Steve and Anthony emote with Punch-Drunk Love.
Advertising Inquiries: https://redcircle.com/brands
Privacy & Opt-Out: https://redcircle.com/privacy
00:19 --> 00:24 [SPEAKER_01]: Welcome to Properly Howard, a podcast that reviews classic films and other folk fiction.
00:25 --> 00:35 [SPEAKER_01]: Today we take a look at Paul Thomas Anderson's Punch Drunk Love, starring Adam Sandler as an anti-social, somewhat disturbed plunger salesman who inexplicably falls in love.
00:36 --> 00:41 [SPEAKER_01]: So essentially, water boy without the football, with me as always as Dr. Anthony LaDon.
00:42 --> 00:43 [SPEAKER_05]: Love it.
00:43 --> 00:54 [SPEAKER_05]: I guess Paul Thomas Anderson saw the movie Big Daddy and love that film so much that he decided you want to write a movie for Adam Sandler.
00:54 --> 00:55 [SPEAKER_05]: What's the last time you saw Big Daddy?
00:56 --> 00:59 [SPEAKER_01]: I've only seen it once and it must have been one of like a kind of come out.
00:59 --> 01:02 [SPEAKER_05]: It would be great if there was like a drug you could take.
01:02 --> 01:04 [SPEAKER_05]: It was like a PTA drug.
01:05 --> 01:11 [SPEAKER_05]: You pop this pill and now you're going to be able to watch Big Daddy and see what Paul Thomas Anderson sees in Big Daddy.
01:14 --> 01:21 [SPEAKER_05]: Steve, I've spent a lot of my twenties listening to sports talk radio.
01:23 --> 01:25 [SPEAKER_05]: I don't know if you've tried it recently.
01:25 --> 01:27 [SPEAKER_01]: Oh, yeah, I listen to it.
01:27 --> 01:29 [SPEAKER_01]: It's it's insufferable.
01:30 --> 01:30 [SPEAKER_01]: Oh, boy.
01:30 --> 01:31 [SPEAKER_01]: Yeah, it is.
01:31 --> 01:32 [SPEAKER_01]: It's really hard.
01:32 --> 01:34 [SPEAKER_05]: It's very difficult.
01:34 --> 01:39 [SPEAKER_05]: Like, I just used to have Cambiar on twenty four seven.
01:39 --> 01:44 [SPEAKER_05]: If I wasn't listening to music, I'd be listening to sports talk, which meant I listened to a lot of commercials.
01:45 --> 01:49 [SPEAKER_05]: You know, I don't know how much of it was actually sports.
01:51 --> 01:52 [SPEAKER_05]: Yeah, it's just on.
01:52 --> 01:59 [SPEAKER_05]: How much of it was like performance art and the daily jingles that gave my life a meaning.
02:00 --> 02:00 [SPEAKER_05]: All right.
02:00 --> 02:01 [SPEAKER_05]: Cars for kids.
02:01 --> 02:03 [SPEAKER_05]: Cars for kids.
02:03 --> 02:04 [SPEAKER_05]: Speedy store and more.
02:04 --> 02:06 [SPEAKER_05]: You know, just tons of stuff.
02:09 --> 02:11 [SPEAKER_05]: And it's been a long time.
02:11 --> 02:17 [SPEAKER_05]: You know, now that there are podcasts and now that my interests are sort of wider and deeper than sports.
02:18 --> 02:21 [SPEAKER_05]: I haven't not listened to sports talk for a long time.
02:22 --> 02:24 [SPEAKER_05]: But, you know, the James are interested in this year.
02:24 --> 02:28 [SPEAKER_05]: So I started listening to a few of the old programs.
02:30 --> 02:31 [SPEAKER_05]: It's horrible.
02:32 --> 02:37 [SPEAKER_05]: It's just it's just it makes you want to tear your eyes out.
02:38 --> 02:38 [SPEAKER_05]: It's so bad.
02:38 --> 02:42 [SPEAKER_01]: Yeah, yeah, I kind of hate listen to it.
02:42 --> 02:43 [SPEAKER_01]: Like I'll listen to it, but I'm right.
02:43 --> 02:45 [SPEAKER_01]: There's the hate listen aspect, right?
02:46 --> 02:49 [SPEAKER_01]: Which is a very fascinating thing to do, right?
02:49 --> 02:53 [SPEAKER_01]: It's a really odd choice that we put ourselves through like, oh, boy, I'm not going to want to like this.
02:54 --> 02:55 [SPEAKER_01]: Like you don't do that with anything else.
02:55 --> 02:56 [SPEAKER_01]: You don't like hate each other.
02:56 --> 03:00 [SPEAKER_01]: Like eat something that you just love, man, the taste of this.
03:00 --> 03:01 [SPEAKER_01]: Well, this milk is turned.
03:01 --> 03:03 [SPEAKER_01]: I'm gonna make some cereal.
03:03 --> 03:08 [SPEAKER_05]: It's kind of crazy to me how much it was a part of my life.
03:09 --> 03:11 [SPEAKER_05]: And I, it's something I loved it back then.
03:11 --> 03:15 [SPEAKER_05]: I have the time I was thinking, these guys don't know what they're talking about.
03:16 --> 03:22 [SPEAKER_05]: And I would just sit there and be angry listening to these morons
03:23 --> 03:26 [SPEAKER_05]: And I, you know, that's probably, I was probably part of it.
03:26 --> 03:32 [SPEAKER_05]: You know, they were like, look, it doesn't matter whether they love you or hate you, just get the listeners.
03:32 --> 03:33 [SPEAKER_05]: Exactly.
03:33 --> 03:37 [SPEAKER_05]: Because there, we know, we know that there's thirty percent of the people out there that just hate listen.
03:38 --> 03:39 [SPEAKER_05]: And that's fine for us.
03:40 --> 03:41 [SPEAKER_05]: Yeah, totally.
03:41 --> 03:45 [SPEAKER_05]: Because we need a certain number to sell our cars for kids ads.
03:46 --> 04:11 [SPEAKER_01]: which is again a hateful commercial right just like I don't even like I've I've lost sight of like the good that that charity might be doing for kids because I just now just don't like I don't like cars or kids now running or not in most cases so um... I want to play this scene from uh...
04:14 --> 04:33 [SPEAKER_07]: I was listening to these morning DJs this morning and they always have couples that call in and talk about their problems and this DJ justice this morning DJ that are really like and they were talking about pictures and they're talking about your book pictures and how these happy with the way they look and their pictures and
04:34 --> 04:37 [SPEAKER_07]: I just love this guy because he tells the way it is.
04:37 --> 04:45 [SPEAKER_07]: He's not a phony and he's in these guys and this guy calls up and he's talking about his senior quote and so D.J.
04:45 --> 04:46 [SPEAKER_07]: just says, what was your senior quote?
04:46 --> 04:47 [SPEAKER_07]: What was so great about it?
04:47 --> 04:50 [SPEAKER_07]: He says, I stole an ancient proverb.
04:50 --> 04:58 [SPEAKER_07]: And so he says, OK, and he says, confusion, say, DJ Justice, confusion or confusion.
04:59 --> 05:01 [SPEAKER_07]: And it would be a so convict.
05:01 --> 05:04 [SPEAKER_07]: DJ Justice just cuts you down the sides.
05:04 --> 05:05 [SPEAKER_07]: That's my favorite part of the show.
05:05 --> 05:06 [SPEAKER_07]: I laugh.
05:06 --> 05:07 [SPEAKER_07]: I laugh and laugh.
05:07 --> 05:07 [SPEAKER_07]: Even when I'm alone.
05:09 --> 05:13 [SPEAKER_05]: It's such a sad and lonely quote.
05:14 --> 05:16 [SPEAKER_05]: I think about that scene probably once a week.
05:17 --> 05:18 [SPEAKER_05]: That's awesome.
05:18 --> 05:22 [SPEAKER_05]: I think about that scene about once a week for the last fifteen years of my life.
05:24 --> 05:26 [SPEAKER_05]: I think it's a masculinity thing.
05:26 --> 05:31 [SPEAKER_05]: I think there's something about the beta male wanting and alpha male in their life.
05:33 --> 05:34 [SPEAKER_05]: Where are you going to get it?
05:34 --> 05:37 [SPEAKER_05]: Well, these these blowhards on the radio, they seem to have it all together.
05:39 --> 05:40 [SPEAKER_05]: And you can say it like it is.
05:41 --> 05:44 [SPEAKER_05]: They say, and then cut you down to size and you just love it.
05:44 --> 05:47 [SPEAKER_05]: And it's like, what the hell is this?
05:47 --> 05:49 [SPEAKER_05]: What is this about?
05:50 --> 05:51 [SPEAKER_05]: Why are people so weird?
05:51 --> 05:54 [SPEAKER_05]: Why are men so fucking weird?
05:54 --> 05:55 [SPEAKER_05]: All right.
05:55 --> 06:01 [SPEAKER_05]: So there's a sort of the awkward date quality to that scene, right?
06:02 --> 06:02 [SPEAKER_05]: Right.
06:02 --> 06:04 [SPEAKER_05]: She, you know, she really liked it.
06:04 --> 06:06 [SPEAKER_05]: She really think it's funny because the joke is horrible.
06:08 --> 06:10 [SPEAKER_05]: Right, but that's what you do at a date.
06:10 --> 06:11 [SPEAKER_05]: You laugh.
06:11 --> 06:15 [SPEAKER_05]: It's sort of like this is a little fiction that we both agreed upon.
06:16 --> 06:23 [SPEAKER_01]: Yeah, we're going to do our best to enjoy this and then we'll we'll look back at it later and then we'll like kind of debrief in our minds.
06:23 --> 06:28 [SPEAKER_01]: Yes, this is, but in this moment, you know, it's like it's, it's cosplay.
06:28 --> 06:31 [SPEAKER_05]: It's cosplay and here we have Barry Egan.
06:32 --> 06:35 [SPEAKER_05]: He desperately wants to appear normal, right?
06:35 --> 06:38 [SPEAKER_05]: And he'll lie, like he lies a lot in this movie.
06:39 --> 06:45 [SPEAKER_05]: He'll just lie lie lie because all he wants is first, just people to look at him is a, that's a normal guy.
06:46 --> 06:49 [SPEAKER_05]: And so he continues to try to act normal.
06:50 --> 06:58 [SPEAKER_05]: And because of that, he's just just deeply abnormal because he's trying to do hard to paint normal.
06:59 --> 07:02 [SPEAKER_01]: Well, and he doesn't know what that is, right?
07:02 --> 07:03 [SPEAKER_01]: He doesn't know what that is.
07:04 --> 07:05 [SPEAKER_01]: He just doesn't know what it is.
07:05 --> 07:13 [SPEAKER_01]: And I think he even goes so far to say that, right?
07:13 --> 07:15 [SPEAKER_01]: I mean, was smigled.
07:16 --> 07:21 [SPEAKER_01]: Yeah, when it's was smigled, and it's just kind of like, I don't know how other people are.
07:21 --> 07:24 [SPEAKER_05]: I can call, I can get to the number for a psychiatrist.
07:25 --> 07:27 [SPEAKER_05]: But what's the issue?
07:28 --> 07:28 [SPEAKER_05]: What's a matter?
07:28 --> 07:34 [SPEAKER_05]: And he's like, I don't know if there is anything a matter because I don't know how other people are.
07:35 --> 07:35 [SPEAKER_05]: Right.
07:36 --> 07:42 [SPEAKER_05]: The world is a bizarre place where you don't know when it's okay to lie and when it's not okay to lie.
07:43 --> 07:47 [SPEAKER_05]: You don't know when it's okay to perform and not okay to perform.
07:47 --> 07:52 [SPEAKER_05]: There's so much of this movie where he's just like, okay, what would look normal in this moment?
07:52 --> 07:57 [SPEAKER_05]: Because whatever I'm gonna do, whatever my instinct is, is abnormal.
07:57 --> 08:00 [SPEAKER_05]: So let me just try to do what I think someone else would do.
08:01 --> 08:03 [SPEAKER_01]: Yeah, the most honest I think he is in this movie ever.
08:04 --> 08:08 [SPEAKER_01]: is when he's threatening somebody.
08:10 --> 08:11 [SPEAKER_01]: And when he says, I don't know.
08:12 --> 08:13 [SPEAKER_01]: And he says, I don't know a lot.
08:13 --> 08:18 [SPEAKER_01]: And that's an interesting moment because I think what he's saying is when they're like, what are you going to do this?
08:18 --> 08:19 [SPEAKER_01]: I don't know.
08:19 --> 08:19 [SPEAKER_01]: And I don't think he knows.
08:20 --> 08:26 [SPEAKER_01]: And it's like, I think, but I think the problem that he has is he's like, I can't go through life saying, I don't know to every single question.
08:28 --> 08:31 [SPEAKER_05]: I think he says I don't know half the time because he thinks.
08:32 --> 08:36 [SPEAKER_05]: What are the fewest number of words that I can say for this conversation be over?
08:37 --> 08:39 [SPEAKER_01]: Well, what's this?
08:39 --> 08:40 [SPEAKER_01]: I believe it's small piano.
08:40 --> 08:41 [SPEAKER_01]: That's not a piano.
08:41 --> 08:42 [SPEAKER_01]: I've got a piano at home.
08:42 --> 08:43 [SPEAKER_01]: Where'd you get it?
08:43 --> 08:44 [SPEAKER_01]: It was dropping the street.
08:44 --> 08:45 [SPEAKER_01]: Why is it here, Barry?
08:46 --> 08:46 [SPEAKER_01]: Barry?
08:46 --> 08:47 [SPEAKER_01]: I don't know.
08:49 --> 08:56 [SPEAKER_01]: Because I mean, and that's the thing is like we kind of want like, and when you're watching a movie, especially like if you're watching like a Paul Thomas Anderson movie, you kind of like,
08:57 --> 08:58 [SPEAKER_01]: You kind of want to see, like, well, what is it?
08:59 --> 09:00 [SPEAKER_01]: Like, what is this represented?
09:00 --> 09:04 [SPEAKER_01]: And I'm sure there's plenty of symbolic things up there to represent it.
09:04 --> 09:11 [SPEAKER_01]: But I think there are also things that are just like, there is a degree of chaos.
09:11 --> 09:14 [SPEAKER_01]: And there's things that just sort of pop up or happen.
09:15 --> 09:17 [SPEAKER_01]: And it's like, well, yeah, I don't know.
09:19 --> 09:21 [SPEAKER_01]: And maybe some things are not meant to be not.
09:22 --> 09:24 [SPEAKER_05]: So here's another scene that where he's really honest.
09:24 --> 09:25 [SPEAKER_05]: Okay.
09:25 --> 09:28 [SPEAKER_07]: I'm gonna go to see you again.
09:28 --> 09:30 [SPEAKER_07]: You do see your face again.
09:31 --> 09:31 [SPEAKER_07]: Go out with you.
09:31 --> 09:33 [SPEAKER_02]: I'm gonna be around a back in town a few days.
09:34 --> 09:35 [SPEAKER_02]: Oh, but if you come to Hawaii.
09:36 --> 09:36 [SPEAKER_07]: I don't know.
09:37 --> 09:38 [SPEAKER_07]: We'll see you about that.
09:38 --> 09:38 [SPEAKER_07]: I don't know.
09:38 --> 09:39 [SPEAKER_02]: Okay.
09:39 --> 09:40 [SPEAKER_02]: I'll call you in again.
09:40 --> 09:41 [SPEAKER_07]: Okay.
09:45 --> 09:48 [SPEAKER_07]: Have a good trip and bye bye.
09:52 --> 09:55 [SPEAKER_05]: So he leaves, and he walks his walking away talking to himself.
09:56 --> 09:57 [SPEAKER_07]: And by my.
09:57 --> 10:00 [SPEAKER_07]: And by my.
10:00 --> 10:01 [SPEAKER_07]: And by my.
10:02 --> 10:03 [SPEAKER_07]: And by my.
10:08 --> 10:09 [SPEAKER_05]: It's so perfect.
10:10 --> 10:16 [SPEAKER_05]: It's like you're, you just had an exchange and you were, he thought, did it go.
10:16 --> 10:16 [SPEAKER_05]: Okay.
10:16 --> 10:18 [SPEAKER_05]: So I'm going to rehearse it in my mind.
10:19 --> 10:21 [SPEAKER_05]: Let me just replay it in my mind.
10:22 --> 10:24 [SPEAKER_05]: Now, that was horrible.
10:24 --> 10:26 [SPEAKER_05]: That was, that was the worst thing I could have said.
10:26 --> 10:28 [SPEAKER_05]: And why did I say it with that voice?
10:29 --> 10:35 [SPEAKER_05]: And then you start like, that interior, negative voice kicks in like, used.
10:41 --> 10:51 [SPEAKER_05]: It's such a great scene to show the difference between the voice that he thinks he needs to use in the social situation and his interior voice.
10:52 --> 10:54 [SPEAKER_05]: They're completely different voices.
10:55 --> 11:01 [SPEAKER_01]: Well, and maybe like this, I think works so well too that there's no like, uh, I'm not the pick on Carly goes away again.
11:01 --> 11:03 [SPEAKER_01]: I'm like, there's no, no voice over there.
11:03 --> 11:05 [SPEAKER_08]: Go ahead and kill me, you cop, saw Carly!
11:10 --> 11:14 [SPEAKER_01]: That's, which, that character could have been in this movie and it would have been just fine.
11:16 --> 11:27 [SPEAKER_01]: And you know, and it's like there's a couple of, a couple of, a couple of things about this that work really well and why I think Adam Sandler is a very intriguing choice for this because one, I think he does a great job.
11:29 --> 11:36 [SPEAKER_01]: And I just love that this is like, maybe the most likable any of his characters really ever are.
11:38 --> 11:42 [SPEAKER_01]: in a movie that's not made to really make him the hero like all the other movies he's in.
11:43 --> 12:00 [SPEAKER_01]: It's like like because he's because I think it's because like so much of the characters in like Billy Madison happy Gilmore water boy and the like he's an improbable hero or romantically lead somehow.
12:00 --> 12:05 [SPEAKER_05]: But he's also kind of like an adolescent who's not quite ready to be an adult.
12:06 --> 12:07 [SPEAKER_01]: But he's, but he isn't adult.
12:07 --> 12:08 [SPEAKER_01]: You know what I mean?
12:08 --> 12:10 [SPEAKER_01]: That's the thing in all of these in all these movies of the most part.
12:10 --> 12:19 [SPEAKER_01]: He's an adult and you don't like, and you go, oh yeah, well, he's just like, yeah, you could say, oh, well, he's just not ready to grow up.
12:19 --> 12:21 [SPEAKER_01]: It's like, yeah, but he is a grown up.
12:22 --> 12:23 [SPEAKER_01]: So it's like, that's the part of it, right?
12:23 --> 12:28 [SPEAKER_01]: So like, and if you just look at it as a comedy, you can say, okay, well, that's kind of a funny and daring quality.
12:29 --> 12:32 [SPEAKER_01]: But if you were to put that in real life, because that's not funny nor in theory.
12:32 --> 12:35 [SPEAKER_01]: And if I knew this person in real life, I would suggest that.
12:35 --> 12:36 [SPEAKER_01]: So there's something wrong with them, right?
12:36 --> 12:37 [SPEAKER_01]: Or there's something off.
12:38 --> 12:41 [SPEAKER_05]: Yeah, someone came to the dinner party and they were like, smile in the whole time.
12:41 --> 12:49 [SPEAKER_05]: And then they decide to kick three of your glass windows in, out of nowhere, right?
12:49 --> 12:51 [SPEAKER_05]: That this is a person you don't invite to parties.
12:52 --> 12:56 [SPEAKER_01]: Well, and I love what I love about this is if you take this movie and you have it,
12:57 --> 12:59 [SPEAKER_01]: has a regular, you know, happy Madison joint.
13:01 --> 13:03 [SPEAKER_01]: That whole scene is funny.
13:04 --> 13:12 [SPEAKER_01]: It's a funny scene to watch him lose it because they called him gay boy one more time and he just broke all the windows and he would be like, oh man, don't let that guy's crazy man.
13:13 --> 13:20 [SPEAKER_01]: You know, a lot of, you know, he's a power gig and that's, but that's his tackling fuel or that's what helps him be really good at this.
13:20 --> 13:21 [SPEAKER_01]: Whatever it is.
13:21 --> 13:24 [SPEAKER_01]: But in this movie, it's like, oh, this is a character flaw.
13:26 --> 13:28 [SPEAKER_01]: Very large character.
13:28 --> 13:46 [SPEAKER_01]: This is a deeply disturbed individual exactly and so it's really interesting how this movie could easily in the hands of a different you can remake this movie shot for shot almost with just a just a slight tweak of tone and and it is an atom salmon movie like you've seen any other atom salmon
13:46 --> 13:49 [SPEAKER_05]: So, okay, this is something interesting to talk about.
13:50 --> 14:00 [SPEAKER_05]: I think that if you are an Adam Sandler fan, like I remember you several roommate who used to say, it's the least funny Adam Sandler movie.
14:01 --> 14:02 [SPEAKER_05]: Okay, so then there's that, right?
14:03 --> 14:05 [SPEAKER_05]: It's like this does not feel like happy Gilmore.
14:06 --> 14:12 [SPEAKER_05]: This does not feel like Billy Madison or Big Daddy or Fifty First States.
14:12 --> 14:13 [SPEAKER_05]: It just doesn't feel that way.
14:15 --> 14:26 [SPEAKER_05]: If you were a Paul Thomas Anderson fan and you got an early and you were like, you know, you're a big fan of Boogie Knights or Magnolia or there will be blood.
14:27 --> 14:33 [SPEAKER_05]: This could be a very disappointing movie because this just doesn't feel like those other movies.
14:34 --> 14:43 [SPEAKER_05]: So in a way, if you're a PTA fan, maybe this is a disappointment and if you're an Adam Sandler fan, this might be a disappointment.
14:44 --> 14:51 [SPEAKER_05]: But there's something about like the pickles and ice cream that kind of make it interesting.
14:51 --> 14:52 [SPEAKER_05]: Right.
14:52 --> 14:56 [SPEAKER_05]: I think it's an underappreciated movie for that reason.
14:57 --> 15:00 [SPEAKER_05]: I feel like this is a brilliant.
15:00 --> 15:03 [SPEAKER_05]: It's just a stroke of genius this movie.
15:04 --> 15:05 [SPEAKER_01]: I agree.
15:05 --> 15:08 [SPEAKER_01]: I love this movie.
15:08 --> 15:13 [SPEAKER_01]: Like it's funny because even like last night, I said, hey, Heather, do you want to watch this or do you want
15:13 --> 15:14 [SPEAKER_01]: you know, I just go on my own.
15:14 --> 15:19 [SPEAKER_01]: She's like, I'll give it a shot and then we'll see if I, you know, want to bow out.
15:19 --> 15:20 [SPEAKER_01]: Yeah.
15:20 --> 15:26 [SPEAKER_01]: And she was right back in and she was like, oh my gosh, I forget how much I really enjoy this movie.
15:26 --> 15:31 [SPEAKER_01]: To me, and maybe maybe the most impressive feat is that it's so short.
15:32 --> 15:33 [SPEAKER_01]: Yeah.
15:33 --> 15:38 [SPEAKER_01]: Like, and it covers so much emotional Brown and it covers really interesting things.
15:38 --> 15:38 [SPEAKER_01]: Like,
15:40 --> 15:49 [SPEAKER_01]: Like you start breaking down like the different subplots and you could, that's an hour and thirty five minutes and I never feel like I got short shrift on any of that's right.
15:49 --> 15:57 [SPEAKER_01]: And again, I, I think we've talked about this maybe even on this podcast, but we've talked about the idea that Paul Thomas Anderson's a big, he loves watching that in Santa movies.
15:58 --> 16:06 [SPEAKER_01]: And, and so he gets to make one and I, and it part of me believes that he thinks he's making a comedy just like
16:06 --> 16:16 [SPEAKER_01]: all the other ones he watches, but he sees, he watches them through the Paul Thomas Anderson lens, because he's got, he has a very unique eye in and in a very unique perspective.
16:16 --> 16:20 [SPEAKER_05]: He can't help himself, but be Paul Thomas Anderson.
16:20 --> 16:20 [SPEAKER_01]: Right.
16:20 --> 16:29 [SPEAKER_01]: So the question I have, and I would love to sit and ask Paul Thomas Anderson this, do you think you made a Billy Madison movie?
16:32 --> 16:38 [SPEAKER_01]: And then the question from that is if you were to say yes, go, what do you see when you watch those movies?
16:39 --> 16:44 [SPEAKER_01]: Because for all we know he's watching he's watching water boy and he's just like, what a tragic tale.
16:47 --> 16:48 [SPEAKER_01]: I mean, I don't know.
16:48 --> 16:50 [SPEAKER_01]: Like I would love to know, right?
16:50 --> 16:55 [SPEAKER_01]: And like or like to your point, he's like, oh, I'm going to make something really fun and whimsical and that's the best he could do.
16:58 --> 17:01 [SPEAKER_01]: And all of his movies up into this point were supposed to be whimsical comedies.
17:01 --> 17:03 [SPEAKER_01]: He just has a very odd sense.
17:04 --> 17:11 [SPEAKER_05]: I mean, look, if you look at where there will be blood, he's like, how do more people didn't think the master was hilarious?
17:12 --> 17:13 [SPEAKER_05]: No, that's kind of true, though.
17:13 --> 17:16 [SPEAKER_05]: I mean, if you return to there will be blood.
17:16 --> 17:18 [SPEAKER_05]: You know, it's it's genius.
17:19 --> 17:20 [SPEAKER_05]: It's a great acting performance.
17:21 --> 17:22 [SPEAKER_05]: It's tragic.
17:25 --> 17:27 [SPEAKER_05]: But if you watch it like on your fourth time,
17:29 --> 17:32 [SPEAKER_05]: Daniel Plainview is kind of hilarious.
17:33 --> 17:37 [SPEAKER_05]: Yes, like he's legitimately funny to watch.
17:38 --> 17:44 [SPEAKER_05]: And on some other level that I didn't know existed when I first watched it, this movie is kind of similar.
17:44 --> 17:46 [SPEAKER_05]: I feel like the first time I watched it,
17:48 --> 18:01 [SPEAKER_05]: I've got this really horrible habit of bringing Sarah to movies on our anniversary in Valentine's Day that are just the worst, the worst vibe movies ever.
18:02 --> 18:02 [SPEAKER_01]: Like, I think.
18:02 --> 18:06 [SPEAKER_01]: I got us a hotel room and some champagne.
18:06 --> 18:07 [SPEAKER_01]: It's on ice.
18:07 --> 18:08 [SPEAKER_01]: Let's just finish on a stud.
18:10 --> 18:11 [SPEAKER_05]: That's kind of it.
18:11 --> 18:11 [SPEAKER_05]: Yeah.
18:12 --> 18:14 [SPEAKER_05]: I mean, we saw Fight Club.
18:14 --> 18:21 [SPEAKER_05]: I mean, there was a lot of movies that as a young man, I just didn't know like, you know, why not just see a good movie together.
18:21 --> 18:23 [SPEAKER_05]: Why does your Travis Bickle?
18:23 --> 18:34 [SPEAKER_05]: Yeah, like, why didn't this is the movie that I, I would go to, like, why wouldn't you?
18:34 --> 18:38 [SPEAKER_05]: Anyway, we went to see this movie and I remember walking out
18:40 --> 18:48 [SPEAKER_05]: feeling like tight, like my shoulders were tight, and I've just thought I'd never been so anxious in a movie in my life.
18:50 --> 18:57 [SPEAKER_05]: And I think it for that reason, it might have been ten years before I came back to it.
18:59 --> 19:10 [SPEAKER_05]: But then when I did, I was like, oh my gosh, like the second watch, the third watch, this gets really funny in a lot of places that I did not laugh the first time.
19:11 --> 19:15 [SPEAKER_05]: So it really is rewarding upon rewatch.
19:16 --> 19:27 [SPEAKER_05]: I think partly because, and we were talking about the score in a no country for old men, partly because the music in this movie,
19:33 --> 19:36 [SPEAKER_05]: So emotionally affected.
19:36 --> 19:36 [SPEAKER_01]: Oh yeah.
19:38 --> 19:39 [SPEAKER_05]: It's like it's a character.
19:39 --> 19:41 [SPEAKER_01]: Oh yeah, I was just gonna say that same thing.
19:42 --> 19:42 [SPEAKER_01]: The music.
19:43 --> 19:50 [SPEAKER_01]: I mean, it's like our emotions are the instruments and the music itself is the conductor.
19:51 --> 20:00 [SPEAKER_05]: So it's interesting like you watch it like the four-time and you realize the music is so important in the movie and then you just start with a cold open basically.
20:01 --> 20:13 [SPEAKER_05]: It just starts with him on the phone with a customer service person, which is like, these are the hours of my life that I would least look forward to.
20:13 --> 20:20 [SPEAKER_05]: Like, I don't know if you've, I don't know how much time of your life you've actually spent on the phone with customer service people.
20:22 --> 20:23 [SPEAKER_05]: It's just my numbing.
20:24 --> 20:27 [SPEAKER_05]: It's completely worthless time.
20:28 --> 20:35 [SPEAKER_05]: And he decides to start with one of these conversations and there's no music and there's no music for the first five minutes of this movie.
20:36 --> 20:46 [SPEAKER_05]: He's like he goes out to the street, the piano, when Lena first shows up, there's no music, no music, no music, no music.
20:47 --> 20:49 [SPEAKER_05]: He brings the harmony and back to his office.
20:50 --> 20:56 [SPEAKER_05]: And when he finally gets it to work, the music kicks in and kind of doesn't let up from that point on.
20:56 --> 20:57 [SPEAKER_01]: Yeah, exactly, right?
20:57 --> 21:13 [SPEAKER_01]: I mean, it's, it's, and I think that's where it's, how important music is, it's obvious, but it's when it is decided to come in and then what it does for the rest, it's like, so it's as if, like I mean, music is entered his life.
21:14 --> 21:16 [SPEAKER_01]: That's the idea, I think, to some degree of
21:17 --> 21:18 [SPEAKER_01]: of this relationship.
21:19 --> 21:20 [SPEAKER_01]: Somebody has come into his life.
21:21 --> 21:23 [SPEAKER_01]: And so think about the title, right?
21:24 --> 21:29 [SPEAKER_01]: And what punch drunk means and combining punch drunk with love.
21:30 --> 21:32 [SPEAKER_01]: It's like, you're you're disoriented.
21:33 --> 21:44 [SPEAKER_01]: And and that's especially for somebody like this very egan character who doesn't know how other people feel, but he's feeling away that maybe he, you know, hasn't felt in a long time or maybe ever.
21:46 --> 22:08 [SPEAKER_01]: he is you you're on this manic journey with him and like this point there's moments where the where the music is unsettling but you get used to it and I think that that is that's like that's the point of like if you're if you're disturbed is the right word or not or just
22:09 --> 22:10 [SPEAKER_05]: Well, manic is a great word.
22:10 --> 22:14 [SPEAKER_05]: Manic, I felt manic when I left this movie for the first time.
22:15 --> 22:19 [SPEAKER_05]: The music does this, but also the persistent
22:20 --> 22:26 [SPEAKER_01]: awkward, exchanging, well the sisters, the sisters are just, are, are, are cacophonists.
22:26 --> 22:27 [SPEAKER_01]: Yeah, I want to play you a scene here.
22:43 --> 22:44 [SPEAKER_02]: I'm just talking about you.
22:44 --> 22:45 [SPEAKER_02]: I'm just talking about you.
22:45 --> 22:46 [SPEAKER_02]: I'm just talking about you.
22:46 --> 22:47 [SPEAKER_02]: I'm just talking about you.
22:47 --> 22:48 [SPEAKER_02]: I'm just talking about you.
22:48 --> 22:49 [SPEAKER_02]: I'm just talking about you.
22:49 --> 22:50 [SPEAKER_02]: I'm just talking about you.
22:50 --> 22:51 [SPEAKER_02]: I'm just talking about you.
22:51 --> 22:54 [SPEAKER_03]: I'm just talking about you.
22:54 --> 22:55 [SPEAKER_03]: I'm just talking about you.
22:55 --> 22:56 [SPEAKER_03]: I'm just talking about you.
22:56 --> 22:57 [SPEAKER_03]: I'm just talking about you.
22:57 --> 22:58 [SPEAKER_03]: I'm just talking about you.
22:58 --> 22:59 [SPEAKER_07]: I'm just talking about you.
22:59 --> 23:00 [SPEAKER_03]: I'm just talking about you.
23:00 --> 23:02 [SPEAKER_03]: I'm just talking about you.
23:02 --> 23:03 [SPEAKER_03]: I'm just talking about you.
23:03 --> 23:04 [SPEAKER_03]: I'm just talking about you.
23:04 --> 23:05 [SPEAKER_03]: I'm just talking about you.
23:05 --> 23:06 [SPEAKER_11]: I'm just talking about you.
23:06 --> 23:07 [SPEAKER_11]: I'm just talking about you.
23:07 --> 23:08 [SPEAKER_11]: I'm just talking about you.
23:08 --> 23:09 [SPEAKER_11]: I'm just talking about you.
23:09 --> 23:10 [SPEAKER_11]: I'm just talking about you.
23:10 --> 23:11 [SPEAKER_11]: I'm just talking about you.
23:13 --> 23:14 [SPEAKER_11]: Are you gay now?
23:14 --> 23:16 [SPEAKER_09]: I-I don't know.
23:16 --> 23:16 [SPEAKER_07]: I don't know.
23:16 --> 23:17 [SPEAKER_07]: I don't know.
23:17 --> 23:17 [SPEAKER_07]: I don't know.
23:17 --> 23:17 [SPEAKER_07]: I don't know.
23:17 --> 23:18 [SPEAKER_07]: I don't know.
23:18 --> 23:18 [SPEAKER_09]: I don't know.
23:18 --> 23:19 [SPEAKER_09]: I don't know.
23:19 --> 23:19 [SPEAKER_07]: I don't know.
23:19 --> 23:19 [SPEAKER_07]: I don't know.
23:19 --> 23:20 [SPEAKER_07]: I don't know.
23:20 --> 23:20 [SPEAKER_02]: I don't know.
23:20 --> 23:20 [SPEAKER_02]: I don't know.
23:20 --> 23:21 [SPEAKER_02]: I don't know.
23:21 --> 23:21 [SPEAKER_02]: I don't know.
23:21 --> 23:22 [SPEAKER_07]: I don't know.
23:22 --> 23:22 [SPEAKER_02]: I don't know.
23:22 --> 23:22 [SPEAKER_02]: I don't know.
23:22 --> 23:23 [SPEAKER_07]: I don't know.
23:23 --> 23:23 [SPEAKER_07]: I don't know.
23:23 --> 23:23 [SPEAKER_02]: I don't know.
23:23 --> 23:24 [SPEAKER_02]: I don't know.
23:24 --> 23:24 [SPEAKER_02]: I don't know.
23:24 --> 23:24 [SPEAKER_02]: I don't know.
23:24 --> 23:25 [SPEAKER_02]: I don't know.
23:25 --> 23:25 [SPEAKER_02]: I don't know.
23:25 --> 23:25 [SPEAKER_02]: I don't know.
23:25 --> 23:26 [SPEAKER_02]: I don't know.
23:26 --> 23:26 [SPEAKER_02]: I don't know.
23:26 --> 23:26 [SPEAKER_02]: I don't know.
23:26 --> 23:27 [SPEAKER_02]: I don't know.
23:27 --> 23:27 [SPEAKER_02]: I don't know.
23:27 --> 23:28 [SPEAKER_02]: I don't know.
23:28 --> 23:29 [SPEAKER_05]: I don't know.
23:29 --> 23:29 [SPEAKER_05]: I don't know.
23:29 --> 23:30 [SPEAKER_05]: I don't know.
23:30 --> 23:30 [SPEAKER_05]: I don't know.
23:30 --> 23:30 [SPEAKER_05]: I don't know.
23:30 --> 23:31 [SPEAKER_05]: I don't know.
23:31 --> 23:31 [SPEAKER_05]: I don't know.
23:31 --> 23:32 [SPEAKER_05]: I don't know.
23:32 --> 23:33 [SPEAKER_05]: I don't know.
23:33 --> 23:34 [SPEAKER_05]: I don't know.
23:34 --> 23:34 [SPEAKER_05]: I don
23:41 --> 23:45 [SPEAKER_05]: You know, it's such a, it's such a great little throwaway line.
23:46 --> 23:47 [SPEAKER_01]: Like, couldn't even get in the door, right?
23:48 --> 23:50 [SPEAKER_01]: Like, you can't even get in the door.
23:50 --> 23:52 [SPEAKER_05]: You know, soon you see, open the door.
23:52 --> 23:53 [SPEAKER_05]: He hears his name.
23:53 --> 23:55 [SPEAKER_05]: He's like, they're talking about me.
23:55 --> 23:56 [SPEAKER_01]: They're talking about this story.
23:56 --> 23:57 [SPEAKER_01]: Talking about an old story.
23:58 --> 24:00 [SPEAKER_05]: And though he, he like wants to close it up twice.
24:01 --> 24:03 [SPEAKER_01]: Like he didn't even, doesn't really want to know.
24:03 --> 24:05 [SPEAKER_05]: Can I suffer through this?
24:05 --> 24:06 [SPEAKER_05]: I don't know if I can suffer through this.
24:06 --> 24:18 [SPEAKER_01]: Well, and it's such a, he gives a window and they're like, okay, how much of his problems are really his problems, you know, and not just a byproduct of, you know, or at least just not being understood.
24:18 --> 24:26 [SPEAKER_05]: I mean, look, here's these sisters and it seems like they've got a certain rapport, right?
24:27 --> 24:29 [SPEAKER_05]: It's like they talk to each other in a particular way.
24:30 --> 24:31 [SPEAKER_05]: It's very blunt.
24:33 --> 24:45 [SPEAKER_05]: Um, they enjoy talking about situations in the past that might have been awkward at the time, but they kind of, you know, enjoy relief, relieve in this with like the benefit of hindsight.
24:46 --> 24:50 [SPEAKER_05]: And this is sort of like Barry's worst nightmare, right?
24:51 --> 24:59 [SPEAKER_05]: So how do I relate to these people that enjoy talking this way when I, I just don't know how to talk this way, right?
24:59 --> 25:00 [SPEAKER_01]: And also let's be clear, he is
25:02 --> 25:13 [SPEAKER_01]: been probably somewhat raised by seven women who were very dominant in his life, who at least from this little glimpse in fantasism, right?
25:13 --> 25:22 [SPEAKER_01]: I mean, they, they, they not only want to tell this story about him as it is a child acting out, but they think it's funny.
25:22 --> 25:27 [SPEAKER_01]: And they don't look at that behavior then through like a lens of like
25:28 --> 25:30 [SPEAKER_01]: I wonder maybe he could use some therapy.
25:30 --> 25:31 [SPEAKER_01]: I wonder if he could.
25:33 --> 25:36 [SPEAKER_01]: I wonder if he'd be better served if we didn't talk about this kind of stuff.
25:37 --> 25:51 [SPEAKER_01]: And so he is so then he erupts and it's like, and it's an interesting thing, because I've seen this with, and I don't think I'm telling tales at a school, but like my wife has three sisters and they all have their different roles in the family.
25:52 --> 25:55 [SPEAKER_01]: And when they get together back at like their parents house,
25:56 --> 26:00 [SPEAKER_01]: I watched, they all kind of will start to fall into those roles again, right?
26:00 --> 26:07 [SPEAKER_01]: Like there's just a, you know, maybe there's something about the familiarity of the home or just the atmosphere of when they get together.
26:08 --> 26:15 [SPEAKER_01]: It's, you know, so there's this idea that like he gets there and they're all, like you feel like this dynamic is probably always the dynamic.
26:16 --> 26:26 [SPEAKER_01]: And so the question is would he have, was he really just one more gay boy come in away from breaking windows or was he, is there some level of like,
26:26 --> 26:27 [SPEAKER_01]: Well, this is what I am here.
26:28 --> 26:29 [SPEAKER_01]: So I'm gonna do that.
26:29 --> 26:34 [SPEAKER_01]: I mean, there's so, there's so many things to sort of unpack about that reaction.
26:35 --> 26:40 [SPEAKER_01]: And like I said, and in another Adam Sandler movie, man, that guy's wild, he's crazy.
26:40 --> 26:50 [SPEAKER_01]: Like this one, I'm like, I want, there's so much, there were so many things to question about his motivation for doing that, whether it was instinctual, whether it was spiteful, it's so hard to know.
26:53 --> 26:54 [SPEAKER_05]: She's got a sneak in.
26:55 --> 26:59 [SPEAKER_05]: Tell him he's got Dandruff in the most passive aggressive way possible.
27:00 --> 27:03 [SPEAKER_01]: Well, and Heather, Heather makes made in a pretty great observation.
27:05 --> 27:09 [SPEAKER_01]: She thinks that question came up because he had rice on them.
27:10 --> 27:13 [SPEAKER_05]: Right, yeah, of course, later on one of his other sisters.
27:13 --> 27:14 [SPEAKER_01]: Right, you get rice on you.
27:15 --> 27:22 [SPEAKER_01]: And so it's sort of like the first sister was like a popped up and popped out of the the unbreakable bright and green plunger.
27:26 --> 27:27 [SPEAKER_05]: So this is important.
27:27 --> 27:28 [SPEAKER_05]: This is one of our old.
27:29 --> 27:32 [SPEAKER_05]: And I have a I've sort of developed a little theory about this just this morning.
27:34 --> 27:39 [SPEAKER_05]: I've been wondering at the seven sisters for a long time because of course it's a constellation and
27:41 --> 28:07 [SPEAKER_05]: right after the title sequence of this movie after you get the cold open you kind of see the stars right the stars right and I have known that there's like a lot of mythologies about the seven sisters in the ancient world and the you know it's Paul Thomas Anderson so it's sort of like this is not throw away this is a detail he thought was interesting right it's in it's probably intentional right
28:08 --> 28:14 [SPEAKER_05]: But I could never figure out what the hell was going on with the symbolism.
28:16 --> 28:21 [SPEAKER_05]: And I think that there's something related to the plungers that's important.
28:22 --> 28:25 [SPEAKER_05]: It chose the seven sisters, chose the stars.
28:26 --> 28:37 [SPEAKER_05]: And then you immediately go to him and he's like in the middle, he's like, he's midstream in his plunger spiel, which is like to me, one of the most
28:37 --> 28:51 [SPEAKER_01]: fascinating moments because I'm like there's just no way people are going to like a plunger headquarters for a for a speel and an explanation of how you got to you got to keep an eye level you got to keep an eye level for the kids
28:52 --> 28:57 [SPEAKER_05]: It's almost like there's a reputation or a town like dude, you gotta go there.
28:57 --> 29:02 [SPEAKER_05]: You gotta go to the where he wants you to see this guy and he knows more about plungers than anyone on the earth.
29:02 --> 29:06 [SPEAKER_05]: You have to see this guy talk about the wedding plungers.
29:06 --> 29:07 [SPEAKER_05]: Just an amazing idea.
29:12 --> 29:24 [SPEAKER_05]: So he's you get the seven stars image and he's talking about plungers and then he starts getting these phone calls from his sisters that are just totally
29:26 --> 29:52 [SPEAKER_05]: dismissive or outright insulting or you know picking up like what who says the word chat like You know just just picking him apart and he's just like in the middle of holding together like he's working yes One thing you would think that they would be encouraging him to do is continuing to be like a functioning member of society No, yeah, they're calling him to make sure he goes to a party where they get to pick at him some more exactly
29:54 --> 29:59 [SPEAKER_05]: So, all right, so you've got the seven sisters, Jeff's with the plungers.
30:01 --> 30:04 [SPEAKER_05]: In the ancient world, there's like forty-nine different mythologies about the seven sisters.
30:05 --> 30:08 [SPEAKER_05]: And you get to the Mediterranean and go east.
30:09 --> 30:15 [SPEAKER_05]: There's like twenty stories that are pretty, they're different, but they have a certain similarity in that.
30:15 --> 30:17 [SPEAKER_05]: They also represent water in a way.
30:18 --> 30:19 [SPEAKER_05]: Okay.
30:20 --> 30:29 [SPEAKER_05]: So some in some mythologies like different bodies of water like there was one sister that represents rivers and the other represents oceans and you know, the other one represents ice.
30:30 --> 30:33 [SPEAKER_05]: So there's these seven sister stars.
30:33 --> 30:34 [SPEAKER_05]: There's lots of stories about them.
30:34 --> 30:39 [SPEAKER_05]: They either represent women or water or both.
30:39 --> 30:43 [SPEAKER_05]: I don't know if this makes any sense.
30:44 --> 30:44 [SPEAKER_05]: Okay.
30:44 --> 30:48 [SPEAKER_05]: Then I find a little detail from the Talmud.
30:49 --> 30:57 [SPEAKER_05]: The Talmud, which of course is written by Jews, so there's only going to be one deity, there's not going to be seven female deities up there.
30:58 --> 31:07 [SPEAKER_05]: But in the Jewish mythology, this constellation was holding back the waters of heaven
31:09 --> 31:22 [SPEAKER_05]: and the divine hand removes one of the stars and just displaces one of the stars so much so that the waters from heaven can come down and flood the earth.
31:22 --> 31:24 [SPEAKER_05]: All right.
31:25 --> 31:29 [SPEAKER_05]: So I thought, well, maybe this is interesting because this supposed to be a Jewish family.
31:30 --> 31:36 [SPEAKER_05]: If the stars represent both his sisters and the floodgate of heaven,
31:37 --> 31:42 [SPEAKER_05]: Is this movie not about someone who's kind of like emotionally stopped up?
31:43 --> 31:47 [SPEAKER_05]: Again, with the water theme, what do you do with the plunger?
31:47 --> 31:48 [SPEAKER_05]: You unclog something.
31:48 --> 31:52 [SPEAKER_05]: That's water based.
31:52 --> 32:01 [SPEAKER_05]: And I think that there's something about these women in his life that kind of created a situation for him where he's emotionally constipated.
32:02 --> 32:05 [SPEAKER_05]: And he needs to figure out some way
32:06 --> 32:08 [SPEAKER_05]: to like unconstipate himself.
32:09 --> 32:12 [SPEAKER_05]: And I don't know if the myth, I mean, I could just be there.
32:12 --> 32:22 [SPEAKER_05]: I'm reaching or whatever, but I think that there's something interesting about the plungers as a metaphor for what he does for a living.
32:23 --> 32:31 [SPEAKER_01]: Well, yeah, I'm speaking to, you know, where you said earlier that, you know, Paul Thomas Anderson is a rarely unintentional.
32:32 --> 32:33 [SPEAKER_01]: Yeah.
32:34 --> 32:35 [SPEAKER_01]: And if we, if we grant him that,
32:37 --> 32:48 [SPEAKER_01]: It's his job, but it's like it's never like referred to comically about the they don't mention the plunger, you know, like what you would think that if you're going to do them.
32:49 --> 32:54 [SPEAKER_01]: You have an opportunity for any kind of like scatter logical reference or something, but it just doesn't.
32:55 --> 32:56 [SPEAKER_01]: That's that's not a priority.
32:56 --> 32:58 [SPEAKER_05]: And it's so subtle.
32:58 --> 33:00 [SPEAKER_05]: You would totally miss it, you know, yeah.
33:00 --> 33:03 [SPEAKER_05]: So you're going to do an Adam Sandler movie.
33:03 --> 33:05 [SPEAKER_05]: His job is that he's a plunger salesman.
33:06 --> 33:08 [SPEAKER_05]: Of course, you're going to do some scallagical humor.
33:09 --> 33:09 [SPEAKER_01]: Right.
33:09 --> 33:12 [SPEAKER_01]: You're going to have to have something to do and and and it doesn't.
33:12 --> 33:17 [SPEAKER_01]: And so that's I think that might actually reinforce your point that it's it serves a role.
33:20 --> 33:22 [SPEAKER_01]: from more of a symbolic standpoint.
33:22 --> 33:31 [SPEAKER_05]: Yeah, I think it's I think it's an emotional metaphor for for him as an adult like he's clearly he's he feels deep emotions.
33:31 --> 33:31 [SPEAKER_01]: Right.
33:31 --> 33:38 [SPEAKER_01]: Well, and if you really want to go even further, I mean, you can you can the idea of the ridiculousness of a wedding plunger, right?
33:38 --> 33:40 [SPEAKER_01]: So you have a bride and groom on there.
33:40 --> 33:46 [SPEAKER_01]: And it's, you know, that could be kind of an on the nose symbolism of what love is supposed to look like.
33:46 --> 33:50 [SPEAKER_01]: And he talks about how it's unbreakable and it completely has a part, right?
33:50 --> 33:53 [SPEAKER_01]: On just on first, first move.
33:54 --> 33:59 [SPEAKER_01]: And the question is was that an old one or is he too strong?
34:00 --> 34:02 [SPEAKER_01]: Is he too much rage, right?
34:02 --> 34:07 [SPEAKER_01]: Does he have too much pent up that he doesn't even know what he's capable of kind of a thing, right?
34:07 --> 34:14 [SPEAKER_01]: Because later, you see in the background, you see the loose mons character just banging those things in the background and they're fine.
34:16 --> 34:21 [SPEAKER_05]: So I was gonna ask you, that's such a good, I'm so glad you mentioned that.
34:22 --> 34:24 [SPEAKER_05]: Could this be an incredible Hulk movie?
34:24 --> 34:27 [SPEAKER_01]: Yeah, like I mean, yeah, so yeah, that's great.
34:27 --> 34:27 [SPEAKER_05]: I loved it.
34:27 --> 34:33 [SPEAKER_05]: Here's the, here this guy is, and he's got this rage monster deep inside.
34:33 --> 34:35 [SPEAKER_05]: This is almost like a,
34:36 --> 35:06 [SPEAKER_01]: an episode of the incredible Hulk this movie there's so many great like I mean the the scene where we're the the brothers hit them in the car and yeah and and and he just john wicks um like it like it's like he's a sleeper cell right i mean of all the things like of the whole movie of i don't know and fumbling about this even though he drinks coffee makes me nervous um and
35:07 --> 35:15 [SPEAKER_01]: And when this moment happens, there is, uh, there's no second guessing.
35:15 --> 35:16 [SPEAKER_01]: There's no hesitation.
35:16 --> 35:30 [SPEAKER_01]: Um, he's, he's full of rage, but it's unlike, I mean, it's, it's channeled in a way that's, you know, I mean, you know, you don't necessarily have to hit people with the tire iron, but
35:31 --> 35:41 [SPEAKER_01]: in this particular case where you've gotten a second assault, and you don't know what the thing is, the thing's ever going to end.
35:42 --> 35:59 [SPEAKER_01]: He has agency, and this rage that sometimes manifests itself into broken sliding glass doors is, at least in so much as it can be, productive.
36:00 --> 36:06 [SPEAKER_01]: And it's almost dance like the way that he goes through the whole thing.
36:06 --> 36:08 [SPEAKER_01]: Like it's choreographed and he does.
36:08 --> 36:09 [SPEAKER_01]: Yeah.
36:09 --> 36:11 [SPEAKER_01]: And it's, but he does it without it.
36:11 --> 36:19 [SPEAKER_01]: There's like, he's almost at his most calm in this movie when he's pummeling these guys with a tire iron.
36:20 --> 36:25 [SPEAKER_01]: Like it's, it's an interesting moment where he looks the most peaceful as he's doing it.
36:26 --> 36:28 [SPEAKER_05]: I have a question about this.
36:28 --> 36:29 [SPEAKER_05]: The very beginning of the movie,
36:31 --> 36:34 [SPEAKER_05]: He walks outside, he's looking at the street.
36:36 --> 36:38 [SPEAKER_05]: And he sees a car accident.
36:39 --> 36:43 [SPEAKER_05]: And then he like, he kind of freaks out by it.
36:43 --> 36:47 [SPEAKER_05]: It's like, it's a, it's a, it's not a minor car accident.
36:47 --> 36:51 [SPEAKER_05]: Like a car rolls flips, you know, five times.
36:52 --> 36:53 [SPEAKER_05]: And then is gone.
36:56 --> 37:02 [SPEAKER_05]: And then what you see is a van putting the harmonium down on the street and driving away.
37:04 --> 37:08 [SPEAKER_05]: Do you think the car accident is just him imagining?
37:08 --> 37:12 [SPEAKER_05]: Is that in his head or is this actually had?
37:12 --> 37:16 [SPEAKER_01]: Well, you see the the aftermath of it.
37:16 --> 37:18 [SPEAKER_01]: I feel like throughout the movie like all over the street.
37:21 --> 37:34 [SPEAKER_05]: So what is, okay, so you think that it's not just in his head, because I was thinking like for him, it's sort of a metaphor for something, something is gonna jolt him in his life.
37:34 --> 37:44 [SPEAKER_05]: Like there's something coming down the road, it's gonna upend everything and bring him into a new place of his life.
37:44 --> 37:47 [SPEAKER_05]: And maybe that's how he experiences the harmonium.
37:47 --> 37:51 [SPEAKER_05]: Maybe the harmonium is actually like the thing that's gonna change his life forever.
37:53 --> 37:55 [SPEAKER_05]: But it's possible that it's both.
37:55 --> 38:02 [SPEAKER_05]: It's like maybe this accident, and you see his response to the accident, like he's freaking out.
38:03 --> 38:07 [SPEAKER_05]: But it could be that the accident happens, and you see the way he's freaking out.
38:08 --> 38:19 [SPEAKER_05]: But it also is kind of foreshadowing this climactic moment of the movie when there is an accident, and he gets tea-boamed, and then he completely transforms.
38:20 --> 38:20 [SPEAKER_01]: Right.
38:20 --> 38:21 [SPEAKER_01]: Well, because, yeah,
38:23 --> 38:36 [SPEAKER_01]: The accident that we were just talking about, where he gets in this car accident, he sees his, the object of his affection as this woman is injured by it.
38:38 --> 38:45 [SPEAKER_01]: And then he, I get the sense that he responds, not at a rage, but out of love.
38:47 --> 38:53 [SPEAKER_01]: And if you look at the, the initial car accidents, this, this car flips and it's just,
38:54 --> 38:55 [SPEAKER_01]: it's awful, it's got to be terrible.
38:56 --> 39:04 [SPEAKER_01]: But then he gets distracted because somebody places inexplicable music in front of him or a music device.
39:05 --> 39:13 [SPEAKER_01]: Look, there's a lot of rage, there's a lot of violence, there's a lot of tragedy that kind of encompasses his life or at least his soul.
39:14 --> 39:20 [SPEAKER_01]: But rather than get him down to shampoo, maybe he needs to be surprised a little bit by joy.
39:22 --> 39:23 [SPEAKER_05]: Yeah, maybe so.
39:23 --> 39:32 [SPEAKER_05]: It could be like, like you said, like when he sees the blood running down and show her her forehead, immediately he's protective and he has purpose, right?
39:32 --> 39:33 [SPEAKER_05]: Right.
39:33 --> 39:36 [SPEAKER_05]: Now I know that my purpose on earth is to protect this woman.
39:38 --> 39:45 [SPEAKER_05]: And it just so happens that I have an ocean of rage that I've been nurturing in my soul.
39:46 --> 39:48 [SPEAKER_05]: that now I have a place to put it.
39:48 --> 39:49 [SPEAKER_05]: Like, there's a use for it now.
39:49 --> 39:53 [SPEAKER_05]: I'm gonna go completely destroy these guys.
39:54 --> 39:54 [SPEAKER_01]: Right.
39:54 --> 40:03 [SPEAKER_01]: And he suddenly wants to put an end to this harassment.
40:04 --> 40:14 [SPEAKER_01]: And for his own sake, he'll just go to the ATM and try to appeal to, you know, oh, it's actually a lot of money for me.
40:14 --> 40:16 [SPEAKER_01]: And he kind of just sort of
40:16 --> 40:30 [SPEAKER_01]: just puts up with it, but now there's a it has to end, you know, he's his, you know, kind of naivete has created this problem, and it's like, well, he's just not going to be a victim to it anymore, right?
40:30 --> 40:32 [SPEAKER_01]: Like, so again, it's sort of like, again, this grasping of agency.
40:33 --> 40:38 [SPEAKER_01]: And so because all the way to Utah with with with
40:38 --> 40:40 [SPEAKER_01]: Ripped phone out of the wall still in here.
40:40 --> 40:54 [SPEAKER_06]: The problem is if you give me a chance to explain one of your employees that girl I was just speaking with has been threatening me and for blonde gentlemen just attacked me and smashed my car and hurt my girl.
40:55 --> 40:55 [SPEAKER_08]: I go fuck yourself.
40:56 --> 40:57 [SPEAKER_08]: That shit is nothing to do with me.
40:57 --> 40:59 [SPEAKER_08]: I run on a legitimate business here.
41:00 --> 41:00 [SPEAKER_08]: Listen to me.
41:01 --> 41:03 [SPEAKER_08]: What's your name, sir?
41:04 --> 41:04 [SPEAKER_08]: Answer me!
41:04 --> 41:06 [SPEAKER_08]: What's your name, asshole?
41:06 --> 41:07 [SPEAKER_08]: I'm sorry!
41:08 --> 41:10 [SPEAKER_06]: I don't know.
41:10 --> 41:11 [SPEAKER_06]: You're a bad person.
41:11 --> 41:14 [SPEAKER_06]: You have no right taking people's confidence in your service.
41:14 --> 41:15 [SPEAKER_06]: You understand me, sir?
41:16 --> 41:18 [SPEAKER_06]: No, no, no, shut up!
41:18 --> 41:19 [SPEAKER_08]: Shut the fuck!
41:19 --> 41:21 [SPEAKER_08]: You're all right to take shut up!
41:21 --> 41:22 [SPEAKER_08]: You shut up!
41:22 --> 41:23 [SPEAKER_08]: Shut up!
41:23 --> 41:23 [SPEAKER_08]: Shut up!
41:23 --> 41:24 [SPEAKER_08]: Shut up!
41:24 --> 41:24 [SPEAKER_08]: Shut up!
41:24 --> 41:25 [SPEAKER_08]: Shut up!
41:25 --> 41:25 [SPEAKER_08]: Shut up!
41:31 --> 41:32 [SPEAKER_08]: Are you threatening me, Dick?
41:32 --> 41:33 [SPEAKER_08]: Thank you.
41:33 --> 41:35 [SPEAKER_08]: You go fuck yourself.
41:41 --> 41:42 [SPEAKER_10]: Fuck!
41:42 --> 41:44 [SPEAKER_08]: Did you just say go fuck myself?
41:48 --> 41:48 [SPEAKER_08]: Yes, I did.
41:49 --> 41:50 [SPEAKER_08]: That wasn't good.
41:51 --> 41:51 [SPEAKER_08]: You were dead.
41:56 --> 42:04 [SPEAKER_05]: So, like, who are you gonna use to match Adam Sandler in a shouting match?
42:07 --> 42:10 [SPEAKER_05]: You know, I was thinking, like, there are a few people that you could do this.
42:10 --> 42:12 [SPEAKER_05]: Like, I think Joe Peshie could do this.
42:14 --> 42:22 [SPEAKER_05]: Phillip Seymour Hoffman is the perfect person to have on the other, to have on the other line.
42:24 --> 42:26 [SPEAKER_05]: who you can kind of like, is this guy?
42:27 --> 42:28 [SPEAKER_05]: Is this guy okay?
42:28 --> 42:29 [SPEAKER_01]: Like right.
42:29 --> 42:39 [SPEAKER_01]: Well, that's what's, so that's what really, I love this because it's great about this is that we don't know much about Philip Seymour Hoffman's character.
42:40 --> 42:46 [SPEAKER_01]: We've got a pretty good sense of his ethics, his morality, such as it is.
42:47 --> 42:50 [SPEAKER_01]: So we can kind of assume certain things, right?
42:51 --> 42:51 [SPEAKER_01]: But we go through
42:52 --> 43:20 [SPEAKER_01]: very for most of this movie and it's it's really like I think it took me a couple watches to see the sisters as as problematic as Barry right and also and not only problematic but like also you guys can't be right like you guys it sums up you know you know there's like I think there's very much on the spectrum element of a lot of these characters oh for sure and
43:22 --> 43:36 [SPEAKER_01]: And in a lot of ways, it's kind of like, it's kind of a handy little tool to sort of, between the music and just sort of the anxiety that, like, you kind of get the sense of like, how hard life can be when you're, when you're wrestling with certain things.
43:37 --> 43:42 [SPEAKER_01]: You know, some of it could be nature, some it could be nurture or probably make sure you're both in these cases.
43:44 --> 43:50 [SPEAKER_01]: And so we don't know, like, so it's easy to kind of assume that the rest of the world that Barry lives in
43:51 --> 43:52 [SPEAKER_01]: is got it more together than he does.
43:53 --> 43:56 [SPEAKER_01]: But I think you find that that's not the case, right?
43:56 --> 44:04 [SPEAKER_05]: And I think that because I because even his is the world is mysterious and sometimes people just kind of act like it's normal.
44:05 --> 44:07 [SPEAKER_05]: And it's just baffles him.
44:08 --> 44:10 [SPEAKER_05]: When is it okay to lie and not to lie?
44:10 --> 44:13 [SPEAKER_05]: Because everyone else seems to know this and I don't.
44:14 --> 44:19 [SPEAKER_05]: When is it okay to be playful and when it's not?
44:19 --> 44:22 [SPEAKER_05]: Because everyone else seems to know this and I don't.
44:22 --> 44:30 [SPEAKER_05]: And the phone conversations with a company that's scammed you out of money, it's like
44:31 --> 44:34 [SPEAKER_05]: It's one of these things where like, I know that this happens in the world.
44:35 --> 44:37 [SPEAKER_05]: I don't know the right way to act in this situation.
44:37 --> 44:40 [SPEAKER_05]: I don't know if there is a right way to act in this situation.
44:41 --> 44:47 [SPEAKER_05]: This is, these kind of phone conversations will absolutely drive you crazy.
44:48 --> 44:54 [SPEAKER_05]: And you'll hear yourself, you'll hear yourself saying things that you never thought you'd say.
44:55 --> 44:58 [SPEAKER_05]: And, you know, it's sort of a fantasy.
44:59 --> 45:06 [SPEAKER_05]: All right, I'm gonna keep this phone in my hand all the way to Utah until I see you in person.
45:06 --> 45:16 [SPEAKER_05]: And I can stare you down, either I. And make you agree with me that you are wrong.
45:16 --> 45:19 [SPEAKER_05]: That's sort of a, right, it's kind of a fantasy in that.
45:19 --> 45:28 [SPEAKER_01]: Well, and that the phone is so amazing to me because two things could be happening and they might both be happening simultaneously
45:29 --> 45:33 [SPEAKER_01]: He is so focused on this that he can't even think to let him.
45:34 --> 45:35 [SPEAKER_01]: He can't let go, right?
45:35 --> 45:37 [SPEAKER_01]: So there's both some strange.
45:37 --> 45:40 [SPEAKER_01]: But physically and mentally, he can't let go.
45:41 --> 45:43 [SPEAKER_01]: And the phone represents a lot of that, right?
45:43 --> 45:45 [SPEAKER_01]: And if this all comes from the phone conversation.
45:46 --> 45:51 [SPEAKER_01]: And like he can't let go of this phone until until it's resolved.
45:51 --> 45:52 [SPEAKER_01]: And it does, right?
45:52 --> 45:52 [SPEAKER_01]: I mean, he does.
45:52 --> 45:56 [SPEAKER_01]: He releases the phone at the end when
45:57 --> 45:58 [SPEAKER_01]: uh, when it's over.
45:59 --> 46:01 [SPEAKER_05]: And he gives it to like the furniture.
46:01 --> 46:01 [SPEAKER_05]: Yeah.
46:01 --> 46:01 [SPEAKER_01]: Yeah.
46:01 --> 46:01 [SPEAKER_01]: Yeah.
46:01 --> 46:01 [SPEAKER_01]: Yeah.
46:01 --> 46:01 [SPEAKER_01]: Yeah.
46:01 --> 46:01 [SPEAKER_01]: Yeah.
46:01 --> 46:02 [SPEAKER_01]: Yeah.
46:02 --> 46:03 [SPEAKER_01]: Because it's almost like, okay.
46:03 --> 46:03 [SPEAKER_01]: I don't need this anymore.
46:04 --> 46:08 [SPEAKER_01]: Like there was an, it's like, it's, it's, it's representative to a certain degree, right?
46:08 --> 46:14 [SPEAKER_05]: He's like, he's like, I like if you saw the guy, that guy in the blue suit, walk him to the back of your warehouse.
46:15 --> 46:16 [SPEAKER_05]: And he's holding a phone.
46:17 --> 46:19 [SPEAKER_05]: It still has the wire attached.
46:19 --> 46:20 [SPEAKER_05]: That would freak me out.
46:20 --> 46:23 [SPEAKER_04]: That's like this, this game was in the guy hand again.
46:23 --> 46:25 [SPEAKER_05]: Like, I mean, I'm like, you know, totally.
46:26 --> 46:27 [SPEAKER_04]: Totally.
46:27 --> 46:29 [SPEAKER_04]: Yes, this guy's unhinged.
46:29 --> 46:46 [SPEAKER_01]: Yeah, sure he's unhinged and so I think it's what I like about you know the As we get more with this Philipsy more Hoffman character in the way he's just screaming at him on the phone to shut up Well, that's a guy who is used to having control
46:54 --> 47:20 [SPEAKER_01]: Yeah and he's losing a little bit of that control because on the other side of the phone is a guy who's learning about agency and he's trying to get some control back and he's not playing by the rules because he doesn't know what they are and in a or he's resetting them you know like it's it's a really well he doesn't believe there are rules like people will just bend in my will but what if they don't write you know and what would happen if someone just
47:21 --> 47:23 [SPEAKER_05]: It's sort of matched my ton of voice.
47:23 --> 47:24 [SPEAKER_05]: I got nothing after that.
47:24 --> 47:25 [SPEAKER_01]: Well, nothing I can do.
47:25 --> 47:30 [SPEAKER_01]: And all of his power through this relationship and probably through others is through the phone.
47:30 --> 47:33 [SPEAKER_01]: And so he's telling him to shut up, shut up, shut up, shut up because he's like, you're on the phone.
47:33 --> 47:35 [SPEAKER_01]: And this is the only, I can't hit you.
47:35 --> 47:36 [SPEAKER_01]: I can't stare you down.
47:37 --> 47:39 [SPEAKER_01]: But I'm going to use this tool.
47:39 --> 47:46 [SPEAKER_01]: So it's like, there's something kind of powerful about him still having the phone in his hand, which is to say that I'm holding all the power that you have.
47:46 --> 47:47 [SPEAKER_01]: This is it.
47:47 --> 47:48 [SPEAKER_01]: This is who you are.
47:49 --> 47:50 [SPEAKER_01]: You belong in this phone, but you are not
47:51 --> 48:00 [SPEAKER_01]: You, like, and it's kind of how with anything, like you talk about like, you know, dealing with any, you know, scam or whatever you might be dealing with on the phone.
48:00 --> 48:01 [SPEAKER_01]: It's like, you can't do anything.
48:01 --> 48:08 [SPEAKER_01]: And then so he gets there and he's like, all right, the court is off the wall.
48:08 --> 48:09 [SPEAKER_01]: You, it's just you and me.
48:10 --> 48:15 [SPEAKER_01]: And I love the, the stair down is amazing.
48:15 --> 48:16 [SPEAKER_01]: And, and
48:18 --> 48:20 [SPEAKER_01]: It builds to this, just say, that's that.
48:20 --> 48:24 [SPEAKER_01]: Like he basically is just saying, look, I'm giving you an out.
48:24 --> 48:28 [SPEAKER_01]: And then Philipsy Moore Hoffman plays this so well.
48:28 --> 48:31 [SPEAKER_01]: And like I love when they give the stare and he says, that's that.
48:31 --> 48:35 [SPEAKER_01]: And then like he still kind of gives his little lunge towards.
48:36 --> 48:40 [SPEAKER_01]: Yeah, yeah, towards Larry and then bit by Barry just kind of keeps going.
48:40 --> 48:43 [SPEAKER_01]: And then when he comes out and he has to, he wants to get the last word.
48:43 --> 48:43 [SPEAKER_01]: It was like, oops.
48:45 --> 48:45 [SPEAKER_01]: And then.
48:47 --> 48:52 [SPEAKER_01]: You know, because again, it's like, it's like the, no, I can't, you know, I'll still, and to thought that was kind of going to be it, right?
48:52 --> 48:55 [SPEAKER_01]: Like that, but no, and then Barry turns back around.
48:55 --> 48:59 [SPEAKER_01]: What did I just say?
48:59 --> 49:00 [SPEAKER_01]: Didn't I warn you?
49:00 --> 49:01 [SPEAKER_01]: Didn't I warn you?
49:01 --> 49:05 [SPEAKER_05]: It's interesting because it's like he didn't come for his money back.
49:05 --> 49:10 [SPEAKER_05]: Like I think I think most people would be like, I came all this way.
49:10 --> 49:15 [SPEAKER_05]: You, you, not only are you going to give me my money back.
49:15 --> 49:16 [SPEAKER_05]: You're going to pay for my car.
49:17 --> 49:19 [SPEAKER_05]: You're gonna pay for my travel expenses.
49:20 --> 49:23 [SPEAKER_05]: I'm not leaving here until I have satisfaction monetarily.
49:25 --> 49:29 [SPEAKER_05]: But it's almost more personal than that in this.
49:29 --> 49:37 [SPEAKER_05]: It's like, you scammed me and made me feel like a victim and I'm just here to tell you that I'm not a victim.
49:38 --> 49:44 [SPEAKER_05]: And if I can get that out of you, it is worth every penny to put you in your place.
49:45 --> 50:11 [SPEAKER_01]: right because there are no police officers in this thing there he doesn't beat him up he just basically gives him he's he's like I want you to know that I'm I'm winning this or you know I say it's over and and that's and that's and he's so honest he's so honest in this moment he's like I have eleven my life and that makes me more strong than you can imagine
50:14 --> 50:16 [SPEAKER_05]: I'd really liked what you're saying before about agency.
50:17 --> 50:36 [SPEAKER_05]: I think that this, I think it goes back to the discussion about sports talk radio before because right in a book about masculinity right now, and I won't go into all the technicalities, but in gender studies, we have a term called hegemonic masculinity.
50:37 --> 50:40 [SPEAKER_05]: That's your kind of quarterback type and subordinate masculinity.
50:41 --> 50:41 [SPEAKER_05]: That would be like
50:42 --> 50:47 [SPEAKER_05]: a fan in the stands who's wearing the jersey of a quarterback.
50:50 --> 50:59 [SPEAKER_05]: And it could be, you know, pretty pronounced like Barry Egan, who's just submissive submissive, you know, kind of a beta cut kind of guy.
51:00 --> 51:07 [SPEAKER_05]: But the subordinate masculine performance does not necessarily need to be a feminine.
51:09 --> 51:15 [SPEAKER_05]: It could just be like, hey, I like sports and I'm going to call and talk to the sports talk radio guy.
51:15 --> 51:26 [SPEAKER_05]: And I think for the most of this movie, Barry is like subordinate masculinity and Philipsy more Hoffman is absolutely like he's
51:27 --> 51:52 [SPEAKER_05]: exploding with hegemonic masculinity like what what is what happens when he's getting his hair cut and the woman next to him starts to like talks Mac to Barry like you're the one that called the sex line he puts up a spinger he's just like silences or yeah just silencer for no good reason you know I mean like yes she is saying what he would agree to yes but it's because
51:53 --> 51:56 [SPEAKER_01]: He doesn't want it to look like someone else has to do his talking.
51:57 --> 52:02 [SPEAKER_05]: It also is kind of a funny scene because he puts up a finger like to hush it's a shusher.
52:02 --> 52:03 [SPEAKER_05]: The capes, the fingers.
52:04 --> 52:07 [SPEAKER_05]: The finger is under the hairy brim.
52:07 --> 52:07 [SPEAKER_05]: Yeah.
52:08 --> 52:09 [SPEAKER_05]: It makes that little noise.
52:10 --> 52:14 [SPEAKER_05]: It's a that's kind of funny, but you can kind of see this guy, Philipsy, we're hopping.
52:16 --> 52:18 [SPEAKER_05]: Has total control over the women in his life.
52:20 --> 52:22 [SPEAKER_05]: And the other men in his life.
52:22 --> 52:25 [SPEAKER_05]: So he's the, he's the alpha male.
52:26 --> 52:31 [SPEAKER_01]: And Harry can't even get a word and edge wise over his, the women in his life.
52:32 --> 52:36 [SPEAKER_05]: He can't even stand up to his sister who made him use Dandruff shampoo.
52:38 --> 52:39 [SPEAKER_05]: Right.
52:40 --> 52:43 [SPEAKER_05]: And so you, you kind of want the roles to reverse.
52:43 --> 52:45 [SPEAKER_05]: And there's a certain catharsis when the roles reverse.
52:46 --> 52:47 [SPEAKER_05]: But it doesn't happen.
52:47 --> 52:49 [SPEAKER_05]: You know, it's not like he brought the tire iron to, to, to,
52:51 --> 52:58 [SPEAKER_05]: to destroy Philip C. Moore Hoffman, he just needed that, he just needed him to say, that's that.
52:59 --> 53:01 [SPEAKER_05]: Say that's that, mattress man.
53:01 --> 53:04 [SPEAKER_05]: I would just say it, if I was you, I would just say it, right?
53:05 --> 53:12 [SPEAKER_05]: Man, it's just a really interesting analysis of the different kinds of masculine performance.
53:13 --> 53:19 [SPEAKER_01]: Well, and I also, I think it is not lost on the conversation that he's
53:20 --> 53:22 [SPEAKER_01]: the idea that they've been calling him gay.
53:23 --> 53:24 [SPEAKER_01]: Oh, yeah.
53:24 --> 53:27 [SPEAKER_01]: I mean, talking about the different, you know, masculinity issues, right?
53:27 --> 53:35 [SPEAKER_01]: And it's like, uh, and I don't even get a sense that it's, you know, that it's, he just doesn't know.
53:35 --> 53:50 [SPEAKER_01]: Like, I mean, I, there's, I don't, it's a, it's a, it's a fascinating issue that he's, that he's having and, and then especially when it's like, you're the one boy in a group of, of women and, and, and they treat you like you're still a child.
53:51 --> 53:52 [SPEAKER_01]: Every single one of them is over you.
53:52 --> 53:53 [SPEAKER_01]: Yeah.
53:54 --> 53:54 [SPEAKER_05]: That's right.
53:54 --> 54:07 [SPEAKER_05]: And it does sort of remind us, like, okay, if you shame someone, there is something about the combination of shame and anger that will precede violence.
54:08 --> 54:09 [SPEAKER_05]: And that's exactly what happens in the scene.
54:11 --> 54:18 [SPEAKER_05]: I wanted to ask you about, like, okay, so this morning I mentioned to Sarah, just take out all the anxiety.
54:20 --> 54:25 [SPEAKER_05]: It's kind of a romantic comedy and she kind of laughed at me like it's not a romantic comedy.
54:25 --> 54:29 [SPEAKER_05]: I was going to ask you, do you think that this could this could work as a romantic comedy?
54:30 --> 54:37 [SPEAKER_01]: I guess I guess I think it can and I think it's almost like you get to choose how you want to watch this movie.
54:37 --> 54:46 [SPEAKER_01]: Like kind of going back to where we're talking about like how with a few tweaks suddenly this is an Adam Sandler, you know, yeah, just funny movie and
54:49 --> 54:59 [SPEAKER_01]: So I think you can, if you, if you want to believe, and I think you actually have to make a choice, if you want to believe that the relationship that he's forging is healthy and sustainable.
55:02 --> 55:08 [SPEAKER_01]: Because it's hard, most of the time in romantic comedies, there's this, an implied happily ever after.
55:09 --> 55:23 [SPEAKER_01]: You work through whatever it is you work through whether it's a misunderstanding, whether it's getting over, whatever issues that are in the way and then the woman come together and it's great.
55:23 --> 55:24 [SPEAKER_01]: Oh my god.
55:25 --> 55:32 [SPEAKER_01]: So those, they have a certain, in many cases romantic comedies are as unrealistic as an action movie because
55:34 --> 55:37 [SPEAKER_01]: It requires, you know, some sort of, you know, logical.
55:38 --> 55:39 [SPEAKER_01]: This mention of this.
55:39 --> 55:39 [SPEAKER_01]: Yeah.
55:40 --> 56:00 [SPEAKER_01]: And so, and then movie like this, because I think the themes are so heavy, I have a very hard time just accepting that they're in love and that it'll work because they're both, but then on the flip side, you like these people are so weird, why not?
56:02 --> 56:03 [SPEAKER_01]: Right.
56:03 --> 56:08 [SPEAKER_01]: So are they perfect for each other or they find enough for each other?
56:08 --> 56:10 [SPEAKER_01]: And that's probably what these people need.
56:11 --> 56:16 [SPEAKER_05]: So there's a scene where he goes to Hawaii.
56:17 --> 56:22 [SPEAKER_05]: And they connect and they go back to the hotel room.
56:25 --> 56:28 [SPEAKER_05]: And it's a little bit of pillow talk and
56:29 --> 56:31 [SPEAKER_05]: She's like, you're so cute.
56:31 --> 56:33 [SPEAKER_05]: Your face is so cute.
56:33 --> 56:35 [SPEAKER_05]: I just want to bite your cheek, right?
56:36 --> 56:40 [SPEAKER_05]: Again, one of these situations, like, people are so weird.
56:40 --> 56:42 [SPEAKER_05]: Like, why is that?
56:45 --> 56:50 [SPEAKER_05]: If you don't understand like social cues, like, how do you know how to respond to something like that?
56:51 --> 56:58 [SPEAKER_05]: How do you know, like, this is kind of violent and freaky and weird, but in this situation, like, it's kind of adorable.
57:00 --> 57:06 [SPEAKER_05]: And Barry, who's like always trying to figure out like how to be normal, he just kind of let himself go.
57:06 --> 57:09 [SPEAKER_05]: He's like, I just want to smash your face in it so pretty.
57:11 --> 57:13 [SPEAKER_05]: And then she like, she ups the ante.
57:13 --> 57:15 [SPEAKER_05]: She's like, I'm going to scoop out your eyeball.
57:16 --> 57:16 [SPEAKER_05]: Exactly.
57:17 --> 57:18 [SPEAKER_05]: And even, that's how cute you are.
57:19 --> 57:28 [SPEAKER_05]: So it's almost like, he's finally found someone where he's like, if I'm a little bit abnormal,
57:30 --> 57:31 [SPEAKER_05]: it actually works.
57:31 --> 57:34 [SPEAKER_05]: Like, I could be my true self with this person.
57:35 --> 57:42 [SPEAKER_05]: And I don't have to feel like someone's gonna ridicule me or call me gay boy or whatever if I say the wrong thing.
57:44 --> 57:49 [SPEAKER_05]: So I think it works as a, I think this could work as a romantic comedy.
57:50 --> 57:52 [SPEAKER_05]: Although it does not feel like a romantic comedy.
57:52 --> 57:53 [SPEAKER_01]: I agree.
57:53 --> 57:53 [SPEAKER_01]: I think it can.
57:53 --> 57:57 [SPEAKER_01]: And I also, I think the scene right after,
57:58 --> 58:03 [SPEAKER_01]: is really important where she's on the phone with a sister and line that she's had any real interaction with them.
58:05 --> 58:10 [SPEAKER_01]: And to me, that's like the sweetest thing she could do for him because now it just means that the sister can butt out for a while.
58:11 --> 58:21 [SPEAKER_05]: Yeah, the conversation that she's having with Barry with her eyes is completely different than the conversation that she's having with his sister with her voice.
58:21 --> 58:24 [SPEAKER_01]: And that scene is important because it shows that it's not
58:25 --> 58:27 [SPEAKER_01]: Like, oh, well, she's not wanting to talk about that.
58:27 --> 58:28 [SPEAKER_01]: She's in a relationship.
58:28 --> 58:30 [SPEAKER_01]: She's like, no, no, she's doing various solid.
58:31 --> 58:35 [SPEAKER_05]: This is, and no one else is doing, no one else is doing his life is doing this.
58:35 --> 58:38 [SPEAKER_05]: Like, he goes to smuggle and so it's kind of funny.
58:38 --> 58:40 [SPEAKER_05]: Like, he says something like, um,
58:43 --> 58:45 [SPEAKER_05]: This is food when he means this is good, right?
58:45 --> 58:48 [SPEAKER_05]: Oh, no, it's very, he says this is very food.
58:48 --> 58:49 [SPEAKER_05]: He got the autocorrects.
58:50 --> 58:51 [SPEAKER_05]: I think this.
58:52 --> 58:54 [SPEAKER_05]: And then it says they're kind of ridicules for him for it.
58:55 --> 58:57 [SPEAKER_05]: And I think at that point he's thinking, what did I say that?
58:57 --> 58:58 [SPEAKER_05]: Why did I say that?
58:58 --> 58:58 [SPEAKER_05]: Why did I say that?
58:58 --> 58:59 [SPEAKER_05]: Why did I say that?
58:59 --> 59:02 [SPEAKER_05]: And then Smidal says, maybe you said that because you're hungry.
59:03 --> 59:06 [SPEAKER_05]: And immediately he thinks, like, this guy's afraid.
59:10 --> 59:13 [SPEAKER_05]: This guy must be like, Sigmund Freud over here.
59:14 --> 59:15 [SPEAKER_05]: He nailed it.
59:15 --> 59:17 [SPEAKER_05]: I'm gonna tell him that I need help.
59:18 --> 59:18 [SPEAKER_05]: Exactly.
59:19 --> 59:23 [SPEAKER_05]: So he goes in and like, starts talking about like, he's a psychiatrist.
59:25 --> 59:30 [SPEAKER_05]: And you think, oh, this is this is tragic and kind of sweet at the same time, but at least he's reaching out for help.
59:32 --> 59:35 [SPEAKER_05]: But Michael totally blows up his spine.
59:35 --> 59:39 [SPEAKER_01]: Right, and not only just says that, but it tells exactly everything that happened.
59:41 --> 59:42 [SPEAKER_04]: Like, do you cry?
59:42 --> 59:47 [SPEAKER_04]: And she's, she's saying this right in front of the girl that he's, she's trying to sound up with.
59:48 --> 59:50 [SPEAKER_05]: Like, do you, why do you have a crying problem, Barry?
59:50 --> 59:58 [SPEAKER_05]: So, so finally, finally he's found someone who will be on his side.
59:58 --> 01:00:03 [SPEAKER_05]: And if it means lying to a sister, oh my gosh, this is what he's been wanting his whole life.
01:00:05 --> 01:00:08 [SPEAKER_05]: So I think it is a romantic comedy.
01:00:08 --> 01:00:11 [SPEAKER_05]: I think it's like there's a few obstacles.
01:00:12 --> 01:00:18 [SPEAKER_05]: You know, I don't these these two people are probably both damaged like the fact that she likes him.
01:00:19 --> 01:00:21 [SPEAKER_05]: Makes me think like what's her deal?
01:00:23 --> 01:00:25 [SPEAKER_05]: And what ways is she broken?
01:00:26 --> 01:00:31 [SPEAKER_05]: They probably need to do some serious emotional work both of them.
01:00:32 --> 01:00:37 [SPEAKER_05]: But as the movie ends, he's got unlimited sky miles.
01:00:38 --> 01:00:42 [SPEAKER_05]: And she is a job where she travels, what else do you need that happily ever after?
01:00:43 --> 01:00:46 [SPEAKER_05]: That's kind of what romantic comedies ask you to do anyway, right?
01:00:47 --> 01:00:53 [SPEAKER_05]: They don't, they don't, they don't, they don't ask you to be like, you know, what are the complications that are gonna happen after the relationship?
01:00:53 --> 01:00:56 [SPEAKER_05]: As the movie ends, they both found each other.
01:00:57 --> 01:00:59 [SPEAKER_05]: And I think that's kind of what you want in a romantic comedy.
01:01:01 --> 01:01:02 [SPEAKER_01]: Yeah, no, I agree.
01:01:02 --> 01:01:19 [SPEAKER_01]: And so I think there is, I mean, I think it's a comedy that's more tragedy and it's romance that's also maybe a product of just other issues.
01:01:20 --> 01:01:23 [SPEAKER_01]: But in that, it all works.
01:01:23 --> 01:01:28 [SPEAKER_01]: And so it meets the formula, it all, all that good stuff.
01:01:30 --> 01:01:33 [SPEAKER_01]: but it's, so it is, I think it's a matter of choice.
01:01:33 --> 01:01:39 [SPEAKER_01]: I do think you can kind of choose how you want to enjoy this movie.
01:01:40 --> 01:01:42 [SPEAKER_05]: Is there a trouble cliche or a device that you like in this movie?
01:01:44 --> 01:01:49 [SPEAKER_01]: Well, I like, I, this may seem, I like smigled being in it.
01:01:51 --> 01:01:57 [SPEAKER_01]: Sure, because it does, because I, so being a, a sandler movie, like,
01:01:58 --> 01:02:07 [SPEAKER_01]: the, you know, instead of being a movie that Paul Thomas Anderson makes with Adam Sandler in it by having, um, this is Michael in there.
01:02:07 --> 01:02:10 [SPEAKER_01]: It feels like you're in an Adam Sandler movie enough.
01:02:11 --> 01:02:17 [SPEAKER_05]: I don't think I've ever seen Adam Sandler in a movie where one of his friends wasn't also in the movie.
01:02:17 --> 01:02:17 [SPEAKER_01]: Right.
01:02:18 --> 01:02:20 [SPEAKER_05]: And it's just kind of who he is and how he works.
01:02:21 --> 01:02:25 [SPEAKER_05]: So it's like, Paul Thomas Anderson was like, well, it's going to be an Adam Sandler movie.
01:02:25 --> 01:02:30 [SPEAKER_05]: We're going to have to bring in someone that has been in Adam Sandler movie.
01:02:32 --> 01:02:40 [SPEAKER_01]: Could we also maybe just, I think we should mention something about the use of the pop eye music.
01:02:42 --> 01:02:44 [SPEAKER_01]: Oh gosh, I missed this.
01:02:44 --> 01:02:46 [SPEAKER_01]: She needs me from the book, Papa, the movie.
01:02:46 --> 01:02:49 [SPEAKER_00]: And all it once, I knew I knew it once.
01:02:50 --> 01:02:53 [SPEAKER_00]: I knew he needed me.
01:02:58 --> 01:03:01 [SPEAKER_00]: Until the day I die, I won't know why.
01:03:01 --> 01:03:02 [SPEAKER_00]: I knew he needed me.
01:03:09 --> 01:03:11 [SPEAKER_00]: It could be fantasy.
01:03:13 --> 01:03:28 [SPEAKER_01]: It's talking to Heather about that because it's in a movie where like you said, there's so much like like sort of like just free form of jazz and just to kind of give it to ratchet up the anxiety.
01:03:29 --> 01:03:31 [SPEAKER_01]: That's like the one song.
01:03:31 --> 01:03:32 [SPEAKER_01]: It seems like for the most part.
01:03:32 --> 01:03:38 [SPEAKER_01]: It's clear as day and it in what's I think
01:03:40 --> 01:03:46 [SPEAKER_01]: why I just really have drawn to it is because it's a song that exists from a movie, right?
01:03:46 --> 01:03:57 [SPEAKER_01]: It's not like it's one thing to have a song that's also in another movie, but this was the musical, a movie that was a musical and this song is this is a prominently feature.
01:03:57 --> 01:04:01 [SPEAKER_01]: So it's talking with Heather about it and just like, you know, what does that do for you?
01:04:01 --> 01:04:09 [SPEAKER_01]: And she's like, well, she's like, it's an, you know, in the movie, in pop by the movie, you know, it's kind of played as sweet
01:04:10 --> 01:04:15 [SPEAKER_01]: She's like, but the whole thing is just like, she's like, ah, you know, he needs me.
01:04:16 --> 01:04:16 [SPEAKER_01]: I could fix him.
01:04:17 --> 01:04:25 [SPEAKER_01]: Like, it's interesting, you know, it's, it's a, it's like an old to go to Pennsylvania, right?
01:04:27 --> 01:04:34 [SPEAKER_01]: And, and so having that be the song, that's kind of their song is pretty great.
01:04:34 --> 01:04:36 [SPEAKER_04]: Also, he's a pop-eye.
01:04:37 --> 01:04:38 [SPEAKER_01]: We're right.
01:04:38 --> 01:04:38 [SPEAKER_01]: Well, I think so.
01:04:38 --> 01:04:40 [SPEAKER_01]: So let's go with that too, right?
01:04:41 --> 01:04:43 [SPEAKER_01]: I mean, what's Popeye most known for?
01:04:45 --> 01:04:48 [SPEAKER_01]: He's by East Spinach to get super strong.
01:04:49 --> 01:05:00 [SPEAKER_01]: And a bunch of he gets, he gets picked on until something happened, until he makes a change until he gets his spinach.
01:05:01 --> 01:05:03 [SPEAKER_01]: And so it's like, they kind of see that, right?
01:05:03 --> 01:05:05 [SPEAKER_01]: He gets his spinach in this mind.
01:05:05 --> 01:05:06 [SPEAKER_05]: Okay, I like this a lot.
01:05:06 --> 01:05:13 [SPEAKER_05]: I also like the parallel with Rob Williams, who plays Popeye, right?
01:05:15 --> 01:05:28 [SPEAKER_05]: I think that there's, I think that there's a parallel here between the comedic actor, the stand up genius kind of guy who becomes a dramatic actor.
01:05:30 --> 01:05:42 [SPEAKER_05]: And in my mind, I think, because I've never really been a big fan of roughly him stand up, I think at the end of the day, he's a better dramatic actor than he was a comedian.
01:05:45 --> 01:05:50 [SPEAKER_05]: And I think that there's something Paul Thomas Anderson is doing with Adam Sandler that's kind of along this line.
01:05:50 --> 01:05:52 [SPEAKER_05]: It's like he saw something in the Sandy Sandler movies.
01:05:53 --> 01:05:57 [SPEAKER_05]: He's like, no, that's not just goofy.
01:05:57 --> 01:05:58 [SPEAKER_05]: That's not like brainless humor.
01:05:59 --> 01:06:02 [SPEAKER_05]: There's something deeper there that can be tapped.
01:06:03 --> 01:06:04 [SPEAKER_01]: Right.
01:06:04 --> 01:06:05 [SPEAKER_01]: And he got to it.
01:06:06 --> 01:06:06 [SPEAKER_01]: Right.
01:06:06 --> 01:06:10 [SPEAKER_01]: And Adam Sandler can do that because he is doing it in a way that maybe you don't realize.
01:06:12 --> 01:06:19 [SPEAKER_01]: Yeah, I mean, it is, it is because like, Santa doesn't have like Jim Carries done that, right?
01:06:19 --> 01:06:20 [SPEAKER_01]: Jim Carries sure.
01:06:20 --> 01:06:29 [SPEAKER_01]: Straight goofballs, but like he, but he's, you know, very content to go full dramatic and Santa in the house, I think like what like maybe three, four under the under his belt, right?
01:06:30 --> 01:06:34 [SPEAKER_01]: Um, but he has no problem returning.
01:06:34 --> 01:06:36 [SPEAKER_01]: Oh, oh, to become for sure.
01:06:36 --> 01:06:38 [SPEAKER_01]: We know for sure, you know.
01:06:39 --> 01:06:40 [SPEAKER_01]: And, and, and
01:06:42 --> 01:06:43 [SPEAKER_01]: These are choices, right?
01:06:43 --> 01:06:43 [SPEAKER_01]: He can.
01:06:43 --> 01:06:47 [SPEAKER_01]: I mean, and the thing is, is that he's probably just likes doing it.
01:06:48 --> 01:06:50 [SPEAKER_01]: But he can for sure do the other.
01:06:50 --> 01:06:55 [SPEAKER_01]: And like, I mean, I'd be a hustles great.
01:06:56 --> 01:07:00 [SPEAKER_01]: I try to watch uncut gems with Heather, but you talk about things like that.
01:07:00 --> 01:07:03 [SPEAKER_05]: Oh, yeah, you should finish on a cup of gems.
01:07:03 --> 01:07:05 [SPEAKER_05]: It's I think you'll love it if you haven't finished it.
01:07:07 --> 01:07:10 [SPEAKER_05]: No, you definitely do that for sure.
01:07:10 --> 01:07:16 [SPEAKER_05]: And the other thing I was going to say about this is your your Popeye Call out.
01:07:16 --> 01:07:20 [SPEAKER_05]: So it's watching the interview with Paul Thomas Anderson.
01:07:21 --> 01:07:29 [SPEAKER_05]: One thing he said was at times I was frustrated with the the making of this movie because I just thought it should have been a cartoon.
01:07:31 --> 01:07:45 [SPEAKER_05]: So there were times when he was just like, I just want this to be a cartoon like I'm not really interested in animation, but he that I think that kind of points to.
01:07:46 --> 01:07:49 [SPEAKER_05]: the tone he was hoping to go for.
01:07:49 --> 01:07:52 [SPEAKER_05]: I mean, I can't really think it's like, how do you see the world man?
01:07:52 --> 01:07:55 [SPEAKER_05]: Like, what exactly?
01:07:55 --> 01:07:58 [SPEAKER_05]: What is it about your eyeballs that are different than everyone else's eyeballs?
01:07:59 --> 01:08:00 [SPEAKER_05]: So I like that.
01:08:01 --> 01:08:10 [SPEAKER_05]: I did not connect the song with Popeye, but now that you say that, it made me think like, yeah, that's a cartoon choice in that way.
01:08:11 --> 01:08:13 [SPEAKER_05]: Um, anyway, I like that.
01:08:14 --> 01:08:17 [SPEAKER_05]: I couldn't think of a trope of cliche advice that I like.
01:08:17 --> 01:08:18 [SPEAKER_05]: And this movie is so unique.
01:08:21 --> 01:08:21 [SPEAKER_05]: Yeah.
01:08:22 --> 01:08:26 [SPEAKER_05]: Um, I guess the cold open is sort of like, it does.
01:08:26 --> 01:08:32 [SPEAKER_05]: It's a little bit reminiscent of SNL, which is sort of, uh, you know, PTA is a big fan of SNL.
01:08:34 --> 01:08:35 [SPEAKER_05]: The, uh, the tire iron.
01:08:36 --> 01:08:37 [SPEAKER_05]: Oh, I don't want to have course.
01:08:37 --> 01:08:40 [SPEAKER_05]: And you know, that scene is is interesting because
01:08:42 --> 01:08:45 [SPEAKER_05]: He's got to get the tire iron away from the first guy.
01:08:45 --> 01:08:52 [SPEAKER_05]: Yeah, like, and then, you know, he gets he gets it and then flips it thinking like, all right, I got it away.
01:08:54 --> 01:08:56 [SPEAKER_05]: Now I've got to turn it into mine.
01:08:57 --> 01:08:59 [SPEAKER_05]: I've got to show mastery over this device.
01:09:02 --> 01:09:05 [SPEAKER_01]: Yeah, the flip is, I think is a, because I think that's such a, like,
01:09:09 --> 01:09:11 [SPEAKER_01]: It does feel like you refer to the super power thing.
01:09:11 --> 01:09:12 [SPEAKER_01]: This is him getting this spinach.
01:09:12 --> 01:09:18 [SPEAKER_01]: Like he flips that thing with the level of confidence that it is an unnecessary flare.
01:09:19 --> 01:09:24 [SPEAKER_05]: It's something that you would do with an object that you're very familiar with and you've done it a hundred times.
01:09:26 --> 01:09:30 [SPEAKER_01]: It's an awkward instrument.
01:09:30 --> 01:09:32 [SPEAKER_01]: It is asymmetrical.
01:09:32 --> 01:09:37 [SPEAKER_01]: So in order to flip it in such a way where you could get it with that much ease, you would have to be familiar with it.
01:09:38 --> 01:09:41 [SPEAKER_05]: Is there a tweak that you would do this movie to improve it?
01:09:43 --> 01:09:44 [SPEAKER_01]: I don't know, man.
01:09:44 --> 01:09:49 [SPEAKER_01]: I'm not going to say it's perfect, but like I feel the pacing is great.
01:09:49 --> 01:09:51 [SPEAKER_01]: I feel the music is great.
01:09:52 --> 01:09:55 [SPEAKER_01]: None of the actors take me out of it.
01:09:57 --> 01:09:59 [SPEAKER_01]: I think it's funny when it needs to be.
01:09:59 --> 01:10:00 [SPEAKER_01]: I think it's it's
01:10:01 --> 01:10:02 [SPEAKER_01]: powerful when it needs to be.
01:10:02 --> 01:10:04 [SPEAKER_05]: It doesn't have a lot of fat.
01:10:04 --> 01:10:06 [SPEAKER_05]: It's like, eighty five minutes or whatever.
01:10:06 --> 01:10:14 [SPEAKER_05]: It's like, I think the first time I saw it, I would have, I would have really like the music to be toned down.
01:10:14 --> 01:10:16 [SPEAKER_05]: It really, it really impacted me.
01:10:16 --> 01:10:18 [SPEAKER_05]: I was really distracted by the music.
01:10:19 --> 01:10:23 [SPEAKER_05]: And upon rewatch, I'm like, no, you can't.
01:10:23 --> 01:10:29 [SPEAKER_05]: It's the music is crucial to getting you to feel the way you feel.
01:10:31 --> 01:10:40 [SPEAKER_01]: The yeah, it'd be easy to say I wish there was less times I was uncomfortable, but I don't think those movie works if you're more comfortable.
01:10:40 --> 01:10:42 [SPEAKER_05]: So I don't I can't think of anything.
01:10:42 --> 01:10:52 [SPEAKER_01]: I love I love when Lou absolutely like again like there's so many leave value out added moments like why you weren't a suit and then like the next day he comes to work.
01:10:52 --> 01:10:53 [SPEAKER_04]: I was gonna say that too.
01:10:53 --> 01:10:54 [SPEAKER_04]: It's so perfect.
01:10:55 --> 01:10:55 [SPEAKER_01]: And but then he's not again.
01:10:56 --> 01:11:03 [SPEAKER_01]: And I love it because it's like what it shows is that there is this it's a very subtle nod to the idea that.
01:11:04 --> 01:11:14 [SPEAKER_01]: Because we're looking through Barry again and because we're looking at a guy who doesn't really know how to behave is like he might be surrounded by more people that are like him that he was trying to figure and then they're like clearly this guy.
01:11:15 --> 01:11:42 [SPEAKER_01]: they think he's mysterious or they think he's on to something because he's he might actually behave to in their mind like he's confident Luis goes on so great he's trying to make sense of this weird warehouse that he works in he's falls in the chair at one point that's so funny it is such a funny part because like when comedy happens in this movie that's like clearly comedy it's also kind of jarring
01:11:43 --> 01:11:48 [SPEAKER_05]: because kind of a character actor that people will use, like a one trick pony.
01:11:49 --> 01:11:54 [SPEAKER_05]: I think this movie shows that like, he's a legitimately interesting actor.
01:11:54 --> 01:11:54 [SPEAKER_01]: Yeah.
01:11:55 --> 01:11:56 [SPEAKER_05]: Um, this is movie better.
01:11:56 --> 01:11:58 [SPEAKER_05]: We're so on par with a Ron Howard film.
01:12:00 --> 01:12:02 [SPEAKER_01]: Oh, it's a, I think it's a Howard plus six.
01:12:03 --> 01:12:03 [SPEAKER_05]: Yeah.
01:12:03 --> 01:12:07 [SPEAKER_05]: It's one of these movies where you can't imagine anyone else making it.
01:12:07 --> 01:12:09 [SPEAKER_01]: No, and I don't think that anybody else would want to.
01:12:09 --> 01:12:10 [SPEAKER_05]: Maybe the safeties.
01:12:12 --> 01:12:20 [SPEAKER_05]: You know, because they did kind of do the uncut gems, but I do feel like uncut gems doesn't happen unless this happens.
01:12:21 --> 01:12:22 [SPEAKER_05]: Yeah, I think you're right.
01:12:22 --> 01:12:25 [SPEAKER_05]: So, so yeah, I agree.
01:12:25 --> 01:12:27 [SPEAKER_05]: What would you say, Howard plus six?
01:12:28 --> 01:12:29 [SPEAKER_05]: Yeah, I'll get on board with that.
01:12:31 --> 01:12:32 [SPEAKER_01]: All right.
01:12:32 --> 01:12:33 [SPEAKER_01]: So where are we going next with this?
01:12:34 --> 01:12:38 [SPEAKER_01]: Uh, so we're taking Philipsy more often and we're going to leap of faith.
01:12:40 --> 01:12:40 [SPEAKER_01]: interesting.
01:12:40 --> 01:12:41 [SPEAKER_05]: Okay.
01:12:41 --> 01:12:49 [SPEAKER_05]: Now, this, that is a movie that I may be saw once in the nineties.
01:12:49 --> 01:12:53 [SPEAKER_05]: Like, I don't, I don't even remember really much of the plot of this movie.
01:12:54 --> 01:12:57 [SPEAKER_01]: Yeah, I recently rewatched it.
01:12:58 --> 01:13:02 [SPEAKER_01]: So I'm excited to talk about it with you.
01:13:02 --> 01:13:03 [SPEAKER_05]: Bacon.
01:13:03 --> 01:13:05 [SPEAKER_05]: Where's bacon get inserted?
01:13:05 --> 01:13:06 [SPEAKER_05]: And this movie.
01:13:07 --> 01:13:08 [SPEAKER_05]: Well, that's a great question.
01:13:12 --> 01:13:13 [SPEAKER_01]: bacon could fit in that.
01:13:13 --> 01:13:15 [SPEAKER_01]: I was having a hard time trying to figure out.
01:13:15 --> 01:13:19 [SPEAKER_05]: I was thinking, uh, trains planes and automobiles bacon.
01:13:21 --> 01:13:23 [SPEAKER_01]: Yeah, because he's fast.
01:13:24 --> 01:13:27 [SPEAKER_05]: He's like, it's like everything's unsaid.
01:13:29 --> 01:13:31 [SPEAKER_05]: It's like they just have a look across the street.
01:13:31 --> 01:13:33 [SPEAKER_05]: Are you going to get that cap?
01:13:33 --> 01:13:34 [SPEAKER_05]: Or am I going to get that cap?
01:13:35 --> 01:13:38 [SPEAKER_01]: Yeah, I could, yeah, because there is a lot with eyes and this movie and a lot of, uh,
01:13:39 --> 01:13:40 [SPEAKER_01]: communication.
01:13:40 --> 01:13:52 [SPEAKER_05]: Like all of a sudden something's like something's a competition you didn't know was going to be a competition and it's sort of like the social situation where it's like shit now I'll care about it's getting the cab before that.
01:13:52 --> 01:13:53 [SPEAKER_01]: Yeah, I can see that.
01:13:53 --> 01:13:54 [SPEAKER_05]: Yeah, yeah, I like that.
01:13:54 --> 01:13:58 [SPEAKER_05]: I like I didn't care about that five seconds ago and now it's all I care about.
01:14:00 --> 01:14:00 [SPEAKER_01]: I like that.
01:14:01 --> 01:14:01 [SPEAKER_01]: That's good.
01:14:01 --> 01:14:05 [SPEAKER_05]: Is there a half the bad half the battle on the ground moment in this room?
01:14:06 --> 01:14:08 [SPEAKER_01]: Um, yeah, if
01:14:08 --> 01:14:16 [SPEAKER_01]: Don't you don't need to get the last word if a guy is holding a phone that he pulled out of a wall for a month like a few states over.
01:14:17 --> 01:14:21 [SPEAKER_05]: Just say if he's to hold another phone, you say that's that.
01:15:29 --> 01:15:30 [UNKNOWN]: Come on!