEAKER_03]: Oh, I mean, I got, I'm going to, I know I use it before, but I'll use the Beverly Hills cup three bad cop throw them in the mix.
48:51 --> 48:53 [SPEAKER_00]: He can die in dirty cop for sure.
48:54 --> 48:59 [SPEAKER_00]: I know that I've used him before, but again, this is this movie is a lot of similarities with foot loose.
49:02 --> 49:05 [SPEAKER_00]: In fact, he's the rebellious onish kid.
49:05 --> 49:12 [SPEAKER_00]: He kind of is and if you couldn't get Harrison forward, I think that
49:13 --> 49:15 [SPEAKER_00]: Kevin Bacon could actually work in this film.
49:16 --> 49:18 [SPEAKER_03]: I mean, he's much younger at that time.
49:18 --> 49:26 [SPEAKER_00]: He's much younger, but he wouldn't be too young to play as sort of a younger beat cop or something like that.
49:27 --> 49:28 [SPEAKER_00]: So I could, I could see that.
49:29 --> 49:33 [SPEAKER_00]: Steve, is there a, uh, half about a one to go on moment in this film?
49:34 --> 49:37 [SPEAKER_03]: Don't leave the door a jar unless you do want someone to watch.
49:42 --> 49:45 [SPEAKER_00]: Let me say if a beautiful one gives you lemonade.
49:47 --> 49:48 [SPEAKER_00]: Just go to town.
49:48 --> 49:49 [SPEAKER_00]: Yeah.
49:49 --> 49:49 [SPEAKER_00]: Yeah.
49:51 --> 49:56 [SPEAKER_03]: I mean, your instinct may be appreciate all the hard work, but if you're thirsty, drink.
49:59 --> 50:05 [SPEAKER_00]: If you're drinking so fast that a little bit dribbles down the chin, all the better.
50:06 --> 50:07 [SPEAKER_03]: Yeah, let it dribble.
50:10 --> 50:11 [SPEAKER_00]: Let it dribble.
50:12 --> 50:15 [SPEAKER_03]: So they, I mean, I think we've talked about this ending though.
50:15 --> 50:20 [SPEAKER_03]: I think it is important to, I mean, he just leaves, man.
50:21 --> 50:23 [SPEAKER_00]: Yeah, I think it has to end that way.
50:23 --> 50:24 [SPEAKER_03]: It's.
50:24 --> 50:27 [SPEAKER_03]: It's like, I was really nervous about the ending to be honest.
50:27 --> 50:30 [SPEAKER_03]: Like I was like, how does this wrap up?
50:32 --> 50:33 [SPEAKER_03]: And it's real good.
50:33 --> 50:40 [SPEAKER_03]: You know, he's out there smoking, given his, you know, report, you know, has a little talk with the Samuel and then,
50:41 --> 50:44 [SPEAKER_03]: the wave from Daniel as he's leaving.
50:44 --> 50:44 [SPEAKER_02]: Yeah.
50:45 --> 50:56 [SPEAKER_03]: It's also amazing, by the way, because it could have so easily been like, you know, I have a new respect for you, but there was an element of like, all right, get out of here.
50:57 --> 50:58 [SPEAKER_03]: No, and I thought that was so authentic.
50:59 --> 51:01 [SPEAKER_00]: Like one, one guy's driving away.
51:01 --> 51:03 [SPEAKER_00]: The other one's walking up the driveway.
51:03 --> 51:05 [SPEAKER_00]: It just says everything you need to say.
51:05 --> 51:06 [SPEAKER_00]: Exactly.
51:10 --> 51:11 [SPEAKER_03]: I'm going to take ice cream to the face.
51:11 --> 51:15 [SPEAKER_03]: You go out there and punch somebody on the street.
51:17 --> 51:19 [SPEAKER_00]: Yeah, it's fantastic.
51:21 --> 51:27 [SPEAKER_00]: You know, you get the sense that I feel a little bit sad for both of them.
51:28 --> 51:33 [SPEAKER_00]: You know, it's like she got to see just a little glimpse into what the outside world's like.
51:34 --> 51:37 [SPEAKER_00]: It's mostly bad, but there's some rock and roll music out there, man.
51:37 --> 51:39 [SPEAKER_00]: And there's some rock and roll, and there's some heavy padding.
51:40 --> 51:51 [SPEAKER_00]: Yeah, and he got to see what all-mish life is like, and it's mostly repressive, but there's some serious, sponge baths happen in there.
51:51 --> 51:51 [SPEAKER_00]: Yeah.
51:53 --> 51:57 [SPEAKER_00]: And they both decide, maybe in a different life.
51:59 --> 52:01 [SPEAKER_03]: Glad you watched it, and of course,
52:01 --> 52:06 [SPEAKER_03]: And of course because this was because Vigo Mortensen was cast in his first role.
52:06 --> 52:08 [SPEAKER_03]: Is that true?
52:09 --> 52:14 [SPEAKER_03]: Yeah, primarily because the casting directors said he has an omnisch face.
52:17 --> 52:17 [SPEAKER_00]: Interesting.
52:18 --> 52:24 [SPEAKER_00]: So he was a little bit like you're not sure whether he's he's playing with the full deck of cards.
52:25 --> 52:25 [SPEAKER_03]: Yeah.
52:26 --> 52:26 [SPEAKER_00]: Yeah.
52:27 --> 52:29 [SPEAKER_00]: Like he doesn't really have a speaking role, so you don't know.
52:31 --> 52:36 [SPEAKER_03]: Yes, he's one of the guys on the on the farm that you know, got kicked in the head by a mule.
52:36 --> 52:43 [SPEAKER_00]: It's still wheeled to hammer, but like I like to think that he's got that backstory in his head.
52:43 --> 52:46 [SPEAKER_00]: Yes, sort of help him help him take on the character.
52:48 --> 52:48 [SPEAKER_00]: Exactly.
52:49 --> 53:01 [SPEAKER_03]: So yeah, because of that now we're taking, you know, as part of our bacon rap draft, now if you go Mortonson was my choice and taking us to Carlydo's way.
53:03 --> 53:05 [SPEAKER_00]: He plays a very different character.
53:05 --> 53:09 [SPEAKER_00]: Now, how long is it between these films?
53:10 --> 53:12 [SPEAKER_00]: Because I can't think it's that long between.
53:13 --> 53:18 [SPEAKER_03]: Oh, I think it's, well, it's, uh, so Carlos weighs ninety three.
53:19 --> 53:19 [SPEAKER_00]: Okay.
53:19 --> 53:21 [SPEAKER_03]: So this is a full eight years later.
53:21 --> 53:26 [SPEAKER_00]: But this was, what do we think of a shot in eighty three or something?
53:27 --> 53:27 [SPEAKER_03]: Yeah.
53:27 --> 53:28 [SPEAKER_03]: So it's about, yeah.
53:28 --> 53:30 [SPEAKER_03]: So it's probably like a ten year gap.
53:30 --> 53:30 [SPEAKER_03]: Yeah.
53:31 --> 53:31 [SPEAKER_03]: Gotcha.
53:32 --> 53:36 [SPEAKER_00]: And eventually, of course, he's going to become Ergon and Lord of the Rings.
53:38 --> 53:40 [SPEAKER_00]: And that's pretty interesting trajectory.
53:43 --> 53:46 [SPEAKER_00]: So I was going to ask you, I think I already got your answer.
53:46 --> 53:50 [SPEAKER_00]: Is there a part of the sort of the all-mish life that looks appealing to you?
53:53 --> 53:54 [SPEAKER_00]: Like, you watch this movie think, you know what?
53:55 --> 53:56 [SPEAKER_00]: Maybe I could get into that.
53:57 --> 53:57 [SPEAKER_00]: Maybe that's.
54:00 --> 54:09 [SPEAKER_03]: Because remember when we went to pick out hats, they were really trying to get me to wear like a big brimmed hat.
54:11 --> 54:13 [SPEAKER_03]: And we both agreed.
54:13 --> 54:16 [SPEAKER_03]: I mean, despite like, they were just insistent.
54:16 --> 54:18 [SPEAKER_03]: I mean, they were probably trying to just move these hats.
54:18 --> 54:21 [SPEAKER_03]: But like, they were insistent that I looked great in it.
54:21 --> 54:25 [SPEAKER_03]: And I'm like, there's just, I had zero confidence in being able to pull that off.
54:25 --> 54:27 [SPEAKER_03]: However, if forced to,
54:27 --> 54:30 [SPEAKER_03]: and knowing that other people are worrying that hot.
54:30 --> 54:34 [SPEAKER_03]: I think I would enjoy trying to pull off the hat.
54:35 --> 54:40 [SPEAKER_00]: So of course the answer is neither one of us would survive like two minutes in.
54:40 --> 54:41 [SPEAKER_00]: Oh god, no.
54:41 --> 54:42 [SPEAKER_00]: Are you kidding me?
54:43 --> 54:44 [SPEAKER_00]: Kidding about four or three to milk?
54:45 --> 54:47 [SPEAKER_00]: Oh no, no, no, no, no, no.
54:47 --> 54:48 [SPEAKER_00]: We're not doing milk.
54:51 --> 54:54 [SPEAKER_00]: But, you know, I could see almost, almost vacation.
54:54 --> 54:55 [SPEAKER_00]: I could see that as a, like,
54:57 --> 55:00 [SPEAKER_00]: living in an homage community for a month.
55:02 --> 55:06 [SPEAKER_00]: Maybe even a summer I could that that would definitely scratch an inch.
55:06 --> 55:09 [SPEAKER_03]: I think maybe they had like an homage casino in Vegas I'd go.
55:09 --> 55:13 [SPEAKER_00]: The homage themed.
55:13 --> 55:21 [SPEAKER_03]: Like you go in there and everything's candle lit and then the and it's the old time these lot machines that are like you know you pull the lever you know yeah.
55:22 --> 55:23 [SPEAKER_03]: I think I could do that.
55:25 --> 55:27 [SPEAKER_03]: It's like an homage burlesque show.
55:27 --> 55:33 [SPEAKER_00]: Homage burlesque is just you and the other room peeping into a sponge bath.
55:33 --> 55:35 [SPEAKER_03]: It's just a woman rolling up her sleeves a little.
56:47 --> 56:52 [UNKNOWN]: In a cocoon of horror