Almost Famous

[00:00:01] Blank Check with Griffin and David Blank Check with Griffin and David

[00:00:09] Don't know what to say or to expect All you need to know is that the name of the

[00:00:17] show is Blank Check

[00:00:19] Yeah, great art is about conflict and pain and guilt and longing and love disguised as

[00:00:25] sex and sex disguised as love.

[00:00:26] And let's face it, you got a big head start, you know?

[00:00:29] Because the only true currency in this bankrupt world is what you share with someone else when

[00:00:33] you're podcasting.

[00:00:35] Baaaaaah!

[00:00:37] Hey everybody, my name's Griffin Newman.

[00:00:39] David Sims.

[00:00:40] This is a podcast, it's called Blank Check with Griffin and David.

[00:00:43] Baaaaaah!

[00:00:44] Wear hashtag the two friends, David is in a Dracula mood today.

[00:00:48] Uh, this is a podcast where we talk about filmmakers who have success.

[00:00:53] Cinem... cinema.

[00:00:55] Cinemashiness.

[00:00:57] Oh boy, am I loopy.

[00:01:00] Uh, I spilled half a bottle of lemonade on my way to the studio and now my entire

[00:01:05] genital area smells like lemonade.

[00:01:08] Good.

[00:01:09] Uh, so I'm in that mode, David's in loopy mode, you're flying away to London for two weeks.

[00:01:14] I am.

[00:01:15] Tonight, tomorrow morning.

[00:01:16] Early tomorrow morning.

[00:01:17] Uh, but you got that rush about trying to get all your life business in before

[00:01:20] you get in the plane.

[00:01:22] Well, this is a movie about a guy who's trying to, in a rush to get a story

[00:01:27] together.

[00:01:28] Sure.

[00:01:29] I'm trying to connect something.

[00:01:31] Hey, so...

[00:01:32] We're going to talk about, well the name of our miniseries.

[00:01:35] We pot a cast.

[00:01:36] We go over filmmakers.

[00:01:37] We pot a cast.

[00:01:38] We do miniseries based on filmmakers.

[00:01:40] Yeah.

[00:01:41] Uh, who have had careers ups and downs, who got Blank Check at a

[00:01:44] certain point because of uh, you know an Oscar, because of uh, you know,

[00:01:49] big financial success sometimes both.

[00:01:51] And today we're covering the film that won the subject of our miniseries,

[00:01:56] his only Oscar.

[00:01:57] Cameron Crowe, we pot a cast as the name of the miniseries.

[00:02:01] The film we're talking about today is almost famous.

[00:02:03] That's right.

[00:02:04] And more specifically for this episode, we watched uh, Untitled,

[00:02:08] Colin the Bootleg Cut.

[00:02:10] David is jerking off a very thin penis, but it's long.

[00:02:13] It's very long.

[00:02:14] It's like a Coney Island hot dog.

[00:02:16] Untitled.

[00:02:17] Uh, please.

[00:02:18] Colin the Bootleg Cut.

[00:02:21] Yes, the extended cut I suppose is what it was.

[00:02:24] What a bootleg.

[00:02:25] Well.

[00:02:26] It was real underground this cut.

[00:02:27] Yeah.

[00:02:28] They had to-

[00:02:29] They released on mass market DVD.

[00:02:30] They had to smuggle the reels into the editing bay and then they had to

[00:02:35] smuggle the DVDs into Best Buy.

[00:02:37] It was a fucking bootleg cut.

[00:02:39] Yeah, so the film was about two hours long.

[00:02:41] The Bootleg Cut is almost two hours and 40 minutes long.

[00:02:44] Uh, yeah I think the theatrical version's a bit above two hours and two

[00:02:47] Two minutes.

[00:02:48] And uh, the Bootleg Cut is a bit under three.

[00:02:51] Yeah, it's long.

[00:02:52] It's like two- two forty five, some of them.

[00:02:54] Yeah, some of them, yeah.

[00:02:55] Yeah.

[00:02:56] Um, and here uh, to talk with us, a famous bootleger.

[00:03:00] Uh, also famous for producing.

[00:03:02] Sure.

[00:03:03] Bootlegging and producing.

[00:03:04] Ben Hosley, producer Ben, producer Ben, the Ben Deucer, the poet laureate,

[00:03:07] the Haas, Mr. Pazza, Bertha Benney, the tiebreaker, the fuckmaster.

[00:03:10] He's not Professor Crispy.

[00:03:12] He is the poet laureate.

[00:03:13] He is our finest film critic.

[00:03:15] He's, boy is he a peeper.

[00:03:17] Uh, he's graduated to certain titles in past many series,

[00:03:20] such as producer Ben Kanove, Kylo Ben, Ben Aichamlon, and Ben Sey.

[00:03:26] Let's all greet him with a hearty hello fennel.

[00:03:29] Ben Hosley.

[00:03:30] Wow, that was like a marathon.

[00:03:31] Lock the gates guys.

[00:03:33] Lock the gates.

[00:03:34] You do-

[00:03:35] You do definitely have a mariney quality, Ben.

[00:03:40] Um, how so?

[00:03:41] Vocally.

[00:03:42] Okay.

[00:03:43] Little raspy, but no, marines got a real.

[00:03:45] You know.

[00:03:46] But when you said it just then-

[00:03:47] I don't know what the fuck on east does.

[00:03:48] When you just said it, it was pretty spot on.

[00:03:51] Say lock the gates again.

[00:03:52] Lock the gates.

[00:03:53] Yeah, I mean that's really mariney.

[00:03:55] Naroneerone.

[00:03:56] Hopefully I don't complain as much.

[00:03:58] No, that's what I was saying.

[00:03:59] I think-

[00:04:00] Marines great in that scene.

[00:04:01] He's great in that scene.

[00:04:02] Why didn't he do more movies?

[00:04:03] I don't know.

[00:04:04] His horrible personality.

[00:04:05] Yeah, I think that.

[00:04:06] Yeah.

[00:04:07] If only, if only there were thousands of hours of podcasting I could use to figure out why marine

[00:04:15] was burning bridges after the release of Almost Famous and how and who with will never be able

[00:04:21] to piece together the full story.

[00:04:22] What do you think of Fallon in this movie?

[00:04:23] Pretty good.

[00:04:24] What?

[00:04:25] Pretty good.

[00:04:26] I mean he's got more to do in this cut actually.

[00:04:28] Yeah, this cuts- yeah.

[00:04:29] Do you know why I like-

[00:04:30] You did like one scene in the-

[00:04:31] Yes.

[00:04:32] Cut right?

[00:04:33] Yeah, it's the intro scene but it's a very truncated version.

[00:04:37] Right.

[00:04:38] Do you know what I like about him in this movie?

[00:04:41] I think this is the only movie that kind of shows that Jimmy Fallon's kind of slippery.

[00:04:46] Yeah.

[00:04:47] Do you know what I'm saying?

[00:04:48] Yeah, yeah, yeah.

[00:04:49] He's usually working so hard to be the nice guy and then I think in this movie it's

[00:04:54] like okay he's like personable but you get the sense that he's a little too slick.

[00:04:57] Yeah, so that's the podcast.

[00:04:59] You know we did it.

[00:05:00] We reviewed Mark Maron and Jimmy Fallon's performances in the film Almost Famous.

[00:05:03] Two luminaries of comedy who wield a lot of power.

[00:05:07] We've now thrown both of them under the bus vaguely.

[00:05:10] And yeah, wish us luck in our future endeavors in the world of podcasting and comedy.

[00:05:15] Do you guys watch Maron show?

[00:05:17] No.

[00:05:18] I do not, do you?

[00:05:19] Yeah.

[00:05:20] Lock the gates!

[00:05:22] I mean it's fine.

[00:05:24] I don't know.

[00:05:25] It's whatever but it's interesting that you know you could have a podcast and

[00:05:28] get a TV show.

[00:05:29] Yeah.

[00:05:30] You know what I mean?

[00:05:31] Yeah.

[00:05:32] Just throw that out there.

[00:05:33] Yeah.

[00:05:34] Down, down, down, down, down, down.

[00:05:35] You took about Blank Check Babies, the pitch we've been working on?

[00:05:38] Yeah, exactly.

[00:05:39] The three of us in a playpen and we overanalyze animated films, Blank Check Babies.

[00:05:44] I watched the first few episodes of Maron and it never quite clicked for me.

[00:05:48] I bet it's okay.

[00:05:49] Yeah, I have heard it's okay.

[00:05:52] You know a movie I like a lot?

[00:05:54] What?

[00:05:55] Almost Famous.

[00:05:56] Yeah, okay.

[00:05:57] So you like this movie?

[00:05:58] Yeah, old lemonade dick over here.

[00:06:00] Loves almost Famous.

[00:06:02] Okay so let's hear...

[00:06:04] Yeah, you know I saw this film in the United Kingdom when I was 14, 15, whenever it came

[00:06:10] out September 2000.

[00:06:11] In the year 2000.

[00:06:12] Yeah, I'm not sure when it came out in the UK but...

[00:06:16] In the year 2000.

[00:06:17] Yep, I liked that bit a lot on the old late night.

[00:06:21] It was great.

[00:06:22] Let's throw Conan and LaBamba each a honorary 10 comedy points for that bit.

[00:06:27] Love it, love it.

[00:06:28] Conan's the best.

[00:06:29] LaBamba's the best.

[00:06:30] Damn it.

[00:06:31] Nah, nah, nah, nah, nah.

[00:06:32] Lock the gates!

[00:06:34] What am I talking about?

[00:06:37] What's wrong with me?

[00:06:39] Come here cat.

[00:06:40] What are the names of his cats?

[00:06:41] Boomer Lam.

[00:06:42] Yeah, come here Boomer.

[00:06:44] Anyway, wow we were ragging on Karina Longworth.

[00:06:48] I mean not ragging on her but we've been mimicking her.

[00:06:51] We're going through all the, yeah.

[00:06:54] Anyway, this is Blank Trek, I'm Ira Glass.

[00:06:57] Trying to think of other podcasts.

[00:06:59] Aren't you gonna be on This American Life?

[00:07:01] Yeah, I mean I don't know when it will happen in relation to when because we're recording

[00:07:05] this episode in advance but at the time we're recording this episode tomorrow I am recording

[00:07:09] a segment with Ira Glass for This American Life.

[00:07:12] Interesting.

[00:07:13] No spoilers, tune in.

[00:07:15] But I'm telling a story on This American Life that's being recorded tomorrow.

[00:07:19] It's very exciting.

[00:07:20] Crazy.

[00:07:21] I'm just ready for that plug, I just wanted to plug Blank Trek.

[00:07:24] You better fucking plug Blank Trek.

[00:07:25] He's got a plug Blank Trek, I don't want to plug Blank Trek, I want him to go,

[00:07:28] Griffin Newman, who's the podcast Blank Trek?

[00:07:31] Great.

[00:07:32] So I saw Almost Famous with a bunch of my teen friends.

[00:07:36] Okay.

[00:07:37] And I didn't like it that much.

[00:07:39] And that's been my relationship with this movie ever since and I've seen it many times.

[00:07:43] I always watch it and I'm like this time it's gonna spark for me because it's

[00:07:48] such a popular film among our peers, right?

[00:07:51] Yeah, I think generationally big movie.

[00:07:54] And I don't despise it at all.

[00:07:56] I like a lot of things about it but it's never worked for me quite and I certainly

[00:08:00] don't have the emotional connection that I think a lot of people do.

[00:08:04] And every time I'm like this will be it'll get me this time, it never does.

[00:08:09] And this time I watched your famous bootleg cut that you found under a truck

[00:08:13] or wherever you found it.

[00:08:15] Well let's not say it's fake.

[00:08:16] It's broken to Columbia Records.

[00:08:17] It's almost a famous bootleg cut.

[00:08:20] And you know thinking oh this'll finally be what I was looking for and I still

[00:08:26] haven't found what I'm looking for to quote the great you too.

[00:08:29] Yeah, the great you too.

[00:08:30] That's another podcast we can ape right now.

[00:08:32] Oh I love that one.

[00:08:33] You talking you too to me?

[00:08:34] That's a great podcast.

[00:08:35] No I'm not.

[00:08:36] I'm talking about the movie Almost Famous.

[00:08:37] So here are two questions I have for you.

[00:08:39] Yeah.

[00:08:40] One, would you say that you don't like this movie very much or you dislike

[00:08:45] this movie?

[00:08:46] I just don't like it very much.

[00:08:47] I don't dislike it.

[00:08:48] It's like a three out of five.

[00:08:49] Complete comsah.

[00:08:50] Yeah, I just because I know this film is so well liked I would just

[00:08:55] always been kind of on the back half.

[00:08:58] You have to plant your flag more firmly because everyone else just sort of

[00:09:01] assumes like oh you must love Almost Famous.

[00:09:03] Exactly.

[00:09:04] Especially for people like us I think it's a movie that like.

[00:09:06] I think you're a writer and you write about pop culture.

[00:09:09] You must love Almost Famous.

[00:09:10] Absolutely.

[00:09:11] I think I like this film about as much as I like Vanilla Sky.

[00:09:14] Interesting.

[00:09:15] Yeah, it's like both of them are like to me like very interesting noble

[00:09:20] failures with a lot of elements I appreciate.

[00:09:22] Okay.

[00:09:23] Because I do think.

[00:09:24] I think Almost Famous is a better movie than Vanilla Sky.

[00:09:26] In that it tells a story a little more completely and doesn't

[00:09:29] swerve between 18 genres wildly but.

[00:09:32] Vanilla Sky is more ambitious in that sense which makes it more

[00:09:34] sort of exciting.

[00:09:35] Vanilla Sky's got some lucid dreams.

[00:09:37] But I do think you're right.

[00:09:38] I mean this is a very big movie first generationally.

[00:09:40] I think a lot of people our age when we saw this film.

[00:09:43] It was like it's a bit of a bridging movie for people our age

[00:09:47] I think.

[00:09:48] Why?

[00:09:49] Because.

[00:09:50] I wanted you to tell me why.

[00:09:51] I do want you to tell me why.

[00:09:52] It's an adult film about a young character going into an adult

[00:09:57] world.

[00:09:58] Yeah, sure.

[00:09:59] So I feel like when I was a kid I saw this movie and I was

[00:10:01] like oh my god that's what being a grown up.

[00:10:03] You were like lock the gates.

[00:10:04] I was like yeah.

[00:10:05] I'm not giving that up.

[00:10:07] No we're doing it the entire episode.

[00:10:09] Did you see it in theaters?

[00:10:10] Did you see this one in theaters?

[00:10:11] You were probably pretty young.

[00:10:12] I can tell you when I saw it for the first time.

[00:10:14] I saw it I guess about nine months after it came out.

[00:10:18] When did it come out?

[00:10:19] September, October 2000.

[00:10:20] It came out September 15th 2000.

[00:10:24] I saw it the following June at Sleep Awake camp.

[00:10:28] Yeah.

[00:10:29] And it was like my summer camp was run by like you know

[00:10:32] sort of ex hippy rock yuppie people.

[00:10:35] Sure.

[00:10:36] And these fucking Gen X fools who like the Almond Brothers

[00:10:39] band and God knows what else from this movie.

[00:10:42] No comment.

[00:10:43] But it was like a big deal where like they'd play

[00:10:47] movies on the lawn.

[00:10:48] They had a screen in the projector.

[00:10:49] It sounds pretty cool.

[00:10:50] They'd play movies on the lawn.

[00:10:51] It was very cool but it was like usually it was like

[00:10:52] hey I gotta play like a kid's movie or a teenager movie.

[00:10:55] Right, a little big age range.

[00:10:56] Right.

[00:10:57] But they played this movie that was rated R

[00:10:58] because to them it was like they loved this movie so

[00:11:01] much and they thought the spirit of it was so big.

[00:11:03] It's a soft R.

[00:11:04] It's not.

[00:11:05] It's not true.

[00:11:06] It's a soft R.

[00:11:07] It's a soft R.

[00:11:08] It was a summer camp.

[00:11:09] No, no, I know.

[00:11:10] It was a summer camp.

[00:11:11] But I'm trying you know it's got a few fucks.

[00:11:12] Yeah.

[00:11:13] But I think the theatrical version is pretty light on

[00:11:14] the fucks.

[00:11:15] It's got like a glimpse of nudity maybe.

[00:11:17] You see a Hudson Tiddy or two.

[00:11:19] Yeah but I mean you know it's pretty mild maybe

[00:11:21] one of my criticisms about the movie but you know.

[00:11:24] Yeah.

[00:11:25] But it was like it was you know I was watching it

[00:11:27] with a bunch of contemporaries.

[00:11:29] Sure.

[00:11:30] On a lawn and it was like that's kind of an ideal

[00:11:32] setting to see that movie in.

[00:11:33] It was like on a lawn in the summer.

[00:11:35] Definitely.

[00:11:36] Like a photo pop.

[00:11:37] Mm-hmm.

[00:11:38] You know.

[00:11:39] Yeah but I saw it then I've seen it.

[00:11:41] You know I was watching it today and it's one of those

[00:11:43] movies where I was trying to even figure out how

[00:11:46] many times I've seen it.

[00:11:48] I definitely have a few distinct memories of like

[00:11:50] putting it on.

[00:11:51] Right.

[00:11:52] I was also while watching this because I own

[00:11:54] the there was there was like the 2DS DVD that

[00:11:58] had the boot leg.

[00:11:59] Okay.

[00:12:00] And the original.

[00:12:01] Is it in like a black cover like with the

[00:12:03] sort of like the poster is very small.

[00:12:05] Yeah.

[00:12:06] Exactly.

[00:12:07] I remember that.

[00:12:08] It had three discs it was the bootleg cut, the

[00:12:10] original cut and then a still water EP.

[00:12:12] Yep.

[00:12:13] Which like at the time.

[00:12:14] Beabadon.

[00:12:15] But at the time they was like a cool fucking DVD set.

[00:12:17] They locked the gates on that set.

[00:12:18] It was a limited run.

[00:12:19] Mm-hmm.

[00:12:20] But I would sometimes be in the mood to watch

[00:12:24] the movie and I put on one disc or the other

[00:12:26] and watching the bootleg cut I was like oh I

[00:12:29] don't know if I've ever watched this from

[00:12:31] beginning to end.

[00:12:32] Interesting.

[00:12:33] So I will often I have a hard time going to

[00:12:35] sleep at night.

[00:12:36] No.

[00:12:37] Too bad.

[00:12:38] Yep.

[00:12:39] My brain drives me insane.

[00:12:40] Sure it sort of just spins.

[00:12:42] It spins.

[00:12:43] Another thing that may not be surprising to

[00:12:45] listeners of this show that I can't stop

[00:12:47] over obsessing about stuff at night.

[00:12:49] But there are certain movies that are

[00:12:51] sort of comfort movies for me.

[00:12:52] I have this too.

[00:12:53] For sure.

[00:12:54] That I will throw on and if I just

[00:12:55] watch something where I've like seen it

[00:12:56] a thousand times and sort of background

[00:12:57] noise it like lulls me into whatever.

[00:12:59] Right.

[00:13:00] For me it's Ponyo.

[00:13:01] That's a good one.

[00:13:02] I was in horrible mood all day.

[00:13:04] I was barking at my girlfriend and then

[00:13:06] I like put on Ponyo and she's like what

[00:13:08] are you doing?

[00:13:09] And I was like don't worry about it.

[00:13:10] This is a good idea.

[00:13:11] Yeah.

[00:13:12] In like 20 minutes I was like look at Ponyo.

[00:13:14] She's in the sea.

[00:13:15] Like it just comes to you right down.

[00:13:17] It's mostly the Pixar movies for me.

[00:13:19] Sure those are good ones although some

[00:13:20] of them are you know.

[00:13:22] But I even like that I don't want

[00:13:23] something that's just.

[00:13:24] I was waving my face with my hands.

[00:13:26] So people don't you know to you know

[00:13:29] get rid of my tears I think is what

[00:13:31] I'm looking for.

[00:13:32] Yeah I'm not looking for something that

[00:13:34] just placates me.

[00:13:35] Sure.

[00:13:36] I'm looking for something that I have

[00:13:37] a sort of comfort in because I know

[00:13:38] it's.

[00:13:39] Yeah.

[00:13:40] And I like it.

[00:13:41] You don't have to concentrate and you

[00:13:42] just you know the you know.

[00:13:43] You can get excited about it.

[00:13:44] But this is almost famous as one of

[00:13:46] them.

[00:13:47] Yeah I'd say you know once a year

[00:13:49] when I'm like fuck I've watched

[00:13:51] like Ratatouille too many times

[00:13:53] this week you know I'll throw on

[00:13:55] almost I'll be like oh that's an

[00:13:56] offbeat one that will have that

[00:13:57] sort of effect on me.

[00:13:58] I put on one of the other so I've

[00:14:00] got to put on a little bit and then

[00:14:02] fall asleep a bunch of times of both

[00:14:04] cuts.

[00:14:05] That's fine.

[00:14:06] And I also at certain times just

[00:14:07] pull it out and I'm like I just I

[00:14:09] mean specifically.

[00:14:10] Pull it out lemonade dick itself.

[00:14:11] I pull my lemonade dick out and

[00:14:13] then I once the dick is out I go to

[00:14:15] my DVD cabinet and I find the

[00:14:16] almost famous DVD I very often

[00:14:18] especially since he passed will

[00:14:20] just watch the film team or

[00:14:21] Hoffman's.

[00:14:22] Well there are the best scenes

[00:14:23] in the film.

[00:14:24] I think I'm not going to do right

[00:14:25] unquestionably you almost want

[00:14:27] a whole movie of him.

[00:14:28] Yeah.

[00:14:29] I like to throw out hyperbolic

[00:14:30] statements but I think it's fair to

[00:14:31] use my favorite actor of all time.

[00:14:33] You love PSH.

[00:14:34] And I went through a really tough

[00:14:36] time when he died perhaps affecting

[00:14:38] me more than anyone I've known

[00:14:39] personally who died which speaks

[00:14:41] more to the.

[00:14:42] That's your problem.

[00:14:43] It's my problem and also you know

[00:14:45] maybe some better people got

[00:14:46] started dying in my life.

[00:14:47] Well come on hey wait a second

[00:14:48] I'm getting on a plane.

[00:14:49] Not you not you.

[00:14:51] I know I just don't like that

[00:14:52] kind of talk.

[00:14:53] I don't need it.

[00:14:54] I was you know bad joke.

[00:14:56] But but you know I'm kind of

[00:14:58] you know I'm constantly still

[00:15:00] sort of grieving over Phelps

[00:15:01] and Hoffman.

[00:15:02] And this movie is I feel like

[00:15:04] such a good encapsulation of what

[00:15:06] made him special where it's like

[00:15:07] three scenes four scenes

[00:15:09] arguably you know.

[00:15:10] Yep.

[00:15:11] I say to those scenes are

[00:15:12] like continuous and it's really

[00:15:13] four scenes and there is

[00:15:17] such detail and like messy

[00:15:19] humanity.

[00:15:20] Yeah.

[00:15:21] And depth and he was always

[00:15:22] good at playing kind of broken

[00:15:23] people and like embarrassing

[00:15:25] people you know like the dark

[00:15:27] side.

[00:15:28] Yeah.

[00:15:29] That we all try to hide but this

[00:15:30] is one of the few movies where

[00:15:31] that is balanced with also like

[00:15:32] him being very lovable without

[00:15:33] being saccharine.

[00:15:34] Yeah it's not he's his parts are

[00:15:35] not saccharine.

[00:15:36] They're not saccharine but when

[00:15:37] you see him in the movie.

[00:15:38] This movie is fucking saccharine

[00:15:39] is shit but he his parts are

[00:15:41] not but yeah he is a go on Ben

[00:15:43] go on.

[00:15:44] Well we should mention who

[00:15:45] he's portraying which is Lester

[00:15:47] Bangs a pretty great rock

[00:15:48] pretty famous rock critic.

[00:15:50] Yeah.

[00:15:51] He's actually I mean a lot

[00:15:53] of people say they were the

[00:15:55] first to use the term punk

[00:15:57] but he is definitely one of the

[00:15:59] the first journalists to use

[00:16:01] that terminology.

[00:16:02] He's I mean he's one of the

[00:16:04] people who really shaped our

[00:16:06] perception of music you know

[00:16:08] and how we talk about music

[00:16:09] today is still sort of the

[00:16:11] ripple effect of how he started

[00:16:13] talking about it.

[00:16:14] Yeah.

[00:16:15] And he was a real life

[00:16:16] mentor to Kim and Crow.

[00:16:18] Yeah.

[00:16:19] And when folks in Warhawk and

[00:16:20] got the part he like

[00:16:21] obsessively listened to tapes

[00:16:22] over and over again so we

[00:16:23] could try to get the

[00:16:24] speaking rhythm.

[00:16:25] Which I think you know when

[00:16:27] you listen to him they don't

[00:16:28] have the same sort of voice

[00:16:30] pitch and they don't physically

[00:16:32] look that similar but he got

[00:16:33] the spirit of the guy down

[00:16:34] really well.

[00:16:35] And it's just such a good

[00:16:36] fucking character.

[00:16:37] I also believe I'm not

[00:16:38] mistaken folks in Warhawk

[00:16:39] men had the flu the entire

[00:16:41] time he was doing this movie.

[00:16:43] He seems pretty run down or

[00:16:44] pneumonia.

[00:16:45] It works for the character

[00:16:46] but it also is like he

[00:16:47] only worked a couple days

[00:16:48] and he's sick the whole

[00:16:49] time and it's like one of

[00:16:50] the best performances I

[00:16:51] think.

[00:16:52] It's a great performance

[00:16:53] I would I don't know if I'd

[00:16:55] even put it in his top five

[00:16:56] though that's how good he is.

[00:16:57] That's the problem I mean

[00:16:58] that's the problem with

[00:16:59] ranking his performances is

[00:17:00] every one of his performances

[00:17:01] was great.

[00:17:02] And every moment and every one

[00:17:04] of his performance is great

[00:17:05] and happiness.

[00:17:06] Yeah.

[00:17:07] What about those prank calls

[00:17:09] I don't even remember then

[00:17:10] I can't even do the joke

[00:17:11] because I forget the name

[00:17:12] of that movie with Ben

[00:17:13] Stiller along came Polly

[00:17:14] I'll take you to the

[00:17:15] fucking mad on this one

[00:17:16] that's a great performance

[00:17:17] full stop.

[00:17:18] That movie blows it's one

[00:17:19] of the best movies I've

[00:17:20] ever played.

[00:17:21] I don't want to talk about it.

[00:17:22] That movie blows it's basic

[00:17:23] as shit that performance is

[00:17:25] unbelievable.

[00:17:27] Yeah.

[00:17:28] OK so yeah most famous.

[00:17:30] OK almost famous.

[00:17:31] So this is I see the summer

[00:17:32] camp I've seen a number of

[00:17:33] times since then I watched

[00:17:34] the often scenes probably

[00:17:35] seven we got it you said

[00:17:37] it.

[00:17:38] Yeah.

[00:17:39] So this is Cameron Crowe

[00:17:40] he's majoring in the choir

[00:17:41] talk about that blank check

[00:17:43] you know talk about it

[00:17:44] you know it's like

[00:17:45] whatever you ever you want

[00:17:46] to do.

[00:17:47] So

[00:17:50] he dream works

[00:17:52] the relatively nascent

[00:17:54] studio.

[00:17:55] Yeah right.

[00:17:56] I mean they start up the year

[00:17:57] after Jeremy Guire comes out

[00:17:58] Spielberg

[00:17:59] Geffen

[00:18:00] Katzenberg

[00:18:02] SKG

[00:18:03] SKG

[00:18:05] But you have to imagine

[00:18:07] DreamWorks starts up the year

[00:18:08] after I mean the first

[00:18:10] release is 1997

[00:18:12] which means they were probably

[00:18:13] in you know development

[00:18:14] and stuff looking for people

[00:18:15] in 96 so I'm guessing pretty

[00:18:17] soon after Jeremy Guire.

[00:18:18] They like come to him and they go

[00:18:20] like what do you want to do

[00:18:21] what do you want we want to be

[00:18:22] a filmmaker friendly studio

[00:18:23] we want to get you in the fold

[00:18:25] what do you want.

[00:18:26] And it takes four years

[00:18:28] for this movie to come out.

[00:18:29] Yeah.

[00:18:30] I think it takes him a long

[00:18:31] time to write it.

[00:18:33] You have to think especially

[00:18:34] with Jeremy Guire which is

[00:18:35] such a good movie star movie

[00:18:37] right yes like he took crew

[00:18:39] also took about four years

[00:18:40] to make that one.

[00:18:41] Yeah but he took crews

[00:18:42] to a whole other level

[00:18:43] the dude was already the

[00:18:44] biggest movie star

[00:18:45] he unfolded new dimensions to

[00:18:47] him right.

[00:18:48] Yeah.

[00:18:49] And then like Cuba you know

[00:18:51] good character actor made him

[00:18:53] an Oscar winner.

[00:18:54] OK.

[00:18:55] Renee Zellweger pretty much

[00:18:56] unknown overnight movie star

[00:18:58] you have to imagine everyone's

[00:18:59] lining up to work with him.

[00:19:00] OK.

[00:19:01] You know the obvious thing

[00:19:02] would be make a star vehicle

[00:19:03] cash in your chips.

[00:19:04] OK sure like but you already

[00:19:06] made Tom crew I mean I know

[00:19:07] they're a bigger star.

[00:19:09] I just love that he goes

[00:19:10] OK my next film is I know

[00:19:11] for a while Brad Pitt was

[00:19:12] going to play Russell in the

[00:19:14] film.

[00:19:15] Sure OK I mean but I he might

[00:19:19] have been good he might have

[00:19:20] been good but I don't think

[00:19:21] that was a like he was writing

[00:19:25] a movie for Brad Pitt I think

[00:19:26] he was like all these big stars

[00:19:28] want to be in my movie if you

[00:19:29] know he must play this.

[00:19:30] Sure.

[00:19:31] Penny Lane was originally

[00:19:32] written for Sarah Polly.

[00:19:33] She would have been much

[00:19:34] better.

[00:19:35] He's a great actress but

[00:19:36] also not a big star and

[00:19:37] wasn't a big star then.

[00:19:38] No but neither was Kate

[00:19:39] Hudson.

[00:19:40] No I'm just saying that's

[00:19:41] interesting to me I mean

[00:19:42] because Brad Pitt it like

[00:19:43] dropped out and then they went

[00:19:44] with Billy Crudup who is one of

[00:19:45] those guys who people thought

[00:19:46] was on the cusp.

[00:19:47] Yeah I'm looking him up now

[00:19:49] because I'm trying to remember

[00:19:50] where Crudup was in his in his

[00:19:52] career when when he got this

[00:19:54] film.

[00:19:55] He'd been in like you know

[00:19:56] he'd been in the venting the

[00:19:57] habits.

[00:19:58] Yeah and he'd been in

[00:19:59] you know without minutes

[00:20:01] which was one of the two

[00:20:02] pre-fontain movies you

[00:20:04] know and yes might have been

[00:20:06] the worst one with a bigger

[00:20:08] release like one of them is

[00:20:09] a little worse but got at

[00:20:10] least a little more

[00:20:11] exposure.

[00:20:12] Yeah and Crudup right?

[00:20:13] Yeah.

[00:20:14] And one of them is Donald

[00:20:15] Sutherland and the other one

[00:20:16] is pre-fontain is the one

[00:20:18] with Crudup.

[00:20:19] Pre-fontain is the one with

[00:20:20] Lito.

[00:20:21] Yes I'm sorry.

[00:20:22] Without limits is the one

[00:20:23] with Crudup but they're both

[00:20:24] playing Steve Pre-fontain.

[00:20:25] Right and Sutherland is in

[00:20:27] the Crudup one.

[00:20:28] That sounds right.

[00:20:29] And like almost got an Oscar

[00:20:30] nomination for it got a lot

[00:20:31] of the precursors.

[00:20:32] Yeah he got he got some

[00:20:33] of that traction just I

[00:20:34] think just out of that

[00:20:35] sort of like oh god he's

[00:20:36] never gotten an Oscar

[00:20:37] nomination you know.

[00:20:38] He's also still never gotten

[00:20:39] a nomination.

[00:20:40] He's one of the best

[00:20:41] non-nominated actors.

[00:20:42] Okay.

[00:20:43] Right?

[00:20:44] Yeah.

[00:20:45] Someone just sent me a

[00:20:47] Venmo request for a 100

[00:20:49] million dollars.

[00:20:50] Who?

[00:20:51] That's a co-worker of whom?

[00:20:52] Whom?

[00:20:53] It's a joke, a bit?

[00:20:54] Oh an exciting business

[00:20:55] opportunity.

[00:20:56] A bit?

[00:20:57] Seems like he might have

[00:20:58] been hacked.

[00:20:59] Yeah it seems like a bit.

[00:21:01] Anyway so he'd been in

[00:21:03] that but it hadn't hit.

[00:21:05] He'd been in the

[00:21:06] high low country.

[00:21:07] Oh and he'd been in Jesus

[00:21:08] son and white waking the

[00:21:10] dead.

[00:21:11] So he was I mean these are not

[00:21:12] big movies obviously but the

[00:21:13] high low country which is

[00:21:15] like a western kind of thing

[00:21:17] with Woody Harrelson and

[00:21:18] Pratrysarkette.

[00:21:19] Right?

[00:21:20] It had like a little Oscar

[00:21:21] buzz but then it didn't

[00:21:22] land.

[00:21:23] He's also one of these guys

[00:21:24] where they're not big movies

[00:21:25] it's a lot of Sunday

[00:21:26] things.

[00:21:27] Jesus son is like not a big

[00:21:28] movie at all with Sunday

[00:21:29] but it's like ooh like

[00:21:30] yeah this is a charming man.

[00:21:31] Well that was the thing I

[00:21:32] was going to say he was

[00:21:33] the lead in all of these.

[00:21:34] And then have you seen

[00:21:35] Waking the Dead?

[00:21:36] Waking the Dead is kind of

[00:21:37] an underrated little

[00:21:38] movie which Jennifer Connelly

[00:21:39] won.

[00:21:40] Was that what's his name?

[00:21:41] It's like Falls in Love with

[00:21:42] Keith Gordon.

[00:21:43] Yeah Keith Gordon right from

[00:21:44] Christine.

[00:21:45] So you know he's got a

[00:21:46] little traction certainly not

[00:21:47] a star but you can see

[00:21:49] what they saw.

[00:21:50] He's an incredibly handsome

[00:21:52] man who's very charismatic

[00:21:53] and he's a good fucking

[00:21:54] technical actor.

[00:21:55] He is handsome which is why

[00:21:56] it's kind of funny that

[00:21:57] he's now become a go-to

[00:21:59] creep.

[00:22:00] Yeah.

[00:22:01] Which is he's suited to

[00:22:02] you know but like in the

[00:22:05] film Lawless.

[00:22:07] No no no it's not Lawless

[00:22:08] it's in Public Enemies.

[00:22:10] Yes.

[00:22:11] Where he plays J. Edgar Hoover

[00:22:12] this like just a snake

[00:22:14] like little freak.

[00:22:16] He's great but that's the role

[00:22:18] he plays in the same end

[00:22:19] spotlight.

[00:22:20] In The Watch he plays a creep.

[00:22:21] I haven't seen The Watch.

[00:22:22] Literally he plays like a

[00:22:23] creep who throws sex parties

[00:22:24] and like they think he's

[00:22:25] an alien yeah.

[00:22:26] I mean his character might

[00:22:27] just be named creep in that

[00:22:28] movie.

[00:22:29] But yeah he's become and

[00:22:30] that was the thing you

[00:22:31] know because for a long

[00:22:32] time people were like why

[00:22:33] didn't Billy Crew to happen?

[00:22:34] You know it felt like it

[00:22:35] was all right there for

[00:22:36] the taking and people were

[00:22:37] like why is it there for the

[00:22:38] taking and people went well is

[00:22:39] it because almost famous like

[00:22:40] bombed and it was like no but

[00:22:41] Kate Hudson like happened off

[00:22:42] of that.

[00:22:43] And I think it was that there

[00:22:45] was something always a little

[00:22:48] too slick about him.

[00:22:50] Sure.

[00:22:51] I'm not saying.

[00:22:52] No he's got that call.

[00:22:53] I'm not saying to his detriment

[00:22:54] as an actor I'm saying to

[00:22:55] his detriment as a quote

[00:22:57] unquote movie star.

[00:22:59] Sure.

[00:23:00] Because movie stars need to

[00:23:01] have some sort of like it's

[00:23:02] not just being charming it's

[00:23:03] a likeability you're

[00:23:04] rooting for them.

[00:23:05] Yeah.

[00:23:06] He's always felt to use the

[00:23:08] term again a little slippery.

[00:23:09] You know.

[00:23:10] Yeah.

[00:23:11] He seemed a little too

[00:23:12] confident in like himself.

[00:23:14] Yeah.

[00:23:15] And yeah that's like the role

[00:23:18] that he's fit into he's great

[00:23:19] in spotlight.

[00:23:20] Great in spot really great

[00:23:22] in spotlight.

[00:23:23] What else is he's good actor.

[00:23:25] He just never.

[00:23:26] Loving Big Fish.

[00:23:28] I know you and I divide

[00:23:29] on that movie but I love

[00:23:30] him in Big Fish.

[00:23:31] No we don't divide on Big

[00:23:33] Fish.

[00:23:34] We divide because I think

[00:23:35] like Big Fish a lot.

[00:23:36] He's my least favorite part

[00:23:37] of Big Fish.

[00:23:38] I think it's a masterpiece and

[00:23:39] you think it's pretty good.

[00:23:40] I think it's good.

[00:23:41] Yeah right so that's a bit of

[00:23:42] a divide.

[00:23:43] A little.

[00:23:44] But we're both on the one

[00:23:45] side because that is a movie

[00:23:46] which most people are anti.

[00:23:48] Yeah which is.

[00:23:51] But yeah I mean you know

[00:23:52] the three leads of this

[00:23:53] film are you know supposed

[00:23:55] to be Brad Pitt, Sarah

[00:23:57] Pauly and an unknown kid

[00:23:59] and then Sarah Pauly

[00:24:01] drops out because she feels

[00:24:02] like she can't pull off the

[00:24:03] role.

[00:24:06] Kate Hudson.

[00:24:07] She would have been great.

[00:24:08] Would have been great.

[00:24:09] Because the sweet hereafter

[00:24:10] is two years ago right.

[00:24:11] She's she would have been

[00:24:12] great but maybe I don't know

[00:24:13] why she didn't think she

[00:24:14] could do it.

[00:24:15] Kate Hudson was originally

[00:24:16] cast in the Deschanel role

[00:24:17] as the older sister.

[00:24:20] Interesting.

[00:24:21] And he bumps up Kate Hudson

[00:24:22] to Penny Lane.

[00:24:23] Now Kate Hudson's me and

[00:24:24] Ben birthday Benny.

[00:24:28] We're talking about this

[00:24:29] she's 21 and when she makes

[00:24:31] the movie 2021

[00:24:33] you know the character is

[00:24:34] supposed to be 16.

[00:24:35] She doesn't seem 16.

[00:24:36] The only thing that works

[00:24:37] 16 she says she's 16.

[00:24:39] That's the whole scene when

[00:24:40] they were like 18 now I'm

[00:24:42] 17 and she's like no I'm

[00:24:44] 16 isn't the truth.

[00:24:45] I interpret that scene

[00:24:46] differently than you do.

[00:24:47] No it's her saying she's

[00:24:48] 16 that's how old she's

[00:24:49] supposed to be.

[00:24:50] I don't think she's 16

[00:24:51] because he's 15 right.

[00:24:52] He's 15 because the whole

[00:24:53] point is she's like isn't

[00:24:54] it funny the truth just

[00:24:55] sounds different.

[00:24:56] And he's like I'm 15 to

[00:24:57] her the truth is 16.

[00:24:58] She's 16.

[00:24:59] She's saying I'm 16.

[00:25:00] I have never interpreted that

[00:25:01] scene.

[00:25:02] How do you interpret the

[00:25:03] scene?

[00:25:04] What are you talking about?

[00:25:05] That's what the scene means.

[00:25:06] I interpret that scene as

[00:25:07] she's lying back to him to

[00:25:08] prove to him how much it

[00:25:09] sounds like lying.

[00:25:10] Yeah but then when they hit

[00:25:11] 16 she's like isn't it

[00:25:13] funny the truth sounds

[00:25:14] different and she's saying

[00:25:15] I'm 16.

[00:25:16] I thought she was saying

[00:25:17] that to him saying his

[00:25:18] age.

[00:25:19] No she's 16.

[00:25:20] She's supposed to be 16.

[00:25:21] That's how old she's

[00:25:22] supposed to be.

[00:25:23] Have you verified that?

[00:25:24] It's in the movie.

[00:25:25] I don't know if you

[00:25:26] know that.

[00:25:28] It's in the movie.

[00:25:29] See I interpret that scene as

[00:25:30] being like she's calling him

[00:25:31] out and saying like isn't

[00:25:32] finding out the truth

[00:25:33] sounds different and then he

[00:25:34] goes yeah I'm 15.

[00:25:35] Like he realizes he can't

[00:25:36] fight anymore.

[00:25:37] No it's like an awkward

[00:25:38] moment.

[00:25:39] He's like I'm 15 and she

[00:25:40] just has been you know her

[00:25:41] like weird little fairy talk

[00:25:42] has been proven kind of

[00:25:43] ridiculous.

[00:25:44] That's how I take that.

[00:25:45] I don't know.

[00:25:46] I never I know.

[00:25:47] She's 16 Ben.

[00:25:48] I mean yeah I can see

[00:25:49] your interpretation I guess

[00:25:50] but you've been

[00:25:51] like you've been like

[00:25:52] you've been like

[00:25:53] you've been like

[00:25:54] you've been like

[00:25:55] you've been like

[00:25:56] I guess but you've always

[00:25:57] taken it that she's 16.

[00:25:58] Yeah.

[00:25:59] Interesting.

[00:26:00] I mean because also isn't

[00:26:01] it supposed to be sort of

[00:26:02] like gross that

[00:26:04] these guys are taking

[00:26:05] advantage of these young girls?

[00:26:06] Oh yeah definitely.

[00:26:07] 100%.

[00:26:08] Yeah.

[00:26:09] Yeah and then a Pac-Win's

[00:26:10] like a little baby in this

[00:26:11] movie.

[00:26:12] Yeah.

[00:26:13] Yeah I mean yeah

[00:26:15] I mean I don't know

[00:26:16] I said to me she's

[00:26:17] supposed to be 16.

[00:26:18] I mean my problem with

[00:26:19] Kate Hudson one of my

[00:26:20] many problems with this

[00:26:21] performance is that she

[00:26:22] just seems a little too

[00:26:23] old and wise for the

[00:26:24] character.

[00:26:25] Or not wise is the wrong

[00:26:26] word but just a little too

[00:26:27] mature.

[00:26:28] Yeah.

[00:26:29] Yeah.

[00:26:30] Here's my problem.

[00:26:31] I mean we have to remember

[00:26:32] when this movie came out

[00:26:33] she landed like huge.

[00:26:35] Oh it was people were like

[00:26:36] this is the next thing.

[00:26:38] She's the next thing.

[00:26:39] This is incredible

[00:26:40] this performance.

[00:26:41] And everyone thought she

[00:26:42] was going to win the Oscar.

[00:26:43] 100%.

[00:26:44] She was considered a

[00:26:45] near lock.

[00:26:46] Yeah and it was one of

[00:26:47] the biggest upsets in

[00:26:48] the last 20 years.

[00:26:49] She lost to Marcia Gayhard

[00:26:50] in Impala it's a

[00:26:51] weird upset.

[00:26:52] And it was a weird

[00:26:53] case.

[00:26:54] Where Hudson had won every

[00:26:55] precursor.

[00:26:56] And Marcia Gayhard had not

[00:26:57] been nominated for any of

[00:26:58] them.

[00:26:59] I want to verify that.

[00:27:00] I believe Marcia Gayhard

[00:27:02] did not get the globe or

[00:27:03] the SAG nomination and

[00:27:04] Hudson won both.

[00:27:05] She lost the SAG.

[00:27:06] Who lost the SAG Hudson

[00:27:07] to whom Judy Dench in

[00:27:08] Schokola.

[00:27:09] That is so fucking

[00:27:10] weird.

[00:27:11] Very strange.

[00:27:12] That's the weirdest

[00:27:13] fucking thing I've ever

[00:27:14] heard.

[00:27:15] And that's coming from

[00:27:16] old lemonade dick over

[00:27:17] here.

[00:27:18] And it's a weird

[00:27:19] thing.

[00:27:20] And it's a weird thing

[00:27:21] that's a weird thing

[00:27:22] that's a weird thing

[00:27:23] that's a weird dick over here.

[00:27:24] Judy Dench won the SAG

[00:27:25] for Schokola.

[00:27:26] Yep.

[00:27:27] She

[00:27:28] Kate Hudson won the

[00:27:29] Golden Globe.

[00:27:30] Dench won the SAG.

[00:27:31] Can you imagine

[00:27:32] being in the year 2000

[00:27:33] and seeing Schokola

[00:27:34] going.

[00:27:35] Yeah.

[00:27:36] That's probably one of

[00:27:37] the best performances

[00:27:38] I've seen all year.

[00:27:39] But you remember

[00:27:40] Dench had not won

[00:27:41] the SAG in 98

[00:27:42] the year she went to

[00:27:43] the Oscar.

[00:27:44] So maybe they're trying

[00:27:45] to make up for it.

[00:27:46] That's so weird

[00:27:47] but she won the Oscar.

[00:27:48] Okay.

[00:27:49] I mean so she

[00:27:50] had lost the SAG.

[00:27:51] And Marcia Gayhard

[00:27:52] was nominated for

[00:27:53] neither.

[00:27:54] She wasn't nominated

[00:27:55] for the SAG because she

[00:27:56] was entered as lead

[00:27:57] and SAG has

[00:27:58] weird rules about that.

[00:28:00] Yeah.

[00:28:01] And yeah I think

[00:28:02] she may not have been in

[00:28:03] the Globes because

[00:28:04] you know what are the

[00:28:05] Globes know from Pollock.

[00:28:06] So it's really weird

[00:28:08] I mean it is a lead

[00:28:09] performance in Pollock

[00:28:10] and that might be why

[00:28:11] Marcia Gayhard

[00:28:12] won because it's a

[00:28:13] very you know dominant

[00:28:14] performance.

[00:28:15] Have you seen that

[00:28:16] film?

[00:28:17] Yeah.

[00:28:18] Yeah.

[00:28:19] And

[00:28:20] maybe Francis

[00:28:21] you know that could be

[00:28:22] the other thing who's also

[00:28:23] nominated for this film

[00:28:24] and is also wonderful

[00:28:25] and it maybe she took some

[00:28:26] votes you know maybe.

[00:28:27] I don't know.

[00:28:28] There's an argument.

[00:28:29] It's an odd loss.

[00:28:30] There's an argument to Kate Hudson's

[00:28:31] that character is in a weird

[00:28:33] nether zone between lead

[00:28:34] and supporting too.

[00:28:36] Which one?

[00:28:37] You could almost make an argument

[00:28:38] that Hudson is

[00:28:39] lead in this movie.

[00:28:40] You could almost.

[00:28:41] No for sure.

[00:28:42] Yeah.

[00:28:43] It's probably not

[00:28:44] but it's a little weird.

[00:28:45] It's so close.

[00:28:46] I mean it's

[00:28:47] you know the classic

[00:28:48] problem of there's

[00:28:49] definitely a male lead

[00:28:50] or just female role

[00:28:51] is that supporting her lead.

[00:28:52] She's the female lead

[00:28:53] and that she's the most

[00:28:54] substantial female character

[00:28:55] but does she have enough

[00:28:57] screen time to constitute

[00:28:58] being a lead?

[00:28:59] I don't think she has

[00:29:00] enough screen time.

[00:29:01] She has enough

[00:29:02] probably enough of an arc.

[00:29:03] As I said the movie's

[00:29:04] kind of about her.

[00:29:05] I mean the crux of the movie

[00:29:07] is their relationship.

[00:29:08] The movie is about him

[00:29:10] and he's in love with her.

[00:29:12] I don't think the movie's

[00:29:13] about her enough

[00:29:14] for it to quite work.

[00:29:15] I think his arc is entirely

[00:29:17] about her.

[00:29:18] That is not true.

[00:29:19] That's ridiculous.

[00:29:20] It's about a lot of different things.

[00:29:21] It is not entirely about her.

[00:29:23] That is ridiculous.

[00:29:24] I think it's the core of the movie.

[00:29:25] No, his relationship with the band

[00:29:26] is also very important to the movie.

[00:29:28] I think it's secondary

[00:29:29] to his relationship with her.

[00:29:31] What's his relationship with her?

[00:29:34] She's this

[00:29:36] sort of

[00:29:37] incandescent little

[00:29:39] fairy sprite.

[00:29:40] It's this introduction

[00:29:41] to here's someone

[00:29:42] who's living adult life

[00:29:43] the opposite of what

[00:29:44] I have lived

[00:29:45] especially if they are

[00:29:46] supposed to be only a year apart.

[00:29:47] Sure.

[00:29:48] You know?

[00:29:49] Where he's lived the super-shell

[00:29:50] environment and she's done

[00:29:51] everything full tilt.

[00:29:53] Yes.

[00:29:54] And he's so

[00:29:56] sort of drawn in by that.

[00:29:57] I can't go over the

[00:29:58] Judy Dench one for a shot.

[00:29:59] That's insane.

[00:30:00] Go on, carry on.

[00:30:01] That's the weirdest win

[00:30:02] I have ever heard.

[00:30:05] That mirror max money, man.

[00:30:06] It really...

[00:30:07] What were the other

[00:30:08] four nominees for the SAG that year?

[00:30:09] Hudson?

[00:30:10] Was McDormand nominated?

[00:30:11] I'll look it up

[00:30:12] and I'll finish your point.

[00:30:13] Okay.

[00:30:15] I think that

[00:30:16] she represents him struggling

[00:30:18] with who he wants to be in the world.

[00:30:20] Yeah, but then

[00:30:21] she like everything else

[00:30:22] kind of falls apart where

[00:30:23] he realizes like,

[00:30:24] oh you're ridiculous

[00:30:25] and you don't do anything

[00:30:26] and everything you say

[00:30:27] is kind of, you know,

[00:30:28] vapid.

[00:30:29] Hence the struggle.

[00:30:31] When he meets her,

[00:30:32] he wants to be her

[00:30:33] and at the end of it

[00:30:34] he realizes that

[00:30:35] he's

[00:30:36] maybe wants to be

[00:30:37] with her.

[00:30:38] Maybe.

[00:30:39] I think he also realizes

[00:30:40] that she's...

[00:30:41] Her life's a mess.

[00:30:42] She's a pretty sad person

[00:30:43] right.

[00:30:44] And he's got a long road

[00:30:45] ahead of him.

[00:30:46] Yeah.

[00:30:47] And, you know,

[00:30:48] he's an insightful dude

[00:30:49] and he's found a lot of insight

[00:30:51] into them and into her.

[00:30:53] I think she's the real

[00:30:54] I.O.T.

[00:30:55] He's going to be a newspaper

[00:30:56] journalist.

[00:30:57] Yeah.

[00:30:58] Everyone thought

[00:30:59] she was going to win the Oscar.

[00:31:00] The other SAG nominees were

[00:31:01] the three of the Oscar

[00:31:02] nominees minus Marcia.

[00:31:04] So you've got your

[00:31:05] Francis McDee.

[00:31:06] Katie Hudson.

[00:31:07] Kate Hudson, Judy Dench

[00:31:09] for Shokola the winner.

[00:31:11] Jesus Christ.

[00:31:12] Julie Walters

[00:31:13] and Billy Elliott

[00:31:14] who is wonderful.

[00:31:15] That should have won.

[00:31:16] It's so good in that.

[00:31:17] And then Kate Winslet and Quills.

[00:31:19] Everybody's favorite movie,

[00:31:20] Quills.

[00:31:21] Quills, Quills, Quills.

[00:31:23] That is so strange.

[00:31:25] The 2000s an odd year.

[00:31:26] Yeah.

[00:31:27] You've got your gladiator

[00:31:28] and your traffic,

[00:31:29] which are very male movies

[00:31:30] that don't have a lot of theme.

[00:31:32] I mean, County Nielsen

[00:31:33] is pretty good

[00:31:34] and Catherine Zeta-Jones

[00:31:35] is pretty good for some reason.

[00:31:36] Neither of them click

[00:31:37] with the awards voters.

[00:31:38] I think he could have

[00:31:39] nominated Zee Zhang

[00:31:41] for Crashing Tiger.

[00:31:43] Yeah, but there was a whole fuck

[00:31:45] up there where they campaigned

[00:31:46] or supporting when she's the lead

[00:31:47] and they should have campaigned

[00:31:48] her as the lead

[00:31:49] and Michelle Yeoh is supporting.

[00:31:50] They did the other way around

[00:31:51] and they fucked the whole thing.

[00:31:52] That was their problem.

[00:31:53] It was literally.

[00:31:54] I mean, she got a BAFTA nomination.

[00:31:55] For supporting?

[00:31:56] Yeah.

[00:31:57] Oh my God, guys,

[00:31:58] can we get to the music?

[00:31:59] Down there, down there,

[00:32:00] down there, down there.

[00:32:01] Lock the gates.

[00:32:02] Great times.

[00:32:03] Oh my, just shit my pants.

[00:32:05] Just coffee dot call.

[00:32:06] Oh God, he says that

[00:32:07] all the time.

[00:32:09] Remember when all the podcasts

[00:32:11] were just WTF?

[00:32:12] That was like the only podcast.

[00:32:13] Yeah, that was the only format

[00:32:15] that people wanted to do.

[00:32:16] Oh my God.

[00:32:17] And then you were like,

[00:32:18] great, they're like two years

[00:32:19] and you're like, I've now heard

[00:32:20] every comedian give an interview.

[00:32:22] Four times.

[00:32:23] A long form interview.

[00:32:24] Yeah, to each of the other comedians.

[00:32:25] Right, so it got to a point

[00:32:26] where it was like,

[00:32:27] so you've been doing open mics

[00:32:28] for a couple of years

[00:32:29] so tell me about your process.

[00:32:30] Like what?

[00:32:31] Why are you interviewing?

[00:32:32] So how much time you got

[00:32:33] at this point?

[00:32:34] You got what?

[00:32:35] You got 40,

[00:32:36] you got a tight 20.

[00:32:37] It was one of those things

[00:32:38] where it's like,

[00:32:39] you know,

[00:32:40] is there a saturation point?

[00:32:42] Like will they eventually

[00:32:43] do all the comedians

[00:32:44] and then after a couple of years

[00:32:45] they're like, yep,

[00:32:46] yep, they did it.

[00:32:47] They did all the comedians.

[00:32:48] But David let me ask you a question.

[00:32:49] Yeah.

[00:32:50] Who are your guys?

[00:32:51] Ben, Ben who are your guys?

[00:32:54] What do you mean Mike?

[00:32:55] Cosby.

[00:32:56] Who are your guys?

[00:32:57] Who are you watching?

[00:32:58] Who are you growing up?

[00:32:59] Who are your guys?

[00:33:00] I also say Cosby.

[00:33:01] Well, George Carlin.

[00:33:02] Oh yeah, yeah.

[00:33:03] I mean he was the best right?

[00:33:04] I love that when he asks

[00:33:05] people who their guys are

[00:33:06] and when they say it

[00:33:07] he just wants to talk about

[00:33:08] those guys rather than

[00:33:09] that person's career.

[00:33:10] Yeah.

[00:33:12] I always find it lame

[00:33:13] when he talks about music.

[00:33:14] Oh boy.

[00:33:15] Yeah.

[00:33:16] Because he's really passionate

[00:33:17] but he's also just like

[00:33:18] some weird old guy

[00:33:20] that's like going on and on

[00:33:21] about some dumb band.

[00:33:23] By the way,

[00:33:24] I'm recording WTF tomorrow.

[00:33:25] Okay, that'd be great.

[00:33:26] Tomorrow I'm doing

[00:33:27] This American Life

[00:33:28] and then WTF.

[00:33:29] I'm going straight from WKRP

[00:33:31] in Cincinnati.

[00:33:32] That's where

[00:33:33] This American Life records, right?

[00:33:36] I don't know.

[00:33:37] Okay.

[00:33:38] Anyway.

[00:33:39] All right, so the film,

[00:33:40] let's get to the film.

[00:33:41] Okay.

[00:33:42] Well, the Hudson thing.

[00:33:43] Okay, Kate Hudson.

[00:33:44] Right.

[00:33:45] She was going to be big

[00:33:46] and she was going to win the Oscar.

[00:33:47] She doesn't win the Oscar.

[00:33:48] Right.

[00:33:49] She already does a couple

[00:33:50] big movies after that

[00:33:51] that all sort of underwent.

[00:33:52] Four Feathers was like

[00:33:53] a massive flop

[00:33:54] that people thought was

[00:33:55] going to be a big Oscar play.

[00:33:56] Yeah.

[00:33:57] Talk about like

[00:33:58] a sign of the times

[00:33:59] that one

[00:34:00] because what is it?

[00:34:01] Wes Bentley.

[00:34:02] It's got Heath.

[00:34:03] It's Heath,

[00:34:04] Wes Bentley

[00:34:05] and Kate Hudson

[00:34:06] were the three.

[00:34:07] No,

[00:34:08] Jai Mon Hunsu is in it.

[00:34:09] Yeah.

[00:34:10] I don't know.

[00:34:11] So it doesn't land.

[00:34:12] She's in Gossip and About Adam,

[00:34:14] which she certainly shot before.

[00:34:16] Almost famous.

[00:34:17] Right.

[00:34:18] I think those two both.

[00:34:19] She's in Le Divorce

[00:34:20] with Naomi Watts.

[00:34:21] Me and Richard Lawson.

[00:34:22] Oh no, Richard was

[00:34:23] was he talking?

[00:34:24] Yeah.

[00:34:25] Naomi Watts syndrome.

[00:34:26] He talked about it.

[00:34:27] Yes.

[00:34:28] On the podcast that's

[00:34:29] going to come out next week.

[00:34:30] Yeah.

[00:34:31] But that was a

[00:34:32] Merchant Ivory, right?

[00:34:33] Yeah.

[00:34:34] You've got Alex and Emma.

[00:34:35] Uh-huh.

[00:34:36] Oh, but the first

[00:34:37] of theatrically

[00:34:38] of those three movies released in 2003

[00:34:40] is How to Lose a Guy in 10 Days,

[00:34:42] which is a massive hit.

[00:34:43] Huge hit.

[00:34:44] And everyone goes,

[00:34:45] there we go.

[00:34:46] That's how she fits in.

[00:34:48] Then her next movie is

[00:34:49] Raising Helen,

[00:34:50] which bombs really hard,

[00:34:51] the Gary Marshall picture.

[00:34:53] Then her next movie is

[00:34:54] The Skeleton Key.

[00:34:56] It's a horror movie

[00:34:57] that's okay that doesn't do very well.

[00:34:59] And then her next film after

[00:35:00] that is You Me and the Pre.

[00:35:02] And then she's stuck in

[00:35:03] thinkless like

[00:35:04] her career just doesn't go anywhere.

[00:35:06] Because then we go,

[00:35:07] okay, she's playing the girl

[00:35:08] in a Dane Cook movie.

[00:35:10] Yeah, is that my best friend's girl?

[00:35:12] Yeah, she's doing

[00:35:13] a shittier McConaughey follow-up.

[00:35:15] Wait, you didn't mention

[00:35:16] the Skeleton Key, did you?

[00:35:17] I did mention Skeleton Key.

[00:35:18] Okay.

[00:35:19] I said that didn't do that well.

[00:35:20] There's, excuse me,

[00:35:21] Pride Wars.

[00:35:22] Comes the year after.

[00:35:23] In which her hair is blue.

[00:35:24] Yeah, like a smurf.

[00:35:25] My hair is blue.

[00:35:26] Now let's talk about

[00:35:27] who she dated.

[00:35:28] It's blue!

[00:35:29] Okay, because she dated

[00:35:30] a bunch of terrible people.

[00:35:32] Well, at the time

[00:35:33] of the Oscar sitting next to her

[00:35:35] when she had to pretend that she wasn't

[00:35:37] angry that she lost,

[00:35:39] it was the guy from Counting Crows, right?

[00:35:41] Yeah.

[00:35:42] Robinson?

[00:35:43] Keith Robinson, yeah.

[00:35:44] Not Keith Robinson.

[00:35:45] Keith Robinson's a guy.

[00:35:47] Oh Chris, sorry.

[00:35:48] Yeah, yeah, yeah.

[00:35:50] Let's see, she...

[00:35:51] Here's some of the people

[00:35:52] she's dated.

[00:35:54] Matt LeBlanc.

[00:35:55] Hey, that's a good choice.

[00:35:56] In the 90s.

[00:35:57] Yeah, and we said last week

[00:35:58] or however many weeks ago it was,

[00:36:00] we made it clear we would date Matt.

[00:36:02] We've got an hour.

[00:36:03] Okay.

[00:36:04] Eli Craig, son of Sally Field,

[00:36:06] whoever that is.

[00:36:07] Okay.

[00:36:08] Chris Robinson as you guys said.

[00:36:09] Was married to him.

[00:36:10] From the Black Crows,

[00:36:11] not Counting Crows.

[00:36:12] Oh yeah, sorry.

[00:36:13] Yeah.

[00:36:14] We saw a jack shepherd right next?

[00:36:15] Then they divorced

[00:36:16] but they had a son called Ryder.

[00:36:18] Ugh.

[00:36:19] The National Enquirer

[00:36:20] said that she was painfully thin

[00:36:22] and she sued them

[00:36:23] Uh-huh.

[00:36:24] and won.

[00:36:25] Hey.

[00:36:26] Ugh.

[00:36:27] I assume she had

[00:36:28] like an eating disorder.

[00:36:29] Yeah, get it.

[00:36:30] Get it, okay.

[00:36:31] This front man, Matthew Bellamy.

[00:36:33] Oh.

[00:36:34] The guy, the, you know,

[00:36:35] the sort of screechy guy.

[00:36:36] Yeah.

[00:36:37] Then that's over.

[00:36:38] Uh-huh.

[00:36:39] And so now I'm not sure

[00:36:40] what she's up to.

[00:36:41] Uh, I believe she's with

[00:36:42] one of the Jonas Brothers now.

[00:36:43] Okay.

[00:36:44] I don't know if I'm talking

[00:36:45] about school.

[00:36:46] She played a lesbian

[00:36:47] in Mother's Day.

[00:36:48] Oh yeah, how was she in that?

[00:36:49] Bad?

[00:36:50] Yeah.

[00:36:51] I'm pretty sure

[00:36:52] she was with Lance Armstrong

[00:36:53] too, it's all right.

[00:36:54] Yes.

[00:36:55] Isn't that Cheryl Crow?

[00:36:56] They both were with him,

[00:36:57] I believe.

[00:36:58] I believe.

[00:36:59] Lock the gates.

[00:37:00] And so,

[00:37:01] I think she's very strong

[00:37:02] on the set of You Me and DePri

[00:37:03] where Lance Armstrong plays

[00:37:04] a pivotable supporting role.

[00:37:05] Pivotable?

[00:37:06] Yeah, a pivotable supporting role.

[00:37:07] Do you see like Piven?

[00:37:08] He's very pivony.

[00:37:09] Uh, a film that will now

[00:37:11] be really weird to watch

[00:37:12] because it's all about how

[00:37:13] Lance Armstrong is unquestionably

[00:37:15] a figure of integrity

[00:37:16] who we should all inspire.

[00:37:17] Well that happens in dodgeball

[00:37:18] too, he did that a lot.

[00:37:19] Yeah.

[00:37:20] Anyway.

[00:37:21] Anyway.

[00:37:22] You mean DePri?

[00:37:23] And she dated Alex Rodriguez.

[00:37:24] Oh yeah.

[00:37:25] Duh.

[00:37:26] You mean DePri

[00:37:27] from the directors of

[00:37:28] Captain America Civil War.

[00:37:29] Yes, that is right.

[00:37:30] The Durship Brothers.

[00:37:31] Almost famous though.

[00:37:33] Yeah.

[00:37:34] But anyway, so yeah,

[00:37:35] we said Crudup never quite finds

[00:37:37] his spot after this movie.

[00:37:39] Hudson, same deal.

[00:37:41] Yeah.

[00:37:42] Hudson is more famous,

[00:37:43] but she's famous for some sort of

[00:37:45] weird almost like,

[00:37:46] you know, cover of tabloids

[00:37:48] type fame.

[00:37:49] It's like she's sort of a brand.

[00:37:50] Yes.

[00:37:51] More than she is like a

[00:37:52] respected actress.

[00:37:53] Like I remember at nine

[00:37:54] was supposed to be kind of

[00:37:55] a comeback for her.

[00:37:56] That flopped.

[00:37:57] Was not.

[00:37:58] I don't know what the answer to

[00:38:00] Kate Hudson's star problem is.

[00:38:01] Well, here's my answer.

[00:38:02] And this is what we were saying.

[00:38:03] Like you go like,

[00:38:04] man, but she was such a good

[00:38:05] actress when she started out.

[00:38:06] Look at almost famous.

[00:38:07] And then you rewatch almost

[00:38:08] famous and you're like,

[00:38:09] now we know all the tricks.

[00:38:11] You know, I watched this

[00:38:12] performance and it feels very

[00:38:14] studied to me.

[00:38:16] I don't think it's a bad

[00:38:17] performance.

[00:38:18] I'm not a big fan of this

[00:38:19] performance.

[00:38:20] I don't think it's a bad

[00:38:21] performance either.

[00:38:22] But I think at the time

[00:38:23] everyone was like.

[00:38:24] Incredibly mannered.

[00:38:25] Yes, that's a thing.

[00:38:26] She has this thing she does

[00:38:27] where she kind of like rests

[00:38:29] her cheeks on her hands.

[00:38:30] Yeah.

[00:38:31] Over and over again until

[00:38:33] you just want to like,

[00:38:34] you know, shaker.

[00:38:35] I think I don't really

[00:38:37] want to shake her.

[00:38:38] I think she good.

[00:38:40] Good apology.

[00:38:41] I think she is

[00:38:44] someone who is incredibly

[00:38:47] aware of how she plays on camera

[00:38:49] and going into this movie

[00:38:51] like knew exactly what like

[00:38:53] small at this angle.

[00:38:55] The camera's here.

[00:38:56] She knows where the light

[00:38:57] catches her, you know.

[00:38:58] Right.

[00:38:59] And she's got a sort of

[00:39:00] effervescent personality

[00:39:01] and I think she popped

[00:39:03] in this movie because it was

[00:39:04] like for someone I've never

[00:39:05] seen before that person just

[00:39:06] seems like they're so flowing

[00:39:07] and so like charismatic and

[00:39:08] natural.

[00:39:09] But also the film is so

[00:39:10] obsessed with her.

[00:39:11] Exactly.

[00:39:12] You know, I mean the film

[00:39:13] is she's such a,

[00:39:14] I mean the whole thing,

[00:39:15] the whole idea that

[00:39:16] Cameron Cron invented the

[00:39:17] manic pixie dream girl

[00:39:18] with Elizabeth Downs

[00:39:19] kind of ridiculous because

[00:39:20] it's like it's all here.

[00:39:21] And vanilla sky.

[00:39:23] And vanilla sky although

[00:39:24] vanilla sky is so half

[00:39:25] hard.

[00:39:26] I'm sorry, I'm sorry.

[00:39:27] Vanilla sky.

[00:39:28] Vanilla sky.

[00:39:29] Vanilla sky.

[00:39:30] Vanilla sky.

[00:39:34] You know who's great

[00:39:35] in this movie?

[00:39:36] Who?

[00:39:37] Zoe Deschanel.

[00:39:38] You know who's great

[00:39:39] in this movie?

[00:39:40] Who?

[00:39:41] Michael Anagaro.

[00:39:42] Agreed.

[00:39:43] I think the opening

[00:39:44] trunk is the best.

[00:39:45] And Anagorano and

[00:39:46] I've never known.

[00:39:47] And Anagorano,

[00:39:48] however you say it.

[00:39:49] I have never known.

[00:39:50] PSA, great.

[00:39:51] Jason Lee, terrific.

[00:39:52] Great.

[00:39:53] Let's take into the movie.

[00:39:54] I just sort of this final

[00:39:55] thesis thing about

[00:39:56] Kate Hudson is,

[00:39:57] I think looking back at the

[00:39:58] film now,

[00:39:59] it's clear that

[00:40:03] she had a very limited set

[00:40:05] of tricks.

[00:40:07] This film utilized them all

[00:40:08] really well.

[00:40:09] Sure.

[00:40:10] And like diminishing returns.

[00:40:11] Like I think her performance

[00:40:12] doesn't play as well now

[00:40:13] because we're like,

[00:40:14] well those are the same

[00:40:15] six moves she does in

[00:40:16] raising Helen.

[00:40:17] And raising Helen sucks.

[00:40:18] You know?

[00:40:19] Like we know.

[00:40:20] We know what her moves

[00:40:21] are.

[00:40:22] It's like you know

[00:40:23] it's like Barry Manilow

[00:40:24] coming out and playing the same

[00:40:25] four songs over and over again.

[00:40:27] At the copa.

[00:40:28] Lock the gates.

[00:40:29] Right.

[00:40:30] Yeah.

[00:40:31] Yeah, it's like if someone

[00:40:32] ended every single episode

[00:40:34] by saying boomer lives.

[00:40:36] I just shit my pants.

[00:40:37] How?

[00:40:39] Just coffee.coop.

[00:40:41] By the way, go to our store

[00:40:42] you can get our blank check blend.

[00:40:45] Breaking news by the way.

[00:40:48] Yeah.

[00:40:49] On my phone.

[00:40:50] Ad9Syad of serial

[00:40:52] getting a new trial.

[00:40:53] The Maryland man's murder

[00:40:55] conviction has been

[00:40:57] vacated or whatever.

[00:40:58] He's getting a new trial.

[00:40:59] Well I want to remind

[00:41:00] our listeners that on

[00:41:01] episode one.

[00:41:02] We talked about it in episode one.

[00:41:03] Episode one of this podcast

[00:41:04] when we threw down the gauntlet

[00:41:05] and said we were a greater

[00:41:06] mystery show than Serial

[00:41:08] and we were trying to solve

[00:41:09] the mystery of what

[00:41:10] Star Wars Episode one

[00:41:11] the Phantom Aspects about.

[00:41:12] Then we dropped the whole

[00:41:13] Serial thing.

[00:41:14] Yeah.

[00:41:15] But we said

[00:41:16] just so you know

[00:41:17] Anon is guilty.

[00:41:18] We established that in

[00:41:19] episode one of this podcast.

[00:41:21] Maybe you know maybe he's innocent.

[00:41:24] Well I think we got to stick

[00:41:25] to what we said on this podcast.

[00:41:26] We got to have a consistent mythology

[00:41:29] almost famous the years 2000

[00:41:31] the film opens with

[00:41:33] I think yeah I think

[00:41:35] you know Safer Phelps and

[00:41:37] Mojofbin who's an entirely

[00:41:38] different class

[00:41:39] my three favorite performances

[00:41:41] in the film after that are

[00:41:43] Anne Yorano, McDormand

[00:41:44] and Zoe Deschanel.

[00:41:45] Anne Yorano is so good

[00:41:47] and it's just very tough

[00:41:49] for Patrick Fugit to live up to

[00:41:51] in this film.

[00:41:52] I think he is also excellent.

[00:41:54] Fugit?

[00:41:55] Yes.

[00:41:56] I think that Fugit is

[00:41:57] just he's got such a great

[00:41:59] look and he's really sweet.

[00:42:01] He's got a really funny vibe

[00:42:02] but when he has to do

[00:42:03] the dramatic moments

[00:42:04] it doesn't work for me.

[00:42:06] Do you know what I like about

[00:42:07] him and those dramatic moments?

[00:42:08] And this is his first movie pretty much.

[00:42:10] This is his first movie.

[00:42:11] What I like about him

[00:42:12] and those moments

[00:42:13] and whether or not

[00:42:14] this is intentional

[00:42:15] I think it works.

[00:42:16] It feels like a kid

[00:42:18] out of his depth.

[00:42:19] Yeah.

[00:42:20] Like even if it feels like

[00:42:21] okay as an actor

[00:42:22] he's out of his depth

[00:42:23] and he can't pull off

[00:42:24] the full weight of this

[00:42:25] it feels like someone trying

[00:42:26] to be an adult

[00:42:27] not knowing how to behave

[00:42:28] in those situations.

[00:42:29] You're talking about the scene

[00:42:30] in the hotel room

[00:42:31] where he's trying to save

[00:42:32] her life and stuff.

[00:42:33] Yeah and there's a scene

[00:42:34] a little bit before

[00:42:35] when he has this sort of

[00:42:36] confrontation with Hudson

[00:42:37] and he's kind of like

[00:42:38] tells her off.

[00:42:39] Yeah he's kind of like

[00:42:40] pumping his fist

[00:42:41] he's doing this funny

[00:42:42] They sold you for $50

[00:42:43] in a case on Heineken.

[00:42:44] That doesn't work at all

[00:42:45] for me.

[00:42:46] That's the scene

[00:42:47] I'm thinking of the most.

[00:42:48] You just did it almost better

[00:42:49] than he did.

[00:42:50] There's that little impression

[00:42:51] there.

[00:42:52] It's clunky

[00:42:53] but I think it works

[00:42:55] because he's a guy who doesn't

[00:42:56] know how to pull off

[00:42:57] what he's trying to do.

[00:42:58] Yeah I think you're right

[00:42:59] I think that's fair

[00:43:00] the movie gets away with it

[00:43:01] because yeah you can have

[00:43:02] a Sarah Peshkin.

[00:43:03] Amazing.

[00:43:04] I think

[00:43:05] Aynorado is definitely

[00:43:06] better.

[00:43:07] Aynorado is

[00:43:08] just so perfect

[00:43:09] He's so perfect

[00:43:10] and he's so funny

[00:43:11] and we're talking about

[00:43:12] the lip-nicky thing

[00:43:13] I mean Crow is great

[00:43:14] with kids

[00:43:15] and even when you get

[00:43:16] more problematic Crow movies

[00:43:17] that we're going to cover

[00:43:18] and yeah

[00:43:19] the kids in Zoo are amazing

[00:43:20] I think the daughter

[00:43:21] in Aloha is incredible

[00:43:24] Yeah she's really cute

[00:43:26] She's a good actress

[00:43:27] And the boy in Aloha

[00:43:28] is also great

[00:43:29] Jane Leibman Hart

[00:43:30] who was a kid from

[00:43:31] Midnight Special

[00:43:32] Oh yeah he was good in

[00:43:33] Yeah okay

[00:43:34] He's really good with kids

[00:43:35] because he's a behavioral

[00:43:36] filmmaker with kids

[00:43:37] there's less study

[00:43:38] behavior that you have

[00:43:39] to tear away to get people

[00:43:40] in a sort of organic state

[00:43:41] Yeah

[00:43:42] Aynorado

[00:43:43] is an excellent actor

[00:43:44] he's grown up to be

[00:43:45] an excellent actor

[00:43:46] Boy was an excellent actor

[00:43:47] from a young age

[00:43:50] Is that throwback to

[00:43:51] eating on mic right?

[00:43:52] Yeah I know I've been doing it

[00:43:53] the last two episodes

[00:43:55] We should mention

[00:43:56] this film comes out in

[00:43:57] 2000

[00:43:59] 1999 he was the second choice

[00:44:01] to play

[00:44:02] Anakin Skywalker

[00:44:03] and the Phantom Menace

[00:44:05] We talked about it

[00:44:06] I believe on one of the

[00:44:07] attack of the Count's episodes

[00:44:09] I wonder how he would have been

[00:44:11] It's hard to know

[00:44:12] So his audition is

[00:44:13] they have it on the DVD

[00:44:14] It's pretty good

[00:44:15] but it also

[00:44:16] it's weird because

[00:44:17] his style of acting

[00:44:18] which is more human

[00:44:20] and naturalistic

[00:44:22] even as a young young child

[00:44:23] doesn't totally fit in

[00:44:24] with the dialogue of

[00:44:25] Phantom Menace

[00:44:26] Lock the gates

[00:44:28] Lock

[00:44:29] the gates

[00:44:30] So the film is

[00:44:31] an autobiographical tale

[00:44:33] of Cameron Crowe's life

[00:44:35] I think I don't know

[00:44:36] I have never listened to

[00:44:37] the commentary so

[00:44:38] I don't know how

[00:44:39] exact this tale is

[00:44:41] You know

[00:44:42] I forget which version

[00:44:43] it's on

[00:44:45] It's either on

[00:44:46] the bootleg or the

[00:44:47] theatrical

[00:44:48] but on one of the two

[00:44:49] there are different commentary tracks

[00:44:51] for each one

[00:44:52] On one of the two

[00:44:54] the commentary is

[00:44:55] Cameron Crowe with his mother

[00:44:57] Oh yeah

[00:44:58] I've heard of this commentary

[00:44:59] Is it good?

[00:45:00] It's very good

[00:45:01] And they talk about

[00:45:02] it a lot

[00:45:03] Of course his mom was in

[00:45:04] Jerry McGuire

[00:45:05] She's in Vanilla Sky briefly

[00:45:06] She's not in this though

[00:45:08] She was in a scene

[00:45:09] that was cut out

[00:45:10] There's a really good deleted scene

[00:45:11] where she has a group

[00:45:12] that tries to get him

[00:45:13] off of rock music

[00:45:14] by showing him that satanic

[00:45:15] and I think he tries

[00:45:16] to win them over

[00:45:17] by playing stairway to heaven

[00:45:18] Right

[00:45:19] And they couldn't get the rights

[00:45:20] They shot the whole scene

[00:45:21] and they couldn't get the rights

[00:45:22] but his mom is in it

[00:45:23] as someone else who

[00:45:24] hates the rock and roll music

[00:45:27] It's pretty accurate

[00:45:28] I forget which

[00:45:29] band

[00:45:30] it is

[00:45:32] But I think there's

[00:45:33] a specific band

[00:45:34] that he toured with

[00:45:35] that it's pretty one to one on

[00:45:37] He did write for Rolling Stone

[00:45:39] Lester Bangs was his mentor

[00:45:41] There's a credit at the end

[00:45:42] of the film

[00:45:43] that says

[00:45:44] Trying to find the exact band

[00:45:45] it was because

[00:45:46] he says it's based on

[00:45:47] the Omen Brothers Band

[00:45:48] and the Eagles

[00:45:49] And there's another big one

[00:45:52] Leonard Skinnerd

[00:45:54] and then there's some band

[00:45:55] named Poco

[00:45:56] that I've never heard of

[00:45:57] Sure

[00:45:58] Right

[00:45:59] So it's like an amalgamation

[00:46:00] Yeah

[00:46:02] The title card

[00:46:03] at the end of the film

[00:46:04] says this motion picture

[00:46:05] is a work of fiction

[00:46:07] The character Penny Lane

[00:46:08] is loosely based

[00:46:09] on an actual person

[00:46:11] Most of the other characters

[00:46:12] in this photo play

[00:46:13] and all events are fictitious

[00:46:15] Alright buddy

[00:46:16] What's interesting is

[00:46:17] them singling out Penny Lane

[00:46:19] Well there's a real person

[00:46:20] who had the name Penny Lane

[00:46:21] spelled differently

[00:46:22] P-E-N-N-I-E

[00:46:24] So do you think they had

[00:46:25] to put that in

[00:46:26] to make it clear wasn't her?

[00:46:28] Yeah, Penny Lane Trumbull

[00:46:29] was her name

[00:46:30] But apparently there's

[00:46:31] also a couple other famous

[00:46:34] quote unquote groupies

[00:46:35] band-aids

[00:46:36] whatever you want to call them

[00:46:37] who he probably was inspired by

[00:46:38] for that character

[00:46:40] Now I don't know if Cameron Crow

[00:46:42] went on tour the band

[00:46:43] and then had this sort of like

[00:46:45] from afar

[00:46:46] crush on a groupie

[00:46:48] and then like rescued her

[00:46:49] when she took a quailude overdose

[00:46:50] and then like she you know

[00:46:51] I'm sure that a lot of this

[00:46:53] romance was

[00:46:54] compressed into this story

[00:46:56] to you know give it more of a

[00:46:58] arc

[00:46:59] And sort of an amalgam thing

[00:47:00] I mean I feel like

[00:47:01] if he was following enough bands

[00:47:02] on the road

[00:47:03] this sort of thing

[00:47:04] probably happened a couple times

[00:47:05] and he made it into

[00:47:06] the one that mattered

[00:47:07] Yeah

[00:47:08] You know

[00:47:10] in the same way that

[00:47:11] you know it sounds like it was

[00:47:12] a couple bands

[00:47:13] but more specific incidents

[00:47:14] Yeah

[00:47:16] I want to say even that

[00:47:17] Poco was maybe

[00:47:19] the main influence

[00:47:20] because they were the band

[00:47:21] that never totally made it

[00:47:22] Sure, never hit

[00:47:24] Well, but so

[00:47:25] Okay, so the beginning of the

[00:47:26] movie the best part of the movie

[00:47:27] In my opinion

[00:47:28] I agree

[00:47:29] Which is when he's little

[00:47:30] buddy

[00:47:31] Cameron he's like

[00:47:32] thinks he's 14

[00:47:33] but he's 11

[00:47:34] Is that it?

[00:47:35] He thinks he's like 13

[00:47:36] but he's 11

[00:47:37] He thinks he's 13

[00:47:38] and it's sort of like

[00:47:39] he's a little shrimp

[00:47:40] and it's like about this moment

[00:47:41] where he figures out

[00:47:43] because

[00:47:44] his older sister prompts the mother

[00:47:45] like you gotta tell him

[00:47:46] how old he really is

[00:47:47] cause she's been kind of pushing him

[00:47:48] like he like skipped a couple grades

[00:47:50] Additional so good

[00:47:51] Additional is wonderful

[00:47:52] Is it 19 in this movie?

[00:47:54] I mean this was when

[00:47:55] she was just getting

[00:47:56] just starting to pop up

[00:47:57] and stuff

[00:47:58] I mean

[00:47:59] how old was she

[00:48:00] Yeah, she's like

[00:48:01] yeah, 20

[00:48:02] 19, 20

[00:48:03] She's incredible

[00:48:04] I mean it's like

[00:48:05] you know

[00:48:06] it's surprising to me

[00:48:07] Her eyes are just insane

[00:48:08] I mean she's got incredible eyes

[00:48:09] Yeah

[00:48:10] I mean I always have made the argument

[00:48:12] that Zoe Deschanel is really like

[00:48:13] a sort of old studio system

[00:48:15] movie star

[00:48:16] in that way

[00:48:17] like an old MGM movie star

[00:48:18] and that she has like

[00:48:19] the defining facial characteristic

[00:48:21] and she's got

[00:48:22] a very specific like

[00:48:23] energy and vibe

[00:48:24] like she's like a

[00:48:25] Greta Garbo type person

[00:48:26] where it's like

[00:48:27] there are the aesthetics

[00:48:28] that come with Zoe Deschanel

[00:48:29] there's an attitude

[00:48:30] that comes with Zoe Deschanel

[00:48:31] but if you know how to use

[00:48:32] that palette

[00:48:33] you know that color

[00:48:34] from the palette

[00:48:35] on the canvas

[00:48:36] it's like incredible

[00:48:37] it's so powerful

[00:48:38] It's too bad she doesn't

[00:48:39] make movies anymore

[00:48:40] Yeah

[00:48:41] She's made one movie in the last

[00:48:42] five years

[00:48:43] Do you know what it was?

[00:48:44] Uh, Trolls?

[00:48:45] Rock the Casbah

[00:48:46] I think Trolls is the next one

[00:48:47] Yeah, yeah, yeah

[00:48:48] Oh, she's a voice in Troll

[00:48:49] Yeah

[00:48:50] She's very good on New Girl

[00:48:51] I just wish she was doing

[00:48:52] movies again too

[00:48:53] Yeah, but I mean

[00:48:54] apparently that's

[00:48:55] a really punishing show to make

[00:48:56] That's always been the story

[00:48:57] So she just doesn't want to

[00:48:58] work when they're done

[00:48:59] with the season?

[00:49:00] Everyone says that

[00:49:01] that show is a nightmare

[00:49:02] to me

[00:49:03] I like watching it

[00:49:04] I love watching it

[00:49:05] Thanks for making it guys

[00:49:06] But, whew, boy

[00:49:08] I mean you don't even have to

[00:49:09] read between the lines

[00:49:10] with interviews with like

[00:49:11] Jake Johnson or Max Greenfield

[00:49:12] they just clearly are

[00:49:13] a crazy show to make

[00:49:14] and obviously she's in

[00:49:15] like most of the scenes

[00:49:17] Yeah, yeah

[00:49:18] Anyway

[00:49:19] Interesting

[00:49:20] So there's this conflict

[00:49:22] between the mother and the sister

[00:49:23] Pro has said the conflict

[00:49:24] is actually much worse

[00:49:25] in real life

[00:49:26] And that they never

[00:49:27] totally reconciled

[00:49:28] at least

[00:49:29] at the time when he made

[00:49:30] the movie

[00:49:31] Whereas in this movie

[00:49:32] they seemed to reconcile

[00:49:33] somewhat of a happy ending

[00:49:34] The mother is this

[00:49:35] like, I mean

[00:49:36] it's one of the best things

[00:49:38] about the movie

[00:49:39] because she's not a stereotype

[00:49:41] She's kind of hard to figure out

[00:49:42] She's controlling

[00:49:43] but she's also like artsy

[00:49:45] and very expansive in some way

[00:49:47] She wants her kids to be smart

[00:49:49] but she's afraid of them

[00:49:50] you know being corrupted

[00:49:51] right?

[00:49:52] It's like this weird

[00:49:53] push and pull

[00:49:54] I think very true to life

[00:49:55] You know, I mean

[00:49:56] the reason she's not an

[00:49:57] archetype is because

[00:49:58] I think, you know

[00:49:59] especially when you listen

[00:50:00] to the commentary track

[00:50:01] This really is who

[00:50:02] the mother was

[00:50:03] pretty accurately

[00:50:04] Maybe she's mellowed out

[00:50:05] you know in the intervening years

[00:50:06] I don't know

[00:50:07] There's a line

[00:50:08] I'm gonna paraphrase

[00:50:09] later in the film

[00:50:10] where they say like

[00:50:11] you listen, you hear stuff

[00:50:12] most people are just

[00:50:13] waiting for their next chance

[00:50:14] to talk

[00:50:15] and I think that's

[00:50:16] Crowe's great ability

[00:50:17] when he is great

[00:50:19] is that he gets these

[00:50:20] very specific characters

[00:50:21] across

[00:50:22] because he actually

[00:50:23] does study human behavior

[00:50:25] and he doesn't reduce

[00:50:26] people to archetypes

[00:50:27] I have a friend

[00:50:29] I will not cite

[00:50:31] on the podcast for obvious reasons

[00:50:32] but a friend whose mother

[00:50:33] is very very similar to this

[00:50:35] where there is the sort of

[00:50:36] there's that early moment

[00:50:37] where she walks by the store

[00:50:38] and she corrects

[00:50:39] the guy painting in the window

[00:50:40] it says

[00:50:41] Mary X-mas

[00:50:42] Yeah, right

[00:50:43] She says X-mas is not a word

[00:50:44] Right

[00:50:45] But she's not saying it

[00:50:46] to be mean

[00:50:47] he goes like thank you

[00:50:48] and she goes like

[00:50:49] you're welcome

[00:50:50] Like she feels like

[00:50:51] she has an obligation

[00:50:52] to help uphold

[00:50:53] the standard of culture

[00:50:55] Right

[00:50:56] That she feels is slipping

[00:50:57] Yeah, and I mean

[00:50:58] I guess it is

[00:50:59] the early 70s

[00:51:00] so she is

[00:51:01] beholding like a relatively new

[00:51:04] Yeah

[00:51:05] influx of sex and drugs

[00:51:07] sort of open

[00:51:08] you know

[00:51:09] free sex and drug

[00:51:10] you know like so it's all

[00:51:11] a little terrifying to her

[00:51:12] But she's not a nag

[00:51:13] she's just like

[00:51:14] this is not good

[00:51:15] You know

[00:51:16] And she's like trying to get

[00:51:17] everyone to like

[00:51:18] cut through to them

[00:51:19] like compassionately

[00:51:20] Right

[00:51:21] But she is an incredibly

[00:51:22] square woman

[00:51:23] She's a real square

[00:51:24] Yeah

[00:51:25] She is

[00:51:26] Benny, you got something to say?

[00:51:27] Well I was just thinking

[00:51:28] she isn't the kind of stereotype

[00:51:32] which you have in Forrest Gump

[00:51:34] with Jenny's parents

[00:51:35] who just kind of are like

[00:51:36] the typical like

[00:51:37] you're participating

[00:51:38] in this counterculture

[00:51:39] you get kicked out of the house

[00:51:41] never want to see you again

[00:51:42] Yes

[00:51:43] So it was refreshing

[00:51:44] to see that

[00:51:45] I think it is a master stroke

[00:51:46] of this film

[00:51:47] that she lets him do it

[00:51:49] Yeah

[00:51:50] You know

[00:51:51] and that all the time

[00:51:52] she calls and she disapproves

[00:51:53] and she says

[00:51:54] you should come back

[00:51:55] he wins her over

[00:51:56] Yeah

[00:51:57] And then she just sort of

[00:51:58] line in the sand moment

[00:51:59] where it's like

[00:52:00] if you leave

[00:52:01] you're not coming back home

[00:52:02] I agree with you

[00:52:03] there is

[00:52:05] it kind of has to happen

[00:52:06] for the movie to happen

[00:52:07] and there

[00:52:08] but yeah

[00:52:09] I agree with you

[00:52:10] Yeah

[00:52:11] I agree with you

[00:52:12] Yeah

[00:52:13] because I think it makes it human

[00:52:14] it makes it real

[00:52:15] It makes, yeah

[00:52:16] He's 11

[00:52:17] She's 13

[00:52:18] She thinks he's 13

[00:52:19] Francis McDormand

[00:52:20] because she's an amazing actress

[00:52:21] We're lucky anytime

[00:52:22] we get to watch a

[00:52:23] Francis McDormand

[00:52:24] performance

[00:52:25] Tis true

[00:52:26] Yeah

[00:52:27] a pleasure

[00:52:28] and an honor

[00:52:29] Thank you Francis

[00:52:30] for all the years

[00:52:31] of art you've given us

[00:52:32] Yes

[00:52:33] Thank you

[00:52:34] for all the years

[00:52:35] Yes Francis

[00:52:36] Thank you

[00:52:37] for the art

[00:52:39] God

[00:52:40] we're both in a great headspace

[00:52:41] right now

[00:52:42] The

[00:52:44] Yeah

[00:52:45] the sister

[00:52:46] hates the mom

[00:52:47] there's the great scene

[00:52:48] where she tells her off

[00:52:49] Yeah

[00:52:50] and you know

[00:52:51] we move Christmas to July

[00:52:52] because there's less commercial

[00:52:53] all of this

[00:52:54] Right

[00:52:55] and she goes like

[00:52:56] you know everyone hates you

[00:52:57] William hates you

[00:52:58] and he goes I don't hate you

[00:52:59] and she goes you do

[00:53:00] you just don't even know it yet

[00:53:01] Right

[00:53:02] and there's this sense of

[00:53:03] like she just has had enough

[00:53:04] She now views the mom as the enemy

[00:53:06] Yeah

[00:53:07] William's in a place where

[00:53:08] he's frustrated with all

[00:53:09] the things that the mom does

[00:53:10] but also does still love

[00:53:11] his mother

[00:53:12] Yeah

[00:53:13] and respect her a lot

[00:53:14] I think her commitment

[00:53:15] to her values

[00:53:16] Right

[00:53:17] and her intelligence

[00:53:18] He's also on the cusp of puberty

[00:53:19] and he hasn't quite

[00:53:20] discovered all these emotions yet

[00:53:21] And he doesn't have friends

[00:53:22] No

[00:53:23] You know

[00:53:24] he repeats from say anything

[00:53:25] where it's when all the guys are outside

[00:53:27] like the grocery

[00:53:28] Yeah

[00:53:29] and you go down the line

[00:53:30] and then the last guy is

[00:53:31] He's the little kid

[00:53:32] Right

[00:53:33] He does this again

[00:53:34] with all the guys stroking

[00:53:35] their facial hair

[00:53:36] Right

[00:53:37] And then they make fun of him

[00:53:38] for not having pubes

[00:53:39] and he makes it into a joke

[00:53:40] I did

[00:53:41] I just shaved them all

[00:53:42] Right

[00:53:43] And then they're like

[00:53:44] Hey pubes

[00:53:45] You're pretty funny

[00:53:46] Yeah

[00:53:47] So you're getting like

[00:53:48] okay this guy's starting to figure out

[00:53:49] that his value is

[00:53:50] in being smarter than the other kids

[00:53:51] and using that

[00:53:52] you know

[00:53:53] he runs away with her boyfriend

[00:53:55] She does

[00:53:56] I mean she kind of leaves

[00:53:57] it's sort of a formal runaway

[00:53:59] because she leaves

[00:54:00] like in front of her mother

[00:54:01] Yeah

[00:54:02] But she leaves the records

[00:54:03] A bunch of vinyl records

[00:54:05] And she tells her brother

[00:54:07] to listen to Quadrophenia

[00:54:09] I know it by Tommy by the who

[00:54:10] Yes

[00:54:11] With a candle

[00:54:12] And then he could see his future

[00:54:13] And you hear that

[00:54:15] you know the

[00:54:16] what's the song Sparks

[00:54:17] by the who

[00:54:18] DOOM DOOM

[00:54:19] That's so good

[00:54:20] That's the best part of the movie

[00:54:21] And then he's going through

[00:54:22] all the records

[00:54:23] There's a great sequence

[00:54:24] I love of him just

[00:54:25] stroking all the record covers

[00:54:26] Oh yeah totally

[00:54:27] They're so gorgeous

[00:54:28] And it's like these windows

[00:54:29] that are opening up

[00:54:30] You know he's been like locked

[00:54:31] in this room

[00:54:32] and now he's seeing

[00:54:33] how wide the world can be

[00:54:35] Flash is ahead

[00:54:36] to Patrick Fugit

[00:54:38] He is now a

[00:54:40] He's a 15 year old

[00:54:41] high schooler

[00:54:42] Yes

[00:54:43] He likes

[00:54:44] Rock music

[00:54:45] He's senior

[00:54:46] 15 year old senior

[00:54:47] Oh he loves that

[00:54:48] rock and roll music

[00:54:49] He's being mentored by

[00:54:50] Lester Bangs

[00:54:51] Like a cream magazine

[00:54:52] or something

[00:54:53] Like the San Diego paper

[00:54:54] I forget

[00:54:55] Walks by radio station

[00:54:56] where Polly Perrette of NCIS

[00:54:57] is interviewing Lester Bangs

[00:54:58] and sort of goes up to him

[00:54:59] And Lester Bangs is like

[00:55:01] trying to act like he's

[00:55:02] cooler than the kid

[00:55:03] but can't hide the fact

[00:55:04] that he isn't any cooler

[00:55:05] than the kid

[00:55:06] Yeah sure

[00:55:07] You know they're both smart

[00:55:08] They just love music

[00:55:09] and they're both nerds

[00:55:10] They're both big nerds

[00:55:11] But Bangs

[00:55:12] Bangs is like banging on

[00:55:13] about like the guess who

[00:55:14] who are like the lamest

[00:55:15] band

[00:55:16] but like he gets it

[00:55:17] like he's like they're

[00:55:18] silly

[00:55:19] Hey hey hey

[00:55:20] You're a fucking lame band David

[00:55:21] No I'm

[00:55:22] Ben I love the guess who too

[00:55:23] but like what I'm saying

[00:55:24] is like come on

[00:55:25] you know at the time

[00:55:26] they are not quote unquote cool

[00:55:27] Right

[00:55:28] What he said they have the courage

[00:55:29] to be buffoons

[00:55:30] They have the courage to be silly

[00:55:31] That's what I love about that

[00:55:32] defensive

[00:55:33] He's like rock and roll should be silly

[00:55:34] Like there's no pretension

[00:55:36] The doors are pretending

[00:55:37] that they're profound

[00:55:38] And the guess who is like

[00:55:39] let's make some songs

[00:55:40] and make people want to dance

[00:55:41] Bangs bangs bangs bangs bangs bangs bangs bangs

[00:55:43] And yeah they start this

[00:55:46] mentorship

[00:55:47] and he gets him a little

[00:55:48] assignment right in for cream

[00:55:49] magazine

[00:55:50] He goes you know what

[00:55:51] is a black Sabbath is in town

[00:55:53] You should go try to get him with them

[00:55:55] So he goes outside

[00:55:56] the mom drops him off at the concert

[00:55:58] I love you

[00:55:59] I love you

[00:56:00] I love you

[00:56:01] Everyone yells out

[00:56:02] you know she says

[00:56:03] I love you

[00:56:04] is bearer saying

[00:56:05] She does don't do drugs

[00:56:06] Right yes

[00:56:07] But I like that

[00:56:09] you see a dawning on her

[00:56:11] that she can't do this shit

[00:56:12] Yeah

[00:56:13] You know as she's like

[00:56:14] driving away

[00:56:15] That's not going to help

[00:56:16] It's so shocking to her

[00:56:17] And she just lost a kid

[00:56:18] So she doesn't want to lose another one

[00:56:19] Yeah right no that's the thing

[00:56:20] She does

[00:56:21] That's why she lets him go

[00:56:22] And that's why she's moderating

[00:56:23] her behavior slightly

[00:56:24] Right

[00:56:25] Is because she knows

[00:56:26] she's like I was just trying

[00:56:27] to do the right thing

[00:56:28] Did I not?

[00:56:29] Like

[00:56:30] She's having a conversation

[00:56:31] with herself I think

[00:56:32] probably a lot of parents have

[00:56:33] when their kids wake up

[00:56:34] teenagers yeah

[00:56:35] She's like I'm going to let him

[00:56:36] do the thing that he wants to do

[00:56:37] and just try to instill in him

[00:56:38] the right set of values

[00:56:39] so the thing doesn't corrupt him

[00:56:40] in her mind

[00:56:41] Right

[00:56:42] So he sneaks

[00:56:43] and he meets Kate Hudson

[00:56:44] He meets the Band-Aids

[00:56:45] The guys won't let him fucking in

[00:56:46] They won't let him in

[00:56:47] No matter what they won't let him in

[00:56:48] Yeah the big guy who's also in

[00:56:49] Jerry McGuire that big guy

[00:56:50] I don't know what his name is

[00:56:51] Then he talks to the Band-Aids

[00:56:52] and they try to get him in

[00:56:53] but the guards still won't fucking

[00:56:54] let him in

[00:56:55] and then he sees Stillwater

[00:56:56] Stillwater the band

[00:56:57] who are a fake band

[00:56:58] Right

[00:56:59] And they're waiting outside

[00:57:00] You've got Billy Crudup

[00:57:02] as Russell Hammond

[00:57:03] Uh huh

[00:57:04] And Jason Lee

[00:57:05] as Jeff Bebe

[00:57:06] Bebe

[00:57:07] Bebe

[00:57:08] Cause they almost call him baby

[00:57:09] And a couple other guys

[00:57:10] Yeah two other guys

[00:57:11] Yeah

[00:57:12] And the great Noah Taylor

[00:57:13] as their manager

[00:57:14] Yes

[00:57:15] And he introduces himself

[00:57:16] as a journalist

[00:57:17] and they're like

[00:57:18] Oh the enemy

[00:57:19] Yeah the enemy

[00:57:20] Ahhhh

[00:57:21] And then he's like

[00:57:22] You know your guitar is incandescent

[00:57:23] Incendiary

[00:57:24] Incendiary that's what it is

[00:57:25] And he can't pronounce it

[00:57:26] and he goes like

[00:57:27] You're the truth

[00:57:28] And then they go like

[00:57:29] Don't stop now come with us

[00:57:30] Come on man

[00:57:31] I'm incendiary too

[00:57:32] They pull him in

[00:57:33] He's with the band

[00:57:34] And he's talking to them

[00:57:35] And this is where Crow is great

[00:57:36] And like this is where

[00:57:37] he's fucking playing with fire

[00:57:39] It's the best

[00:57:40] It's like

[00:57:41] It's so exciting

[00:57:42] Like this experience

[00:57:43] And he renders it perfectly

[00:57:44] Yeah

[00:57:45] He's great at the positive

[00:57:46] Yes

[00:57:47] That's what this movie excels at

[00:57:48] Is the fun stuff

[00:57:49] And like the excitement of this

[00:57:51] And I'll say this too

[00:57:52] As someone who did not

[00:57:53] Live through this time period

[00:57:54] Or this scene

[00:57:55] Right

[00:57:56] Yeah

[00:57:57] You sort of just get a sense

[00:57:58] Sometimes when you're watching a movie

[00:57:59] Where you're like

[00:58:00] This feels like

[00:58:01] What it must have felt like

[00:58:02] Sure

[00:58:03] You know

[00:58:04] Where like

[00:58:05] You can't compare it

[00:58:06] To a real life experience

[00:58:07] But you're like

[00:58:08] This feels like it was accurate

[00:58:09] Right

[00:58:10] As someone who was part of a

[00:58:12] Massively unsuccessful attempt

[00:58:14] To reproduce what it feels like

[00:58:15] To be in the music scene

[00:58:16] In the 1970s

[00:58:17] Right

[00:58:18] This just feels right

[00:58:19] The dynamic of

[00:58:21] Like how everyone kind of

[00:58:23] Knows each other

[00:58:24] Yeah

[00:58:25] The banter

[00:58:26] Even just the visuals of

[00:58:27] It feels pretty unstudied

[00:58:29] Mm-hmm

[00:58:30] You know

[00:58:31] And just effortless and fun

[00:58:32] And he

[00:58:33] I mean the

[00:58:34] The psychology of Jason Lee

[00:58:35] In this movie is really, really strong

[00:58:37] This is one of my favorite performances

[00:58:39] In the movie

[00:58:40] He's been ragging on Jason Lee

[00:58:41] But he's great

[00:58:42] He's great in this movie

[00:58:43] This is probably his best performance ever

[00:58:44] Right

[00:58:45] This has to be

[00:58:46] Trying to think of other Jason Lee

[00:58:47] The Incredibles

[00:58:48] Well, he's good in the Incredibles

[00:58:50] Yeah

[00:58:51] I don't know

[00:58:52] Oh, he's great in cop out

[00:58:55] What?

[00:58:56] I don't even remember him in cop out

[00:58:57] Yeah, he's funny cop out

[00:58:58] He's just got camera

[00:58:59] Is he the

[00:59:00] The guy who's marrying

[00:59:01] His daughter?

[00:59:02] Yeah

[00:59:03] Yeah

[00:59:04] Yeah, he is

[00:59:05] Yeah, or he's married to his ex-wife

[00:59:07] No, maybe that's it

[00:59:08] I think that's what it is

[00:59:09] I think that's it

[00:59:10] What a shit movie

[00:59:11] Yeah, that movie's fucking blown

[00:59:12] We've blown

[00:59:13] We've talked about the movie a lot in this part

[00:59:15] Yeah, we've given that movie a lot

[00:59:16] Negative Blones

[00:59:17] Yeah

[00:59:19] Negative Blones

[00:59:20] Let's have it catch on

[00:59:22] Tweet it at Barack Obama

[00:59:24] Every morning at 10 a.m.

[00:59:25] No, no, no, we already did that one

[00:59:26] Okay

[00:59:28] So he gets backstage

[00:59:29] He meets everybody

[00:59:30] He realizes

[00:59:31] He tries to introduce Penny to Russell

[00:59:35] Sure, and then he realizes

[00:59:36] They know each other

[00:59:37] Yeah

[00:59:38] And then the most fugitive moment

[00:59:39] In the entire movie

[00:59:40] Is he goes, oh Russell, Russell

[00:59:42] You gotta meet Penny Lane over here

[00:59:44] And she goes, hi, nice to meet you

[00:59:46] And he goes, hi, nice to meet you

[00:59:47] And they pretend they don't know each other

[00:59:48] And they cut to a shot of Fugit

[00:59:50] Like holding his no pad in his teeth

[00:59:53] And he's so excited that he's making connections

[00:59:55] Right

[00:59:56] Yeah

[00:59:57] It's just a great reaction shot

[00:59:58] Yeah

[00:59:59] And now

[01:00:00] They're like, you gotta come with us

[01:00:02] You gotta come with us to California

[01:00:03] You gotta come with us in these other stops

[01:00:05] And he goes to his mom

[01:00:06] And like negotiates with her

[01:00:07] As long as you don't miss any tests

[01:00:09] As long as you're there for graduation

[01:00:11] Yeah

[01:00:12] But also, yeah

[01:00:13] He kind of gets his cold call from Ben Funktaurus

[01:00:15] Who's like the famous editor of Rolling Stone

[01:00:17] And who's like, yeah

[01:00:19] Like William Miller, how are you doing?

[01:00:21] He's like, yes, hello

[01:00:22] I am William, you know

[01:00:24] Stillwater, you know

[01:00:25] How about that

[01:00:26] And he's like, great

[01:00:27] 3000 words

[01:00:28] He pitches Stillwater

[01:00:29] Yeah, exactly

[01:00:30] $700

[01:00:31] Yeah

[01:00:32] Right, so yeah

[01:00:33] I can just get you $700

[01:00:34] And he's silent

[01:00:35] And William Miller drops his pencil

[01:00:37] Yeah, because I mean what was that

[01:00:39] I mean it's a lot of money

[01:00:40] Yeah

[01:00:41] Um, and the gamer's on

[01:00:43] As Sean Connery would say

[01:00:44] He's on the road with Stillwater

[01:00:46] Walk the gitch

[01:00:47] Oh my

[01:00:48] Sean Connery is Mark Maron

[01:00:50] Pow, I just shit my pants

[01:00:53] Boomer

[01:00:55] So who are you guys?

[01:00:57] Colin

[01:00:59] Priya

[01:01:01] Cosby

[01:01:03] No, see, because I used to work the door

[01:01:05] At the comedy store

[01:01:07] I was with Sam Kinnison

[01:01:09] And that whole crowd

[01:01:11] Oh my god

[01:01:13] Oh, what's the lawn order guy's name?

[01:01:16] The lawn mower guy's name?

[01:01:18] No

[01:01:19] What did you say?

[01:01:20] Jeff Faye

[01:01:21] No, no, the lawn order guy

[01:01:23] You know

[01:01:24] Oh, and Jerry Orbel?

[01:01:26] No, no, the comedy guy

[01:01:28] What is this name?

[01:01:29] Richard Belzer

[01:01:30] Yeah

[01:01:31] I remember Richard Belzer used to MC

[01:01:34] This took me so long to get to that

[01:01:36] That's why my went blank

[01:01:38] What's that guy? I can see him, you know

[01:01:40] The bells

[01:01:41] The bells

[01:01:42] And the bells was great

[01:01:44] I remember at the time that Ken and Ivory Waynes came up to me backstage

[01:01:48] And said I'm just gonna do a jazz set

[01:01:50] People who like this movie are so mad at us

[01:01:52] It's Damon Waynes, but he tells that one story fucking every other episode

[01:01:56] Does he? Yeah

[01:01:57] I saw Damon Waynes, I said what material are you gonna do tonight?

[01:02:00] He goes man, I'm just gonna do jazz

[01:02:06] I love this movie, we're just both loopy right now

[01:02:08] Yeah, we're loopy, I don't love this movie

[01:02:10] I think it's okay

[01:02:11] Loopy Lou, he goes on the road with him

[01:02:12] I mean there's not much plot to this movie

[01:02:14] No, there's not

[01:02:15] There's, I mean especially if you're watching the untitled cut

[01:02:17] Then there is an hour and a half of not much plot

[01:02:20] Right

[01:02:21] Of them bouncing from town to town

[01:02:23] The relationship between Penny and Russell Stevens

[01:02:26] William keeps trying to get interviews with Russell

[01:02:30] He keeps like this recurring thing

[01:02:32] He keeps trying to interview him, Russell keeps blowing him off

[01:02:34] Which let's say this, for movies like this that are kind of anecdotal

[01:02:37] Right

[01:02:38] And that are just sort of like a series of events and are not very plot driven

[01:02:42] They do need something like this

[01:02:44] Like how is smart enough dramatically to understand like

[01:02:47] There's some sort of goal that you need to get

[01:02:49] He's gotta get the interview

[01:02:50] It's the one thing he can't do

[01:02:51] So that everything else that's happening

[01:02:53] Is like a side track from

[01:02:56] And they say in this podcast

[01:02:57] You know we gotta get to the end of the movie that we're talking about

[01:02:59] We do and boy do we

[01:03:00] So all the side tangents are just like

[01:03:02] Okay but we know where we could come on guys

[01:03:03] Move it along

[01:03:04] You know

[01:03:05] Right

[01:03:06] It works in that way

[01:03:07] That every scene they keep on reminding you

[01:03:09] He needs to get interview with Russell

[01:03:11] So I mean there's a lot of little story things going

[01:03:13] Like there's this sort of tension between Jeff and Russell

[01:03:16] Over like who's the front man

[01:03:18] Yeah

[01:03:19] Because it seems like Russell is the songwriter

[01:03:20] And the guitarist

[01:03:21] And he's very handsome

[01:03:22] Yeah

[01:03:23] Jeff's not unhandsome

[01:03:24] But he's kind of, you can tell

[01:03:26] He's sort of the John Adams

[01:03:27] Yes

[01:03:28] And Russell is George Washington

[01:03:29] Yeah

[01:03:30] You know he's kind of abrasive

[01:03:31] Yeah

[01:03:32] And a little full of himself

[01:03:33] Yeah

[01:03:34] Yeah

[01:03:35] He's just something annoying about him

[01:03:36] One he tries very hard

[01:03:37] Yeah

[01:03:38] He's constantly saying like just make us look cool

[01:03:40] Just make us look cool

[01:03:41] And rewriting his stuff

[01:03:42] Yeah

[01:03:43] And Russell is more enigmatic

[01:03:44] Like he's

[01:03:45] Yes

[01:03:46] Which makes him cooler

[01:03:47] Is that he's harder to pin down

[01:03:48] Whereas Jason Lee wants to seem enigmatic

[01:03:50] Now the struggle of this movie

[01:03:52] Is the negative stuff

[01:03:53] Mm-hmm

[01:03:54] I would say

[01:03:55] But I think it does a pretty good job

[01:03:58] Making it clear that Russell is not

[01:04:01] A soulful guy

[01:04:03] In a way

[01:04:04] He's a little hollow

[01:04:05] He wants to party

[01:04:06] Yeah

[01:04:07] He wants to hang out with chicks

[01:04:08] He wants to play his guitar

[01:04:10] You know

[01:04:11] And just like space out

[01:04:12] He doesn't seem to be in it for like

[01:04:15] You know whatever

[01:04:16] In it for the music

[01:04:17] In it for the art

[01:04:18] He doesn't dislike the music

[01:04:20] But you know like it's not trying to make him out

[01:04:22] To be some visionary

[01:04:23] And there's this constant refrain from Lester Bangs

[01:04:25] Of like

[01:04:26] That's over

[01:04:27] You know

[01:04:28] That was the 60s

[01:04:29] And we lost

[01:04:30] Yeah

[01:04:31] And now it's like a corporate thing

[01:04:33] Rock, you know

[01:04:34] But it's even the difference between

[01:04:36] Like you know what Lester Bangs says about

[01:04:38] Like at least they have the courage to admit

[01:04:40] That they're buffoons

[01:04:41] Yeah

[01:04:42] Like Jason Lee won't admit that he's a buffoon

[01:04:44] Yeah

[01:04:45] And Russell just kind of goes like

[01:04:46] Russell is like

[01:04:47] Oh come on man I don't know

[01:04:48] I don't know I just like doing this

[01:04:49] That's why he won't be interviewed

[01:04:50] Maybe yeah

[01:04:51] Right

[01:04:52] But there's this refrain from everyone around him

[01:04:53] That like he could be great

[01:04:55] Like he could be a rock god

[01:04:56] And it's because he has the look

[01:04:58] He's got the look

[01:04:59] And he has the aura

[01:05:00] And he has the technical skill

[01:05:01] Right

[01:05:02] But you get the sense that like

[01:05:03] Cause a couple times people go like

[01:05:04] This band is good

[01:05:05] And you could be great

[01:05:06] Why are you there with them

[01:05:08] I know what Taylor even says

[01:05:09] That to him a couple of times

[01:05:10] Just like finish up the tour

[01:05:11] And then you're going to go on to bigger things

[01:05:13] Sure

[01:05:14] You know this is the band you started with

[01:05:15] Right

[01:05:16] But it feels like

[01:05:17] I don't know if he has enough of his own kind of

[01:05:19] To paraphrase Lester Bangs in this movie

[01:05:21] Has enough spine

[01:05:22] Yeah

[01:05:23] To do it on his own

[01:05:24] No he and like

[01:05:25] He has to be a piece of someone else's thing

[01:05:27] And he can be the most exciting piece

[01:05:29] Yeah

[01:05:30] But they're kind of an echo of better music

[01:05:32] Yes

[01:05:33] And like

[01:05:34] The movie doesn't make that explicit

[01:05:35] But it's sort of implicit

[01:05:37] You know like

[01:05:38] They're like pretty good

[01:05:39] They're not exceptional

[01:05:40] There's nothing really thrilling about them

[01:05:41] That's one thing the movie does

[01:05:43] Well considering then obviously

[01:05:45] The impossible challenge of having a fake band

[01:05:47] With like new music

[01:05:48] Yeah

[01:05:49] Is that it's never going to sound

[01:05:50] Like they're the Beatles

[01:05:51] Or you know you're never going to think

[01:05:52] Like oh these guys are obviously

[01:05:53] So it's not trying to make them be the best

[01:05:55] They're mid-tier

[01:05:56] Yeah

[01:05:57] And they might be getting better

[01:05:58] Yeah

[01:05:59] Well they had Peter Frampton write some of the songs

[01:06:01] Yeah they did

[01:06:02] Yeah it's not going to be good

[01:06:03] And those ones came alive

[01:06:04] Ben's got a lot of opinion

[01:06:05] Let's say that those songs came alive

[01:06:07] Good let's pause for the joke

[01:06:09] Thank you

[01:06:10] Okay

[01:06:11] But um

[01:06:12] Um

[01:06:13] Chang

[01:06:14] So yeah what happens

[01:06:15] He goes around

[01:06:16] He tries to write this story

[01:06:17] He keeps on calling up his mom

[01:06:18] He keeps on going one more week

[01:06:19] One more week

[01:06:20] Mom keeps bugging him

[01:06:21] You know so you got Penny

[01:06:22] With her band-aids who were played by like

[01:06:24] Frisabalk and Anna Pakwin

[01:06:25] And somebody else

[01:06:26] Bijou Phillips

[01:06:27] Bijou Phillips right

[01:06:28] And they divergenize him in a hotel room

[01:06:30] Yeah which is like fine

[01:06:32] You know that scene's fine

[01:06:34] That scene kind of almost feels like an afterthought

[01:06:36] What do you think of that scene?

[01:06:37] That's a scene

[01:06:38] Yeah I like it

[01:06:39] It's a little cutesy because then he like

[01:06:41] Gets the call from Ben Fontores

[01:06:43] Like the morning after

[01:06:45] Yeah

[01:06:46] And like the girl answers the phone

[01:06:47] And he's like

[01:06:48] Hey man like I'm not paying you to

[01:06:49] Blah blah blah

[01:06:50] Yeah I mean that's a running thing in this movie

[01:06:52] Is that like

[01:06:53] He'll call up and be like

[01:06:55] Kid we need this story

[01:06:56] And then he'll say things that are so exciting to them

[01:06:58] That they're like

[01:06:59] Fine you have twice as many words

[01:07:01] Another week to work on it

[01:07:02] Like the story keeps on getting bigger and bigger

[01:07:04] Even though he has shown them none of it

[01:07:06] Yeah which is hard to

[01:07:08] Wrap my head around as a

[01:07:10] As a person who writes things

[01:07:12] And I know the 70s were different

[01:07:13] The thing that's really hard for me to wrap my head around

[01:07:15] Is the end though

[01:07:16] That's what I actually can't understand

[01:07:17] The idea that just Billy Croke denying it

[01:07:19] Would kill the entire story

[01:07:20] But

[01:07:21] We'll get to that

[01:07:22] Whatever

[01:07:23] There's a

[01:07:24] You know I have a hard time remembering

[01:07:26] What's in

[01:07:28] The original and what isn't

[01:07:30] I feel like there aren't that many wholesale scenes

[01:07:33] In the bootleg cut that weren't the original

[01:07:35] It's more just a lot of expanded stuff

[01:07:37] The scenes are more spaced out

[01:07:39] The film is more leisurely

[01:07:40] I think

[01:07:41] I like the theatrical cut better

[01:07:43] Oh before you said not

[01:07:45] I know

[01:07:46] And now rewatching it

[01:07:47] And I'd seen the theatrical cut pretty recently

[01:07:49] I think

[01:07:51] Watching the bootleg cut feels like

[01:07:53] Reading the novel that the movie was based off of

[01:07:55] Yeah sure

[01:07:56] Where it's like all this is interesting information

[01:07:58] But it's not crucial

[01:07:59] Yeah and all of it like adds value

[01:08:01] But I think the movie flows better

[01:08:03] In the theatrical version

[01:08:05] I do think there's a gain from the length

[01:08:07] Just in terms of

[01:08:09] You really feel like you're on the road with them

[01:08:11] Because you're spending so much time with them

[01:08:13] Yeah I buy that

[01:08:14] And the scenes have that sort of looseness to them

[01:08:16] But I think Cameron Crowe's good when he's precise

[01:08:18] Yeah I do too

[01:08:19] When he's kind of cutting and sharp

[01:08:20] But then the choir is really long

[01:08:22] And you don't feel it

[01:08:23] But it's also sharp

[01:08:24] Yeah you don't feel it at all

[01:08:25] Yeah that's a lean movie even though

[01:08:27] It's true

[01:08:28] Because it's that is a lean film for how much story it's telling

[01:08:31] Yeah

[01:08:32] This movie I just don't ever

[01:08:34] Get much more than a surface sense

[01:08:36] Of like a rust of Russell or

[01:08:38] Um

[01:08:39] Jeff or you know like I just

[01:08:41] I agree but I think that's kind of

[01:08:43] I think that's kind of the point

[01:08:45] So long

[01:08:46] Hey can I talk about a scene I like

[01:08:48] Yes please

[01:08:49] Uh I like when he goes to the high school party

[01:08:51] Well that's right we should mention that

[01:08:53] Big high school party scene

[01:08:54] Yeah

[01:08:55] That's like in the middle of the tour

[01:08:56] Yeah we might just talk about scenes in a random war now

[01:08:58] Cause it's hard to remember what order the scenes came

[01:09:00] Russell drinks about a bunch of acid

[01:09:03] Yeah they give him a red solo cup full of acid

[01:09:05] And beer

[01:09:06] And he gets on the roof and he says

[01:09:08] No no no you're cutting over the best part though

[01:09:11] What's the best part

[01:09:12] I like when he's talking to the kids and he's like

[01:09:14] You're real man

[01:09:15] Yeah

[01:09:16] Your friends are real

[01:09:17] I like literally could have heard him do that

[01:09:19] For like 10 hours

[01:09:20] It's really good

[01:09:21] And also the kids are so well cast

[01:09:23] Anytime they cut to one of the kids listening

[01:09:25] And it's just like some teenager who doesn't know how to close his mouth

[01:09:28] You see this table here man

[01:09:29] This is real

[01:09:30] Yeah

[01:09:31] That clock on the wall

[01:09:32] Real

[01:09:33] And he sort of says that he's gonna move there

[01:09:35] And just live there with those kids

[01:09:37] Like that

[01:09:38] He's found his nirvana

[01:09:39] When Noah Taylor like wraps him up at the blanket

[01:09:41] And tries to get him out of here

[01:09:42] He's like just finished the tour

[01:09:43] Come back here

[01:09:44] You can live here the rest of your life

[01:09:45] Right

[01:09:46] Like that's what he has to tell them to get him out of there

[01:09:47] There's one scene I think is worth talking about

[01:09:49] That's only in the bootleg cut

[01:09:51] Okay

[01:09:52] Which is the Kyle Gass radio scene

[01:09:54] It's a fun scene

[01:09:55] For Kyle Gass falls asleep

[01:09:56] And they all start going like

[01:09:58] They're saying the F word

[01:10:00] They're on a radio show

[01:10:01] Where the host presumably is on heroin

[01:10:03] Or some sort of sedative

[01:10:05] Sure maybe ludes

[01:10:06] Right ludes and is sort of spacing out

[01:10:09] And repeating himself

[01:10:10] And getting the details wrong

[01:10:11] And then at one point just full on

[01:10:13] Snoozes off

[01:10:14] And they just start like

[01:10:15] Oh let's fuck with the system

[01:10:17] Let's yell fuck a lot

[01:10:18] But then it becomes the two of them

[01:10:19] Airing out their bullshit

[01:10:21] Right

[01:10:22] Right

[01:10:23] Or it's like why won't you say that

[01:10:24] You think I'm great

[01:10:25] Like except for now

[01:10:27] Yeah

[01:10:28] Yeah

[01:10:29] That seems really good

[01:10:31] I mean I do think the cooks of this

[01:10:32] Is like he can't figure these guys out

[01:10:34] Because there's not much there

[01:10:36] But also he's really excited

[01:10:39] To you know be friends with them

[01:10:41] And so there's that bleeding edge

[01:10:43] Of his like objectivity

[01:10:45] Yeah

[01:10:46] Which is like what Lester Banks is

[01:10:48] Warring him

[01:10:49] Warring him off

[01:10:50] It's like they're gonna try to

[01:10:51] Be your friend and like give you drugs

[01:10:53] And give you alcohol

[01:10:54] And a party

[01:10:55] You got an honest face

[01:10:56] He's so good in those scenes

[01:10:57] Just promise me one thing

[01:10:59] It's almost

[01:11:00] You'd be honest and unmerciful

[01:11:02] It's almost the problem with the movie

[01:11:04] Is that he lays it out so perfectly

[01:11:06] In those two minutes

[01:11:07] Lester Banks

[01:11:08] That when it's happening you're like

[01:11:09] Yeah no I get it

[01:11:10] Because Lester Banks already said it

[01:11:12] The two scenes

[01:11:13] I mean the first one where he lays it out

[01:11:14] And then the like the only currency left

[01:11:16] In his bankrupt world is what you share

[01:11:17] With someone else when you're uncool

[01:11:19] Is those two scenes encapsulate

[01:11:21] Everything the movie's trying to say

[01:11:23] In and of themselves

[01:11:26] They're beautifully written

[01:11:27] Right

[01:11:28] And they featured the greatest

[01:11:29] Film actor of all time

[01:11:30] He's great

[01:11:31] Yeah

[01:11:32] He's a good actor

[01:11:33] Was

[01:11:35] Sure

[01:11:36] He's very dead now

[01:11:37] I know

[01:11:38] Yeah

[01:11:39] Have I ever told you I have this stupid thing

[01:11:41] Where like

[01:11:42] It happened when Ledger died too

[01:11:44] Where I like don't believe it

[01:11:46] And until I hear the autopsy report

[01:11:47] I'm like maybe he's gonna wake up

[01:11:49] I don't feel that way

[01:11:50] But I was certainly shocked

[01:11:51] For both of those actors

[01:11:52] When they died

[01:11:53] Yeah

[01:11:54] But I didn't have to wait for the autopsy report

[01:11:56] I was like oh fuck

[01:11:57] Maybe he was just sleeping

[01:11:58] But now they cut into him

[01:11:59] So even if he was sleeping

[01:12:00] He's dead now

[01:12:01] Uh huh

[01:12:02] I'm an emotional child

[01:12:04] Yes

[01:12:06] The crux of the film becomes

[01:12:08] I really think

[01:12:10] His relationship with Penny Lane

[01:12:11] And this feeling that

[01:12:14] She is in love with Russell

[01:12:17] Russell's ex-wife

[01:12:18] And now current girlfriend

[01:12:20] Is back home

[01:12:21] And he's never gonna leave her

[01:12:23] For Penny Lane

[01:12:24] Wait they're

[01:12:26] That's her ex-wife

[01:12:27] They at one point say

[01:12:28] His ex-wife current girlfriend whatever

[01:12:30] Okay

[01:12:31] Huh

[01:12:32] I didn't pick up on that

[01:12:33] I just thought she was his wife or whatever

[01:12:35] I think

[01:12:36] I don't know

[01:12:37] They say ex-wife current girlfriend

[01:12:38] I'm not challenging you this

[01:12:39] I remember

[01:12:40] And there's the affair they have

[01:12:41] He's got a particular woman

[01:12:42] It's been on and off

[01:12:43] But the idea is

[01:12:44] He's never gonna fully leave her

[01:12:45] Right no

[01:12:46] And of course Penny's supposed to be

[01:12:47] Much younger than him

[01:12:48] Like it's unrealistic

[01:12:50] And she is supposed to be

[01:12:52] Like this above it all

[01:12:54] Super cool

[01:12:55] Like Band-Aid

[01:12:56] You know she's like

[01:12:57] I've seen it all

[01:12:58] Like I don't know

[01:12:59] I know not to have sex

[01:13:00] I know not to fall in love with these guys

[01:13:01] She's like the progressive groupie

[01:13:02] Like she's the one who

[01:13:03] All the other girls call her

[01:13:05] You know she's their

[01:13:06] Like den mother

[01:13:08] And she like treats them

[01:13:10] You know shows them how to respect themselves

[01:13:11] And she's like

[01:13:12] Part of this thing of like

[01:13:13] It's about the music

[01:13:14] We're not here to sleep with the guys

[01:13:16] It's about the music

[01:13:17] Which is what she's telling herself

[01:13:19] And she says a bunch that like

[01:13:20] Russell could be great

[01:13:22] And I'm here to help make sure that happens

[01:13:24] Right

[01:13:25] Like she feels like she has a responsibility

[01:13:26] To help the band reach their potential

[01:13:28] Yeah

[01:13:29] Which is very self-aggrandizing

[01:13:32] But the whole time she's sort of

[01:13:33] In denial of the fact that she's just like

[01:13:35] A kid with a crush

[01:13:37] Yeah

[01:13:38] You know she's a kid in love with a guy

[01:13:40] Much like William is a kid with a crush

[01:13:42] Yeah

[01:13:43] They're not so different the two of them

[01:13:45] We're not so different you and I lock the gates

[01:13:48] How I shit my pants

[01:13:51] But they

[01:13:52] You know she thinks she is

[01:13:54] Worlds beyond him

[01:13:55] Which she is in a certain way

[01:13:56] Because you know she's lived so much more

[01:13:58] Than he has in such an unsheltered way

[01:14:00] But mostly all she's done is hang out at rock shows

[01:14:02] And done a lot of drugs and drinking

[01:14:04] William has a greater emotional intelligence

[01:14:07] You know

[01:14:08] Yeah

[01:14:09] And

[01:14:10] Yeah you know he's

[01:14:12] Here's what I find interesting about their relationship

[01:14:15] Yeah

[01:14:16] He gets really upset when he sees her

[01:14:18] Run to Russell over and over again

[01:14:20] Knowing that Russell is never going to

[01:14:22] Take her that seriously

[01:14:24] Right

[01:14:25] He doesn't get possessive

[01:14:26] No

[01:14:27] Which I like

[01:14:28] He gets upset

[01:14:30] Yeah he's sad

[01:14:32] Yes

[01:14:33] But he's not, no he's not

[01:14:35] He doesn't think he's going to wrestle her away from Russell

[01:14:38] Or what I don't know

[01:14:39] No and I think he also is like

[01:14:40] If she's happy with him that's fine

[01:14:42] But he has this pain that's like

[01:14:44] She should be with someone who appreciates her

[01:14:46] Which he thinks he does

[01:14:47] Right

[01:14:48] But in reality and I think the film acknowledges this

[01:14:50] He only views her as like a manic pixie dream girl

[01:14:53] For sure

[01:14:55] I think the film

[01:14:57] That's fair

[01:14:58] Constructs her enough

[01:14:59] I agree

[01:15:00] Even though she's a mystery at the end

[01:15:01] That you realize it's like

[01:15:02] Well she's putting on this air

[01:15:04] I think you're right

[01:15:05] I think the film is smart enough to realize

[01:15:09] That she's being treated like an object

[01:15:12] And acknowledge it

[01:15:13] And that she also tries to present herself that way

[01:15:15] Because that's how people find her exciting

[01:15:17] And obviously she's traded for some beer

[01:15:19] Right

[01:15:20] But she just wants to seem like this random figure

[01:15:22] Who runs into people's lives

[01:15:23] And she wants to see everything more exciting

[01:15:25] You know

[01:15:26] And she's in denial about her name

[01:15:27] Where she's from

[01:15:28] I mean all of this

[01:15:29] Right

[01:15:30] Yeah and it isn't until

[01:15:32] You know

[01:15:33] He sees them make the deal at a poker game

[01:15:37] To trade her to a different band

[01:15:39] For $50 in the case of Heineken

[01:15:41] Yeah

[01:15:42] He still doesn't tell her

[01:15:43] He's really offended by that

[01:15:44] Well because it's insane

[01:15:45] It's insane

[01:15:46] Yeah

[01:15:47] Is that a thing?

[01:15:48] I presume it must

[01:15:50] Yeah

[01:15:51] It must be something right

[01:15:52] Definitely has happened before

[01:15:53] It's like the only moment in the movie

[01:15:55] That is really realistic about that groupie culture

[01:15:58] Yeah

[01:15:59] I mean I was even just looking before we recorded

[01:16:02] Some of the legends about Led Zeppelin

[01:16:05] You know

[01:16:06] Like the shark incident

[01:16:08] What's the shark incident?

[01:16:09] Oh god

[01:16:10] It's awful

[01:16:11] Basically

[01:16:13] At a festival

[01:16:14] In Seattle

[01:16:15] In 69

[01:16:17] There is this legendary story

[01:16:19] That Zeppes road manager Richard Cole

[01:16:23] Wrote in a biography

[01:16:24] Very much alleged by the way

[01:16:26] Yes

[01:16:27] But the story is that they

[01:16:29] Took shark parts and put it into a groupie

[01:16:33] So that's a real thing

[01:16:36] And then also

[01:16:37] It's confirmed that Jimmy Page

[01:16:40] Dated a 14 year old girl

[01:16:42] Oh yeah

[01:16:43] That kind of shit happened

[01:16:44] Yeah that's very well known

[01:16:45] Yeah

[01:16:46] And you know what

[01:16:47] It's this thing where like

[01:16:48] How many years later

[01:16:49] And we're like

[01:16:50] You know what?

[01:16:51] Wag

[01:16:52] I'm wagging my finger at you

[01:16:53] Yeah

[01:16:54] You can call us

[01:16:55] Jimmy Page

[01:16:56] Just to be clear

[01:16:57] The three waggers

[01:16:58] We're wagging away in this studio

[01:17:00] We're wagging our fingers on

[01:17:01] That's just cool

[01:17:02] Just to spare us from any legal trouble

[01:17:04] There is absolutely no evidence

[01:17:05] That the shark thing happened

[01:17:06] It was just a story that got

[01:17:08] Sort of told a lot

[01:17:09] Sure

[01:17:10] Nobody knows if that happened

[01:17:11] Ben are you saying they fucked her

[01:17:12] With a shark fan

[01:17:13] That's what I'm saying

[01:17:14] And I don't think that's cool

[01:17:16] I think all that shit was terrible

[01:17:18] I don't either

[01:17:19] You know I didn't like that

[01:17:21] The shark

[01:17:23] Well I think the shark was already dead

[01:17:25] Well that's what I'm saying

[01:17:26] He probably didn't like that part either

[01:17:28] Alright so

[01:17:29] What of the shark I say

[01:17:30] After a lot of

[01:17:31] Well there's the teen party

[01:17:33] The I am a golden god

[01:17:34] It's a fun scene for Crudup

[01:17:35] All that stuff

[01:17:36] Yeah

[01:17:37] After all that

[01:17:38] The band kind of starts to splinter

[01:17:41] Right

[01:17:42] There's the scene where they all sing

[01:17:43] Tiny Dancer

[01:17:44] Which is kind of them making up

[01:17:45] Which is after the golden god

[01:17:46] Yeah after the golden god

[01:17:47] When he's all like washed out on drugs

[01:17:49] And William Miller says

[01:17:50] I need to get home

[01:17:51] And she goes you are home

[01:17:52] And then she does a Kate Hudson

[01:17:54] Do a boop boop boop boop boop boop boop boop boop

[01:17:57] Fucking garden state nonsense

[01:17:59] Listen to this it'll change your life

[01:18:01] Hold me closer

[01:18:03] Lock the gates

[01:18:05] Yeah but he did it first

[01:18:07] You know it's like

[01:18:08] Yeah he did it first

[01:18:10] I mean that's what I find fascinating

[01:18:12] What I find fascinating about

[01:18:14] Like Crudup Crow like creating the archetypal

[01:18:16] Manic Pixie Dream Girl in Elizabeth Town

[01:18:18] Is like he was like

[01:18:20] Oh you have to explain how

[01:18:22] She's playing a part

[01:18:24] Yeah

[01:18:25] Like you have to explain that

[01:18:26] Like she's lying to herself

[01:18:27] And she wants to seem like

[01:18:28] She's just effervescent

[01:18:30] Because she's in denial about

[01:18:31] Like her real life

[01:18:32] And then he just went like

[01:18:33] No what if it's just someone

[01:18:34] Who acts kooky all the time

[01:18:36] Boop boop boop boop boop boop boop

[01:18:39] They sing Tiny Dancer

[01:18:40] Great song

[01:18:41] Sweet scene

[01:18:42] They have this sort of accident

[01:18:44] You know what song it was supposed to be originally

[01:18:46] What?

[01:18:47] Fishbone

[01:18:48] Yeah right

[01:18:49] I did actually know that which is crazy

[01:18:51] Tiny Dancer is a good choice

[01:18:52] That was a joke

[01:18:53] That's Fishbone's The Say Anything song

[01:18:55] Oh fuck no but it is

[01:18:56] There was a different song it was supposed to be

[01:18:58] Yes but I can't remember what that was

[01:18:59] No but it's some ridiculous fucking song

[01:19:01] I just read that

[01:19:02] Alright, look it up

[01:19:04] There's the thing where he electrocutes himself

[01:19:05] Keep doing the plot while I look this up

[01:19:07] Oh well this is the most important scene to talk about

[01:19:09] The electrocutions

[01:19:10] Yes because

[01:19:12] Okay so they're on stage

[01:19:13] Is it because it's old fashioned technology?

[01:19:14] They're on stage

[01:19:15] Yes I mean Ben what do you think of

[01:19:16] Hell yeah, oh I love it

[01:19:17] As a man

[01:19:18] As a man of the mics

[01:19:19] Yeah

[01:19:20] Oh man

[01:19:21] You gotta ground your wires baby

[01:19:23] Gotta ground them wires

[01:19:25] He gets on stage

[01:19:27] Billy Crude up goes to the mic

[01:19:29] I guess to do some background vocals

[01:19:30] Some crowd work

[01:19:31] Yeah sorry yeah it's Crude up

[01:19:32] And can I sidebar something I really like in this movie

[01:19:34] Sure

[01:19:35] Most movies where you have actors

[01:19:37] Playing members of a band

[01:19:39] Specifically the singers

[01:19:41] It is very unconvincing

[01:19:43] Yeah

[01:19:44] A because most of the time you have the actor lip syncing

[01:19:46] It's very visibly evident that is the case

[01:19:48] And B this sort of physicality

[01:19:51] Of a musician on stage is very

[01:19:53] Specific and sort of organic

[01:19:55] And I feel like when actors do it

[01:19:57] It usually feels pretty studied and mimicky

[01:19:59] I agree

[01:20:00] Jason Lee does an excellent job in this movie

[01:20:02] So he's very good

[01:20:03] He's lip syncing but

[01:20:05] They chose a vocalist who sounds enough

[01:20:07] Like Jason Lee's singing voice

[01:20:09] Speaking voice that works

[01:20:10] And also just his sort of movements on stage

[01:20:12] And his mic work and everything are really

[01:20:15] Really spot on

[01:20:16] I can't find this song

[01:20:18] They go to the concert

[01:20:19] It's somewhere in Lunatown

[01:20:20] It's literally like a blue Wacer cult song

[01:20:22] Or something awful

[01:20:23] For the Raper?

[01:20:24] It's not that but yeah

[01:20:25] He grabs the mic

[01:20:26] And he electrocutes himself

[01:20:27] And he passes out on stage

[01:20:28] And they're like fuck

[01:20:29] We're getting the fuck out of here

[01:20:30] Lock the gates

[01:20:31] That's why we gotta talk about that

[01:20:32] That's the most important scene in the movie

[01:20:34] Yeah they bail on the concert

[01:20:36] They're the opening act

[01:20:38] And they don't give him 25 minutes or whatever

[01:20:40] So they just

[01:20:41] No Taylor's like just getting the band mites

[01:20:43] And I'm like mites

[01:20:45] And Mark Marin's like

[01:20:46] Whoa whoa whoa

[01:20:47] He's great

[01:20:48] What's going on here

[01:20:49] I think it's been 20 minutes

[01:20:50] And he's like you endangered my band

[01:20:51] You're fucking unprofessional

[01:20:52] It's like short hair Marin

[01:20:53] Yeah

[01:20:54] And weirdly like no facial hair

[01:20:56] No I thought he did it

[01:20:58] Maybe not

[01:20:59] I can't remember now

[01:21:00] It doesn't matter

[01:21:01] I feel like he doesn't

[01:21:02] You kind of mostly see his back

[01:21:03] Cause he's kind of in

[01:21:04] No Taylor's face

[01:21:05] He peeped a little soul patch

[01:21:06] Oh he's got a little soul patch

[01:21:07] Oh meh close

[01:21:08] The time is soul patch

[01:21:12] So he says

[01:21:13] He says

[01:21:14] And I'm gonna do a perfect impression of right now

[01:21:16] He says lock the gates

[01:21:17] Yeah

[01:21:18] And they do

[01:21:19] But then they go through the gate

[01:21:20] Yeah they go through the gates

[01:21:21] He's got a bunch of really good lines

[01:21:22] That he always talks about having ad-libbed

[01:21:25] Where when the guy grabs him

[01:21:27] Oh wait no he just did that on the spot

[01:21:29] Uh not lock the gates

[01:21:31] That was in the script

[01:21:32] Okay okay

[01:21:33] But the ones he ad-libbed are

[01:21:35] Hey man watch the shirt

[01:21:37] Whoa

[01:21:38] Wow that's a memorable line

[01:21:40] When Noah Taylor's trying to fight him

[01:21:41] He goes well what is it some Bruce Lee shit

[01:21:43] Oh yeah that's right

[01:21:44] Maybe those are the only two that were in front of us

[01:21:46] But he talks about that a lot

[01:21:47] The cuff

[01:21:48] Off

[01:21:49] The gates

[01:21:52] And then so after that incident

[01:21:54] A little while later

[01:21:55] Well there's a really good visual gag

[01:21:57] At the end of this sequence

[01:21:58] What is it

[01:21:59] Prusa Bulk doesn't make the boss

[01:22:01] Oh yeah she runs into a pillar

[01:22:02] Yeah and it's one continuous shot

[01:22:04] Which is like

[01:22:05] That's when

[01:22:06] It's in the trailer I think

[01:22:07] Yes that's also where you see

[01:22:09] That this movie costs 70 million dollars

[01:22:11] Because that's like a tough sequence

[01:22:13] That they had to a lot like half a day to pull off

[01:22:15] Yeah

[01:22:16] And it's one continuous shot

[01:22:17] A moving boss and when you've done it

[01:22:18] She's doing this monologue

[01:22:20] Where she's like your mother called

[01:22:21] And she told me to tell you

[01:22:22] That she knows what's going on

[01:22:23] And like you know like

[01:22:24] Because the mom keeps calling

[01:22:25] She calls

[01:22:26] She talks to

[01:22:28] Russell at one point

[01:22:29] And really puts the fear of God into him

[01:22:31] The Frusa Bulk scene I think is really good

[01:22:33] The phone line

[01:22:34] Frusa Bulk is great where she

[01:22:35] You raise a boy who respects women

[01:22:37] Beautiful

[01:22:38] Exactly yeah

[01:22:39] And that's like I appreciate

[01:22:40] I see what you've done

[01:22:41] And you did a really good job

[01:22:42] For your son to turn out this well

[01:22:43] Which is accurate

[01:22:44] Yes 100%

[01:22:45] Right but the mother is also like

[01:22:47] Listen to me I know what's going on

[01:22:48] And then

[01:22:49] If Frusa Bulk thinks she's going to win her over

[01:22:50] She hears what she doesn't

[01:22:51] And she goes by the way I'm the main

[01:22:52] Right

[01:22:53] Yeah

[01:22:54] Yeah Frusa Bulk runs into a wall

[01:22:56] While trying to relay the message

[01:22:57] And running alongside the boss

[01:22:58] It's a really good visual gag

[01:22:59] Sure

[01:23:00] And then in the same shot without cutting

[01:23:02] William just looks forward like terrified

[01:23:04] Yeah

[01:23:05] And it's a really good

[01:23:06] It's a really good moment

[01:23:09] Yeah so then eventually Jimmy Fallon playing

[01:23:12] The

[01:23:14] The guy who manages the Rolling Stones

[01:23:16] He has a different name in this

[01:23:18] But he's based on the Rolling Stones manager

[01:23:20] Old Jimbo Fallon

[01:23:21] He looks like early Steve Jobs

[01:23:23] Steve's Jobs

[01:23:24] You know Steve's Jobs

[01:23:25] Yeah he looks like early Steve's Jobs

[01:23:27] Who invented the Apple's twos

[01:23:29] He does though

[01:23:30] He's got the Apple's twos glasses on

[01:23:32] No he does

[01:23:33] And the Steve's Jobs's hairs

[01:23:34] Yeah sure

[01:23:35] And the Steve Jobs's beard

[01:23:36] Fine fine fine

[01:23:37] I thought his hair was more

[01:23:38] What's that documentarian who did the Civil War

[01:23:40] Ken Burns

[01:23:41] He's got a Ken Burns kind of do

[01:23:43] He does have a real Ken Burns cut

[01:23:45] That's what he has and he promises

[01:23:47] A more professional setup

[01:23:49] Including a charter plane

[01:23:50] Yep

[01:23:51] Which means pennies out of the band

[01:23:52] Uh huh

[01:23:53] You know out of the entourage

[01:23:54] But they'll be able to make more dates

[01:23:56] Yeah

[01:23:57] If they get on the plane

[01:23:58] And they want to make dates

[01:23:59] They want to make more money

[01:24:00] He goes you want to give up on all this

[01:24:01] The t-shirts the everything

[01:24:02] We haven't talked about the t-shirt scene

[01:24:03] But they say

[01:24:04] T-shirt seems good

[01:24:05] Yeah

[01:24:06] I like that scene because it's no a tale

[01:24:07] It's like alright mates you know

[01:24:09] Got the new t-shirts great

[01:24:10] And you like pick somebody's like

[01:24:11] Forget about it

[01:24:12] No don't worry about it

[01:24:13] Yeah

[01:24:14] He just leaves in the box

[01:24:15] But this gives them right

[01:24:16] The t-shirt is Billy Crude

[01:24:18] And then the other three guys are out of focus

[01:24:19] In the shadows

[01:24:20] It's so silly that would never happen

[01:24:21] But it's perfect

[01:24:22] It's perfect

[01:24:23] It's a very good scene for

[01:24:24] You know to symbolize what's going on

[01:24:26] Yeah

[01:24:27] They now have an excuse

[01:24:28] They're able to go well Penny

[01:24:29] You can't because we're on a plane

[01:24:31] But they traded her for some Heineken

[01:24:32] Maybe or something

[01:24:33] Right but they make it sound like

[01:24:35] Like that was the only reason

[01:24:36] And she's like oh it's okay

[01:24:38] I'll just get to New York myself

[01:24:39] And William freaks out

[01:24:40] And he's like don't you get it

[01:24:41] Like they don't care about you

[01:24:42] You know

[01:24:43] Uh

[01:24:44] Correct

[01:24:45] Yeah

[01:24:46] There's a really weird addition in this

[01:24:48] Oh what's the weird addition

[01:24:49] Director's cut which is

[01:24:51] The Fallon scene which is longer than it is

[01:24:53] In the theatrical where he goes on the big speech

[01:24:55] And he of course has to work in

[01:24:57] His famous

[01:24:59] Mcjagger impression

[01:25:00] Yeah

[01:25:01] And then he goes like

[01:25:03] So what do you guys think

[01:25:04] And they go like

[01:25:05] We'll think it over

[01:25:06] And he goes oh no no

[01:25:07] I'm not auditioning for you

[01:25:08] You're auditioning for me

[01:25:09] Like I can't hear a debate

[01:25:10] Whether or not I want

[01:25:11] So I'm gonna step outside

[01:25:12] And decide whether or not

[01:25:13] I wanna work with you guys

[01:25:14] And they walk out

[01:25:15] And there's silence

[01:25:16] And they go what do you think

[01:25:17] And one of the guys goes

[01:25:18] I miss them already

[01:25:19] Uh huh

[01:25:20] And in the theatrical

[01:25:21] It cuts straight to

[01:25:22] Fallon in the foreground

[01:25:23] The band behind them

[01:25:24] Walking out of a plane

[01:25:25] And it's a really good cut

[01:25:27] Yeah

[01:25:28] In the bootleg

[01:25:30] They add in a three minute sequence

[01:25:32] Of Kate Hudson

[01:25:34] Dancing with flower petals

[01:25:36] In a gymnasium

[01:25:38] To Kat Stevens

[01:25:39] Oh yeah

[01:25:40] Right right right

[01:25:41] To the wind

[01:25:42] By Kat Stevens

[01:25:43] Which is a song I love

[01:25:44] Nice song

[01:25:45] You know in a sort of

[01:25:46] Maliki kind of just like

[01:25:48] Oh it's music

[01:25:49] And physical movement

[01:25:50] Kind of way

[01:25:51] The scene's fine

[01:25:52] The absolute worst place

[01:25:54] They could have put that scene

[01:25:55] Well that's where I put it

[01:25:56] Cause there's nothing to do

[01:25:57] With what's happening before after

[01:25:58] And the whole joke is in the cup

[01:25:59] Between those two emotions

[01:26:00] When you have sex with someone

[01:26:01] Your body makes a promise

[01:26:02] Whether or not

[01:26:03] You swallowed my cum

[01:26:04] That means something

[01:26:05] That's a little teaser

[01:26:06] For our next episode

[01:26:07] Lock the gates

[01:26:08] And so they go to New York

[01:26:09] Pow I just shit my pants

[01:26:11] And I guess they're in New York

[01:26:13] Lives

[01:26:14] They're in New York City

[01:26:15] Yep

[01:26:16] What the fuck even happens

[01:26:17] In New York

[01:26:19] Right what happens

[01:26:20] What happens

[01:26:21] Oh well no what happened

[01:26:22] Forget New York

[01:26:23] It's the big

[01:26:24] This big scene is where they're on the plane

[01:26:25] And they think it's gonna crash

[01:26:26] On airplanes

[01:26:28] Please come on

[01:26:29] I hate that song so much

[01:26:30] It's like the worst song

[01:26:31] You have to admit

[01:26:32] It's the worst song

[01:26:33] That's so nice sometimes

[01:26:34] You know they're like the city

[01:26:36] But there's the plane scene

[01:26:37] Where they all confess to each other

[01:26:39] Which I think is like so horrible

[01:26:40] And contrived

[01:26:41] I like it

[01:26:42] Yeah but you gotta admit

[01:26:43] It's a little horrible

[01:26:44] And contrived

[01:26:45] Classic comedy

[01:26:46] KK

[01:26:47] Classic comedy

[01:26:48] They all slept with his wife

[01:26:50] And one of them's gay

[01:26:51] And obviously William lays into

[01:26:54] You know the whole band

[01:26:57] Russell in particular

[01:26:58] For treating Penny like shit

[01:27:00] And then oh no in New York

[01:27:01] Of course is when Penny tries to kill herself

[01:27:03] In William Rescue

[01:27:04] That's what happens in New York

[01:27:05] Oh no hold on

[01:27:06] You guys skipped over a really important detail

[01:27:08] What

[01:27:09] At one point when they're

[01:27:10] Rolling stone is really pressing the character

[01:27:12] To like send them something

[01:27:14] They refer to

[01:27:16] That old piece of technology

[01:27:18] They call the mojo

[01:27:19] The mojo

[01:27:20] It's almost like a fax machine

[01:27:21] But it's even older

[01:27:22] You can send text over the phone

[01:27:24] And they're like

[01:27:25] And it's really fast

[01:27:26] 18 minutes a page

[01:27:27] Yeah

[01:27:28] Which is inaccurate

[01:27:29] I dislike their

[01:27:30] It's a cute line

[01:27:31] I like the detail of the mojo

[01:27:33] There are a couple times in the movie

[01:27:34] Where they make the jokes like that

[01:27:35] That drive me crazy

[01:27:36] Right

[01:27:37] Jr. Found has a similar one

[01:27:38] Where he goes do you think Mick Jagger

[01:27:39] Is gonna be up on stage

[01:27:40] Like this when he's 50

[01:27:41] And it's like yeah we know

[01:27:43] Then he breaks