Steve and Anthony get greedy with All the Money in the World.
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00:19 --> 00:24 [SPEAKER_02]: Welcome to Properly Howard, a podcast that reviews classic films and other book fiction.
00:25 --> 00:28 [SPEAKER_02]: Today we take a look at Ridley Scott's all the money in the world.
00:29 --> 00:37 [SPEAKER_02]: Starting Michelle Williams and Mark Walbert, this film chronicles the kidnapping of Paul Gettie, the grandson of billionaire John Paul Gettie, played by Christopher Plummer.
00:38 --> 00:46 [SPEAKER_02]: Plummer replaced Kevin Spacey because his vial as real life Gettie may have been, no one deserves to be played by Kevin Spacey.
00:46 --> 00:50 [SPEAKER_02]: With me to discuss this film as always is Dr. Anthony LaDive.
00:51 --> 00:54 [SPEAKER_00]: Steve, I want to talk to you about good fellas a little bit.
00:55 --> 00:57 [SPEAKER_00]: I don't know, can I watch the wrong movie?
01:00 --> 01:01 [SPEAKER_00]: I love good fellas.
01:03 --> 01:04 [SPEAKER_00]: I could watch it over and over and over.
01:06 --> 01:17 [SPEAKER_00]: It's based on a true story, sort of an insider view into the mafia, and I think if you watch it to the end and you're a thoughtful person.
01:18 --> 01:24 [SPEAKER_00]: you will realize that Scorsese is not trying to glamorize the Mafia.
01:26 --> 01:40 [SPEAKER_00]: You know, the last 20 minutes of the movie you're basically cocaine fields be trail and selfishness and spiral into depravity, which is kind of Scorsese's thing.
01:40 --> 01:43 [SPEAKER_02]: What you typically don't like, I...
01:43 --> 01:50 [SPEAKER_00]: There are times when the ride with Scorsese is so fun that you kind of don't mind the spiral.
01:51 --> 01:53 [SPEAKER_00]: And good fellows is one of these movies for me.
01:53 --> 01:59 [SPEAKER_00]: Some of us like you're having so much fun with these gangsters that you kind of see the appeal, right?
01:59 --> 02:11 [SPEAKER_00]: It's like I could see how you could get sucked in and tempted into this way of life and think that this is like the only way to live and all my life I wanted to be a gangster.
02:11 --> 02:32 [SPEAKER_00]: Exactly, exactly, all right, so even though he's kind of trying to make some kind of commentary on the ultimate depravity of this and selfishness and, you know, that loyalty is nothing in the end, you know, all of these comments that I think Squarespace he wants to make, you can't help but glamorize the lifestyle.
02:33 --> 02:34 [SPEAKER_02]: Well, you almost have to, right?
02:34 --> 02:39 [SPEAKER_02]: If you're going to go along
02:40 --> 02:41 [SPEAKER_02]: to do this, right?
02:41 --> 02:55 [SPEAKER_02]: The same like in real life, the ride will be worth whatever end I have to face because otherwise I'm just gonna be you know, working my ass off for the man and barely scraping by and I may live a longer life, but how well did I live, right?
02:56 --> 03:01 [SPEAKER_02]: So there's that side and then there's the other side that says, yeah, but you know what?
03:01 --> 03:04 [SPEAKER_02]: Because I've seen some of these cautionary tales, I think I could tweak this.
03:04 --> 03:05 [SPEAKER_02]: I think I could make this work.
03:06 --> 03:26 [SPEAKER_00]: Yep, and the godfather's not based on the true story, but you kind of get, you kind of see like the appealed like I kind of like the idea of living in a rich Italian family in, you know, in 1930s, New York and there's something about family loyalty that is is, you know, more important than patriotism
03:26 --> 03:31 [SPEAKER_00]: it's more important than following the the civic laws which are kind of rigged against you.
03:31 --> 03:37 [SPEAKER_00]: This is maybe this kind of old system of a patriarch might be attractive.
03:38 --> 03:48 [SPEAKER_00]: And so there's a little bit of glamour that goes into that even though the you know Puso was sort of he kind of hated the mafia and so he tried to
03:48 --> 04:04 [SPEAKER_00]: show how this lifestyle ultimately leads to alienation and betrayal against your family, but even so those movies that I just mentioned, they are revered by Italians.
04:04 --> 04:18 [SPEAKER_00]: The Italians are monsters, and they're reviewed, and not just the times, they're reviewed by almost all film lovers, and there's just something really cool about watching gangsters do gangsters shit, right?
04:18 --> 04:19 [SPEAKER_02]: Same thing in mind, it's crazy.
04:19 --> 04:30 [SPEAKER_02]: And in comedy, like one thing we noticed at that, there is a, there's a gravitational pull to stand up from a narcissist.
04:31 --> 04:40 [SPEAKER_02]: many at times, not all the time, but many times some of the worst comics that I've seen are narcissists because their goal is to be heard.
04:42 --> 04:47 [SPEAKER_02]: And so, so they will, they have a very skewed view of how well they've done, right?
04:48 --> 04:56 [SPEAKER_02]: If, if you believe that your voice is the most important voice, then getting on stage is the goal.
04:57 --> 04:58 [SPEAKER_02]: And being amplified is the goal.
04:59 --> 05:05 [SPEAKER_02]: It's not so much did the crowd laugh because then they get off stage and go, the audience was dumb, they didn't get it.
05:05 --> 05:09 [SPEAKER_02]: Um, so I guess what I'm saying is that all Italians are narcissists.
05:09 --> 05:29 [SPEAKER_00]: They don't care how to portray it As long as they're portrayed I could uh, I could get behind that This movie that we're covering today all the money in the world is very much a mafia movie It's not told from an insider Perspective And this is not someone who's attracted to them or grows up in the life
05:30 --> 05:34 [SPEAKER_00]: you know, who rises to the upper echelons of the family or anything like that.
05:35 --> 05:37 [SPEAKER_00]: But it's very much a Mafia movie.
05:37 --> 05:42 [SPEAKER_00]: It's very much an Italian Mafia movie, and there's no glamour.
05:43 --> 05:46 [SPEAKER_00]: These guys are either just evil or their thugs.
05:47 --> 05:51 [SPEAKER_00]: This to me feels like an outlier from Mafia movies because
05:51 --> 05:55 [SPEAKER_00]: There's absolutely no attempt to glamorize the life.
05:56 --> 06:00 [SPEAKER_00]: Now, this is supposed to be a true story, which is a bonkers true story.
06:01 --> 06:01 [SPEAKER_00]: Right, yes.
06:02 --> 06:06 [SPEAKER_00]: There is a bit of artistic license taken, but not as much as I thought.
06:06 --> 06:11 [SPEAKER_00]: Yeah, to hype up the drama, they added a few little action sequences that didn't happen.
06:12 --> 06:15 [SPEAKER_02]: But they also took some of it down, I think.
06:15 --> 06:18 [SPEAKER_02]: I was reading some things that are like, like, wow, that's...
06:19 --> 06:46 [SPEAKER_02]: And I wonder if it's like if you go this route like how do you sell the other part of like because then that become sort of you know if you're trying to make some some action sequences a little bit more effective you can't have maybe all the other longer stuff that goes on yeah this movie gives a true picture of the mafia then most other films that really want to study how how a person can be attracted to that life.
06:46 --> 07:15 [SPEAKER_00]: right well i mean is that is there something to be said for the americanization of the mafia i think so i i yeah for sure for sure there is and and yet you know even the godfather you know there's that whole sequence where he goes back to Italy and you know this this thing goes this thing this thing is centered in Sicily and it all kind of still connects to Sicily i don't know i feel like i i don't want to demonstrate those other two movies
07:16 --> 07:35 [SPEAKER_00]: but for the same reason that men in their 20s are really attracted to the wolf of Wall Street, like not really knowing that Squarespace is trying to paint this guy as a total douche, like that's kind of lost on a lot of young men.
07:35 --> 07:38 [SPEAKER_00]: They just see it as glamorous.
07:38 --> 07:43 [SPEAKER_00]: And I think that there's something about these Mafia movies that do the same kind of thing.
07:43 --> 07:58 [SPEAKER_00]: It's like the filmmaker knows what he's doing, and I think sort of a thoughtful view or knows what's being done here, but it doesn't change the fact that we're going to put up posters of Scarface on our dorm room walls, right?
07:58 --> 07:58 [SPEAKER_00]: Right.
07:59 --> 08:00 [SPEAKER_02]: Yeah, that is interesting, right?
08:00 --> 08:01 [SPEAKER_02]: I mean, it is
08:02 --> 08:14 [SPEAKER_02]: I mean it's one I mean I guess it's sort of the the concept of the anti-hero for one like to see to watch a movie centered around somebody who is your Your protagonist in the film
08:15 --> 08:17 [SPEAKER_02]: But he's the antagonist in life.
08:19 --> 08:23 [SPEAKER_02]: But if you're going through that process, it's like, oh, this is cool.
08:23 --> 08:24 [SPEAKER_02]: I suppose.
08:25 --> 08:30 [SPEAKER_02]: And yeah, so I do wonder how much of it is like, oh, I really like this movie, what a good story.
08:30 --> 08:38 [SPEAKER_02]: But it's, I never got the sense that Tony McDaniel was being considered a cautionary tale when he's on a fauna dorm room poster.
08:39 --> 08:44 [SPEAKER_02]: And probably mentioned the Wolf of Wall Street
08:45 --> 08:58 [SPEAKER_02]: desperate for work and I got a job interview, I got sent a whole list of things that I needed to have ready and they said the interview was business formal, which I've never received before.
08:59 --> 09:14 [SPEAKER_02]: So I'd look up business formally, so I'm co-tie-hold deal and I get to this place and there's this young 20-something dude, he's in a really well-fitting suit and he's just
09:14 --> 09:44 [SPEAKER_02]: uh... he's got power poses the whole thing and and he's just selling show me picture after picture of uh... of the team you know when they're on a boat you know and and uh... and all the things that i'm just like and immediately i'm immediately turned off like oh god this is no way i do i have any interest in in any of this uh... but you know i need to work so what see what's up and it turns out what they are as they were they were company that is uh...
09:45 --> 09:51 [SPEAKER_02]: He's like, you know, putting a dish on your house and like, like, direct TV or whatever.
09:51 --> 09:52 [SPEAKER_02]: Yeah.
09:52 --> 09:58 [SPEAKER_02]: So they were guys that would just be at that Costco and bother in you on your way out or on your way in.
09:58 --> 10:08 [SPEAKER_02]: And I'm like, and I'm like, and you had me where, you know, you said that being like my, my management experience would come in handy like, well, yeah, because I mean, you're really managing these sales.
10:10 --> 10:12 [SPEAKER_00]: And so the whole thing is a facade.
10:12 --> 10:16 [SPEAKER_00]: I mean, I think that that is kind of one of the things about these mafia movies.
10:16 --> 10:20 [SPEAKER_00]: It's like, how much does the art create the reality?
10:21 --> 10:28 [SPEAKER_00]: Like, I want you to watch a documentary on how the godfather actually changed the way that mafia so dressed.
10:29 --> 10:32 [SPEAKER_00]: Mmm, like they weren't, they were not dressed.
10:32 --> 10:37 [SPEAKER_00]: They're not dressing in suits, but once they saw the godfather, they thought, oh, that's how you do it.
10:37 --> 10:37 [SPEAKER_00]: Right?
10:38 --> 10:38 [SPEAKER_00]: Yeah.
10:38 --> 10:41 [SPEAKER_02]: So some guys still hanging onto the track jackets, you know.
10:42 --> 10:45 [SPEAKER_00]: So all the money in the world you've never seen this.
10:46 --> 10:50 [SPEAKER_00]: No, just getting your impression first impression of the film.
10:51 --> 10:55 [SPEAKER_00]: And you do enjoy a based on the true story kind of film.
10:55 --> 10:56 [SPEAKER_00]: Yep.
10:56 --> 10:57 [SPEAKER_00]: I think you're a fan of Ridley Sky.
10:57 --> 10:58 [SPEAKER_02]: It's interesting.
10:58 --> 11:00 [SPEAKER_02]: I was looking at Emma first off, Ridley Scott.
11:00 --> 11:01 [SPEAKER_02]: His
11:02 --> 11:22 [SPEAKER_02]: his breath of movies is very interesting because like my son is an alien you know kind of sore you know like he just he can't so and it's some really Scott known for building this this alien world and this lore right however
11:22 --> 11:25 [SPEAKER_02]: He's also known for building this Blade Runner lore, right?
11:25 --> 11:29 [SPEAKER_02]: Okay, so two science fiction films, but kind of pretty different approaches, right?
11:29 --> 11:31 [SPEAKER_00]: Very different, fell in the weeds.
11:32 --> 11:41 [SPEAKER_02]: Also known for gladiator, you know, and like you said, dumb in the weeds, and legend and, you know, a movie like this.
11:42 --> 11:52 [SPEAKER_02]: And I mean, he's got a lot of kind of like all over the map and American gangster, right?
11:52 --> 12:04 [SPEAKER_02]: Yeah, and then there's a bunch of things I haven't seen, like a nursing black Hawk down, and I've never seen the Napoleon just recently watched Black Hawk down again for the first time in probably 15 years.
12:06 --> 12:09 [SPEAKER_00]: He loves big stories.
12:09 --> 12:26 [SPEAKER_00]: uh if you were gonna like put together a Ridley Scott list i think most of the time he likes telling giant stories whether it's like world building or telling the story over decades or creating giant set pieces
12:26 --> 12:47 [SPEAKER_00]: and you can kind of trust him at the helm and yet i could not get through the Napoleon Napoleon was just it was long and i could i could understand why it would really scout would be the guy to tell that story but oh my gosh the scope is just too too much sometimes it took actually chew on
12:47 --> 12:52 [SPEAKER_00]: I felt like this movie was right-sized for the kind of story that it was.
12:53 --> 12:55 [SPEAKER_00]: He did have to do a bit of world building.
12:55 --> 13:00 [SPEAKER_00]: I don't know if you need the San Francisco prologue or whatever.
13:01 --> 13:03 [SPEAKER_00]: I think you do.
13:03 --> 13:10 [SPEAKER_00]: I felt like I needed to be drawn into like who the get-ies were, what makes this guy tick.
13:10 --> 13:14 [SPEAKER_00]: Like in the voice over to the beginning of the movie, they're these get-ies.
13:14 --> 13:16 [SPEAKER_00]: They're kind of like aliens.
13:17 --> 13:23 [SPEAKER_00]: you have to get into what makes them function in order to understand why they're motivated the way that they are.
13:24 --> 13:24 [SPEAKER_02]: Right.
13:25 --> 13:46 [SPEAKER_02]: Well, and I think the San Francisco part is more important to sort of accentuate if you decide to go with some of the other nuances of the actual getty relationship with his grandson and that family and maybe his perception of them because I do think that there is the
13:46 --> 14:08 [SPEAKER_02]: his sort of disdain for like the the hippy culture and yeah and and I think that that's what you see being sort of laid out and I don't I don't think the movie explores it very well or I mean I don't know if it needs to but I think that that there is an element of that that probably is why you would want to set it in San Francisco but it maybe doesn't pay off that
14:08 --> 14:23 [SPEAKER_00]: rational for for for kind of staying there in the beginning of the movie as much because you don't really deal with that Yeah, I kind of go crucial crucial to this movie is to understand that the the the son You know the Paul senior the son of John Paul Getty
14:24 --> 14:29 [SPEAKER_00]: is kind of a strange from his father and is kind of broke at one point.
14:30 --> 14:36 [SPEAKER_00]: As soon as he gets a little taste to money and a little taste to heroin, he's ruined.
14:37 --> 14:42 [SPEAKER_00]: He's just completely like all of his priorities as a parent just go out the window.
14:43 --> 14:53 [SPEAKER_00]: So you kind of need to understand that
14:54 --> 14:58 [SPEAKER_00]: is just completely at the mercy of this grandfather.
14:59 --> 15:05 [SPEAKER_00]: So you kind of need the services go sequence to see how she got to where she was at, right?
15:05 --> 15:05 [SPEAKER_00]: Right.
15:07 --> 15:12 [SPEAKER_00]: So anyway, I just, I think it's interesting to tell this story from her point of view because,
15:14 --> 15:21 [SPEAKER_00]: You kind of get the sense that she's helpless and yet you don't, you never get the sense that she is a Danville, a Danville in distress.
15:22 --> 15:22 [SPEAKER_00]: No.
15:22 --> 15:27 [SPEAKER_00]: She's got a few moments in the film where she actually, you know, she's making good decisions.
15:27 --> 15:28 [SPEAKER_00]: She's winning arguments.
15:28 --> 15:37 [SPEAKER_00]: She's using strategy to her advantage and yet completely outmatched just by the sheer money on the other side of the ledger.
15:38 --> 15:38 [SPEAKER_02]: Right.
15:39 --> 15:41 [SPEAKER_02]: Well, yeah.
15:41 --> 16:07 [SPEAKER_02]: And I guess reading a little bit of backstory on those two is that like there was the real life mother she was sort of dismissed a lot during the investigation process because it's a woman and so they didn't want her involved in much of anything but I think she sort of made her way through that by kind of
16:07 --> 16:11 [SPEAKER_02]: You know, because they were not believing that he was kidnapped.
16:11 --> 16:14 [SPEAKER_02]: And the thought it was just sort of a ruse.
16:14 --> 16:16 [SPEAKER_02]: And so she's, you know, kind of pushed forward.
16:17 --> 16:19 [SPEAKER_02]: And so it's, I'm, yeah, I think you're right.
16:19 --> 16:28 [SPEAKER_02]: I think it's good to have it kind of shown through her lens, because I think if you're also trying to make commentary on just the concept of billionaires, right?
16:28 --> 16:37 [SPEAKER_02]: I mean, that's, that's a big element here is this sort of the paranoia
16:38 --> 16:54 [SPEAKER_02]: the idea that once you've just because you've got money, especially in this case, and because I think this is a really fascinating exploration of the concept of billionaires, I don't think people think of a lot is that it's not like their scrooge McDuck, and they just have a vault full of gold coins that they swim through.
16:55 --> 17:06 [SPEAKER_00]: A lot of this money is sort of theoretical.
17:08 --> 17:29 [SPEAKER_00]: intricate system of tax evasion, whereby everything he's got is wrapped up in, you know, tax havens, art collection, you know, charitable foundations that don't do charity, but everything is rigged just so so he never has to pay taxes.
17:29 --> 17:30 [SPEAKER_00]: Right, right.
17:30 --> 17:41 [SPEAKER_00]: And of course, you know, he, look, man, if you wanted to like just bring 10 paintings to Italy and Traded for his grandson's life, you probably could have done that.
17:41 --> 17:41 [SPEAKER_00]: Right.
17:41 --> 17:43 [SPEAKER_00]: You know, there's nothing's to stop him from doing that.
17:44 --> 17:45 [SPEAKER_00]: But
17:45 --> 18:08 [SPEAKER_00]: everything my impression is that everything like money is meaningless at this point for the guy and so everything is kind of a game right and he's playing against the ghost of his father who thought he was nothing and so the question is did I at the end of every day did I win in the oil this oil game I'm in
18:08 --> 18:10 [SPEAKER_00]: I don't like losing, right?
18:10 --> 18:17 [SPEAKER_00]: And of course, if you do believe that your grandson is faking his own kidnapping, it's a game.
18:17 --> 18:20 [SPEAKER_00]: It's a game, and you don't want to lose that battle either.
18:21 --> 18:21 [SPEAKER_00]: Right?
18:21 --> 18:31 [SPEAKER_00]: So I think that there's something about that that makes a little bit of sense of this character, and yet an ear comes in the mail,
18:31 --> 18:37 [SPEAKER_00]: And your solution is to, okay, I'll pay as much money as I can that is tax deductible.
18:40 --> 18:44 [SPEAKER_00]: Yeah, so, so at the end of the day, he's still playing the game.
18:45 --> 18:53 [SPEAKER_02]: Right, and his thought is, at least from what I'm gathering, is like, look, these gangsters, yeah, they're cutting off ears, they're doing all this stuff.
18:54 --> 18:57 [SPEAKER_02]: they'll be happy to give whatever I get them.
18:57 --> 18:58 [SPEAKER_02]: They're desperate.
18:58 --> 18:59 [SPEAKER_02]: They're desperate for money.
18:59 --> 19:02 [SPEAKER_02]: So much so that they're willing to put their lives on the line for this.
19:03 --> 19:06 [SPEAKER_02]: I'm going to call their bluff in a way.
19:06 --> 19:14 [SPEAKER_02]: Like, you know, okay, I like there's enough of a motivation to to capitulate a little bit to say, okay, I'll give you some money.
19:14 --> 19:23 [SPEAKER_00]: Well, hey, I mean, from one perspective, he talked him down from from what was 17 million 17 to four.
19:23 --> 19:23 [SPEAKER_02]: Yeah.
19:24 --> 19:25 [SPEAKER_00]: Right.
19:25 --> 19:26 [SPEAKER_00]: So it's like.
19:26 --> 19:27 [SPEAKER_00]: Yeah.
19:27 --> 19:27 [SPEAKER_00]: He was right.
19:28 --> 19:29 [SPEAKER_00]: It was a little bit of a game.
19:30 --> 19:38 [SPEAKER_00]: And he was playing fast and loose with his grandson's life, but they were willing to negotiate.
19:39 --> 19:42 [SPEAKER_00]: And that's how this world works.
19:46 --> 19:49 [SPEAKER_00]: I wanted to talk to you about casting, relative to this film.
19:50 --> 20:05 [SPEAKER_00]: The first thing I wanted to just call out is that I really enjoy this film, I've seen a few times now, I think it's really well made, Mark Wahlberg, I just stick on Mark Wahlberg every single time.
20:07 --> 20:10 [SPEAKER_00]: I just, I love Mark Wahlberg in the departed.
20:10 --> 20:13 [SPEAKER_00]: Like, I feel like he steals every scene in the departed.
20:13 --> 20:16 [SPEAKER_00]: Because, you know, it's, of course, easy film.
20:16 --> 20:18 [SPEAKER_00]: So it's like about gangsters, but it's kind of fun, too.
20:19 --> 20:19 [SPEAKER_00]: Right.
20:20 --> 20:22 [SPEAKER_00]: This just doesn't feel like a Mark Wahlberg film.
20:24 --> 20:28 [SPEAKER_00]: What was your, what was your thought about that role?
20:28 --> 20:32 [SPEAKER_02]: I think a lot of, I mean, yeah, so with Mark Wahlberg,
20:35 --> 20:41 [SPEAKER_02]: I feel like the echo of the surprise of Mark Wahlberg is still resonating throughout culture.
20:42 --> 20:47 [SPEAKER_00]: He's not horrible in this film, but it's like, I don't think he's horrible in most things.
20:47 --> 20:49 [SPEAKER_02]: I mean, there are definitely some turns.
20:49 --> 20:52 [SPEAKER_02]: It's still a marky mark that is still a marky mark.
20:52 --> 21:00 [SPEAKER_02]: And that's the thing that it's crazy to think about, but as a Gen Xer, that's, I don't think will ever divorce.
21:00 --> 21:22 [SPEAKER_02]: Mark Wahlberg from Mark, the same way that maybe our parents could never divorce Ronald Reagan from the fact that he was an actor I guess you're right Yeah, you know, I mean it's when it so I think every I think I wonder if if Gen X is more prone To give Wahlberg a pass because we're still like still can't move that's Marky Mark doing that
21:23 --> 21:25 [SPEAKER_00]: We didn't have the same thing with Will Smith though.
21:25 --> 21:27 [SPEAKER_00]: Like, there was something that was, yes, we did.
21:27 --> 21:28 [SPEAKER_02]: Are you kidding me?
21:28 --> 21:31 [SPEAKER_02]: Will Smith was the biggest guy in the world.
21:31 --> 21:35 [SPEAKER_02]: And I think something was, some parents just don't understand.
21:35 --> 21:39 [SPEAKER_00]: At some point he crossed over into, you kind of forgot he was Will Smith.
21:39 --> 21:46 [SPEAKER_00]: He's actually, you know, when I'm watching, you know, him in the zombie movie, what's that movie coming off the weekend?
21:46 --> 21:46 [SPEAKER_00]: I have legend.
21:47 --> 21:48 [SPEAKER_00]: I, when I'm watching, I am legend.
21:50 --> 21:51 [SPEAKER_00]: I'm nothing.
21:52 --> 21:55 [SPEAKER_00]: That's, that's a fresh prince right there.
21:55 --> 21:58 [SPEAKER_02]: You're not thinking this movie would have been undercoat with a flat up.
21:59 --> 22:01 [SPEAKER_00]: I'm not looking around the corner like, where's Jeff?
22:02 --> 22:04 [SPEAKER_00]: Jeff's got to be in this movie somewhere.
22:04 --> 22:12 [SPEAKER_02]: Well, and I think that goes to my point is that Will Smith is objectively better and he can hold and he can carry a film where his wallberg
22:13 --> 22:16 [SPEAKER_02]: gets like I said, I think he gets more of a pass.
22:16 --> 22:22 [SPEAKER_00]: Well, and he's still doing comedic roles, like most of what Robert does is is kind of funny.
22:23 --> 22:26 [SPEAKER_00]: And this movie just feels like the wrong movie for him.
22:26 --> 22:27 [SPEAKER_00]: I don't think he's horrible in it.
22:27 --> 22:30 [SPEAKER_00]: I just, there's just, I don't think I doubt it.
22:30 --> 22:31 [SPEAKER_02]: I didn't buy the last sequence.
22:32 --> 22:37 [SPEAKER_02]: What's the, if remind me of the last sequence when he's when he's telling Gettie off, right?
22:38 --> 22:45 [SPEAKER_00]: Or not the last, but like the last interaction between the two of them when he gets when he gets to finally tell Gettie, what are you really thinks of him right?
22:45 --> 22:46 [SPEAKER_02]: It doesn't.
22:47 --> 22:48 [SPEAKER_02]: He's not menacing enough.
22:51 --> 22:55 [SPEAKER_02]: In my opinion, like he doesn't to me that scene doesn't.
22:56 --> 23:03 [SPEAKER_02]: Maybe because of the performance, doesn't, you know, be get the money to be wired in my opinion.
23:04 --> 23:13 [SPEAKER_02]: And, and again, I don't think I never thought he was bad in it, but I was a lot of times going, really, while we're gone.
23:13 --> 23:20 [SPEAKER_02]: Okay, this is gonna seem odd because- And he got a big raise to do more reshutes.
23:21 --> 23:23 [SPEAKER_00]: Yeah, we gotta talk about that, one of them before we do that.
23:23 --> 23:25 [SPEAKER_00]: Before we talk about that.
23:26 --> 23:28 [SPEAKER_00]: In terms of recasting, we'll just do my one tweak now.
23:30 --> 23:32 [SPEAKER_00]: This is gonna seem odd because I'm usually not a big fan.
23:33 --> 23:35 [SPEAKER_02]: But I think I know exactly what you're gonna say.
23:35 --> 23:36 [SPEAKER_00]: Where am I gonna say?
23:37 --> 23:37 [SPEAKER_02]: Russell Crow.
23:38 --> 23:39 [SPEAKER_00]: I was gonna say, how did you know that?
23:41 --> 23:50 [SPEAKER_00]: I was gonna say, Russell Crow would have been perfect for this part because he can be kind and he can be very menacing.
23:50 --> 23:54 [SPEAKER_00]: And I can believe that he's smart enough to be in those rooms.
23:55 --> 23:59 [SPEAKER_02]: And I think that really Scott has a history of getting really good performances.
23:59 --> 24:00 [SPEAKER_00]: That's what I was going to say.
24:00 --> 24:06 [SPEAKER_00]: It's like, it's really Scott, why not have Russell Crowe in this part?
24:06 --> 24:07 [SPEAKER_02]: Right.
24:07 --> 24:08 [SPEAKER_02]: And I do think that you're right.
24:08 --> 24:16 [SPEAKER_02]: Like, I mean, because I think there's a point where when he makes that shift, if you made that shift at the end, you would believe, maybe I don't want to mess with this guy.
24:17 --> 24:23 [SPEAKER_02]: Whereas Walberg is the kind of guy you don't want to mess with, not because he's going to outsmart you, but because he might like take you up behind the woodshed or something.
24:23 --> 24:24 [SPEAKER_00]: He'll take you down a notch.
24:25 --> 24:27 [SPEAKER_00]: Yeah.
24:27 --> 24:27 [SPEAKER_00]: Yeah.
24:27 --> 24:36 [SPEAKER_00]: Or, you know, I'd be okay if it's not, if it's not crow, maybe at least Donnie Walberg.
24:36 --> 24:37 [SPEAKER_02]: So maybe.
24:37 --> 24:45 [SPEAKER_02]: It's both of them, and in the scenes where he's really tough, it's Donnie Walberg, and then in the other scenes he's Mark Walberg, sort of a jekyll and hide thing.
24:45 --> 24:47 [SPEAKER_00]: Okay, so we're talking about the one tweak.
24:48 --> 24:51 [SPEAKER_00]: I think this movie had one tweak, really improved it.
24:52 --> 24:54 [SPEAKER_02]: Yeah, I think you're right, yes.
24:54 --> 25:01 [SPEAKER_00]: And so we should say, it wasn't just the spacey was cast for the role.
25:02 --> 25:03 [SPEAKER_00]: You've done 10 days of shoot.
25:03 --> 25:06 [SPEAKER_00]: You've filmed the entire movie as John Paul Gettie.
25:06 --> 25:10 [SPEAKER_02]: He's actually in, there's a scene in this movie with that we just watched where it's Kevin Spacey.
25:11 --> 25:20 [SPEAKER_00]: I guess because of when it's made was this 2017, there were three weeks from release and all of the accusations of Kevin Spacey come out.
25:20 --> 25:24 [SPEAKER_00]: And so really Scott decides, I don't want his stink on this movie.
25:25 --> 25:27 [SPEAKER_00]: I'm going to ask Christopher Plummer,
25:28 --> 25:29 [SPEAKER_00]: to reshoot all these scenes.
25:30 --> 25:42 [SPEAKER_00]: And so Christopher, Plummer comes in, he reshutes most of the scenes, the one scene that they just like CGI'd him over was the scene where he's in Saudi Arabia.
25:42 --> 25:46 [SPEAKER_00]: Yeah, because it was, I guess, too expensive to do a reshoot of that.
25:46 --> 25:50 [SPEAKER_00]: Which I didn't really know that Spacey was attached to this film at the end.
25:50 --> 25:57 [SPEAKER_00]: So not only did that improve the movie, Plummer is nominated for Best Supporting Actor.
25:57 --> 25:58 [SPEAKER_00]: for this film.
25:59 --> 26:03 [SPEAKER_00]: So there's your one tweak that really Scott already did it.
26:03 --> 26:06 [SPEAKER_00]: He took Spacey out and put it in Christopher Plummer.
26:06 --> 26:15 [SPEAKER_00]: Now part of the why that's a good decision is because Christopher Plummer is awesome and has done can kill a role like this.
26:15 --> 26:17 [SPEAKER_00]: He's perfect for this role.
26:17 --> 26:20 [SPEAKER_00]: but the other reason and this goes old.
26:20 --> 26:23 [SPEAKER_00]: This goes back to our pen-grin conversation.
26:23 --> 26:24 [SPEAKER_00]: Okay, that's it.
26:24 --> 26:30 [SPEAKER_00]: Watching Spacey in that makeup just changes the tone of every scene that he's in.
26:30 --> 26:31 [SPEAKER_02]: Totally.
26:31 --> 26:35 [SPEAKER_02]: When you show me that, when you set me the trailer with Spacey in it, I'm like,
26:35 --> 26:40 [SPEAKER_02]: Like the scene where it's supposed to be like the big reveal that Kevin Spacey is is getting.
26:40 --> 26:42 [SPEAKER_02]: I'm like, I don't know if I want to watch this.
26:44 --> 26:47 [SPEAKER_00]: There's something like this is a sci-fi to be fine with it.
26:47 --> 26:56 [SPEAKER_00]: If this was sort of, um, you know, this was sort of a world where I'm expecting a lot, lots of actors and makeup.
26:56 --> 26:57 [SPEAKER_00]: It's fine.
26:57 --> 27:00 [SPEAKER_00]: But because this movie is so,
27:00 --> 27:03 [SPEAKER_00]: Like the conceit of this movie is that it's true.
27:03 --> 27:04 [SPEAKER_00]: It's a true story.
27:04 --> 27:06 [SPEAKER_00]: It's bonkers, but it really happened.
27:07 --> 27:11 [SPEAKER_00]: To bring in Spacey, who by all counts as an amazing actor?
27:12 --> 27:13 [SPEAKER_00]: Sure.
27:13 --> 27:24 [SPEAKER_00]: To bring in Spacey and put him in full makeup is a problem because you're going for hyper realism number one and number two, I know what's Kevin Spacey looks like.
27:24 --> 27:24 [SPEAKER_00]: Right.
27:25 --> 27:26 [SPEAKER_00]: I've seen him in a lot of films.
27:26 --> 27:33 [SPEAKER_00]: And so whenever I see him in makeup, I'm thinking, hmm, now I know that that's Kevin Spacey and makeup.
27:34 --> 27:34 [SPEAKER_00]: Right.
27:34 --> 27:36 [SPEAKER_00]: And now I'm that's what I'm thinking about.
27:37 --> 27:42 [SPEAKER_00]: So I think Christopher Plummer is absolutely the right choice for this.
27:43 --> 27:50 [SPEAKER_02]: But he's not having to play through makeup because one of the hard parts, and this is where I think the penguin is.
27:51 --> 27:53 [SPEAKER_02]: because I think the makeup is so good in penguins.
27:53 --> 28:00 [SPEAKER_02]: I think it's a little different than in this case because you plumbered us so much with
28:00 --> 28:04 [SPEAKER_02]: his eyes and slight facial expressions at the right time.
28:05 --> 28:09 [SPEAKER_02]: You're just not going to get that if you believe that it's old.
28:09 --> 28:15 [SPEAKER_02]: Well, yes, that's helpful because you're not fighting through makeup to give a performance, right?
28:15 --> 28:20 [SPEAKER_00]: And one of his superpowers is that he's actually 80 years old, right?
28:20 --> 28:21 [SPEAKER_02]: Right.
28:21 --> 28:23 [SPEAKER_02]: I mean, and he is sensational in this movie.
28:23 --> 28:25 [SPEAKER_02]: I mean, he is so...
28:25 --> 28:33 [SPEAKER_02]: Uh, I feel like I knew when I started reading more of the backstory, I'm like, I already feel like I knew it just by virtue of his performance, like that's how good it was, right?
28:34 --> 28:44 [SPEAKER_02]: I didn't know much about John Paul getting going into this, but everything you read after really like, oh yeah, he exuded that, right?
28:44 --> 28:51 [SPEAKER_02]: And I'm not saying that space he couldn't have pulled that off, but I'm glad we didn't have to see him give it a shot.
28:52 --> 28:53 [SPEAKER_00]: Yeah.
28:54 --> 28:57 [SPEAKER_00]: I love Plumber in this role.
28:57 --> 28:58 [SPEAKER_00]: I think he's perfect.
28:58 --> 29:01 [SPEAKER_00]: I think Michelle Williams is great.
29:01 --> 29:02 [SPEAKER_00]: She's really good.
29:03 --> 29:04 [SPEAKER_00]: She's really good in this role.
29:04 --> 29:15 [SPEAKER_00]: She kind of like, I think you're supposed to think that she comes from any two, but maybe she kind of gave it up for the Bohemian lifestyle.
29:15 --> 29:21 [SPEAKER_00]: Yeah, early on, she's helping them write the letter and he's like, look, I've never been around people with actual money.
29:21 --> 29:23 [SPEAKER_00]: Is this going to have to help write this letter?
29:24 --> 29:30 [SPEAKER_00]: So she does her voice affect is, it almost sounds like she's from a wealthy family too.
29:30 --> 29:35 [SPEAKER_00]: And in addition, whenever she's in a room with him, she's not intimidated.
29:36 --> 29:36 [SPEAKER_02]: Right.
29:36 --> 29:41 [SPEAKER_02]: And I think in the real story, like her father does a lot too.
29:41 --> 29:45 [SPEAKER_02]: uh, to help influence getty's um actions.
29:45 --> 29:48 [SPEAKER_00]: So he might have all right interest.
29:48 --> 29:49 [SPEAKER_00]: He must have something right.
29:49 --> 29:52 [SPEAKER_00]: There's a couple of little bits of this movie that I wanted to call out.
29:52 --> 30:01 [SPEAKER_00]: But before I do, here are a few things that in my research, it turns out were a little bit different than the films representation.
30:02 --> 30:09 [SPEAKER_00]: So the kidnapped kid never causes a fire and escapes.
30:09 --> 30:11 [SPEAKER_00]: So that brings more action to it.
30:12 --> 30:15 [SPEAKER_00]: He wasn't in a barn, he was like kept in a cave.
30:16 --> 30:18 [SPEAKER_00]: So I mean, that,
30:18 --> 30:20 [SPEAKER_00]: Yeah, that seems even more bonkers.
30:20 --> 30:41 [SPEAKER_00]: It's like right guess he never saw the faces of the captors The mother never identified the burnt body and at the end that final sort of chased through the city didn't happen they let him lose and they found him at a gas station Yeah, and then I don't think she was there the mom
30:43 --> 30:45 [SPEAKER_02]: they very well could be.
30:45 --> 30:49 [SPEAKER_02]: I think that I think that was a chase went on his own.
30:50 --> 30:54 [SPEAKER_00]: You know, otherwise the movie is, you know, he really got his ear cut off.
30:56 --> 31:07 [SPEAKER_00]: The ear was sent through the mail at the same time that there was a postal strike, so it took an additional two weeks to get wherever it was going.
31:07 --> 31:09 [SPEAKER_00]: They didn't show that in the movie.
31:09 --> 31:13 [SPEAKER_00]: I thought that was a great little window into how efficient the Italian government is.
31:16 --> 31:25 [SPEAKER_00]: If Italians are not portrayed in a prejudging, particularly positive play in this film, it is a true story.
31:25 --> 31:29 [SPEAKER_00]: Have you ever shot clay pigeons?
31:30 --> 31:30 [SPEAKER_02]: No.
31:31 --> 31:32 [SPEAKER_02]: I did once.
31:33 --> 31:34 [SPEAKER_02]: I didn't have done it on the Wii.
31:36 --> 31:37 [SPEAKER_00]: Okay.
31:37 --> 31:37 [SPEAKER_00]: All right.
31:38 --> 31:41 [SPEAKER_00]: I loved the way that Wahlberg holds the shotgun.
31:43 --> 31:45 [SPEAKER_00]: It just kind of tells you something about this guy.
31:45 --> 31:48 [SPEAKER_00]: It's like, yeah, he's the guy seen some action.
31:49 --> 31:52 [SPEAKER_00]: Although he says that that's not kind of the kind of spy he was.
31:53 --> 31:57 [SPEAKER_00]: But that tells you, just the way he's holding it, tells you something about the character.
31:57 --> 31:58 [SPEAKER_00]: Right.
31:58 --> 32:11 [SPEAKER_00]: The only time I ever shut clay pigeons, I got the very first clay pigeon, you know, a yelled pole, they had a little machine that the toss of the little clay disk into the air.
32:11 --> 32:14 [SPEAKER_00]: I followed it like I was playing.com.
32:15 --> 32:16 [SPEAKER_00]: And I got it.
32:17 --> 32:20 [SPEAKER_00]: I got the, you know, it blew up just like in the movies.
32:20 --> 32:21 [SPEAKER_00]: I felt like I was in a movie.
32:22 --> 32:23 [SPEAKER_00]: Did you walk away?
32:23 --> 32:27 [SPEAKER_00]: I set down the shotgun and I walked away.
32:27 --> 32:33 [SPEAKER_00]: And then then they encouraged me like, no, no, no, come back, come back.
32:34 --> 32:35 [SPEAKER_00]: And I shouldn't have gone back.
32:36 --> 32:37 [SPEAKER_00]: Oh, you went back.
32:37 --> 32:40 [SPEAKER_00]: I went back the next 10 that were shot.
32:41 --> 32:42 [SPEAKER_00]: I didn't hit any of them.
32:42 --> 32:44 [SPEAKER_02]: Yeah, that's what you got to walk away.
32:44 --> 32:47 [SPEAKER_00]: Because I mean, I was, I tried to walk away.
32:47 --> 32:48 [SPEAKER_00]: And then I got suckered back.
32:48 --> 32:54 [SPEAKER_02]: I guess there's that one moment where you're like, well, what if I am a, a, a, a, a, a, a, a, a, a, a, a, a,
32:55 --> 32:59 [SPEAKER_02]: And you know, you don't know, you don't know until you pick up that violin if you've got it in your right.
32:59 --> 33:05 [SPEAKER_00]: So, you know, maybe I would say I'm a little taller move to walk away and never pick it up again.
33:05 --> 33:07 [SPEAKER_02]: Say this, well, do you have any other games that I can master?
33:09 --> 33:15 [SPEAKER_02]: Yes, shooting skit seems like the height of of luxury.
33:15 --> 33:24 [SPEAKER_02]: It really is because it's like, you're never going to go see a bunch of guys just slew and bud light, you know, kicking it on a John deer throwing up some clay pigeon.
33:25 --> 33:30 [SPEAKER_00]: Moreover, skit above like a very well manicured garden.
33:31 --> 33:35 [SPEAKER_02]: Yeah, or like, you're so rich, you don't care if there's just plate, shrapnel everywhere.
33:35 --> 33:48 [SPEAKER_00]: It kind of like just reminds like, yeah, you know, men used to be men and now we kind of sit inside and counter money, but every now and again, we will go outside and do this thing that only rich people do.
33:49 --> 33:55 [SPEAKER_00]: No, that's something else.
33:56 --> 33:57 [SPEAKER_02]: Um, I don't know.
33:58 --> 34:02 [SPEAKER_02]: I mean, maybe to this to the degree that he understands what love might be.
34:03 --> 34:07 [SPEAKER_02]: Uh, everything, everything about getty strikes me as a, as a sociopath, right?
34:08 --> 34:10 [SPEAKER_02]: Uh, there's something broken in his soul.
34:10 --> 34:19 [SPEAKER_02]: So, so he, I think he understands the importance of family in terms of maybe like legacy.
34:20 --> 34:39 [SPEAKER_02]: And overall appearance, right, you don't want your offspring, and if they are a problem that will reflect poorly on your overall image and if you're primarily focused on that.
34:40 --> 34:51 [SPEAKER_02]: then you will love them to the degree that that appearance of love will create loyalty and right behavior.
34:51 --> 34:52 [SPEAKER_02]: That's kind of how I enter.
34:52 --> 34:54 [SPEAKER_00]: Yeah, I think that's true.
34:54 --> 34:58 [SPEAKER_00]: I think that there's an additional thing about like loving the person in the mirror.
34:59 --> 35:10 [SPEAKER_00]: It's like as long as this boy is a reflection of me, I will love him, because I'm pretty taken with myself.
35:11 --> 35:20 [SPEAKER_00]: But as soon as this person decides to wear long hair and hang out the rolling stones, he's a hippie and love it a blood, then I'd yeah.
35:20 --> 35:26 [SPEAKER_02]: And I think it'd be different if he was clean cut, always sticking around the property showing an active interest in the business.
35:27 --> 35:28 [SPEAKER_02]: I think it'd be different.
35:28 --> 35:29 [SPEAKER_02]: Maybe, and that's the other part.
35:30 --> 35:35 [SPEAKER_00]: I don't know for sure, because again, well, that's the other thing about mirror reading because sometimes you love and hate yourself.
35:35 --> 35:38 [SPEAKER_00]: So it could be that this person starts to look more like you.
35:39 --> 35:58 [SPEAKER_00]: And but as soon as they grow up here and like disagree with you, now you hate their guts because the end of the day you don't you don't love yourself in that way, but I do because several times in the film he says, I I love this boy like I love all my grandchildren, but he was special.
35:58 --> 36:09 [SPEAKER_00]: Or, yeah, as we read in the script yesterday, there was a little bit of dialogue that they cut out where he basically said, he's my blood and I love him.
36:09 --> 36:12 [SPEAKER_00]: You can't understand how much I love him.
36:13 --> 36:21 [SPEAKER_00]: And I think that what they're trying to portray is the idea that he does think he loves him.
36:21 --> 36:31 [SPEAKER_00]: And yet, it just bizarre that he, it's almost like, I love him as much as I can love any person.
36:31 --> 36:38 [SPEAKER_00]: Of course, I love art like a hundred times more, you know, he's just a person.
36:38 --> 36:39 [SPEAKER_00]: He's not a masterpiece.
36:39 --> 36:41 [SPEAKER_00]: Well, he loves investments.
36:43 --> 36:56 [SPEAKER_02]: He loves, he loves winning, he loves investments, he loves those investments in so much as those things will continue to be valuable and benefit him.
36:58 --> 37:08 [SPEAKER_02]: So I could see him maybe seeing Paul as ultimately an investment that could yield him something, right?
37:08 --> 37:13 [SPEAKER_02]: I mean, especially if he invests in him and he becomes somebody who's good at the business
37:14 --> 37:26 [SPEAKER_02]: continues the legacy and all that stuff than that would prolong his wealth and that seems to be, you know, sort of first and foremost for him is again, wealth and legacy.
37:26 --> 37:38 [SPEAKER_00]: Well, yeah, if you really believe he's the reincarnation of Hadrian, he views his legacy in terms of empire and so you need to have someone to pass it down to.
37:39 --> 37:44 [SPEAKER_00]: And at the end of the day, he's got no one.
37:45 --> 37:48 [SPEAKER_00]: He's got no blood to pass this down, too.
37:48 --> 37:49 [SPEAKER_00]: Right.
37:49 --> 37:56 [SPEAKER_00]: So, okay, second question, I think it's really to the first question, does he believe that the mentor?
37:56 --> 38:08 [SPEAKER_00]: He says that this mentor, he found in a bizarre, and he was able to get it for a fantastic price, but that he can sell it, you know,
38:10 --> 38:14 [SPEAKER_00]: Does he believe that the minute our is authentic?
38:15 --> 38:36 [SPEAKER_02]: I got the sense that this was a revelation that he was just sort of pulling one over on them and using his almost like negotiating abilities to sort of win their admiration and affection, but he wouldn't actually give up something.
38:37 --> 38:38 [SPEAKER_00]: It's interesting.
38:38 --> 38:39 [SPEAKER_00]: I think that that makes a lot of sense.
38:39 --> 38:44 [SPEAKER_00]: It's like, you, you, you basically win their affection for nothing.
38:44 --> 38:46 [SPEAKER_00]: It costs you no money at all.
38:47 --> 38:49 [SPEAKER_02]: Because at this point, your reputation is set.
38:49 --> 38:51 [SPEAKER_02]: Your reputation is such that your word is value.
38:51 --> 38:54 [SPEAKER_00]: Yeah, you get to appear generous without actually being generous.
38:54 --> 38:55 [SPEAKER_00]: I think that makes sense.
38:55 --> 39:12 [SPEAKER_00]: The other way to view this is that maybe he's not, he doesn't have the artistic eye he thinks he has or something, or maybe another way to view this is he thinks he won in the bizarre because he was able to talk the guy down to his bottom line, his lowest price.
39:12 --> 39:18 [SPEAKER_00]: But in reality, he doesn't really understand that world very well.
39:18 --> 39:26 [SPEAKER_00]: I think it makes more sense that he thinks he's actually winning his grandson's affection without actually being generous.
39:26 --> 39:29 [SPEAKER_00]: Right.
39:29 --> 39:35 [SPEAKER_00]: Steve, is there a trope, a cliche, or device that you enjoyed in this movie?
39:36 --> 39:38 [SPEAKER_02]: I, well, I, uh,
39:39 --> 39:53 [SPEAKER_02]: Well, it's interesting because like so many of these things like really happened, so it's kind of, it's kind of weird to call it it for a cliche, but I, the thing that got me was the like I knew as soon as she went to go take that.
39:54 --> 40:18 [SPEAKER_02]: Minitarian that it was going to be worthless and I kind of like I kind of like that I cuz I took again reading it the way that I just explained that I read it like I feel like that was a good reveal to the kind of like almost a long con without it trying to be a con but in a way it is right I mean, it's it's an an impressive you impressive on somebody There's a level of affection that that
40:18 --> 40:25 [SPEAKER_02]: Turns out to be hollow, and then it sort of reveals that maybe everything up into this moment if you've ever felt that was something maybe it's all in question.
40:28 --> 40:41 [SPEAKER_00]: I like it when an administrative assistant opens up a letter that contains something grizzly and reacts in horror, and because it's like that actor is like they get that one scene and so they really get to like ham it up.
40:42 --> 40:45 [SPEAKER_02]: Yeah, no, and it's an effective scene because you know it's common.
40:46 --> 40:48 [SPEAKER_00]: You absolutely know it's common and
40:50 --> 40:52 [SPEAKER_00]: I don't know, I just, every, it works every time for me.
40:53 --> 40:53 [SPEAKER_00]: It works every time.
40:54 --> 40:57 [SPEAKER_00]: I don't know what I would do if I open up a little bit with an ear inside.
40:59 --> 41:01 [SPEAKER_02]: Yeah, I mean, I probably wouldn't believe it when I first saw it.
41:01 --> 41:07 [SPEAKER_02]: And so I'd probably end up making it horrible in a state with it.
41:07 --> 41:09 [SPEAKER_00]: Gross, throw it away.
41:09 --> 41:14 [SPEAKER_02]: Yeah, speaking of the ear, I think this is important, because you brought this up when you picked this movie.
41:15 --> 41:19 [SPEAKER_02]: The actor playing Paul Gettie looks so much like my son.
41:20 --> 41:23 [SPEAKER_02]: that it was hard for me to enjoy this movie at times.
41:23 --> 41:31 [SPEAKER_00]: I was gonna ask you if you thought my, you know, because I think it's a particular version of your son.
41:31 --> 41:32 [SPEAKER_00]: Right.
41:32 --> 41:33 [SPEAKER_00]: Yeah.
41:33 --> 41:38 [SPEAKER_00]: It's like, you know, maybe your son, you know, when he had super long hair like seven years ago.
41:38 --> 41:41 [SPEAKER_00]: But you thought he looked like your son.
41:41 --> 41:43 [SPEAKER_02]: I thought he looked a lot like my son.
41:43 --> 41:45 [SPEAKER_02]: And like, you know, there are certain sequences for sure.
41:45 --> 41:48 [SPEAKER_02]: But like, there's enough like in dark sequences and things like that.
41:48 --> 41:53 [SPEAKER_02]: That that, you made me think of him.
41:53 --> 42:00 [SPEAKER_02]: And, and then, so the ear scene was especially problematic for me.
42:02 --> 42:04 [SPEAKER_00]: really bad.
42:05 --> 42:06 [SPEAKER_00]: Just a little blood spurt.
42:07 --> 42:22 [SPEAKER_02]: Yeah, I mean, it's a rough scene, but then when you picture in it as your as your own son, which in a way, was it worse that it was your son, but the violence was being done by an Italian that felt a little bit like me.
42:22 --> 42:24 [SPEAKER_00]: It's the worst of all worlds, right?
42:26 --> 42:28 [SPEAKER_02]: Because like they're like, oh, isn't Italian doctor?
42:28 --> 42:29 [SPEAKER_02]: Okay.
42:30 --> 42:32 [SPEAKER_02]: Yeah, those are, those are two words that don't go together.
42:32 --> 42:57 [SPEAKER_02]: And yeah, so I definitely felt like, but in a way, it also kind of helped shape my appreciation for the complete lack of interest from the father who's, you know, obviously, you know, whacked out on heroin and then a grandfather who just,
42:57 --> 42:59 [SPEAKER_02]: is not interested in helping out.
42:59 --> 43:26 [SPEAKER_02]: And so here I am, sort of like, overly affected by certain imagery, just because it sort of arcens me to my own son and the idea that like, well, I'm having a hard time watching this fictional act action because it's reminding me of my son and in the think that like in real life did have a nice no.
43:26 --> 43:37 [SPEAKER_02]: In real life, this guy's family, father, and grandfather just did not care, and that's wild to me, right?
43:38 --> 43:56 [SPEAKER_02]: So in terms of just being able to like, trying to fully grasp the disconnect between family and people that you care about at all, or supposed to care about, was even more
43:56 --> 43:59 [SPEAKER_02]: um, you know, on display for me.
43:59 --> 44:00 [SPEAKER_02]: And so yeah.
44:00 --> 44:12 [SPEAKER_02]: So it did make the movie, um, probably even more gripping to some degree for me, uh, just because of that little little, little added element.
44:12 --> 44:14 [SPEAKER_02]: Uh, mm-hmm.
44:14 --> 44:22 [SPEAKER_02]: So, uh, so yeah, it was, it was, it was not, it was not easy to watch your times, um, but, uh,
44:23 --> 44:29 [SPEAKER_02]: But I think I think I was able to take sort of the, what do you mean?
44:29 --> 44:37 [SPEAKER_02]: You got this bunker story, this real-life story, like you almost just tell the story as is and it'd be fine with it just as a piece of history.
44:37 --> 44:40 [SPEAKER_02]: But, you know, I'm plumbers not in and a ton.
44:42 --> 44:45 [SPEAKER_00]: But it feels like he is though.
44:45 --> 44:52 [SPEAKER_02]: Well, because the specter of Getty is throughout the entire movie.
44:52 --> 44:57 [SPEAKER_02]: And this again, you know, not to, you know, completely pick on Kevin Space, because I know it's such a victim.
44:58 --> 45:11 [SPEAKER_02]: But I don't think that he can even, if the makeup wasn't an issue, I just don't know that he would be able to give the same level of that specter that plumber did.
45:11 --> 45:20 [SPEAKER_02]: I think I bet you Spacey would probably kill a few moments of dialogue and really have like some interesting scenes if you can get past maybe the prosthetics.
45:21 --> 45:25 [SPEAKER_02]: but Plummer does such, like Plummer's almost Dracula in this movie.
45:25 --> 45:29 [SPEAKER_00]: Yeah, yeah, that's a really good analogy.
45:29 --> 45:32 [SPEAKER_00]: Yeah, he doesn't feel like a human.
45:33 --> 45:44 [SPEAKER_00]: And I think that maybe that's one of the morals of the story is like all the money in the world will change you in ways that you can't even imagine.
45:45 --> 45:51 [SPEAKER_00]: it will bend the light around you in a way that you can't even fathom until it happens.
45:52 --> 45:55 [SPEAKER_00]: Have you ever been to the getty in Los Angeles?
45:55 --> 45:55 [SPEAKER_00]: No.
45:57 --> 46:04 [SPEAKER_00]: So Sarah and I went for years ago and I had no knowledge of at that point of this movie.
46:04 --> 46:13 [SPEAKER_00]: I didn't know what was supposed to be an exact replica of his villa in Italy, but it's an amazing bit of architecture.
46:13 --> 46:17 [SPEAKER_00]: and the art collection there is just amazing.
46:17 --> 46:22 [SPEAKER_00]: And for the most part, it's a it's a kind of a free thing to do.
46:22 --> 46:26 [SPEAKER_00]: It's an inexpensive place to visit if you're in LA.
46:27 --> 46:30 [SPEAKER_00]: It's a little bit of a trek to get out to the location.
46:31 --> 46:36 [SPEAKER_00]: If you're at all interested in art artifacts, things like that, and uh,
46:38 --> 46:40 [SPEAKER_00]: It's just a really cool place to be.
46:40 --> 46:47 [SPEAKER_00]: And so I had no idea, but it was the replica was perfect in this movie.
46:47 --> 46:51 [SPEAKER_00]: It felt exactly like the house in LA.
46:52 --> 46:57 [SPEAKER_00]: Is there a tweak that you'd make this movie to improve it?
46:58 --> 47:06 [SPEAKER_02]: I do think it's hard because I don't think, I mean, the whole time I was like Mark Wahlberg is the epitome of fine in this movie.
47:06 --> 47:11 [SPEAKER_02]: and it's a little bit of a bummer because I feel like everybody else is more than fine.
47:12 --> 47:12 [SPEAKER_02]: Right.
47:12 --> 47:17 [SPEAKER_02]: Like every performance is, and again, this might be like just on the surface.
47:17 --> 47:23 [SPEAKER_02]: If you just take it as it is, it might be a pretty good Mark Wahlberg performance.
47:23 --> 47:29 [SPEAKER_02]: It's just that I think he has a ceiling of like what he can do.
47:30 --> 47:33 [SPEAKER_02]: And because like there were times where I felt like I kind of bought him as like,
47:33 --> 47:54 [SPEAKER_02]: maybe sort of sympathetic, and shifting his viewpoint, but it's weird to look back and say, you know, he got to demand more money for reshudes because of he had it in his contract where he got to kind of have final say on who he co-starred with, like he had that much.
47:54 --> 47:57 [SPEAKER_02]: Interesting on this movie.
47:57 --> 48:12 [SPEAKER_02]: Like I think the reshoot you got 1.5 billion or not billion one point five million dollars for just the reshutes Whereas Michelle Williams got an 80 dollar a day per dime No, this is horrible.
48:13 --> 48:14 [SPEAKER_00]: Yeah, this is horrible.
48:15 --> 48:22 [SPEAKER_02]: I think her or somebody said I think it read something like her whole salary was like 625 and he had 1.5 for the for the reshutes
48:24 --> 48:33 [SPEAKER_00]: Well, I think when she was interviewed, she actually said, I so don't want spacey in this movie that I would be willing to do the reshoots for free.
48:33 --> 48:34 [SPEAKER_00]: Oh, okay.
48:34 --> 48:35 [SPEAKER_00]: Well, they just were like, okay.
48:36 --> 48:37 [SPEAKER_00]: They were like, fine, that sounds good, does.
48:37 --> 48:40 [SPEAKER_02]: Yeah, they totally, they totally get either.
48:44 --> 48:45 [SPEAKER_00]: Goodness.
48:47 --> 48:51 [SPEAKER_00]: I just love films that are shot on in the location.
48:51 --> 48:59 [SPEAKER_00]: It just, like, it does feel a little bit like, it was kind of a gnarly vacation to Italy, but it did feel a little bit like a vacation.
49:00 --> 49:06 [SPEAKER_00]: It definitely felt like, you know, you can just tell like, was this filmed in Atlanta or not?
49:07 --> 49:07 [SPEAKER_02]: Right.
49:08 --> 49:13 [SPEAKER_02]: Well, and how much more important
49:13 --> 49:18 [SPEAKER_02]: By having plumber be, I mean, I think they aged them a little bit later, but like not a ton.
49:20 --> 49:43 [SPEAKER_02]: And I mean, to the point where like it was kind of not noticeable, where if you're doing all this effort to make everything, you know, on location and trying to make everything as, as the replicated as it possibly could be, and if you've got, you know,
49:43 --> 49:51 [SPEAKER_02]: And very compelling like it's a movie I want to watch until Spacey turns around and I'm like, oh, is that going to be the final face?
49:53 --> 49:57 [SPEAKER_00]: This, this chairly can't be, it's must be a rubble.
49:57 --> 49:57 [SPEAKER_02]: He looked right.
49:57 --> 49:59 [SPEAKER_02]: He looked a little like the six flags guy.
50:04 --> 50:07 [SPEAKER_02]: Is this when you don't have the movie is undercut.
50:07 --> 50:11 [SPEAKER_02]: If the Venga Boys start playing in the background, let's get the spacey start walking back to his mansion.
50:13 --> 50:14 [SPEAKER_00]: Is this movie better?
50:14 --> 50:16 [SPEAKER_00]: Where's their own part with a Ron Howard movie?
50:17 --> 50:20 [SPEAKER_02]: I'm going to go Howard plus I'm going to say plus three.
50:21 --> 50:22 [SPEAKER_00]: Oh, very good.
50:22 --> 50:22 [SPEAKER_02]: Okay.
50:22 --> 50:42 [SPEAKER_02]: Well, because there are some properly Howard moments, but I think that I do think that there's maybe it may be it's the world's building of a of a Ridley Scott and and again, the how he managed to like again, like I said, there's not a lot of plumber, but
50:42 --> 50:52 [SPEAKER_02]: It feels like he's in every scene and I think I feel like really Scott's ability with like things like alien oddly
50:53 --> 51:04 [SPEAKER_02]: help this type of movie, because the threat of the alien is the scariest part of the alien movies, right?
51:04 --> 51:05 [SPEAKER_02]: Like in many cases.
51:05 --> 51:21 [SPEAKER_02]: And so the overarching just just how impactful every decision and it's essentially like one decision that John Paul get a mix and how it just permeates
51:21 --> 51:23 [SPEAKER_02]: kind of a global perspective, right?
51:23 --> 51:27 [SPEAKER_02]: I mean, he's got the news is interested because he's getty and he's the richest man in the world.
51:27 --> 51:34 [SPEAKER_02]: The Italians are interested because this is happening on their soil and then the gangsters are being impacted by it and
51:34 --> 51:40 [SPEAKER_02]: And he's winning a negotiation he never speaks to and it's just it's so fascinating.
51:40 --> 51:54 [SPEAKER_02]: And I do think any and Ken Rodhauer pulled that off sure, but I think that this is pretty I feel like this is this is kind of a couple not just more so, especially because when you're dealing with, you know, based on true story stuff.
51:54 --> 52:02 [SPEAKER_02]: Sometimes those can feel a little flat, like even if they take certain license, there is this like compulsion to try to make it.
52:04 --> 52:10 [SPEAKER_02]: feel accurate and, you know, and in this case, just such a bonkers story, like he's sort of kind of fortunate.
52:10 --> 52:24 [SPEAKER_00]: I was going to say how plus one and the reason why is that I think that Walberg kind of Walberg is the kind of guy who has a pretty high floor, but a pretty low ceiling in terms of just what he brings to the table.
52:25 --> 52:33 [SPEAKER_00]: And so, I mean, you've got to give really
52:34 --> 52:39 [SPEAKER_00]: Spacey and getting an Oscar nominee for Plummer.
52:40 --> 52:41 [SPEAKER_00]: Like, that's pretty amazing.
52:42 --> 52:44 [SPEAKER_00]: It felt a little bit beautiful mine to this film.
52:45 --> 52:46 [SPEAKER_00]: Mm, yeah.
52:47 --> 52:50 [SPEAKER_00]: Yeah, I think that this is, I'm a sickle-powered plus one.
52:51 --> 52:53 [SPEAKER_00]: Steve, is there a half the better one to grow on?
52:54 --> 52:55 [SPEAKER_02]: Trust no Italian.
52:56 --> 52:56 [SPEAKER_02]: Ha ha ha.
52:56 --> 52:59 [SPEAKER_02]: Makes me even question super Mario.
53:02 --> 53:14 [SPEAKER_00]: I mean, I think the one that's really on the surface is that, you know, the billionaire class, they have so much influence on how the world works and there may be the worst people.
53:15 --> 53:24 [SPEAKER_00]: Yeah, it's like we put the we've put the worst possible people in charge and if they weren't the worst people before they were billionaires They will be soon.
53:25 --> 53:42 [SPEAKER_00]: I think that that's basically the story that's being told here But I also think that there's an element about Giving them other a point of view in this movie kind of undermines the the mythology of the glamorous gangster Which I really appreciated
53:42 --> 53:46 [SPEAKER_00]: Yeah, reincarnation, am I, am I for it?
53:47 --> 53:48 [SPEAKER_00]: Do you think you were a Caesar before?
53:48 --> 53:49 [SPEAKER_00]: What do you think?
53:50 --> 53:52 [SPEAKER_02]: Uh, I was probably allergic to Caesar's salad.
53:57 --> 54:01 [SPEAKER_00]: Whoever you were, anchovies just never agreed with you.
55:05 --> 55:16 [SPEAKER_01]: Come on, and a cocoon of horror.