Steve and Anthony ride with Trains, Planes & Automobiles.
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00:00 --> 00:02 [SPEAKER_02]: Hey, probably Howard fans, just a note before we get going.
00:03 --> 00:08 [SPEAKER_02]: Steven, I are helping David from the Lower Hounds cover Alien Earth.
00:08 --> 00:10 [SPEAKER_02]: for episodes five and six.
00:11 --> 00:12 [SPEAKER_02]: Episode five is out right now.
00:12 --> 00:16 [SPEAKER_02]: You can go listen to that by searching alien earth, lower hounds.
00:17 --> 00:23 [SPEAKER_02]: Because Stephen, I are both really interested in the show, we're going to be feeling questions about it next week.
00:24 --> 00:34 [SPEAKER_02]: So if you have any questions about alien earth on fx slash hulu or the alien franchise as a whole, send those two cocoons of horror,
00:34 --> 00:37 [SPEAKER_02]: at gmail.com.
00:37 --> 00:39 [SPEAKER_02]: Okay, let's hear Mickey Yacht Rocky.
00:40 --> 00:44 [SPEAKER_07]: Well, now you'll try.
00:59 --> 01:03 [SPEAKER_01]: Welcome to Properly Howard, a podcast that reviews classic films and other
01:04 --> 01:23 [SPEAKER_01]: Today we take a look at John Hughes's Plains, Trains and Automobiles, starring Steve Martin and John Candy as odd couple travelers, Plains Trains and Automobiles explores holidays and adult relationships and the evil nature of car rental agencies with me to discuss this as always as Dr. Anthony LaDon.
01:23 --> 01:32 [SPEAKER_02]: So Trains Plains and Automobiles, early 90s, if you wanted a comedy that was going to make every one in your family laugh,
01:33 --> 01:35 [SPEAKER_02]: I'm not saying that this was a PG movie.
01:35 --> 01:47 [SPEAKER_02]: I mean, you have the effort several times in the movie, but I just, I think that this always had the reputation for, this is just a movie that is always going to deliver.
01:48 --> 01:48 [SPEAKER_02]: Yeah.
01:49 --> 01:50 [SPEAKER_02]: Do you feel like that's held up?
01:51 --> 01:54 [SPEAKER_02]: I feel like this movie has kind of been relegated.
01:54 --> 01:59 [SPEAKER_01]: Well, I think part of this movie's issue
02:01 --> 02:05 [SPEAKER_01]: for us is because we've watched it so many times.
02:06 --> 02:09 [SPEAKER_01]: It's almost like, do you enjoy watching the Christmas story?
02:09 --> 02:16 [SPEAKER_01]: I do, but you enjoy, is it feel more tradition than it does treat?
02:19 --> 02:20 [SPEAKER_02]: I like it.
02:21 --> 02:27 [SPEAKER_02]: I just think it's good, I think it's funny, I think it's gonna be funny when I'm 70 years old, it'll still be funny.
02:29 --> 02:40 [SPEAKER_02]: I consciously choose not to watch it at Christmas time because it's like if I watch it every Christmas, it'll lose its luster.
02:40 --> 02:43 [SPEAKER_01]: I think that's kind of where I'm at with playing Stranger Nonomobiles.
02:43 --> 02:47 [SPEAKER_01]: I mean, to me, when this first came out, I thought this was like the height of comedy.
02:48 --> 02:48 [SPEAKER_02]: Okay.
02:48 --> 02:50 [SPEAKER_02]: Yeah, the great example, right?
02:50 --> 02:51 [SPEAKER_02]: Yeah.
02:58 --> 02:59 [SPEAKER_01]: right.
02:59 --> 03:07 [SPEAKER_01]: It was, um, yeah, I mean, because it, and I, and you know, I think we look at everything maybe a little more critically than we did when we were like 11 or 12.
03:09 --> 03:23 [SPEAKER_02]: Um, but I remember adults, I mean, I remember adults quoting this movie to me, uh, you know, just just lines and just just the, I think this was the first movie that I ever saw that made fun of homophobia.
03:24 --> 03:36 [SPEAKER_02]: Right, you know, the joke wasn't like, isn't that gay guy funny or isn't it wouldn't be funny if, you know, there was a gay guy around that we could make fun of Feels like there was a lot of that.
03:36 --> 03:37 [SPEAKER_02]: This is the first movie.
03:37 --> 03:46 [SPEAKER_02]: It was like, here are two heteronormative guys who are pretty homophobic and they're putting themselves in an awkward situation.
03:46 --> 03:49 [SPEAKER_02]: This is kind of hilarious that these guys are so homophobic.
03:50 --> 03:52 [SPEAKER_02]: right and and sort of making up for it.
03:53 --> 03:59 [SPEAKER_02]: So I mean, I remember adults quoting bits and pieces of this movie to me.
03:59 --> 04:04 [SPEAKER_02]: I mean, there's a lot of adult humor in this movie.
04:04 --> 04:06 [SPEAKER_02]: I mean, what kids are doing business travel.
04:07 --> 04:12 [SPEAKER_02]: So it's, I don't think this was a movie that we, we as kids just that was funny.
04:12 --> 04:17 [SPEAKER_01]: You know, it's, I think it's kind of appropriate that this movie follows
04:20 --> 04:27 [SPEAKER_01]: And friendship is a much more cynical view on male friendship, right?
04:27 --> 04:31 [SPEAKER_01]: And especially like kind of two guys, thrust together, and trying to make it work.
04:32 --> 04:37 [SPEAKER_01]: Whereas this is, you know, starts off cynical and then turns more sweet, right?
04:37 --> 04:47 [SPEAKER_01]: I mean, this, I think that's an interesting juxtaposition of where we are today, and maybe where our sensibilities are
04:50 --> 04:53 [SPEAKER_02]: Because like, yeah, the win of this movie ends is like, it's hopeful.
04:54 --> 05:01 [SPEAKER_02]: It's like Thanksgiving as a family, and it also includes the family we found along the way.
05:01 --> 05:04 [SPEAKER_02]: Friendship ends with a guy getting in the cop car.
05:04 --> 05:10 [SPEAKER_01]: And because he threatened, he was threatening to shoot all of the guys that didn't like them enough.
05:14 --> 05:15 [SPEAKER_02]: So yeah, you're right.
05:15 --> 05:16 [SPEAKER_01]: Which is more realistic.
05:21 --> 05:30 [SPEAKER_01]: Heather and I watching at the end, like, you know, it's got this whole sweet little moment of John Candy and I'm like, and as soon as it fades out, I go and then he shoots everybody in the house.
05:31 --> 05:31 [SPEAKER_02]: I was gonna ask that.
05:31 --> 05:34 [SPEAKER_02]: I was like, John Candy totally kills his wife, right?
05:35 --> 05:39 [SPEAKER_01]: Then that's exactly what I said after it's I'm like he kills them all the same way he killed his wife.
05:41 --> 05:42 [SPEAKER_02]: He's a serial killer, this guy.
05:43 --> 05:43 [SPEAKER_01]: Right.
05:43 --> 05:45 [SPEAKER_01]: You let a man, they invited him in.
05:45 --> 05:51 [SPEAKER_01]: This is the killer on the road that Jim Morrison was trying to warn us about.
05:51 --> 05:53 [SPEAKER_01]: But that's your right.
05:53 --> 05:55 [SPEAKER_02]: It does feel like this is friendship in reverse.
05:56 --> 06:00 [SPEAKER_02]: Yeah, if you play trains planes and automobiles backwards, you can't.
06:02 --> 06:06 [SPEAKER_01]: Yeah, so I think that that's that's an interesting way to look at it, right, because
06:10 --> 06:19 [SPEAKER_01]: I think we, again, when you're younger, you kind of just see an even, and when I mean younger, I mean maybe, like you said adults like this movie and still do, it's definitely wrong with that.
06:19 --> 06:21 [SPEAKER_01]: I think that's, I think it's a good movie.
06:21 --> 06:21 [SPEAKER_01]: I think it's funny.
06:23 --> 06:32 [SPEAKER_01]: I think there are elements of complexity about the characters that would have been more fleshed out in today's filmmaking style, right?
06:32 --> 06:35 [SPEAKER_01]: Like, it's hard to know who the bad guy is.
06:36 --> 07:04 [SPEAKER_02]: I was getting it hard to know who the good guy is, you know what I was going to ask you that I was going to say this movie almost does a little flipper ruin you like you I think immediately you identify with Steve Martin because you have Steve Martin who put forth as every man and he's in New York City and New York City is populated by heartless morons or people who just don't care about you.
07:06 --> 07:11 [SPEAKER_02]: Um, and so you you identify know he has a family and knows family.
07:11 --> 07:11 [SPEAKER_01]: You got it.
07:11 --> 07:18 [SPEAKER_02]: You want to get this guy out of New York City back to his family for Thanksgiving.
07:18 --> 07:20 [SPEAKER_02]: Like what's not relatable about that.
07:20 --> 07:21 [SPEAKER_02]: But then along the way.
07:32 --> 07:37 [SPEAKER_02]: And then something flips along the way where you're like, wait a second, a steep Martin, the asshole.
07:39 --> 07:41 [SPEAKER_02]: Cause I'm starting to like, junk handy.
07:43 --> 07:46 [SPEAKER_02]: It's kind of a magic trick with this movie does.
07:47 --> 07:50 [SPEAKER_01]: And then as it goes on, you're like, no, John can't use a problem.
07:52 --> 07:54 [SPEAKER_01]: And then at the end, you're like, John can't use a serial killer.
07:55 --> 08:00 [SPEAKER_01]: Well, because I mean, you've got the whole issue with the, you're finding out like, I mean, he does use his card.
08:02 --> 08:07 [SPEAKER_01]: Everything is I intended on doing this thing, but we don't know that he intended on doing it.
08:07 --> 08:11 [SPEAKER_01]: He intends to now because they're back together again.
08:11 --> 08:13 [SPEAKER_02]: Okay, I'm going to ask you a question.
08:13 --> 08:14 [SPEAKER_02]: I'm going to play something.
08:14 --> 08:19 [SPEAKER_05]: I know you don't, I, I'm usually very good with names, but I'll be damned if I have forgotten.
08:20 --> 08:21 [SPEAKER_05]: You stole my cab.
08:24 --> 08:26 [SPEAKER_06]: I've never saw anything in my life.
08:27 --> 08:31 [SPEAKER_06]: I held a cab up park Avenue this afternoon and before I could get in it, you stole it.
08:35 --> 08:37 [SPEAKER_05]: You know the guy who tried to get my cab?
08:38 --> 08:40 [SPEAKER_05]: I knew I knew you, yeah.
08:40 --> 08:42 [SPEAKER_05]: You scared them, but Jesus out of me.
08:42 --> 08:50 [SPEAKER_05]: I'm gonna think of it, it was awful easy to get a cab during a rush hour.
08:52 --> 08:54 [SPEAKER_05]: I'm gonna get it.
08:54 --> 08:54 [SPEAKER_05]: I can't forget it.
08:58 --> 09:00 [SPEAKER_05]: I had no idea that was your cab.
09:00 --> 09:02 [SPEAKER_05]: Let me make it up to you somehow.
09:02 --> 09:02 [SPEAKER_05]: I'm pleased.
09:03 --> 09:05 [SPEAKER_05]: How about a nice hot dog and a beer?
09:06 --> 09:07 [SPEAKER_05]: Uh, no thanks.
09:08 --> 09:08 [SPEAKER_05]: Just a hot dog, then.
09:10 --> 09:11 [SPEAKER_05]: I'm kind of picky about what I eat.
09:12 --> 09:12 [SPEAKER_05]: Some coffee.
09:13 --> 09:13 [SPEAKER_05]: No.
09:14 --> 09:14 [SPEAKER_05]: No?
09:14 --> 09:14 [SPEAKER_05]: No.
09:14 --> 09:15 [SPEAKER_05]: Soda?
09:15 --> 09:15 [SPEAKER_05]: No.
09:15 --> 09:16 [SPEAKER_05]: Some tea?
09:16 --> 09:16 [SPEAKER_07]: No.
09:16 --> 09:17 [SPEAKER_05]: Life savers?
09:17 --> 09:17 [SPEAKER_05]: No.
09:18 --> 09:18 [SPEAKER_05]: Slurpee?
09:19 --> 09:19 [SPEAKER_05]: Sir.
09:22 --> 09:25 [SPEAKER_02]: Life savers is my life savers, wasn't it?
09:29 --> 09:32 [SPEAKER_02]: My reading of this is that, of course, he knew his tool's cap.
09:33 --> 09:41 [SPEAKER_02]: And he's fainting the, oh, I thought it was my cab, but now in retrospect, I can see that I got it too easy.
09:41 --> 09:44 [SPEAKER_02]: It must have been your cab, let me make it up to you.
09:45 --> 09:46 [SPEAKER_02]: I think that's all put on.
09:46 --> 09:48 [SPEAKER_02]: I mean, that's my reading of that scene.
09:49 --> 09:52 [SPEAKER_02]: In other words, he has stole things in his life.
09:53 --> 09:55 [SPEAKER_02]: He's, this is not someone that you want to trust.
09:56 --> 10:06 [SPEAKER_02]: I don't know if you know that at this point in the movie, but I think that on in retrospect, I'm supposed to think that he is not someone you can trust really.
10:07 --> 10:24 [SPEAKER_01]: Yeah, and I think that's, and that's sort of my criticism of this film is that I'm not, I can read it, but I don't know if that's what it's telling me, and I don't know, I'm not sure what they're telling me about the John Candy character for sure.
10:26 --> 10:44 [SPEAKER_01]: because they do a lot to try to make him seem very wholesome and kind of naive and, and as like you said, at the beginning of the movie, you know, Steve Martin is for, you know, for this environment in New York and he's, he wants to get home to his family.
10:45 --> 10:47 [SPEAKER_01]: His family is his top priority.
10:47 --> 10:53 [SPEAKER_01]: So you, you kind of appreciate that he's working this job and dealing with the stress of New York
10:53 --> 10:57 [SPEAKER_01]: because he wants to provide for his family as opposed to like, he just wants to make it big, right?
10:57 --> 11:08 [SPEAKER_01]: So they do a pretty good job of if I think, putting those things together really early, so we want and see Martin to get home.
11:08 --> 11:12 [SPEAKER_01]: He's out in the city, you don't know what steps we can go home and blow them up.
11:12 --> 11:23 [SPEAKER_01]: But then you juxtapose him with John County's character and suddenly he becomes all of the people that we were sort of rooting against in the New York world, right?
11:23 --> 11:25 [SPEAKER_01]: he's a reflection of that now.
11:27 --> 11:34 [SPEAKER_01]: So I don't know if that's the movie being very clever because it is kind of an interesting move if that's the case.
11:34 --> 11:37 [SPEAKER_01]: Or if it loses sight of what it's trying to do.
11:37 --> 11:43 [SPEAKER_01]: So that's where I get, I'm not sure if the movie is like really adept or kind of accidentally.
11:44 --> 11:49 [SPEAKER_02]: Does John Hughes know whether John candy is
11:52 --> 11:54 [SPEAKER_02]: nefarious or not.
11:54 --> 11:56 [SPEAKER_01]: And that's my question.
11:56 --> 12:19 [SPEAKER_01]: When I watch this movie and I wonder if I think that might shape some of my disconnect with it in a later watch is is you know I mean it could just very well be that at the end of the day like they're both they both have issues and they're thrust together and and they're forced to now view their issues together right like
12:19 --> 12:31 [SPEAKER_01]: They, you know, if you go through life, you go through everything, maybe you don't have any kind of challenges that make you look at some of the things that like maybe Steve Martin's character loads up like this is why I think kids all the time.
12:31 --> 12:41 [SPEAKER_01]: And so his reaction to John Candy in that hotel room, maybe that's who he is, or is that a breaking point for him?
12:41 --> 12:47 [SPEAKER_01]: Like there's a lot of questions that come out of that that you look at that and go, it's an amazing monologue by the way, but at the same time,
12:48 --> 12:58 [SPEAKER_01]: Well, that's pretty rough, but as an adult, like as a kid, you're like, oh, man, he's really given him the what, what for, and as soon as it's put you's over to John Candies, you know, I like me.
12:58 --> 13:01 [SPEAKER_01]: My wife likes me all that, like, oh, that's super sweet, Steve Martin's a jerk.
13:02 --> 13:07 [SPEAKER_01]: But then now I'm looking at it, the whole time, I'm like, yeah, I'm like, watch it now, and I'm like, yeah, let him have it.
13:07 --> 13:09 [SPEAKER_01]: I don't even want to.
13:09 --> 13:12 [SPEAKER_02]: Even then, it reads essence here.
13:12 --> 13:14 [SPEAKER_02]: It's like, you've hurt me,
13:15 --> 13:38 [SPEAKER_02]: And now you've got me vulnerable, and I'm going to tell you what's in my deepest, darkest self, I like me, my wife likes me, that's a lie too, yeah, yeah, I mean, he's still he's not letting him, he's still got and I here's my view on this, my view on this is he's conning him into being his friend.
13:39 --> 13:46 [SPEAKER_02]: This whole thing is a long con, but he doesn't want to empty Steve Martin's wallet.
13:48 --> 14:01 [SPEAKER_02]: Even though he does, you know, get him to pay for the cab ride, no, tell and he ends up using his credit card to get the rental car, which is going to absolutely come back to by the Martin now.
14:02 --> 14:14 [SPEAKER_02]: But I think what he really wants is he wants a family for Thanksgiving and the idea is if I can get this guy to pay for a bunch of things and then get him to give me his phone number and address.
14:16 --> 14:22 [SPEAKER_02]: Then I can go and pay him back and I'll be a hero because I'm a stranger who was good on my word.
14:22 --> 14:27 [SPEAKER_02]: Oh, and by the way, you know, I happen to be in town.
14:27 --> 14:29 [SPEAKER_02]: Why don't you stay with us for Thanksgiving.
14:30 --> 14:32 [SPEAKER_02]: I think that that's the con.
14:33 --> 14:36 [SPEAKER_02]: In this movie, I don't think the money is the end game.
14:36 --> 14:42 [SPEAKER_02]: I think he does think I will pay this guy back, but what he really wants is he wants a family for Thanksgiving.
14:44 --> 14:50 [SPEAKER_02]: Which kind of makes you feel a little bit like, oh, you know, help a guy out.
14:50 --> 14:52 [SPEAKER_02]: He just wants connection in the world.
14:53 --> 14:56 [SPEAKER_02]: In another way you're thinking, that's actually even,
14:58 --> 14:58 [SPEAKER_01]: Yeah, more sinister.
14:58 --> 15:01 [SPEAKER_02]: That's that's that's a little bit psycho.
15:02 --> 15:16 [SPEAKER_01]: Yeah, and I and so that's where I'm wondering like because I mean, maybe this is the cynical, the right, maybe this is the reason why we think friendship is wonderful and then we go, well, let's The problem is us.
15:18 --> 15:31 [SPEAKER_02]: I guess it really bad is it really bad to want someone else to like you, you know how often how often do we trick people into liking us by just smiling at them when you know it's like that's what that's what they want.
15:31 --> 15:44 [SPEAKER_02]: You know you exchange pleasantries with people not because this is how you really feel it's just this is how you act in the world and it'll make people feel better and then people will think you're a nicer person.
15:47 --> 15:54 [SPEAKER_01]: So I think a lot of John Hughes's movies are suggesting that you don't really need therapy, just push it all down and get along.
15:55 --> 16:04 [SPEAKER_01]: Because if you look at, because there's a problem with Del Griffith, right?
16:04 --> 16:06 [SPEAKER_01]: I mean, he says he has no home.
16:06 --> 16:07 [SPEAKER_01]: Where's he going?
16:07 --> 16:09 [SPEAKER_01]: What was his plan at all?
16:10 --> 16:12 [SPEAKER_01]: You know, what was he doing?
16:12 --> 16:14 [SPEAKER_01]: And how was he gonna do any of it?
16:16 --> 16:43 [SPEAKER_01]: And so we're, and this is where I think the issue that I have to in terms of like where I wonder, well, what are you, what are you trying to tell us, John Hughes about these characters, because see if art comes all the way back, and it's like, he's just sitting there, and so we're building up at this moment where, you know, John can't he's just sitting there, and, and he sat and his story was sad, turned to find out that his wife's dead, and the like, and that is supposed to almost be enough, right?
16:44 --> 16:51 [SPEAKER_01]: There's a sad story that gives some sort of a justification, maybe for some of his behavior, but certainly not all of it.
16:53 --> 17:00 [SPEAKER_01]: I mean, it helps me understand why I should be sympathetic for him for some of it.
17:01 --> 17:01 [SPEAKER_01]: But
17:02 --> 17:07 [SPEAKER_02]: Just because it does not justify someone taking off their shoes and socks.
17:07 --> 17:15 [SPEAKER_01]: Just because it's lifetime eight years ago, doesn't mean that he can, you know, drive like a maniac, use your credit card and, you know, all of that stuff.
17:15 --> 17:16 [SPEAKER_01]: You know what I mean?
17:16 --> 17:18 [SPEAKER_01]: It's like that's that's a problem.
17:18 --> 17:21 [SPEAKER_01]: That's that's that's that's not an excuse.
17:22 --> 17:24 [SPEAKER_01]: It's it's part of the story.
17:24 --> 17:27 [SPEAKER_01]: It's part of his narrative, but it's not like a justification for everything else.
17:27 --> 17:28 [SPEAKER_01]: It's come up to that moment.
17:28 --> 17:29 [SPEAKER_01]: But sometimes movies.
17:30 --> 17:33 [SPEAKER_01]: And maybe it's a holiday movie thing, right?
17:33 --> 17:39 [SPEAKER_01]: I mean, this is for sure a holiday movie, but where there's, you can go through a lot.
17:39 --> 17:51 [SPEAKER_01]: Like I think I've talked about this before, and then in movies like Avatar, we're like, we're not gonna develop the main character, we're not gonna give you really any reason to root for him, but we're gonna put him in a wheelchair and that should be enough.
17:52 --> 18:04 [SPEAKER_01]: You know what I mean, like just give them give one reason to suggest why you should feel sorry for and if you can feel sorry it's interesting to make if you can feel sorry for a character they've become a protagonist by default.
18:07 --> 18:17 [SPEAKER_01]: Right, that's why I wonder that's why I wonder like but the way that that wraps up in the way that that all is sort of forgiven because we find out that his wife had died you're like well.
18:18 --> 18:34 [SPEAKER_01]: That's why I don't know that I can give the use writing enough credit to say that yeah, this is what they're trying to do with John candy's character because I just I don't think I don't think you can do all those other things and then tidy tidy tidy up a little bow at the end.
18:34 --> 18:35 [SPEAKER_01]: Oh, yeah, it was wiped out a long time ago.
18:35 --> 18:36 [SPEAKER_01]: So, you know, okay.
18:36 --> 18:38 [SPEAKER_02]: Have you seen the steep Martin documentary.
18:38 --> 18:41 [SPEAKER_02]: I have not okay.
18:42 --> 18:44 [SPEAKER_02]: I'm going to play your clip from the steep Martin documentary.
18:45 --> 18:53 [SPEAKER_06]: John Candy was very sensitive and very complex and we really loved each other.
18:53 --> 18:56 [SPEAKER_06]: He had a beautiful scene.
18:59 --> 19:01 [SPEAKER_06]: Look, I'm not gonna read this speech, but it's that long.
19:03 --> 19:08 [SPEAKER_06]: We're at a train station and he gets the entire explanation of his life.
19:08 --> 19:12 [SPEAKER_06]: And I was opposite and I was like weeping while as he was performing it.
19:13 --> 19:16 [SPEAKER_06]: It was all cut, and so I don't know why I was cut.
19:16 --> 19:20 [SPEAKER_06]: Except for tempo, and maybe you're at the end, and you don't want to hear a long speech.
19:20 --> 19:21 [SPEAKER_06]: It was cut down to a liner, too.
19:21 --> 19:24 [SPEAKER_06]: I don't have a home.
19:28 --> 19:29 [SPEAKER_06]: Maurice could death for eight years.
19:29 --> 19:33 [SPEAKER_06]: I think there was a line I loved.
19:34 --> 19:39 [SPEAKER_06]: It's sort of attached myself to people from times and I'm like with you, especially around the holidays.
19:40 --> 19:42 [SPEAKER_06]: I can take it in March, July, October.
19:43 --> 19:44 [SPEAKER_06]: but it gets hard.
19:47 --> 19:49 [SPEAKER_06]: Then he said, this time I couldn't let go.
19:51 --> 19:54 [SPEAKER_02]: So this is, so there it is.
19:55 --> 19:57 [SPEAKER_01]: There's, there's the thing.
19:58 --> 20:05 [SPEAKER_02]: So this is him saying, I, I'm looking for family around the, the holidays.
20:06 --> 20:10 [SPEAKER_02]: And it's an entire speech that gets cut.
20:11 --> 20:18 [SPEAKER_02]: So, if that speech had been included in full, would that have helped the movie?
20:19 --> 20:20 [SPEAKER_02]: I think a hundred percent.
20:21 --> 20:23 [SPEAKER_01]: Because what are we talking about right now?
20:23 --> 20:26 [SPEAKER_01]: We're talking about like, is who's what's the motivation?
20:26 --> 20:34 [SPEAKER_01]: Is this, you know, does the director even know what he's writing or is it, you know, and like, it's so this shows that like, yeah, they, they did
20:42 --> 20:44 [SPEAKER_01]: to kind of quote the other monologue.
20:44 --> 20:47 [SPEAKER_01]: Hey, when you're telling a story, have a point.
20:48 --> 20:51 [SPEAKER_01]: It thinks it's so much more enjoyable or the listener.
20:51 --> 20:52 [SPEAKER_03]: You're everything is not an anecdote.
20:52 --> 20:54 [SPEAKER_03]: You have to discriminate.
20:54 --> 20:59 [SPEAKER_03]: You choose things that are funny or mildly amusing or interesting.
21:00 --> 21:01 [SPEAKER_03]: You're a miracle.
21:01 --> 21:03 [SPEAKER_03]: Your stories have none of that.
21:04 --> 21:06 [SPEAKER_03]: They're not even amusing accidentally.
21:07 --> 21:09 [SPEAKER_02]: So this is interesting to me
21:12 --> 21:19 [SPEAKER_02]: of a movie that had kind of a bow tied at the end, that would have, you think would have improved it.
21:21 --> 21:29 [SPEAKER_02]: But in many of our other conversations, you have said, I kind of like the ambiguity because it allows me to figure it out.
21:30 --> 21:34 [SPEAKER_02]: And if you've done your job as a storyteller, I'll have enough to work with.
21:36 --> 21:47 [SPEAKER_02]: But it could be that this is an exception or maybe John Houston do enough of the storytelling in the middle to do without the ending.
21:48 --> 21:49 [SPEAKER_01]: Right, because it doesn't.
21:51 --> 21:58 [SPEAKER_01]: The way that my preference would work, you don't you don't go back to the transition at all.
22:06 --> 22:08 [SPEAKER_01]: you now you have to have some sort of a reveal.
22:09 --> 22:11 [SPEAKER_01]: And this movie does not have the reveal.
22:11 --> 22:13 [SPEAKER_01]: It thinks the reveal is enough.
22:14 --> 22:20 [SPEAKER_01]: So the speech where that would reveal all that, to me, that would make the ending a twist.
22:22 --> 22:28 [SPEAKER_01]: And I'd be more compelled to go, well, now I want to watch the movie through that lens.
22:28 --> 22:31 [SPEAKER_01]: Wow, that's now I'm watching a different movie on rewatch.
22:33 --> 22:34 [SPEAKER_01]: because it's actually is a twist, right?
22:34 --> 22:44 [SPEAKER_01]: Because instead of it just being like they take this in my opinion kind of a lazy way out, because like I said, they don't put you in a situation where you're like, is he good, is he bad?
22:44 --> 22:47 [SPEAKER_01]: It's like, no, because at the end they're telling you, no, it's good.
22:47 --> 22:55 [SPEAKER_01]: See, look at, you can tell by the music, you can tell by the framing, you can tell by everybody that's in the scene, that this is a happy ending.
22:57 --> 23:01 [SPEAKER_01]: So if you go through the effort to tell me that, you have to tell me why.
23:02 --> 23:12 [SPEAKER_01]: because that's not, and ambiguity for ambiguity say like leaving out like an important thing is not the same as like having an ambiguous ending, especially in a holiday movie that is gonna have a happy ending.
23:13 --> 23:19 [SPEAKER_01]: You've created a complex world that doesn't feel nearly as complex because of the ending.
23:20 --> 23:25 [SPEAKER_01]: So if there's a complexity, don't short change us from that, because I mean, think about that.
23:26 --> 23:29 [SPEAKER_01]: Just what you played there, the idea that he's just,
23:31 --> 23:34 [SPEAKER_01]: that he kind of has been pulling the strings on this.
23:35 --> 23:37 [SPEAKER_01]: Yeah, that's, that's crazy to me.
23:39 --> 23:40 [SPEAKER_01]: That is crazy.
23:40 --> 23:54 [SPEAKER_01]: And here's the thing is, and maybe this is to their credit to some degree, if you do that monologue and you have him explain that, does that make it easier for you to accept him going to the house room or harder?
23:54 --> 23:59 [SPEAKER_01]: I think it's harder, because then it's like, because I think it's the Marta character would be like,
24:01 --> 24:08 [SPEAKER_02]: What if I got like that's that's a better ending, you know, if you're going to fast forward a month later and he's still going to be living in your house.
24:11 --> 24:22 [SPEAKER_02]: And he's going to be like getting pretty chummy with your uncle and he's going to be at your poker game and all of a sudden it's like now my life includes this guy.
24:23 --> 24:25 [SPEAKER_01]: Now you have friendship now you've got the movie friendship.
24:27 --> 24:27 [SPEAKER_02]: Ah, sure.
24:28 --> 24:29 [SPEAKER_02]: Yeah.
24:30 --> 24:30 [SPEAKER_02]: Yeah.
24:30 --> 24:31 [SPEAKER_02]: 15 minutes into this movie.
24:33 --> 24:38 [SPEAKER_02]: I wrote down, Steve is totally blank and I am totally blank.
24:40 --> 24:46 [SPEAKER_02]: In other words, I so see me with one of these characters and you with one of these characters.
24:47 --> 24:48 [SPEAKER_02]: What do you think I wrote down?
24:58 --> 25:02 [SPEAKER_02]: that I'm Steve Martin and your junk candy, and then I revise it.
25:02 --> 25:05 [SPEAKER_02]: I think that's not quite right.
25:06 --> 25:13 [SPEAKER_02]: I think that I am Steve Martin, you're eating the color like, I'm not kidding.
25:14 --> 25:15 [SPEAKER_02]: I do feel like eating the clerk.
25:17 --> 25:23 [SPEAKER_02]: I think that this has to do with our relationship to strangers and conversations with strangers.
25:26 --> 25:34 [SPEAKER_02]: I'm John Candy with you, and you're Steve Martin, but...
25:38 --> 25:51 [SPEAKER_02]: in public, your John Canby, you or the kind of guy who will strike up a conversation with a stranger and be pretty friendly and get to know him a little bit.
25:51 --> 25:56 [SPEAKER_02]: You know, here we have 10 minutes at the bar together, why don't we get to know each other just a little bit?
25:57 --> 26:03 [SPEAKER_02]: I kind of see you in the John Canby part, but only in public.
26:05 --> 26:06 [SPEAKER_01]: Interesting.
26:07 --> 26:10 [SPEAKER_01]: That, I think, I think I might check out, it might be fine.
26:11 --> 26:13 [SPEAKER_02]: All right, listen to this.
26:13 --> 26:14 [SPEAKER_05]: I'll tell Griffith.
26:14 --> 26:18 [SPEAKER_05]: I'm there if I'm like fixture director of sales, shower curtain ring division.
26:21 --> 26:23 [SPEAKER_05]: I sell shower curtain rings.
26:24 --> 26:25 [SPEAKER_05]: Best in the world.
26:29 --> 26:30 [SPEAKER_05]: And you are?
26:30 --> 26:32 [SPEAKER_05]: I'm Neil.
26:37 --> 26:38 [SPEAKER_02]: So what are you new for living, Neil Page?
26:38 --> 26:43 [SPEAKER_02]: So I'm curious, have you ever had a conversation with the stranger on an airplane before?
26:45 --> 26:49 [SPEAKER_02]: Are you the kind of guy who's like, is what I do for living?
26:49 --> 26:51 [SPEAKER_02]: Does what you do for living?
26:52 --> 26:56 [SPEAKER_02]: Like, have you had those conversations in the world?
26:57 --> 27:01 [SPEAKER_02]: Or is this something that you just do with strangers when you got a couple drinks and you at the bar?
27:05 --> 27:29 [SPEAKER_01]: It really depends on the environment like if if if something's not going well like like let's say it is an airport thing and it is like a delay of some sort if there's if there's an opportunity maybe for have to some sort of a commissaration I might be a little more inclined to to maybe look for an ally.
27:30 --> 27:34 [SPEAKER_02]: All right, okay, you would do much better on survival than I would.
27:34 --> 27:36 [SPEAKER_02]: I think.
27:37 --> 27:37 [SPEAKER_02]: Probably.
27:37 --> 27:40 [SPEAKER_02]: So, okay, so that was my impression.
27:40 --> 27:43 [SPEAKER_02]: It sounds like there was a little bit of warrant.
27:43 --> 27:46 [SPEAKER_02]: It was a little bit of warrant in my, my perception.
27:46 --> 27:47 [SPEAKER_02]: What's your perception?
27:48 --> 27:50 [SPEAKER_02]: Did you associate these guys with us?
27:52 --> 27:55 [SPEAKER_01]: A little bit, but I was like, I think sometimes for both Steve Martin.
27:56 --> 27:58 [SPEAKER_02]: I think that's the idea.
28:01 --> 28:06 [SPEAKER_01]: Well, I look at it more of, uh, we're not afraid to tell somebody that they're boring.
28:06 --> 28:21 [SPEAKER_02]: I was thinking about the, what the guy was singing, that we were like crossing the street in the York, and there was a guy next to us that was being serinated.
28:22 --> 28:22 [SPEAKER_02]: That's right.
28:22 --> 28:26 [SPEAKER_02]: By some random dude, and then he was Irish.
28:26 --> 28:27 [SPEAKER_02]: That's right.
28:27 --> 28:28 [SPEAKER_02]: That's right.
28:28 --> 28:37 [SPEAKER_02]: He was Irish, and he was Sarah Nadeen, the guy next to us, and then he was like, kind of sarcastically asking, and like, do you think I'm a great singer?
28:37 --> 28:38 [SPEAKER_02]: Do you think I'm a great singer?
28:40 --> 28:43 [SPEAKER_02]: And I just laid into them, because I just thought it was completely rude.
28:44 --> 28:45 [SPEAKER_02]: Yeah, yeah.
28:45 --> 28:50 [SPEAKER_02]: Um, and I just thought in that moment, I was absolutely Steve Martin y'all for sure.
28:52 --> 28:53 [SPEAKER_02]: That's right.
28:54 --> 28:55 [SPEAKER_02]: I've ever given what are you singing?
28:57 --> 29:07 [SPEAKER_01]: Yeah, I mean, I think part of the issue too is in this is a, uh, because I don't think that these characters are fully like we said as fleshed out as maybe they could be,
29:09 --> 29:15 [SPEAKER_01]: I don't know that a lot of my social interactions with people are meant for good.
29:16 --> 29:17 [SPEAKER_02]: Oh, interesting.
29:18 --> 29:28 [SPEAKER_01]: I was gonna, there might be a little bit of mining for maybe, maybe a bit or there might be a little, you know, watch the world burn go along with it.
29:28 --> 29:32 [SPEAKER_01]: You know, my pen shump for Shodden Freud is kind of like rules everything.
29:33 --> 29:39 [SPEAKER_02]: Well, and I was gonna ask you how many of these conversations do you think might eventually turn into a bit?
29:40 --> 29:42 [SPEAKER_01]: Yeah, I mean, this is quite possible.
29:42 --> 29:49 [SPEAKER_01]: So there might be a selfish quality to to that type of interaction.
29:50 --> 29:51 [SPEAKER_02]: All right, interesting.
29:51 --> 29:53 [SPEAKER_02]: So you used the phrase for the good.
29:54 --> 30:01 [SPEAKER_02]: How big of an overlap is there in the venn diagram of good and likable?
30:03 --> 30:11 [SPEAKER_02]: Because I think a lot of people would think, oh, you're just a good person, it'll, you know, it'll sort of be evident in the world.
30:12 --> 30:14 [SPEAKER_02]: Like people will just think that you're likable.
30:15 --> 30:17 [SPEAKER_02]: But I think that that's almost a deception.
30:17 --> 30:25 [SPEAKER_02]: I think that there's, I don't think that there's zero overlap, but I feel like goodness is not about trying to make people like you.
30:25 --> 30:28 [SPEAKER_01]: Yeah, I agree.
30:28 --> 30:30 [SPEAKER_01]: In fact, I think, yeah, I don't, I think,
30:32 --> 30:39 [SPEAKER_01]: The, the maybe the more good a person is, it's quite possible that their unlike ability is is relatively high.
30:41 --> 30:44 [SPEAKER_01]: And that's what ULIGES are for.
30:47 --> 30:54 [SPEAKER_02]: I mean, I have a colleague who just just took a job at a different institution.
30:54 --> 30:54 [SPEAKER_02]: Like he left.
30:54 --> 30:57 [SPEAKER_02]: He was, he was at my school for a long time.
30:57 --> 31:00 [SPEAKER_02]: And I think he was genuinely a good person.
31:01 --> 31:05 [SPEAKER_02]: But he was kind of a cramogen and I kind of respected it.
31:05 --> 31:16 [SPEAKER_02]: It's like sometimes we'd butt heads, but I think, you know, there's a little bit like, how, I don't think you're very likable, but I, I feel like you're kind of a good person.
31:16 --> 31:17 [SPEAKER_02]: I respect you.
31:18 --> 31:23 [SPEAKER_02]: Yeah, I respect you, but not just respect respect like I feel like,
31:24 --> 31:29 [SPEAKER_02]: if there was a choice between right and wrong, you would choose the right choice most of the time.
31:30 --> 31:33 [SPEAKER_02]: But it doesn't necessarily mean that we're gonna be best friends, right?
31:34 --> 31:34 [SPEAKER_02]: True.
31:34 --> 31:40 [SPEAKER_02]: So I do think that there's something about being a good person.
31:40 --> 31:47 [SPEAKER_02]: I mean, I'm an extreme example of this is that like people that knew Mother Teresa kind of felt like she was a bit of a tyrant.
31:48 --> 31:51 [SPEAKER_02]: Like she had an idea, she had a vision for what?
31:51 --> 31:52 [SPEAKER_02]: The world should be like,
31:53 --> 31:57 [SPEAKER_02]: And she was kind of, she would steam roll people to get to that end.
31:58 --> 31:59 [SPEAKER_02]: Finally, someone bring her down a peg.
32:01 --> 32:05 [SPEAKER_02]: I mean, that was sort of the what people said about her later in life.
32:05 --> 32:08 [SPEAKER_02]: It's like she was just, she was just kind of hard to be around.
32:10 --> 32:14 [SPEAKER_02]: But there's no doubt in my mind that she was doing something good in the world.
32:14 --> 32:19 [SPEAKER_02]: So I think that there's something interesting here about the idea that
32:21 --> 32:30 [SPEAKER_02]: I think someone like John Candy can fool a lot of people just because he's pretty affable and it makes them a good salesman.
32:31 --> 32:44 [SPEAKER_02]: I think really good salesmen, I don't know if they know the line between I'm selling you and I'm making a new friend, right, and I think that's kind of, it's a special skill
32:51 --> 32:51 [SPEAKER_01]: sure.
32:53 --> 33:01 [SPEAKER_02]: Now, of course, I like to think of myself as a good person, but you give me like literally five minutes at a fantasy football draft.
33:06 --> 33:08 [SPEAKER_02]: Honestly, I'd be cool or neither good nor likable.
33:09 --> 33:11 [SPEAKER_02]: I'd become a depraved lunatic.
33:14 --> 33:17 [SPEAKER_02]: At the end of our fantasy football draft, I hated everyone in
33:18 --> 33:22 [SPEAKER_02]: I hated you, I hated your phone, your stupid technology.
33:22 --> 33:31 [SPEAKER_02]: I hate, I hate, I mean, maybe just like, what is it about football?
33:31 --> 33:36 [SPEAKER_02]: What is it about football that just brings out the absolute worst in people?
33:39 --> 33:41 [SPEAKER_02]: Or me, maybe just me.
33:41 --> 33:43 [SPEAKER_01]: Yeah, I mean, maybe this is it's amazing.
33:43 --> 33:54 [SPEAKER_01]: I don't know if I need to universal and in the world of root cause analysis, we're like, do these five wise and so I can sort of work back from the problem statement, then we try to find out what we have from so I think I think that's good.
33:54 --> 33:57 [SPEAKER_01]: You just sort of went from you narrow the scope.
33:58 --> 34:00 [SPEAKER_01]: Football might not be the worst thing for people.
34:01 --> 34:15 [SPEAKER_02]: But if for sure is for you, what I don't know what it is, but I convince myself I was a pretty good person for a while and then give me five minutes in a fantasy football draft and I'm like, no, I'm going to hell.
34:18 --> 34:20 [SPEAKER_02]: I'm absolutely going to hell for sure.
34:22 --> 34:24 [SPEAKER_01]: Yeah, that's a.
34:26 --> 34:28 [SPEAKER_01]: So yeah, so that's interesting, too, about this character.
34:28 --> 34:49 [SPEAKER_01]: And that's why I think that the left out monologue is so key because if you look at this film as somebody who is kind of grifting for a friendship, already suggests deficiency in understanding what a friendship even is, right?
34:50 --> 34:52 [SPEAKER_01]: So there's a certain detachment that this person has
34:56 --> 35:15 [SPEAKER_01]: that I think is, it's really, it's fascinating and it becomes much more of a wildly intriguing character study as opposed to, ah, he's likable and misunderstood because that's easy, right?
35:16 --> 35:21 [SPEAKER_02]: I mean, we're as certain Martin, Steve Martin, you would think he's kind of not likable, like he's,
35:25 --> 35:29 [SPEAKER_02]: But he's not a golden retriever in this movie.
35:29 --> 35:31 [SPEAKER_02]: He's a carrot in this movie.
35:32 --> 35:39 [SPEAKER_02]: But you've kind of forgiven me because it's like, everything bad that could happen to someone has happened to this guy in this trip.
35:39 --> 35:44 [SPEAKER_01]: And it's a lot of it is by the hands of this likable fellow.
35:45 --> 35:46 [SPEAKER_01]: And I'll like that.
35:47 --> 35:49 [SPEAKER_01]: How likable can anyone be to justify certain things, right?
35:50 --> 35:55 [SPEAKER_02]: He's motivated to get back to his wife and kids of Thanksgiving, like, what's not likable about that?
35:55 --> 35:55 [SPEAKER_07]: Mm-hmm.
35:56 --> 35:59 [SPEAKER_02]: It does, does it justify the way he speaks to E.D.
35:59 --> 36:00 [SPEAKER_02]: McClung?
36:01 --> 36:06 [SPEAKER_02]: Probably not, but you can, you know, you can kind of imagine yourself in that situation.
36:08 --> 36:14 [SPEAKER_01]: Yeah, I find him actually, interestingly in that situation, at his most relatable in the movie.
36:14 --> 36:17 [SPEAKER_01]: because like, were you just, you just get pushed over there.
36:17 --> 36:22 [SPEAKER_01]: Just want things to lash out to Del Griffith after all that they've been through together.
36:22 --> 36:23 [SPEAKER_01]: That's fine.
36:23 --> 36:43 [SPEAKER_01]: And you know, it's like, and I can, you know, you kind of feel bad for the maybe the Del's reaction or everything, but Edy McLeary is, is she's working the desk at a car rental agency and we all have been in a situation similar to that, where something has just pushed us over the edge and we're gonna be our worst version of ourselves
36:45 --> 36:51 [SPEAKER_01]: And I never read that even as a kid is like, oh man, he's really a bad guy.
36:51 --> 36:57 [SPEAKER_01]: That to me was like the sort of a nice encapsulation of we all have boiling points.
36:58 --> 37:08 [SPEAKER_02]: Well, if she's not having that long conversation about Thanksgiving with her relative, what the line is just piling up.
37:10 --> 37:12 [SPEAKER_02]: that it's really important to have that little bit.
37:13 --> 37:16 [SPEAKER_01]: Yeah, if he just comes in guns blazing for no real good read.
37:16 --> 37:16 [SPEAKER_01]: Right.
37:16 --> 37:17 [SPEAKER_01]: And that's right.
37:17 --> 37:30 [SPEAKER_01]: And I do think I do think it's interesting too, because if you look, especially if you add that monologue, Steve Martin's character becomes way more likable.
37:31 --> 37:33 [SPEAKER_01]: Yeah, he brings the fan, he brings him in.
37:33 --> 37:35 [SPEAKER_01]: I mean, he already is likable at the end
37:39 --> 37:59 [SPEAKER_01]: But if he did that after this explanation and this heartfelt confession, I think that that would kind of elevate the Steve Martin character in a very unique way, more so than just, oh, I feel sorry for him, his wife died.
37:59 --> 38:00 [SPEAKER_01]: Like, that's kind of a plays out.
38:00 --> 38:02 [SPEAKER_01]: And I'm like, that's just not enough for me.
38:02 --> 38:07 [SPEAKER_01]: And so, you know, and it might actually,
38:08 --> 38:27 [SPEAKER_01]: You know, complicate things because I like I said, I think it'd be way harder to bring that guy over after finding out that like this whole thing was kind of just a ruse and because he just he's got a lot of issues and it's like, is that really would you want to bring your family to like that would be a really weird move on Steve Martin's part or very benevolent move on his part.
38:29 --> 38:31 [SPEAKER_02]: What's the best Steve Martin movie.
38:34 --> 38:35 [SPEAKER_02]: Is it a parenthood?
38:37 --> 38:39 [SPEAKER_02]: parenthood it would be in the running for sure.
38:39 --> 38:46 [SPEAKER_02]: I think depending on your tastes, it might be this movie.
38:47 --> 38:48 [SPEAKER_01]: Sure.
38:48 --> 38:54 [SPEAKER_01]: I mean, I think this probably feels like, uh, or three of me does.
38:57 --> 39:01 [SPEAKER_01]: Yeah, three amigos is so the thing about parenthood,
39:02 --> 39:04 [SPEAKER_01]: Is he so much more central?
39:04 --> 39:07 [SPEAKER_01]: Whereas like playing strings and automobiles is a buddy movie.
39:07 --> 39:09 [SPEAKER_01]: It's a Laurel and Hardy, right?
39:09 --> 39:14 [SPEAKER_01]: Like it's kind of impossible to have one versus the other.
39:14 --> 39:17 [SPEAKER_01]: You know, three amigos also very ensembleish.
39:17 --> 39:21 [SPEAKER_01]: I would say that he might be the least funny of the three in the movie, but that's by design.
39:22 --> 39:24 [SPEAKER_02]: The movie doesn't work without him.
39:24 --> 39:24 [SPEAKER_02]: I don't think.
39:25 --> 39:30 [SPEAKER_01]: Oh, I agree, but like, but he plays the kind of heroic
39:33 --> 39:33 [SPEAKER_01]: out there.
39:34 --> 39:35 [SPEAKER_01]: I love the jerk.
39:36 --> 39:36 [SPEAKER_02]: Absolutely.
39:36 --> 39:37 [SPEAKER_02]: Oh, the jerk.
39:37 --> 39:38 [SPEAKER_02]: Yeah, the jerk.
39:38 --> 39:40 [SPEAKER_01]: Absolutely love the jerk.
39:41 --> 39:47 [SPEAKER_01]: You know, there's there's movies of his that I enjoy for sure.
39:47 --> 39:51 [SPEAKER_01]: Like I'm going to I really like my blue heaven and my two brains.
39:53 --> 39:56 [SPEAKER_02]: There's a few movies that that I used to really love.
39:56 --> 39:57 [SPEAKER_02]: I like I used to love Roxanne.
39:57 --> 39:59 [SPEAKER_02]: I tried to watch it recently.
39:59 --> 40:00 [SPEAKER_02]: It's a hard watch.
40:01 --> 40:01 [SPEAKER_02]: No.
40:02 --> 40:03 [SPEAKER_02]: What's the best John candy movie?
40:06 --> 40:08 [SPEAKER_02]: It's probably not hot to try.
40:10 --> 40:10 [SPEAKER_02]: No.
40:13 --> 40:17 [SPEAKER_02]: I think we need to to check in with that to try just to make sure.
40:17 --> 40:19 [SPEAKER_01]: Good old Bobcat Gold tweet.
40:23 --> 40:46 [SPEAKER_02]: that's great um it is it this I think it's this I mean Uncle Buck I didn't I don't love Uncle Buck on a real like but he's you know he's sort of like the titular Uncle Buck right right so I think it's sort of like maybe that is
40:47 --> 40:51 [SPEAKER_02]: Maybe because he's second fiddle in this movie, that one gets elevated?
40:51 --> 40:59 [SPEAKER_02]: There's, I don't know if you're familiar with this scene in JFK.
40:59 --> 41:01 [SPEAKER_02]: Are you dancing on my head for a moment?
41:01 --> 41:03 [SPEAKER_04]: We've been sick of molasses, pots, and pots, and pots.
41:03 --> 41:06 [SPEAKER_00]: Constantly, Dean, I read your testimony of the warm commission.
41:06 --> 41:07 [SPEAKER_00]: You go again, green and sing.
41:07 --> 41:13 [SPEAKER_00]: Tell them the day after this assassination, you're called in a phone by this clay birch and it has to fly to Dallas and be Lea's walls lawyer.
41:13 --> 41:14 [SPEAKER_04]: Right.
41:15 --> 41:16 [SPEAKER_04]: If I answer that question, you keep asking.
41:18 --> 41:20 [SPEAKER_04]: If I give you the name of the big enchilada, you know.
41:22 --> 41:23 [SPEAKER_04]: Then it's Bon Voyard, Dino.
41:23 --> 41:24 [SPEAKER_04]: I mean, like, pulmon it.
41:25 --> 41:26 [SPEAKER_04]: I mean, like a bullet, my head, you dig.
41:27 --> 41:28 [SPEAKER_04]: You're a mouse fighting a gorilla.
41:29 --> 41:30 [SPEAKER_04]: Kennedy's a dead as that crab meat.
41:31 --> 41:32 [SPEAKER_04]: The government's still braided.
41:32 --> 41:33 [SPEAKER_04]: You want to line up with a dead man?
41:33 --> 41:40 [SPEAKER_00]: Man, they know either you dancing to the grandeur, with the real identity of Clair Bertrand, or your fat behind's going to the slime, and now you dig meat?
41:40 --> 41:41 [SPEAKER_00]: You're a pre-singsion mama.
41:42 --> 41:43 [SPEAKER_04]: Go to show it to the genes.
41:45 --> 41:48 [SPEAKER_02]: I want you to know that that entire scene.
41:49 --> 41:54 [SPEAKER_02]: He's wearing a three-piece suit and dark Ray Bands.
41:55 --> 41:57 [SPEAKER_02]: Well, they're in a restaurant.
42:00 --> 42:05 [SPEAKER_02]: It's to me, to me that scene is very funny.
42:06 --> 42:10 [SPEAKER_02]: And half of it has to do with Kevin Costner's accent.
42:10 --> 42:17 [SPEAKER_02]: Yeah, yeah, if that is only dramatic rule, it might be and it's quite a choice.
42:18 --> 42:25 [SPEAKER_02]: Yeah, he's he's kind of like he's kind of like trying to be
42:33 --> 42:36 [SPEAKER_02]: So I think I think this might be the best John candy.
42:36 --> 42:40 [SPEAKER_02]: I think trains planes and automobiles might be the best John candy.
42:40 --> 42:43 [SPEAKER_01]: We put on great outdoors right afterwards.
42:43 --> 42:44 [SPEAKER_01]: Uh-huh.
42:45 --> 42:46 [SPEAKER_02]: Did to be feed that to ya?
42:47 --> 42:49 [SPEAKER_01]: No.
42:50 --> 42:57 [SPEAKER_01]: So I enjoy, I always had an interesting relationship with great outdoors, like I always wanted to like it more than I did.
42:57 --> 42:59 [SPEAKER_01]: And I think I like it more now than I used to.
42:59 --> 43:00 [SPEAKER_01]: I don't think I've written it.
43:00 --> 43:01 [SPEAKER_01]: Written by John Hughes.
43:02 --> 43:03 [SPEAKER_02]: Interesting.
43:03 --> 43:03 [UNKNOWN]: Okay.
43:03 --> 43:17 [SPEAKER_01]: Um, so there's definitely some similar type of like, you know, he's, he's the, the likable and vicious dad.
43:17 --> 43:27 [SPEAKER_01]: Dan Acroid is the opportunistic wealthy brother and law who's coming in, horned in on there.
43:28 --> 43:37 [SPEAKER_01]: on their vacation and making things hard for them but then there's like this sort of reveal that makes you know, a little more likable.
43:37 --> 43:38 [SPEAKER_02]: So there's something that I'll have a look.
43:39 --> 43:41 [SPEAKER_02]: Have a look.
43:41 --> 43:43 [SPEAKER_02]: Last question before we get to our regular question.
43:46 --> 43:47 [SPEAKER_02]: Is this 1987?
43:49 --> 43:52 [SPEAKER_02]: Steve Martin begins this movie wearing a fedora.
43:56 --> 44:02 [SPEAKER_02]: And it doesn't like stand out like, oh, that's a choice.
44:03 --> 44:05 [SPEAKER_02]: It just kind of fits with his costume.
44:09 --> 44:12 [SPEAKER_02]: Is 1987 the last time you could wear a fedora.
44:15 --> 44:20 [SPEAKER_01]: And just be a regular guy without it being like, hey, that guy's wearing a fedora.
44:21 --> 44:21 [SPEAKER_01]: Exactly.
44:22 --> 44:22 [SPEAKER_01]: Yeah, I think you're right.
44:22 --> 44:24 [SPEAKER_01]: I think, I mean, there's no,
44:27 --> 44:36 [SPEAKER_01]: Anytime somebody has a fedora now, I assume that they are, this is their personality now.
44:37 --> 44:39 [SPEAKER_02]: That was a choice someone made.
44:39 --> 44:42 [SPEAKER_02]: That was sort of like, I'm, I'm bringing it back.
44:43 --> 44:44 [SPEAKER_02]: Or I can pull this off.
44:45 --> 44:45 [SPEAKER_02]: Right.
44:46 --> 44:55 [SPEAKER_02]: At one point, you could wear a fedora with a suit, and that would be as common as someone wearing a baseball cap with a t-shirt.
44:57 --> 45:06 [SPEAKER_02]: And at some point that went away and I think it's probably already going away at 1887.
45:07 --> 45:16 [SPEAKER_02]: But I kind of feel like this is sort of the the the dying gasp of the fedora as common headwear.
45:16 --> 45:24 [SPEAKER_01]: I'm wondering there's a part of that wonders if if the fedora shape has
45:24 --> 45:49 [SPEAKER_01]: has changed subtly enough over the the course of the decades that it stands out more because like if you put on a fedora that put on a fedora we never look like these guys that were for doors no even if I wear a suit like I've I've had a suit on before you know usually it's like
45:52 --> 45:55 [SPEAKER_02]: suit shop that happens to have a few hats as well.
45:57 --> 46:07 [SPEAKER_02]: And you put it on and you're like, all of a sudden, I'm in the 1940s and I'm like battling Indiana Jones for my last days.
46:08 --> 46:11 [SPEAKER_02]: Yeah, all of a sudden it's like, what what is happening here?
46:11 --> 46:12 [SPEAKER_02]: It would almost be like,
46:14 --> 46:16 [SPEAKER_02]: It'd be better to wear a baseball cap with this suit.
46:16 --> 46:18 [SPEAKER_02]: That would stand out less than that.
46:18 --> 46:23 [SPEAKER_01]: Well, when you were, but let's look in 87 and in the 80s, I don't think we saw Fedora's in the wild.
46:24 --> 46:29 [SPEAKER_02]: We wouldn't have seen them in the wild for sure, but of course, this is a John Hughes movie.
46:30 --> 46:40 [SPEAKER_02]: And then the question is, did it strike us as odd that Steve Martin was wearing a Fedora in New York City in 1987?
46:40 --> 46:41 [SPEAKER_02]: I'm gonna say no.
46:43 --> 46:43 [SPEAKER_01]: Right.
46:43 --> 46:44 [SPEAKER_01]: No, I would say.
46:44 --> 46:50 [SPEAKER_01]: Now for us specifically, we, you know, having not been to New York at that age, having only like, buddoro's or cinematic.
46:51 --> 46:52 [SPEAKER_02]: They're very cinematic.
46:52 --> 46:52 [SPEAKER_02]: Yes.
46:54 --> 47:00 [SPEAKER_02]: And it does, it kind of does come into this movie when he sort of his at his lowest moment.
47:02 --> 47:06 [SPEAKER_02]: A truck drives by and just destroys his hat.
47:07 --> 47:07 [SPEAKER_02]: Right.
47:07 --> 47:09 [SPEAKER_02]: That's the last straw.
47:09 --> 47:09 [SPEAKER_02]: He's he's going to go
47:11 --> 47:34 [SPEAKER_02]: lay into eating my clurred at that point so yeah I think that this is it this is it you're not going to get a you're not going to get a fedora that doesn't stand out after this movie yeah and try as we might it's just not like I don't think I I mean we try to resurrect that but I don't think we can do it
47:41 --> 47:47 [SPEAKER_01]: I'm still a sucker for the if something happens to your testicles, your voice goes higher.
47:49 --> 48:02 [SPEAKER_02]: Okay, this is a very John Hughes thing, but when Dylan Baker's introduced as Owen, who's just some guy's son and he pulls up at his pickup truck,
48:13 --> 48:19 [SPEAKER_02]: with very dramatic music until you get to his face.
48:20 --> 48:24 [SPEAKER_02]: And I feel like that's in a lot of John Hughes movies.
48:25 --> 48:25 [SPEAKER_02]: Yeah.
48:26 --> 48:29 [SPEAKER_02]: So it's something like, ah, this is very John Hughes.
48:29 --> 48:34 [SPEAKER_01]: It's very clear that this next this next character is going to be
48:37 --> 48:40 [SPEAKER_02]: a problem of some sort.
48:40 --> 48:44 [SPEAKER_02]: You were not expecting this on your journey.
48:46 --> 48:48 [SPEAKER_02]: Is there a tweak you'd make to the movie to improve it?
48:49 --> 48:51 [SPEAKER_01]: Well, there's two.
48:51 --> 48:59 [SPEAKER_01]: One is the new one is leave that monologue in because I don't longer am asking the question of like, does this movie even know who these people are?
49:00 --> 49:01 [SPEAKER_01]: Cause I'm actually like, oh, you did.
49:01 --> 49:04 [SPEAKER_01]: And you kind of held that back, which is bummer.
49:08 --> 49:17 [SPEAKER_01]: uh, uh, soundtrack choices that use makes that specifically use that would work in, like say Ferris Bueller, but not in this film.
49:18 --> 49:30 [SPEAKER_01]: There's some synth choices that, um, kind of undercut the, the tone they're trying to set just because because they're synth, um, which is
49:36 --> 49:40 [SPEAKER_01]: in the rental car scene is really good.
49:41 --> 49:45 [SPEAKER_01]: And really captures the tone, it captures their age.
49:47 --> 49:58 [SPEAKER_01]: And it reflects the sort of the chaos, but whenever it would get a little dramatic, it would choose like just odds and stuff that just
50:02 --> 50:03 [SPEAKER_01]: You, that's all you could think about.
50:03 --> 50:11 [SPEAKER_01]: It's like when the saxophone won't shut up and leave the weapon to the point where you're like, is this a character?
50:11 --> 50:13 [SPEAKER_02]: Right, right, yeah.
50:14 --> 50:15 [SPEAKER_02]: I'm going to say more bacon.
50:16 --> 50:24 [SPEAKER_02]: I mean, just seeing him at the beginning of this movie made me think like, that's just underuse bacon.
50:24 --> 50:26 [SPEAKER_02]: That's undercooked bacon, right?
50:26 --> 50:26 [SPEAKER_02]: Yes.
50:27 --> 50:30 [SPEAKER_01]: Yeah, I think Heather's take was like, don't have bacon.
50:31 --> 50:35 [SPEAKER_01]: because then I'm like, I'm expecting there to be a reason.
50:35 --> 50:36 [SPEAKER_02]: Yeah, yeah, I want him to be a man.
50:36 --> 50:42 [SPEAKER_01]: And if there's not, you're like, well, why, so now it's like, if you don't want to be in a movie going, well, why was that person there?
50:43 --> 50:44 [SPEAKER_01]: Cause that's not in the movie.
50:45 --> 50:46 [SPEAKER_02]: This is 87.
50:48 --> 50:50 [SPEAKER_02]: Is Kevin Bacon not a thing yet?
50:50 --> 50:52 [SPEAKER_01]: Like, he's doing bacon's a thing.
50:52 --> 50:57 [SPEAKER_01]: In fact, I think there's, there's a reason he was in, I thought they were shooting.
50:58 --> 50:59 [SPEAKER_01]: Uh, she's having a baby or something.
50:59 --> 51:02 [SPEAKER_02]: What is Kevin Bacon's filmography at this point?
51:02 --> 51:14 [SPEAKER_02]: I'm curious because to have him do this part and he looks like a million bucks and It's Kevin Bacon and so you want more.
51:14 --> 51:17 [SPEAKER_02]: It's just it's an odd choice to use him like this.
51:19 --> 51:20 [SPEAKER_01]: So apparently I'm bringing it right now.
51:20 --> 51:21 [SPEAKER_01]: It was his idea.
51:21 --> 51:22 [SPEAKER_01]: Bacon's idea.
51:22 --> 51:24 [SPEAKER_01]: He was filming this movie and she's having a baby.
51:26 --> 51:50 [SPEAKER_01]: uh... so he enjoyed working with usually he told the director to be available for the for part even as an extra and he was living in Manhattan at the time so he took them all young man the young actor on his offer but uh... yeah so uh... so it was done casting yeah interesting well i don't think take a mountain because
51:52 --> 51:53 [SPEAKER_02]: I look forward to that part of the movie.
51:54 --> 51:57 [SPEAKER_02]: Like here comes the Kevin, here comes Kevin Beckham part, right?
51:58 --> 51:58 [SPEAKER_02]: Right.
51:58 --> 52:00 [SPEAKER_02]: I don't think I'd take him out, but I would want more.
52:01 --> 52:06 [SPEAKER_02]: I would want him to come back and do maybe a similar bit on the train or something.
52:07 --> 52:07 [SPEAKER_02]: I don't know.
52:07 --> 52:17 [SPEAKER_01]: It's something where... It does feel like there should be a book ended because like him taking that cab as sort of sets the whole thing in motion, right?
52:19 --> 52:19 [SPEAKER_02]: I think so.
52:20 --> 52:20 [SPEAKER_02]: Yeah.
52:21 --> 52:22 [SPEAKER_01]: So he plays.
52:22 --> 52:28 [SPEAKER_01]: So he plays a very critical part in the story to a degree and then we just don't see him again.
52:28 --> 52:36 [SPEAKER_01]: So yeah, I so I think that if you're going to say what what bacon character would you like to see in this movie, it's that one.
52:36 --> 52:38 [SPEAKER_01]: It's a character.
52:38 --> 52:42 [SPEAKER_01]: He is just more of it.
52:42 --> 52:45 [SPEAKER_02]: Just please give it to me the way it should be given to me.
52:52 --> 53:06 [SPEAKER_01]: Is this movie better worse around par with a Ron Howard I think he needs properly Howard, but I now with this monologue thing I'm thinking back that you run Howard leaves that in.
53:06 --> 53:11 [SPEAKER_02]: Oh interesting how could how could Ron Howard resist?
53:12 --> 53:15 [SPEAKER_02]: that moment of sincerity at the end.
53:15 --> 53:19 [SPEAKER_01]: That's why I think, so I was properly Howard all night until that moment.
53:19 --> 53:21 [SPEAKER_01]: I'm giving this Howard minus one.
53:21 --> 53:28 [SPEAKER_02]: All right, I'm gonna say it's still properly Howard, but I, well taken, well taken.
53:28 --> 53:31 [SPEAKER_02]: Sure, for sure, Howard would,
53:32 --> 53:35 [SPEAKER_02]: would make the movie a little bit more sense here at the end.
53:35 --> 53:40 [SPEAKER_02]: I don't know if you get some of the John Hughes moments.
53:41 --> 53:51 [SPEAKER_02]: Like for instance, the way that this movie opens is with a really funny scene with a guy about to say something and never said anything.
53:51 --> 53:52 [SPEAKER_01]: Yeah, that's pretty good.
53:53 --> 53:57 [SPEAKER_02]: It was just done brilliantly.
53:59 --> 54:03 [SPEAKER_02]: And you could, that, that sink could go wrong in a lot of ways.
54:04 --> 54:09 [SPEAKER_02]: So I don't know maybe the actor gets credit, but the comedic timing of that scene was just perfect.
54:10 --> 54:14 [SPEAKER_01]: Yeah, I know it is, it is, it's a great start because it's, it sets up an interesting level of tension.
54:15 --> 54:21 [SPEAKER_01]: and mandanity that has to be broken up and yeah, and how do you write that in the script?
54:21 --> 54:24 [SPEAKER_02]: I mean, it's just such a, I'd be curious to see how that was written in the script.
54:25 --> 54:29 [SPEAKER_02]: Yeah, because it's the first gag, you got to be pretty sure it's going to work.
54:30 --> 54:32 [SPEAKER_02]: I don't feel like I've seen that in a million movies.
54:33 --> 54:33 [SPEAKER_02]: Right.
54:36 --> 54:41 [SPEAKER_02]: It did immediately feel John Hughes in a way that isn't John Hughes tropey.
54:42 --> 54:42 [SPEAKER_02]: Right.
54:43 --> 54:45 [SPEAKER_02]: So anyway, I like that scene a lot.
54:45 --> 54:46 [SPEAKER_02]: I'm going to say properly have it.
54:49 --> 54:54 [SPEAKER_02]: Steve, is there a half the battle or one to go on moment in this?
54:56 --> 54:58 [SPEAKER_01]: Order your shower curtain rings online.
56:16 --> 56:21 [SPEAKER_02]: And a cocoon of horror was a long nose blow.
56:22 --> 56:28 [SPEAKER_02]: I did it and then I thought I was done and I wasn't done.
56:28 --> 56:33 [SPEAKER_01]: It's almost like you're no, you had a number two, nose blowing for him.
56:34 --> 56:37 [SPEAKER_02]: It's just so many boogers, so many boogers.
56:38 --> 56:38 [SPEAKER_02]: So little time.
56:39 --> 56:43 [SPEAKER_02]: I actually did a, I have a comedy question for you.
56:43 --> 56:45 [SPEAKER_02]: I doubt this will make the podcast.
56:46 --> 56:49 [SPEAKER_02]: I've never had a good booger joke in my life.
56:49 --> 56:51 [SPEAKER_01]: I've never heard a booger joke.
56:51 --> 56:56 [SPEAKER_02]: I guess there was a bit on Seinfeld where he was like scratching his nose, but it looked like he was picking his nose.
56:58 --> 56:59 [SPEAKER_02]: Yeah, it was okay.
57:00 --> 57:07 [SPEAKER_02]: I kind of feel like with the bugger, there's the reason why you can't ever do a good bugger joke.
57:07 --> 57:10 [SPEAKER_02]: And that is that it just seems so juvenile.
57:10 --> 57:15 [SPEAKER_02]: It seems like this is the kind of thing that you would laugh at when you were in second grade.
57:16 --> 57:22 [SPEAKER_02]: But for whatever reason, it's still something that every, it's, if universal, something that everyone deals with,
57:29 --> 57:42 [SPEAKER_01]: It just I almost just started giggling just that the idea of sane boogers like boogers is funnier than boogers like plural boogers Like the we used it's true now like it's good to stay like I'm gonna make you eat boogers.
57:43 --> 57:45 [SPEAKER_02]: That's really fun Okay, very similar.
57:46 --> 57:58 [SPEAKER_02]: I'm this is a very similar premise, but the nose hair That sticks out in an embarrassing way Like I feel like no, you could
57:58 --> 58:01 [SPEAKER_02]: easily write a joke for that, right?
58:01 --> 58:06 [SPEAKER_02]: But that doesn't have the juvenile connotation that Buggers have.
58:07 --> 58:12 [SPEAKER_01]: See, this is something I already laughed at because I said, could you set a Bugger joke?
58:12 --> 58:13 [SPEAKER_01]: And like, I mean it, I'm like, I don't think it can be done.
58:14 --> 58:16 [SPEAKER_01]: And then you said Buggers, and I'm like, that's funny.
58:17 --> 58:19 [SPEAKER_02]: It's more Buggers the better.
58:20 --> 58:22 [SPEAKER_02]: So you're saying that I'm wrong.
58:22 --> 58:25 [SPEAKER_02]: You're saying that the more Buggers that you can work
58:29 --> 58:33 [SPEAKER_01]: I just think that if I said boogers, it's funny, but it's got to be done right.
58:34 --> 58:36 [SPEAKER_01]: I do do a joke where I say snott.
58:36 --> 58:37 [SPEAKER_02]: It's not fine.
58:37 --> 58:41 [SPEAKER_01]: Boogers feels, but I mean, so you're saying specifically a booger joke.
58:41 --> 58:44 [SPEAKER_01]: So you're saying, it's because I mean, it's not is the same thing, right?
58:44 --> 58:48 [SPEAKER_01]: And it's not as, like, as the liquid form, boogers.
58:48 --> 58:48 [SPEAKER_02]: I saw it.
58:49 --> 58:56 [SPEAKER_02]: No, I mean, I don't know how the whole thing works, but I would imagine that there's some relationship between snott and boogers.
58:57 --> 58:58 [SPEAKER_01]: Yes, he's not.
58:58 --> 59:02 [SPEAKER_01]: I feel more mucusy, boogers are like, it's final form.
59:03 --> 59:10 [SPEAKER_02]: I do, I do feel like there's a sense in which the word boogers just feels juvenile.
59:11 --> 59:13 [SPEAKER_02]: And I don't know if there's another word for it.
59:16 --> 59:40 [SPEAKER_01]: Like if you saw somebody with a booger on their nose and you tell we're going to tell them you probably do more like hey you need to do one of these little things like squeeze your nose a little bit You don't you wouldn't say you wouldn't say you wouldn't say you have a visible you have a visible booger sir You don't want to be an adult your booger sang enough I'm right in a fact baby I think it'd be funny is like a curse
59:47 --> 59:48 [SPEAKER_02]: Like, I think that that's it.
59:48 --> 01:00:02 [SPEAKER_02]: Like, if I show the grossness of it, and then, like, the derision, like, this person's so juvenile, he's a mutual friend that if I, when I show one of our mutual friends one of my boogers, he gets like, gets viscerly angry.
01:00:02 --> 01:00:07 [SPEAKER_01]: Which, I mean, I probably shouldn't be showing my boogers, but is it Nathan?
01:00:08 --> 01:00:09 [SPEAKER_01]: No, it's Jason.
01:00:11 --> 01:00:15 [SPEAKER_01]: And as soon as he reacted, I was like, oh, you're gonna be my booger boy from now on.
01:00:16 --> 01:00:20 [SPEAKER_02]: Well, another thing about that, I don't have to put that in my back pocket for sure.
01:00:21 --> 01:00:28 [SPEAKER_01]: And in his defense, it's not like I've compared the two reactions I've never been like show to my poop and something like I've got more upset or not.
01:00:30 --> 01:00:31 [SPEAKER_01]: It's on the to-do list.
01:00:33 --> 01:00:34 [SPEAKER_02]: Oh, goodness gracious.
01:00:35 --> 01:00:42 [SPEAKER_02]: So yeah, I guess my, I guess my assumption was that there, it would be
01:00:45 --> 01:00:51 [SPEAKER_02]: because it does have the connotative value of being juvenile.
01:00:51 --> 01:00:55 [SPEAKER_02]: But you're saying, this is just an untapped reservoir.
01:00:56 --> 01:01:01 [SPEAKER_01]: Yeah, I'm thinking it's more, I don't think I could do like five minutes on boogers.
01:01:02 --> 01:01:08 [SPEAKER_01]: But I think incorporating the word boogers has potential to be pretty funny.
01:01:10 --> 01:01:10 [SPEAKER_01]: Interesting.
01:01:12 --> 01:01:17 [SPEAKER_01]: And maybe because it isn't, like, it isn't used very much by adults.
01:01:17 --> 01:01:18 [SPEAKER_01]: I wouldn't think.
01:01:20 --> 01:01:21 [SPEAKER_01]: Is there another word for bookers?
01:01:23 --> 01:01:26 [SPEAKER_01]: I think it's not your best bet, but I mean, I don't think it tells the story.
01:01:26 --> 01:01:28 [SPEAKER_02]: It doesn't not, no, absolutely.
01:01:28 --> 01:01:35 [SPEAKER_02]: I mean, a nasal matter, I mean, I don't know what we've done.
01:01:35 --> 01:01:37 [SPEAKER_01]: What would the medical journals say?
01:01:37 --> 01:01:42 [SPEAKER_01]: I'll ask another, let me see if I can follow what is the technical term for Boger?
01:01:42 --> 01:01:45 [SPEAKER_01]: Or even if there's a synonym for Boger.
01:01:47 --> 01:01:52 [SPEAKER_01]: The technical term for Boger is dried nasal mucus or more simply nasal mucus.
01:01:53 --> 01:01:57 [SPEAKER_02]: Again, that, I mean, look, dried nasal mucus.
01:01:57 --> 01:02:01 [SPEAKER_02]: You're telling me that the technical word for bugger needs three words.
01:02:02 --> 01:02:02 [SPEAKER_02]: Yeah.
01:02:03 --> 01:02:04 [SPEAKER_02]: No doubt about it.
01:02:04 --> 01:02:06 [SPEAKER_02]: There was nasal mucus before humans.
01:02:07 --> 01:02:08 [SPEAKER_02]: We come from nasal mucus.
01:02:08 --> 01:02:15 [SPEAKER_02]: Ha ha ha ha ha ha, that was Darwin's prologue.
01:02:16 --> 01:02:18 [SPEAKER_01]: Yeah, it's everybody's like, we are all but buggers.
01:02:22 --> 01:02:29 [SPEAKER_01]: That's why the bookers in the wind, yeah, of course, I think we found it.
01:02:29 --> 01:02:30 [SPEAKER_02]: We found it.
01:02:30 --> 01:02:32 [SPEAKER_01]: Well, we are laughing in the ginger.
01:02:33 --> 01:02:34 [SPEAKER_01]: Listeners.
01:02:34 --> 01:02:38 [SPEAKER_02]: Oh, I don't know if any of this make anything.
01:02:41 --> 01:02:42 [SPEAKER_01]: Come on.