Big Eyes with Richard Lawson

[00:00:01] Blank Check with Griffin and David, Blank Check with Griffin and David Don't know what to say or to express All you need to know is that the name of the show is Blank Check

[00:00:31] My podcast scenes are charming, but at the end of the day they're just collections of hot takes and bits Okay, brag That's a new approach Yeah, to not just putting the word podcast in, but get right More fully integrates More of a thematic

[00:00:45] That quote isn't that iconic, so I said let's shift the entire meaning of the quote I mean as we all know Big Eyes has ten iconic quotes You decided not to go for one of them I was gonna say that's the only un-iconic thing about this film

[00:00:58] Natalie Woodson was the greatest painting she had ever seen You're like Walt? The most hideous performance I love it Love it! I give this movie two Big Eyes out of two Especially because the real guy was like American, like he didn't have an accent

[00:01:15] It's like you look him up and he was from Nebraska I got Take Sopante He wasn't from Castle Wolfenstein Walt walks on set I've been working with a coach, how is my American accent And they're like well we gotta start shooting because we're gonna run out of time

[00:01:31] You knew the two people it was supposed to be before Kristoff Walt, right? No I think I read it but remind me Originally announced, cause this was gonna be Kierzooski and Alexander's directorial No, not their debut, they did screwed They did screwed? I believe they did screwed

[00:01:50] I remember that, yes The Norma McDonald, Dave Chappelle, Sarah Silverman vehicle Of course DeVito DeVito There's like a scene where he's like Is that the one where Norma McDonald is holding up fish or something? That's dirty work That's dirty work Dirty work is screwed

[00:02:04] They're both sort of like, dare I say it's scumbum Yeah, it's screwed also It's kind of like what if half Bakes cult following but like divided by ten It's one of those movies where it's like it has a cult following Like among eight people at the university

[00:02:19] It's high as an exact right point in like 1999 or whatever But screwed is also one of those dark comedies where every critic was like, too dark I don't want to live in this Anyway, they were supposed to direct it First time around makes sense

[00:02:35] Thomas Aiden Church, Kate Hudson Oh wow Thomas Aiden Church really makes sense You're a Kate H fan Sure, you shouted me out about Something Barret on a recent episode Anytime Something Barret comes up I mention you cause you're the person I associate with that movie

[00:02:48] But let's say this, as someone who stands so hard for that performance Don't you think she isn't quite right for this role? Not at all Well I think she has a hard time Kate Hudson doing period Yes, I do too

[00:02:58] Even if it's like mid-century, 20th century it's still like Right, no Thomas Aiden Church makes sense cause he's got the mid-western sort of corn fed thing And he's also incredibly annoying but just a different way

[00:03:09] He's got that sort of slippery charm kind of thing where you're like this guy is so gross But he's kind of compelling to watch Then it was going to be Reese Weatherspoon and Ryan Reynolds Right, Reese Weatherspoon I remember that casting Right, and Reese is like Ryan Reynolds

[00:03:23] Yeah, okay Ryan Reynolds feels very off Reese feels on point She's better than Kate Hudson You do Reese and Thomas Aiden Church Right Maybe you have a movie there That's the most obvious version of it Isn't Thomas Aiden Church like literally three times the size of Reese Weatherspoon?

[00:03:36] Right? Like he's sort of a broad-shouldered guy too What are all those stories about what a production nightmare for Christmases was? Cause it's like impossible to frame Reese Weatherspoon and Vince Roper The posters! She's standing on all the presents! Like five boxes!

[00:03:50] And people are like, what's the joke there? And it's like there's no joke that's actually how they could get them in the same way She films the most of the movie on Stilt Yes A few people know She is actually Stiltman She's in the MCU She's Lady Stiltman

[00:04:02] Lady Stilt You know that the female Stiltman is named Lady Stiltman rather than Stiltwoman? That's crazy Yeah Or Lady Stilt Yeah, no her name is Lady Stiltman Ben, quick question Yeah, what's up? Tim Burton Fuck you! Tim Burton! Go away! And never return!

[00:04:23] How do you like them eyes though, Ben? I'm like, okay, big eyes. I'm gonna like this They're big Big movie Big disappointment That's true Big guys So then it was like when it was the Ryan Reynolds Reese Willisman version It was, Bert was gonna produce

[00:04:41] I mean this is like the exact same arc as Ed Wood Should you introduce the podcast or? I'm gonna get to that in a second Okay, okay, okay Please This is like the preamble to the first episode of the OA The credits are coming for you Yes

[00:04:52] I'm Danny Houston doing the narration before we get into the beginning of the story Also, you know, we should, you know, he'd work with them in Edward, right? And Edward was the same thing where he like came on just as a producer when they couldn't get financing

[00:05:06] And then he was like, I'm gonna direct this Even though I usually do big movies So it's the same thing where like, they had it set up at Weinstein Burton was gonna produce And then there's this surprise announcement They've totally changed the cast

[00:05:18] Burton's directing and they're like going immediately Yeah Go! Go This of course is Blank Check Podcast about filmographies Directors who have massive success early on in their career Giving series of Blank Checks and make whatever crazy passion projects they want Now what happens sometimes? Sometimes they clear

[00:05:36] Okay, interesting And sometimes they bounce B Do bounce B in the Christof voice And sometimes, sometimes the Checks clear And sometimes they bounce B Because right, he sometimes does that Sometimes they bounce Sometimes it's the very clenched thing Taryn Killam's impression of him on SNL was quite funny

[00:05:56] But then he was on SNL and he was funnier Right He's just funny He's so funny That sketch he did where he's the guy at work Who like, did something very inappropriate And only realizes that I can't remember It's like a card or something Like a photo

[00:06:10] It's so funny Well here's my take on him keeping his accent Who in this movie, okay? It makes no sense But as a counterpoint Right around the same time he does Roman Polanski's Carnage Sure Oh sure Where Polanski clearly is like You have to do an American accent

[00:06:26] And he's really boring in it He's not bad with it I've never seen that So he loses some comedic energy Right No, his accent's fine But it Here's some other things he's doing He cannot maintain the same rhythm that he has That makes his dialogue so interesting

[00:06:41] Because he's too focused on doing the accent With the American accent It's like the accent works But you're like, suddenly he's dimmed Let's talk waltz Let's talk waltz Let's take this waltz Take this waltz Take this waltz I have introduced the podcast I haven't introduced you though

[00:06:54] We should do that It's amazing, he's on the films of Tim Burton Tim Burton is called Potward Cesar Casas Who are you guys? I don't know, Griffin and David Okay, cool Jesus And who's here? Who's here? But our all star Last minute pinch hitter On this one Yeah

[00:07:10] Kind of, right? Yeah, we don't have your jacket ready yet We don't have your jacket Oh that's true It's a six This is seven baby I think I tied Yoshida Because I was worried that she was going to lap me Right, she's not lapping yet Number 11

[00:07:22] Dickie Lawson's here Hey guys Hey guys Do you know my big guys joke? So I used to do these series of tweets That was just Penny Marshall going up to the box office And trying to buy tickets for a movie A great series of them

[00:07:34] But getting the title wrong Yeah And so hers was two for big guys She thought the movie was called Big Guys I sort of bullied Bobby Finger Thinking that joke was funny It is funny What, Bobby didn't think it was funny What's the matter with him?

[00:07:46] No he did But it's just like I just kept trying to make it a thing One for crumpets Do you remember that one? I don't remember what that's I was at a restaurant And there were two old Jewish ladies sitting next to me

[00:07:56] And the one woman was recommending Maisel to the other woman Oh boy But she kept on getting the word wrong And she goes, you have to watch It's called the Fantastic Mrs. Maisel It's fantastic And the other woman goes Let me write it down It's called Mrs. Maisel

[00:08:11] She goes, no not Mrs. Maisel The Fantastic Mrs. Maisel I'm like the whole bit is that it's 3M's Right The iteration of Mrs. Maisel Right, it's one thing if she went like It's called the miraculous Mrs. Maisel But it's like doesn't that sound wrong to you?

[00:08:24] The terrific Mrs. Maisel She kept on like, no it's not amazing It's terrific Let's take a waltz because I want to talk about something At the end of the waltz Let's take this waltz With the three of you So here's Chris Waltz post Inglourious Baster

[00:08:38] So obviously he was like a German actor Before that Right But kind of like an incredible story That a guy in his 40s has his American film debut Out of nowhere And wins an Oscar Yeah And sort of overnight becomes like A movie story

[00:08:53] But then it's like what are we going to do with this guy Like how do we slap him into Totally He's so particular He's a particular one That character feels like it was designed for him Right The opening scene Yes it's with the milk

[00:09:05] The milk and the guy and the Like you know the crazy thing is that he wrote it For DiCaprio Right And that doesn't work If that's DiCaprio playing longer I think it doesn't work Yeah I don't know What do you think Richard Of Inglourious Baster

[00:09:18] I think it's a good movie I think he's great in it Yeah But it was kind of one of those things where like I didn't realize watching it That that's what he does Like I thought you know what I mean

[00:09:26] Sure you're like oh this is a great performance We've just gotten a lot of variations on Yes That sense Well that's the Waltz that I want to take Okay so yeah then the green horn And he's the villain I don't remember Whatever

[00:09:36] And he was the last minute sub in Dickie Lawson style after Nicholas Cage dropped out Oh wow there you go Water for Elephant Nicholas Cage was supposed to be on this episode right He was that's right Yes That's the meta narrative I love those eyes

[00:09:48] I can't do them That wasn't really The eyes are big No I want big on I can't do it Go on Water for Elephants were obviously He either played the water or the elephants I can't remember I have not seen water He was the terrible circus train

[00:10:01] Right he's the ringmaster This is my circus look at my three rings And that was also a post to Oscar movie For Reese kind of wasn't it Like what year was that It's 11 It's a few years Oh so she bit okay But it was definitely a big movie

[00:10:15] And that was kind of the first big post Twilight Pattinson Right Pattinson Like is he going to be able to carry over And it was you know It was Francis Lawrence having done Two genre movies Yeah Maybe being like could this be an Oscar player

[00:10:29] And the answer was no And he was like okay forget it I'll go make genre movies again Was that his immediate follow up to I imagine He didn't do any Wow yeah that's crazy Then he was in the three musketeers His cardinal Rich Leo Terribly miscast there

[00:10:41] I'm sure I haven't seen that But you know That movie is actually If it's the one I'm thinking of It's really fun Yeah The Paul Anderson one That's the Paul Anderson one That's the one with Miljovic right No Yes I mean if it's a Paul Anderson movie

[00:10:53] It's got Miljovic Logan Lyman Yeah It's actually really Is it Orlando Bloom The villain Or something I think Waltz is the villain No Waltz is Reese Lee But isn't Orlando a bad one He is I believe He's the Duke of fucking him It's a really fun movie ever

[00:11:07] Which is the There's a hot air balloon involved Oh I love it Yeah well people voted against WS Yeah you idiots Then he was in Carnage as you say Really boy Which I've never seen But that's a play Like the play takes place in one room

[00:11:19] Why did they turn that into a movie It's a bad idea It was just a hot play I guess Yeah Roman Polanski Yeah And then he was in Django And he won a second academy award Which is He's nuts And he's nuts But that was the year

[00:11:31] That everyone nominated Everyone was a winner Right But I still would have given it To Tommy Lee Jones Rock in the house Or Paul Philip Seymour Hoffman Yeah Or you go like DeNiro more turned on Than he's been in a long time Like it's not like The master

[00:11:44] Right Oh okay It's just weird It's just that he's the lead of Django Kind of He has so much in him He has more screen time than ever And he's fun He's got a tooth Yeah Big tooth on his cart On a spring He shoots like

[00:11:57] Four out of ten people I don't remember It is just weird that he won For two Same director Same kind of part Within five years Like back to back films Where he's kind of a really Heavy supporting Boring on Code Lead Right Totally Both of them And then

[00:12:14] The Zero Theorem I've never seen that The Terry Gilliam movie Yeah Harbour bosses 2 I've never seen that He's really kind of like It's once again Where they're like Well he should be in movies Yeah But what is that movie about? What? Harbour bosses 2 What if there were two

[00:12:30] Harbour bosses They start their own company And then they sell it to someone And then it's He's a Harbour boss It's Kristoff Waltz And he's terrible Okay And his son Chris Pine is a cokehead So they kidnap the son In order to Get the father

[00:12:44] To sell them back their business I don't fucking know I don't know That was good It's just a shame They never got to finish the trilogy Because the story Was so open-ended There's so many hanging things I don't know what Snoke Is gonna do And an answer

[00:12:57] Snoke's a Harbour boss That was gonna be the third one Yeah, right They were in talks with Snoke Yeah Snoke is Then they realize He's made up He's a stinger at the end Of horrible bosses too But then it was just this weird

[00:13:09] Conver with some of the studios Get Snoke Who's Snoke? Is he CAA? Get him on the line And the guy had to explain Like, he's made up He's a makeup person But Snoke also got stolen In the midnight rate Right? Stolen Snoke got stolen from UTA Yeah

[00:13:23] They're doing a Disney plus Snoke show Right? They better Snoke in the city Disney Snoke Sorry Big eyes We'll skip over that for the second Spectre He's the villain Yeah Tulip fever Is he the villain? He's the tulip Then there'll be no more tulips

[00:13:40] Listen, he's got tulip fever He's totally out of hand Downsizing is the first time I had seen him in a million years Where I was like, oh, he's fun He rules it He's so good in that He is really good in that And then this year

[00:13:53] We all separately Saw a little picture called Elita Bathalange Alternate title And he's going to win His third Academy Award Alternate title big eyes Well, that's the thing My theory is he went so mad for big eyes Building big eyes

[00:14:05] He's like, I must have him all big eyes His agents like This movie is called Small Eyes He's like, no, fuck Yeah Only big eyes My girlfriend, TC14 Constantly calls Elita Bathalange Big eyes She's got big eyes I told her I told her We're recording tomorrow

[00:14:23] And she's like, what movie? And I was like, big eyes And she was like, you guys are doing An Elita episode already And I was like, no big eyes And she was like, what do you mean? Big guys

[00:14:31] And she was like, I didn't know that was a thing What? Really? She was like, I just called Elita big eyes Because that's the most compelling part of the trail They're big, look No, but Dr. Dyson Edo Hi, I am Iron City You know, we must

[00:14:48] You don't want to I think he's amazing in that movie I think we all agree on the quality of that movie That movie is a fucking masterpiece Yes Three times in theaters You've seen it three times? Yes Have you seen him 40X yet? I'm so good

[00:15:01] No, I don't like to do Christoph Waltz rubs your leg Yeah But because he's so sad in that movie Christoph Waltz's breath He's never done that before Where he's this very weird haunted tragic guy Dr. Dyson Edo No, but what does he do? Oh, he's a hunter warrior

[00:15:16] And he has a giant hammer With a rocket attached to it That rules And he wears a hat and a raincoat He looks like a fucking plague doctor I was gonna say Like, he was right at the point Where it was like maybe this guy

[00:15:28] Has kind of hit his expiration point Because we've seen the one thing he's done So many times that it's getting old And then he like back to back Downsizing is like Oh, he can play this relaxed? Yes No, exactly And Alita is like he can play this sad

[00:15:43] And suddenly you find like some variance And smartly Alita subverts your expectations Because for a while you think he's the villain And it's like oh no, he's not He's actually like this avenging hero Which is something we've not really seen I mean I guess maybe sort of

[00:15:57] So, Alita is going to go but Alright so it's spoilers for Alita For anyone that is still not gone to the Thunderdome Motor city It's playing in every multi-plex I'm sure at this point Yeah boy But there's a scene in Alita I love every scene in Alita

[00:16:14] Except for a couple of the Hugo scenes I don't like Hugo Yeah Hugo is a little rough I know you like Hugo He is the cute boy Well, yeah You think Hugo is fairly appealing I think that movie has got a major BBP boring boy problem. Oh, yeah.

[00:16:28] Well, I'm such an easy mark. What was it? I was on a film festival jury recently and like the first scene there was like, I realized that lead was like a cute guy. And I was like, oh, it's a great movie. It's so pathetic.

[00:16:42] But there's a scene late in Alita that is a scene that we've seen in 1000 movies and TV shows, which is that someone is waiting in a hospital or doctor's office or whatever to wake up for, yeah, you know, sort of waiting for news, sitting quietly.

[00:16:55] The doctor comes out and he's like, well, you should just come. Except in this scene, she's like, is he okay? Because I cut his head off and attached it to my heart for a while.

[00:17:06] And he's like, well, yeah, you should just see I put his head on top of a bunch of weird robot parts that he looks fine now. Like, and you're just like, this movie is bananas. It's like, you know, we get it.

[00:17:17] You know, we're there with it emotionally, but it's also bananas. It's crazy. Yeah. And one of the few movies in which the romantic teen boy leads head is carried in the girl's co-op. One of the few. There are a few. One of the few.

[00:17:31] I think Ringwell did it in a movie. In order to fool the robot cops. Yeah, Ringwell did it. There's definitely sense. Leah Thompson. She's having a baby about that, right? Yeah. I can't remember. It's so stressful because it feels like Alita is right at that cusp of whether

[00:17:44] or not they make a sequel because of World Wide Gross. I know. It feels like it's within like 20 or 30 million. They're going to just make it or just not. 100%. If they can make three divergent movies, they can. Great. Or Maze Runner. They can, you know.

[00:18:00] Right now it's at 400 worldwide essentially. That's pretty good. Yeah. Which is not bad, but it costs a fortune. It costs a lot. Yeah. So it's not going to, they claimed their break even number was 350, but that's like a total lie. It was probably like 500.

[00:18:10] I also kind of think though, I mean the other big question is now it's Disney overseeing Fox. Right. I think Pure Fox would have been a little easier to convince. The question is how much Disney wants to stay in Cameron's good graces because they know

[00:18:24] he's delivering four avatars for them. Well, no, he's bearing four avatar seeds for them. He's nearly a surrogate for the natural evolution of the avatar saga. That's why it's been delayed. We didn't realize how long avatar seeds take to gestate. He is but the carrier. Avatar seeds. Yeah.

[00:18:40] He is graciously opening up his male womb to the incubation of four avatar stories. His male womb is just his praise A1. Yeah, his butt. It's like James Cameron buried his movie in the ground like my jeans. Yes. I feel like the jeans should be a Patreon exclusive.

[00:18:57] Well, let's not say any more than that then. All right. All right. What I was going to say. I buried jeans. I listened. No more. No more. Big eyes buried jeans. No, the other thing I was going to say about Alita. Why have you embedded your jeans?

[00:19:12] He turns out he's burying the jeans but she made the jeans. I don't know. Don't you think Alita is one of those movies where if they announce that they're doing a sequel, which will take like three years, right? Sure.

[00:19:26] In that time through like home video, like streaming, it kind of might grow a little John Wick style. Maybe. I mean, people might come around to how weird that movie is. It's amazing how many people like every time I saw it is because I was dragging

[00:19:39] someone else to see it. I was like, I can't believe you haven't seen Alita. We're seeing people on the street. Yeah. Exactly. The hit rate was like 30 to 40%. You know what I mean? Yeah. A lot of people were just like, yeah, no, my brain just turned off.

[00:19:51] I have nothing to say about that. Don't you think that happened with John Wick too? No. John Wick was an instant cult hit. I disagree with that. You're wrong. I don't know what to tell you. I think certain people were very strongly behind it.

[00:20:03] I'm going to tell you something. What? John Wick came out. It had no buzz as we all remember, right? Like no buzz at all. It opened okay. It only made 43 million. It was like a sleeper hit.

[00:20:12] The week it came out, we wrote an article on the Atlantic that was titled John. Someone killed his dog and now they have to die. Yeah. And it was just about John Wick. And it was the most read article in the history of the website.

[00:20:23] That is not true. It is true. That is true? Yes. Now it's easily been beaten since then. Right. Yeah. Many times over. Yeah. But the interest in this movie was instantaneous. People were just like, what's this movie? Like very fast. I feel like it's like a home video.

[00:20:40] It got even bigger. Right. Because I just remember. Because if you look at the way those movies have scaled, like in release date and budget and gross, it obviously. I saw both of those movies opening weekend Saturday.

[00:20:52] And the first one most of the audience was kind of laughing at it. And it felt like they were there to see it ironically. And you can see the other smart people who are keyed into the craft of the film.

[00:21:02] And the second film I saw same way opening Saturday. People are hyped. John Wick came on screen. They broke into a plot. They should. And I was like, this is the fastest. Don't set it off. Any character has become a legend. I want to be quick. Culture. Atlantic.

[00:21:19] Culture pieces. Oh, okay. Because we're not counting like Tana Hazi. Right. Yeah. Thank you. Just to be clear. Sorry the case for reparations. But here comes John Wick. Frederick Douglass has like a byline on the Atlantic. Anyway, he does. You can like look him up.

[00:21:32] But well, we had different experiences then. And I saw my whole audience was almost immediately just all in on Mr. Wick. Yeah. When I saw big guys, everyone burst into applause. I'm getting so protective.

[00:21:45] I'm trying to nestle my little daughter away from Kristoff-Vault so I can raise her properly. Well, here's something we need to say about. But wait, can I ask a question about Alita before we move to the actual... Or whatever I say big guys, it could mean it.

[00:21:57] Either way. This episode is about two movies. Big guys and Alita. Big guys and Alita. The eyes. We can keep talking about Alita. Well, actually first thing. The problem with Alita's life on video or whatever is that what is appealing about that movie?

[00:22:10] Alita's life on video sounds like Richard Linklater movie. It's a can this year. Is that what's appealing about that movie is kind of almost the opposite of what's appealing about John Wick.

[00:22:21] Like Alita, the hurdle it has not just because it's not IP that people know is that it's so earnest. Yes. And it feels so old fashioned. Yes. Then I feel like that's what's turning people off. Right.

[00:22:31] The question then is how the fuck did it become the sort of movie that was championed by the assholes who were trying to bury Captain Marvel? So weird. It was so weird.

[00:22:39] Well, especially because the life cycle that I've seen Alita have online was that very early on where there was like a huge trans following for the movie. Yeah. And trans critics were sort of rallying around it.

[00:22:48] And I think, you know, lots of movies about people who like switch their bodies and you know... The variability of identity in your soul and all this rest of it. Obviously are the communities going to respond to that. But then right then it became...

[00:23:00] Captain Marvel came out what like three weeks later. Yes. And it became the thing of like, yeah, no, I support female lead movies that are like twisted. I don't even know what the argument was. That was the argument is...

[00:23:11] Well, because Rosa Salazar didn't say like I don't want male critics to sort of do the movie or whatever like Brie Larson did or something. I mean she said shit like that but she's not Brie Larson so it didn't get as much traction.

[00:23:21] Like all those guys who were angry at Brie Larson are angry about like an out of context headline they saw. Right. And they're angry about other things too. I would like to see more diverse people on my press tour. Sure, right, right.

[00:23:33] And they all interpreted it as she doesn't want men to see the movie. Right. Well, do you think maybe some of these people maybe they're a little bad faith about this stuff? Maybe. You know what do you mean? I don't know.

[00:23:45] Maybe they've got like a little bit of a loaded opinion already. I don't know. I think we have to respect both sides of the argument. You're right. I'm sorry. Big eyes. Let's talk big eyes. Now here's the movie big eyes. Yes. The eyes are big. Yeah.

[00:23:59] We both work in the biz. Sure. I would just start. No, yeah, I was just completely my first year at VF. Right. And we know of Amy Adams and you do too. As a promising actress. People like her.

[00:24:13] And this movie had a lot of like this might be the one that finally gets her to ask her because she's already been nominated five times. That's what I was saying. She got into that sort of Winslet Zone where it's like she's got so many nominations.

[00:24:24] The next one's got to be. And as we know, biopics always play well with Academy voters like that. Even though Burton doesn't do well with the Oscars, he's still a big director. Right. And this movie came out at Christmas.

[00:24:34] So I think everyone was like she's going to win a big Oscar. And she's unique because she is a leading lady and a proper leading lady. But four for five nominations at this point are for supporting. Right.

[00:24:47] And so people are like, this is a movie where she's really carrying the thing. This might be the full showcase that she needs. She's been nominated now six times, I believe, and only once for lead. Right. American Hustle is her only lead. Yeah. Right. It's kind of crazy.

[00:25:02] It still remains crazy that she didn't get the arrival nomination. I know that was since that movie was like across the board. No, it's not because that's her best performance. And I remember being like, I don't know if that movie is going to get any other

[00:25:13] nominations, but she's a lock and then end up getting picture director screenplay everything other than her. Anyway, what's important is that she won the most important award. Golden Globe. The Golden Globe. Best Actress in a Comedy? Comedy. This is not a comedy. I think this movie's funny.

[00:25:30] I was laughing. Win all the time. Oh boy. This is him doing his weird like take on Douglas Cirque. This is like his weird melodrama movie. Yes. Right. But I mean, I don't think of the Cirque movies as comedies.

[00:25:46] No, but that's why I'm saying his weird take on them. Right. I think he's heightening everything to absurd levels. I mean, here's my other bits of- I want him to heighten it more.

[00:25:54] Here's my big take on the Waltz performance because I'm not going to hold on to this. I want to put this out there right away. You seem to have something in your hands that's trying to escape. Like, I don't know. I have a live rat. Yeah, yeah, yeah.

[00:26:05] I've named him Kristoff Waltz. He had a griffin-stirring matches at us. I will burn the place down. Tarpentine. God, he's so good at syllables. Yes. I mean, we'll talk about it. Anti-distablishmentarianism. Man, this movie- Like just the longer a word is, the more. What do you got?

[00:26:28] Three Oscar nominations? Golden Globe nomination? Comedy. Waltz got a nomination. They put him in leader support. Lead. Okay, yeah. He is a lead. Yeah, they were trying to do a bad faith campaign for him as supporting, which was category for up.

[00:26:42] Well, it wasn't going to get it anyway. Considering he's a bigger part than Amy Adams is. Yes. He's just sort of part of the problem of the poster where he's the top. I can't tell him about him taking credit for the painting.

[00:26:54] It's just the irony of the movie being about the man taking credit for her work, and then the movie about it, the man takes center. Like it's just like- These are all fair points. But the problem is, well, it's kind of, it's a passive role.

[00:27:07] She kind of locked herself away for so many years, right? And then she only unlocked herself when she got into numerology and or Jehovah's Witnessing, right? Yeah. And met some surfing teens and why? Well, yeah. Right. This is my take. Here's your take.

[00:27:22] I think Burton is certainly an expressionistic filmmaker, right? And on the surface, this is a less sort of outrageous story, less heightened story. And he is making expressionist expressionistic film through making it kind of in the

[00:27:41] style of the like ripped from the headlines sort of B dramas of this time period. You know, he's doing sort of melodrama combined with like weird like B movie thriller combined with like the Christine Jorgensen story or any of these sort of like

[00:27:58] important issue movies made by like sort of low-ranked filmmakers. But the casting and the way he directs the Amy Adams and the Christoph Waltz performances, which feel like they're in totally different movies. And I know as the chief complain of this film is what tone is this thing?

[00:28:14] Right. They're not acting in the same thing. What I think is interesting about the Waltz performance and the Adams performance, A, I think it's daring to have her be that passive. Yeah. With an actress who is capable of playing bottled emotions in a way that is far

[00:28:28] louder, you know? Sure. This is like really like for the film to work, you need to buy that she is that easy to sort of step on. Right. That she is that sort of subject to victimization or marginalization.

[00:28:43] And then the second thing is this recent spat of now we're all obsessed with like charming sociopaths, right? He is like narcissistic, megalomaniacs, Billy McFarland, Elizabeth Holmes. Oh, with her voice. Maybe a little guy named Donald J. Trump. You nailed it. She talks like Lupita in us.

[00:29:05] So this is my point. When you watch either like of those documentaries, right? Either the fire documentaries, you watch like bad, not bad, but the inventor or listen, bad blood or any of this. And everyone's talking about like they're so captivating. It's so weird.

[00:29:19] People always ask me how do you fall for it when you're in the room with these people? There's just something about it. And then we watch the footage and we're like Billy McFarland seems so boring. He's so clearly full of shit. I would never fall for it. Yeah.

[00:29:32] So if you cast someone to play Walter King, the way he actually felt in the room, I think you'd go like why this is like insane. Why would anyone fall for this? The Kristoff Waltz casting is this is a guy who somehow made a Nazi

[00:29:45] guy kind of compelling. Right. Where you're just like, I don't know what it is about this guy, but his energy is so fucking weird. And the way he talks is so weird that I'm kind of falling into it.

[00:29:56] And I think the movie has that like meta performance of like it doesn't make sense unless the guy is this big. Because a performance this big reads the way it feels like when you're in the room with that person. Right. And that person is able to trick you.

[00:30:11] Yeah, it's a question of scale. Right. Yeah, you have to do it big enough that it can make the transition. Right. Yeah. It's like a Nicholas Cage thing where like he said for Peggy Sue got married, he made the insane choice to play

[00:30:25] that character speaking like Pokey from Gumby. Sure. And Francis Ford Coppola is like why are you doing this to me? Like I fought so hard to help you out. My cousin, my nephew, whatever you are. Why are you doing this to me?

[00:30:36] And he's like this whole movie is about like the idea that she goes back to her teen years and the guy she thought is the heartthrob she now sees through how like silly he is. Sure. And I want to make a performance that feels the way

[00:30:48] when you look through your school yearbook you're like I can't believe I ever found this person attractive. So I want to be like silent at the beginning of the movie when I'm an old man. Right. And when it goes back to the past I'm so clearly

[00:30:59] goofy and childlike. That you have the feeling as an audience member that she has of embarrassment. That's fine. That's a good defense of Peggy Sue got married. And I think there's the same thing going on with Christoph Alton this where it's like even the fact

[00:31:13] that he's German and it's inexplicable adds to the weird mystique of like why is Elizabeth Holmes talking in that voice? Like can't we all see through that? Right, okay. That's fine. That's all fine but the movie's kind of boring. Disagree. That's the problem.

[00:31:26] I think it's a rip for our entire life. It is not. I think it's an emotional rollercoaster. It's also not. Right, I mean... I was trying to think of a way to make it more engaging but like I just think...

[00:31:39] Because it's a fascinating story but it's more of a red story you know? Or a dot or... I don't even think a documentary would sustain it because it's still... Maybe a short documentary. Let's keep it short. Sure. An episode of something.

[00:31:52] I tweeted a gif at the two of you with one perfect shot and I want to find this so I can give proper credit to it but a blankie tweeted a thing which I like this movie a lot but I totally agreed with this

[00:32:04] and I was like fuck this is really smart. Oh yeah, I know the tweet you're talking about. Did you see this? I'm not sure, tell me. Ben looked like he had something to say so say it while I'm looking for this tweet Ben.

[00:32:13] I was wondering if there is a good movie about a painter. And like I feel like the Ed Harris movie... Ed Harris movie... Ed Harris movie... Ed Harris movie... Paulic. Yeah, it's like... No, Paulic is good. I like Paulic. He's a drunk. Andre Rubelev. Hello.

[00:32:33] Mosquiat I've never seen. It's not that good. Vincent and Theo is very good but it's kind of a TV series. Yeah. It was like a mini series that he cut down into a film. Frida isn't bad. I like Frida. Frida's got the sort of lush visuals.

[00:32:47] What's his name? Willow as Van Gogh. Yes. I didn't see that either. Had a tourney skate. That's boring. See that's the thing. I'm wondering can you make an engaging movie? Yeah, I'd say it is pretty good. You can. There are some.

[00:33:01] And look it works when the filmmakers are very visual and are aesthetically tied to the painters. Because you need to find some way to convey the sense. But that's kind of what Julian Schnabel is like and he's always just kind of boring.

[00:33:15] I mean, Dying Bell the Butterfly is good. Not about a painter though. It's about a Blinky Man. I think his painting movies are bad because I think he's too literal about it. But Blinky Timor is good at translating it. I think Timor is better.

[00:33:26] And I think the keen paintings are very much in line with Burton aesthetically. This is the tweet I want to read. Those eyes are so big. Yes, go ahead. At Double Dog Darrow says, Is it Big Eyes Time? Her. Sorry. Is it Big Eyes Time?

[00:33:39] I did see this tweet. Yes. Because I stand by the fact that it could have been brilliant if it was re-edited with trial as the setting for a Rashman style analysis of how people see the truth ending with the paint on.

[00:33:46] Yeah, that's a great thought for that movie. That's a really smart structural hack for the exact same footage and script that they have. I interviewed Mr. Christof Waltz for this movie. It was a weird one. You said this was one of...

[00:33:58] I pulled it up just to double check. I think I said, I let off with like, this film is more tragic than I expected for your character. He said, what did you expect? Which is already I'm like, okay. I'm being interviewed but okay. Right.

[00:34:13] And I said, I think I expected something more kitschy or more heightened, but also it got into the struggle with your character that he begins to buy into his own lie. Yeah. And then he said, where is the lie?

[00:34:23] Like you have your mind all made up that he said that to me. Which is nuts. And then you just woke up in your bedroom and you were like, how did I get home? He seemed very dialed into the fact where he's like, my character does not think

[00:34:37] he's lying, which is how I'm playing it. I think that's what he was trying to say to me. He was just saying to me in this scary German way that sounded like he was calling me a liar. Yeah.

[00:34:47] But eventually he kind of was like, I understand what you're saying. I'm just telling you how my character feels about it all. And so right, you could do that where it's like rather than presenting him

[00:34:56] as predatory, which he kind of is for minute one in this movie, right? Like he sort of just shows up and he's like... But the thing about that interpretation, it's kind of bullshit. I mean, it's exonerating. It's like what do you mean he doesn't think he's lying? Right.

[00:35:09] I know. He's lying. He is lying. Is he completely insane? He's lying, but you know what she's doing? Painting. I am. But we have seen so many, well with your big eyes and your big lies. We've seen so many examples of this recently.

[00:35:22] Like how is him testifying in court, which they have said many times they tone down from the actual transcripts. Right. He was crazy. That is famously one of the craziest like trials of all time. Which is probably why the judge was like... Two easels, some paint now. Enough.

[00:35:38] I like to think of like the male if going to an art store. What am I named? The judge in this movie is secretly maybe the best performer. He's great. I love him. You know what? There's nothing better than a good judge performance.

[00:35:48] I was just watching presumed innocent for no good reason. And Paul Winfield in that. You need like someone who's immediately you're like this guy's in charge now. You know what I mean? Kenneth Troy and people versus OJ. Oh, so good. So good. Yeah.

[00:36:01] Oh, and the dancing Edo's on Jay Leno. So good. Love that performance. So good. Simon Cowell on American Idol. Great judging. Yeah. Katy Perry on the new American Idol. That's right. Jennifer Lohman. Recently there was a clip of some guy performed an original song

[00:36:14] and she was like, you wrote that? And he's like, she's like all by yourself? Yeah. You wrote that all by yourself? And it's like, Katy, some people do that. And who dressed you? Yeah. Who designed your ice cream cone? How did you get here? Oh boy. Yes.

[00:36:26] One more for getting the greatest cinematic judge of all time. Bob DeVal. That's right. Oh, right, of course. I'm the judge. Here come the judge. This is a complete tangent but there is a big- The judge that I pooped on myself. Big eyes does contain-

[00:36:40] I find myself guilty. Sorry, go ahead. I have a great poop story I'm going to tell you off. I'm like, yeah. Wow, what a tease. Is it a celebrity poop story? It's going to be a Patreon exclusive. It depends on your perception of celebrity but no. Fucking white!

[00:36:54] It's not a tease. It's not a celebrity. But there is a scene in the movie Big Eyes that came out in 2014 in which Amy Adams says, no big Lolo. Oh boy. It's great. I took a note and just wrote no big Lolo.

[00:37:09] What I was going to say is A, Christophe Waltz is not the filmmaker. I don't think there's anything wrong with him saying like, my character has not lied. He is innocent because his job is to- Advocate for his character? Yeah, and this guy is pathological.

[00:37:24] And it's like how is this different than like R Kelly in the Gayle King interview where people go like, I can't believe he's lying this much. But I genuinely think R Kelly believes he's innocent. There is this thing that people talk about with abusers,

[00:37:39] whether it's like emotional abuse, whether it's like workplace abuse, plagiarism, sexual abuse, any of these things that they have like a pathological condition where they view themselves as the victims. Where they truly believe, and it's the thing they talk about in the Elizabeth Holmes documentary where he's like,

[00:37:55] I believe if you hooked her up to a lie detector, it would not go off. She fully believes in the reality of what she's saying and it's like a coping mechanism for the reality they want to live. It's like the Rachel Dolezal effect. It's all this shit.

[00:38:10] Right, like, I mean we have been dealing with a lot of people like this in the last 10 years. Either cases blowing up or people who have been famous forever being revealed for living this way for decades, you know? And like these people who like place themselves

[00:38:26] out in the public eye are very loudly telegraphing the things that they should be getting caught for with no sense of like strategy. Right. And they never fucking back down. And I think the key thing is that like Walter Keane goes to his grave being like,

[00:38:41] I don't know what that whole trial was about. Almost certainly right? Like it does, I mean, but the fact that he did the thing where he's like, and now to paint, I pick up the brush. Ah, like, my injury, I've recurred an injury

[00:38:56] even though I painted like, you know, a mural the size of a house one time. But like you hear stories about that. As someone who just like the doctor never found any evidence that they had this injury and they maintain that they did for 30 years.

[00:39:08] As the movie reveals, he's this lifelong scammer. He's getting painting shipped out from, he's getting bad paintings shipped to him from Paris. And in the scene where she confronts him about that, you see how quick he can lie. He lies quickly. He's like, oh no, no, it's scenic.

[00:39:20] You know, that's what they call me. Scenic. And then when she sort of is like clearly no longer interested in this, he just shuts down as he sits down. Like he just has nothing else to do. But it's like he's like a rabid animal. It's like just survival,

[00:39:34] which is like the same thing as President of the United States. But, President Donald Trump. So John Donald John Trump. I think the other thing is like, not to keep on using these two examples, but they're O'Carrant, right? Billy McFarland and Elizabeth Holmes

[00:39:55] are both people much like Walter Keane, where it's like the big thing they're going for is the public persona of like, I've always wanted to be an artist. Like that he's so embarrassed that he is a realtor, even if he's successful.

[00:40:11] Because he loves the idea of being someone who succeeds on their art. And that's so much more important to him than making art in the same way that Elizabeth Holmes is like doing an impression of Steve Jobs. And she's just like, somehow I'm going to figure out

[00:40:23] this technology. Like I think Walter Keane genuinely sits in that courtroom and is staring at that easel and goes, I'm going to figure out how to paint this in any second now. I'm going to figure out how to paint this because I have the spirit of an artist.

[00:40:35] It doesn't matter that I haven't physically painted before. He walked into the room. I mean he could have just been like, never mind, but he's like, he gets the far enough to sit at the fucking easel. Right. And Billy McFarland's the same thing of just like

[00:40:47] the fact that they're like the night, you know, three hours before the planes are arriving. Right. The fact that he actually went to the, was on the island. Yeah. Like it's like, dude, this is not going to happen. These people believe that they're going to keep on getting

[00:40:57] out of it. Right. And it's because of, right. It's like getting a gym membership. Right. You've not going to go. Yeah, I know. But he has that one moment where he says like, I so badly want it to be an artist. Yeah.

[00:41:09] And then he just sort of tails off and doesn't finish the sentence. Right. And it feels like he's kind of going to admit it finally. Yeah. But then he just doesn't, you know, like he sort of hits the wall of like, he can't articulate it. Right.

[00:41:20] He frames it so much as like, I'm embarrassed that I'm not taken seriously as an artist, even when I'm selling art. Right. You know? Right. So big eyes. Yeah. We're talking a lot about Christoph Waltz. What? Can we talk about Jason Schwartzman's character? Oh yeah.

[00:41:38] We can, but I was going to say something about Christoph Waltz. Mm-hmm. Then we can talk about Jason Schwartzman. Well, I was, you know, I just want to point out, we're talking about him because he's the interesting character and she's not like in

[00:41:48] the movie much, you know, and like. She's in it a lot. Yes, she's there. Right. And we, you know. There are like flashes of stuff that like could, I don't know, give her some depth, like the Jehovah's Witness thing. Yeah. There's kind of an indication.

[00:42:03] But Burton's kind of afraid to get too deep into that, I think. Right? He just wants to explore it. There's also an indication throughout the film, especially toward the end when she's in Hawaii, that she had something of a drinking problem perhaps, you know,

[00:42:13] like there was stuff that like. I think she plays all of that well. I think she plays it suddenly, but like the problem is that the. She's excellent at it. Yeah, like the fucking Austrian Grover next to her is like taking up all the oxygen.

[00:42:26] Yes, there's a little bit of the like in half the way James Franco thing here, you know, right? Yeah. I mean, the difference is it's not a lack of commitment on her part. Right. It's almost that she's playing the kind of person who gets taken advantage

[00:42:42] of so well that she disappears into the movie a little bit. Right. And I guess like it's not. You have to work harder to engage with her performance because she's so pulled back. And it's not the movie's fault that we or, you know, the kind of movie fandom

[00:42:55] world was like, oh, this is an Amy Adams movie. It's her Oscar. The movie is not called Margaret Keane. It's called big, you know, it's not it's not solely about her. It's not built that way. No, no, no. But for whatever reason it was kind

[00:43:06] of packaged, you know, to be big or to be. Are they so big? Yeah. You know, I do think that kind of like was one of the things the handicapped the movie though was that everyone was. The eyes were so big. The eyes were too big.

[00:43:17] No, that the narrative was so much like this is going to be an Amy Adams vehicle. This is like her big Oscar showcase. So then when people saw the movie, they were immediately disappointed because it's not that. And who would I mean why? Your globe showcase.

[00:43:30] Why is anyone surprised that Tim Burton saw a story and was like, I'm going to mostly focus on the creek. Like that's that makes a total sense. It's just like for whatever reason, the packaging of the movie made it seem like it was a star vehicle for

[00:43:42] Adams and it's not. Let's talk about it. Ben's chomping at the bit. Jason Schwartzman performance. Come on. He's like fourth build. Sure. I just never think that art world people are portrayed well. Yeah. Wait, you think he's a little bit of a caricature of this guy?

[00:44:00] Oh, that's his stamp. He's portrayed in a way that's very compelling and light. I totally forgot he was in the movie until like he just on the TV. He's like, hello, this is big brother. I was going to say it's so dystopian. Yeah.

[00:44:13] I was like, I'm going to get my best friends. Here is my art review for this week. It's so weird. It's like, that's the Burton touches that I like, right? Where like the sort of cerke and heightened thing is coming off well.

[00:44:29] And then I also like when like Waltz goes into full maniac mode like becomes like Night of the Hunter. Like Bill Ghibbierre said he like me a true defender of this movie. Who thinks it's getting enough credit for passing how you know, willing it is to wildly

[00:44:50] vary a very shift in tone and genre and all of that. But but he said like my take is this is Burton's like truest horror movie. Like this is his only movie about someone actually being like trapped because he makes a lot of films about like the

[00:45:09] weirdo who isn't understood. Right. And this is like very much a movie about like a victim and an abuser. It is. 100% is. And he heightens it to that level like even Amy Adams driving away in the car. He's not heightening it enough. That's sort of my problem.

[00:45:22] Like I want more nightmare. There's so many scenes of him going in there and being like you should open a window. Yeah. And I'm like this is frightening. Terrific. Like she's like kept in this like yeah. She's like Mrs. Havership. But she's like weird like right.

[00:45:35] She's just sort of like, what are you gonna do? You know. And she has this sort of whimsical scenes like when she talks to the dog. Yes. And she's like, I mean, I think it's like a good reaction shot from the dog. Yeah. I also think you could.

[00:45:47] And then one time she faints. You could mine a lot out of the daughter. Yeah. Which he kind of just like ignores that in fact. Yes. That like cast an actor to play the older version of her who can't really act. And it's like. The weakest performance. Yeah.

[00:46:00] But I mean, but even you could like one of her best scenes is when she's crying about like how she's lying to her daughter where Adams is killing it. She's good at it. Like you set it up and she knocked it down.

[00:46:10] But right, you know, it sort of just feels like a thing that happened, you know, not maybe, maybe foreground that a little more. Yeah. I also think they could have spent more time with the whole like rocket ball and the big stadium and all,

[00:46:23] you know, like that, that all that. Like I just felt like, I mean, that scene is great, but. I like, I like all the art world stuff as ridiculous as it is. Five county points. Yeah. No one give that credit. It's an elite a joke for you.

[00:46:35] Those of you who say that. Oh, it's probably not. Is it called Rocket Ball? Motorball. Okay. What's a lead also made me think we in F zero movie, like all that motor ball stuff and like combined with speed racer.

[00:46:49] I'm like, can we finally get not just crazy racing? Right? Yeah. But also I want to see like Captain Falcon get out of his car and then go to like wherever the, you know, the locker and like deal with what Captain

[00:47:00] Falcon would be like, like what is that? Well, add it to the slate. Thank you. What's the name of surprise cameo's character, the puppet master in a battle angel big eyes. Nova. Nova. Yeah. Well, it's a surprise cameo. Well,

[00:47:18] there's also the other surprise cameo in the motor ball. Screw it. No, we do stand a legend. Screw it. Great. I mean candle head from, you know, screwed out. I feel like it's related to candle head. No question. No, Jai Courtney. I'm going to totally miss that.

[00:47:33] You may have missed this. Jai Courtney is in one shot. Is that a cameo at this point? Yeah. Of course. That's just the job. I listened to this interview with John Landau who produced the movie and is like Cameron's guy. And he was like, no,

[00:47:45] Jai just wanted to do it and like in a sequel, you know, maybe he would do more. Wow. But there's this one shot where it's before she's playing but when she's like behind in the locker rooms and you just see him and they're like, well,

[00:47:57] that's the biggest star and he's like tighten up my screws lava or whatever he's fucking say, you know, I'm going to take up on him. Yeah, he's a big potato head. Yeah. Yeah, that's all. Okay. Okay. We do. I agree so. I agree so. I agree so.

[00:48:13] Grasso shot first. How are we doing? Great. Ben has purchased a clock because he thinks the show is running too long. I don't know what he's talking about. A controversial stance. Right. Yeah. And he just tried to check the clock and knock

[00:48:27] the clock over so things are going good. Right. So she's painting furniture. She's in divorce. A divorcee. Some of these starts with her leaving a bad marriage. Yes, we don't see the bad marriage but she's left it. Right, this is a woman who you get the sense is

[00:48:43] quick to fall for charismatic and controlling men. Yeah, sure. Perhaps that's not realize her own inner strength. Yes, right. And also it's the 50s and it's tough to be a single mom. And she loves painting. Like she seems to just like painting for the sake of painting.

[00:48:58] And she has training. She has training and she is, yes, genuinely as she's always derisively telling what's his name? Walter. Yes. You know, yeah, like I sketch my, like I do preliminary drawings. Right. I have reasons for what I do.

[00:49:13] And the other thing is that she has this kitchiness that people don't get that people either really strongly react to or go like why would you do this? Right. And the answer is like, I don't know, this is just sort of like. This is my thing.

[00:49:27] Yeah, it's big. It's just kind of Bertany. I know. You know, like I don't know what can I tell you? Like this is my aesthetic. These are the stories I'm taking. It's another thing I kind of want from the movie,

[00:49:36] which is like get into what the fuck is up with her, but it sort of gets too bogged down in the theft stuff. Yeah. But she painted all these big eyes. The eyes are pretty big. And when you ask her about it, she says

[00:49:48] things like, oh, the eyes are the window to the soul and I love the children are sad made my feelings. But like, I want to know more about Florida ceiling. You're open with that war hole quote. Like I want to dig into like the weird sort of

[00:50:01] kitschy like marketing of it all. I like all that stuff, like when they're selling the posters, all that process. She tells the story about going deaf as a child. Yes. She had surgery. She went deaf temporarily. So she had to spend time looking at. Right.

[00:50:15] Reading people's eyes, which I think does make sense. And I really like the supermarket scene. Right. Where she starts seeing everyone around her with the big eyes. Plaintive sort of. Right. You get the notion in the same way that Burton always sketches like 17 rings around

[00:50:31] characters eyes, you know, and teardrop heads. It's just like that's how she like funnels for perception. She's funneling. Right. That's that's the way she interprets energy, human energy. And you see her sort of her style evolve too. And then she's able to compartmentalize

[00:50:47] between the waves or whatever she calls the big eyed waves. And this new form that she's doing, which is the long gated. Right. The mode. Right. But they have the same energy to them. Maybe the technique is a little heightened. Yeah.

[00:51:01] But it is this thing of like that I think, you know, Burton is fighting at this point in his career where people are like, does he like care about anything? Is he so cynical? He's just doing an impression of himself. And I think he's like, I don't know.

[00:51:14] I'm like trying to make the most honest thing I can to some degree. And I don't really know why it's working or it isn't. Right. Yeah. And people like it. Sometimes people sell it successfully. Right. Sometimes they don't. I think that thing was fascinating when

[00:51:29] the show is flooded with people, but there are people who don't afford or can't buy art. Right. So they sell the posters. Like, you know, I like all that stuff a lot. The fact that he's always been weirdly a populist guy despite being esoteric. Right.

[00:51:44] Burton's style is so unique, but he hits as a major studio filmmaker. Yeah. You know? Well, I was going to ask about the artist, her legacy. Mm-hmm. I don't feel like she's really considered an established, like she's more an outsider. It's the sense I've always had

[00:52:02] of her reputation. I think now her work is viewed as like a fad. It's like that was like Kent Rocks. That was like a period of time where everyone had one. Right. Kitch is certainly the work, you know, and like it's the kind of thing that you

[00:52:16] could like buy in a Walgreens. Like rather than at like an art museum or something. Norbin Rockwell-esque almost. Yeah. Even Kitch here, though. Who's the one who paints those weird Kincaid? Yes. The Master of Lights? Yes. The Painter of Lights. Yeah. It's like that. Right.

[00:52:34] But she was like, I mean, he with her art was like the first example of someone really understanding how to like franchise their work like that. And I think because they blew it up so big its lasting legacy is it's a fad because it got too loud. Right.

[00:52:48] And then when they got over it, they like totally threw it away. Yeah. Even at the time, no art critics like took it seriously. Like Rockwell- You don't think Terence stamps into it? I don't know. It's hard to read that character and where he stands on the paintings.

[00:53:02] But someone like Rockwell, like his reputation now is upheld by all those filmmakers. It's like Lucas and Spielberg and all these guys love Rockwell. But Rockwell still isn't like taken seriously as an artist. And you buy it like a fucking Walmart. You know? I guess.

[00:53:20] Well, Rockwell was in like the U.S. What's it called? You know, one of those weekly periodicals. Right. That's where he was. I forget what it's. Saturday evening post that was the one. But you know, Rockwell probably would hang in a museum.

[00:53:32] I don't know if a keen would hang in a museum. Some of his work also had a political dimension. Yeah. Like, particularly with the, you know, I think people have come around to it more than that. Yeah. I don't know about Keen.

[00:53:42] Keen, I feel like right, she's more in the marketing zone. Yeah. But I know what you mean about outside art. And then it was, who else would have thought to do? It's so, especially in this pre-anime, pre-Japanese influence era, like the idea

[00:53:58] of these sort of like cute children, like sort of like they're almost creepily cute. Like what's going on? Right. There's nothing like that in Western culture. Why are they crying? Because I think she's a very sad person. Well, she was locked in her Turpentine dungeon. Right.

[00:54:12] She picks up on other people's innate sadness. Like she's just like a very fragile... I think she's an empath. I think she's an empath. I think that's what that scene in the supermarket's about. Yeah, I mean that scene's interesting.

[00:54:22] That's another thing though, I feel, where I feel like, are we going to do more of it? You know what I mean? Your arguments are fine. I know what you're saying. But I think that is the take on it, is just like she sees everyone's sadness.

[00:54:35] Like that's the overpowering thing that she's picking up on. And she's a sad lady. Right, so she is just like, I don't know, that's what people look like to me. Hey guys. Hey guys. Richard. Yeah, oh Kristen Ritter's in the movie. Jessica Jones herself.

[00:54:49] Kind of surprising that she doesn't become like a Burton kind of regular. She certainly has the feels. Yeah, totally. That's a good point. Right. I guess she got busy being Jessica. She could have been Winona and Beetlejuice in a different era.

[00:55:01] Right, and then Eva Green becomes his new muse. Well, she bewitched him. She bewitched him. John Polito. One of his last performances. I love him. Great John Polito. Love John Polito. He's the guy who was like, what? I ran a place. Oh, I love him.

[00:55:16] Hang up your arm. What do I care? I got a parade. He's like a Simpsons character. Yeah. What's your favorite Polito? Fucking Miller's Crossing. Yeah, right. That's right. Yeah. High hat is one of the greatest terms. It is one of the greatest terms.

[00:55:28] I can hear you trying to give me the high hat. Polito I love Danny Houston and just one of those Danny Houston performances. Yes. He sits behind a desk. He's satanic. I just wanted to work with Tim Burton. Sure. That's the same thing with the Shortsman thing.

[00:55:43] Like it's very weird to have Shortsman playing this character. Wandering in from like anything else or a Woody Allen movie. Right. Because he has like one dialogue scene and then there are like three reactions. He's funny in it. I like the one where he's like,

[00:55:54] why would you anyone want to have credit? One credit. Yeah. No, it's funny but like at the time, I mean I guess 2014 like Shortsman's peak had sort of, he was down from his kind of height. I mean, he's let's see. Yeah.

[00:56:10] He just, I don't know, he's just in so much stuff. Like Shortsman turns down a lot of big studio stuff too. You know, he'd done Bored to Death, which had wrapped up a couple years earlier. Yeah. And then he's working on Mozart and the Junk Life for God.

[00:56:24] He was a writer. He was one of the creators. Yeah. Yeah. That's weird. He turns down a lot of big studio franchise stuff. Like he's one of those guys where it's like, I don't care if the part isn't interesting and would rather play a smaller part. Right.

[00:56:40] He does a lot of small parts in general, like looking at his movies. Who's he related to again? The whole Coppola family. It's that tree with the Coppolas and Cage. Sure. Right. All true. All true. The eyes are big. Our friend, Joe Reed texted us.

[00:57:00] He went to a movie trivia night and the question was how many Academy Award nominations do the Coppola family have? Wow. What was super tricky about it was it included... In laws, right? Right. So it included Patricia Arquette and Spike Jones, which I don't think is fair.

[00:57:17] No, no, that's not fair. No, it didn't seem fair. Was there anyone else too? There was one who was Talia Scheier married to. Oh, she was married to... Wasn't there that too? Like it was like... Oh, fuck. Well, it's a sportsman, right?

[00:57:31] No, but sportsmen never got any nominations, right? No, I know, but like isn't her... Oh, no, she was married to David Scheier, That's who I was. The composer of like great jazz scores. Because sportsmen produced Being There, but Being There wasn't nominated for Best Picture. Root. Very root.

[00:57:48] Okay, can I make a couple more defenses? Oh my God. Yeah, sure. Go ahead. What else is going to happen in the South? I was a concreter. I was a concreter as the movie. I'm going to defend myself. I'm representing myself in this trial, okay?

[00:58:05] First of all, it's a good look and $10 million movie. Yeah, yeah. Root Dabinel shot it and he's one of the greats in my opinion. Right, and I think the production design is great. There's that great show when she first shows up in San Francisco

[00:58:16] and she's meeting Kristen Ritter and it's like at the top of the hill. It just looks good. It looks period. And that's a big thing. The colors like really pop in this movie. Sure. I think the compositions are really interesting and coming like right after like fucking...

[00:58:30] You disagree? And shaking his head. Doesn't like the comps? Big comps. He's got a lot of good like two shots. There's a lot of really smart coverage in this movie where he's not just cutting in between talking heads. Even that scene like in the house before they leave

[00:58:48] Kristoff-Waltz before he locks them in and starts throwing matches through the keyhole. He's sort of doing the night of the hunter like big shadows from that triangle house. It's a weird house. It's a weird house. And he's like real lonely coverage where they're just like stuck

[00:59:02] in the middle of like his looming silhouette. Like stuff like that I love. And I think you go like this is coming after like Alice of Wonderland where it's like he has like $200 million. Right after Dark Shadows. Yes. But $200 million and a green screen

[00:59:16] and he can do whatever he wants and it looks like nothing. Yeah. And you're reminded of the practicality of this guy being able to come up with good images if you actually give him a location. Even not designing his own sets. Even not like building a fucking forest.

[00:59:29] He can shoot a house in a way that is more compelling than most people as a visualist. I don't disagree with that. I also think the like there are a lot of really funny edits in this movie. Go on.

[00:59:41] Like I think he's a fair thing to talk about with Burton and we're almost done with Burton. Yes. So I want to bring up some of these things that are just innate to even when he's making a bad movie. And I'm not saying this is a bad movie

[00:59:51] but that he usually is able to retain to some degree. Right. I think this comes out of being an animator and that he was literally the guy who was having to like create his own shots and time them and figure out how to like make each shot

[01:00:04] as effective as possible because you don't want to animate 30,000 shots. There's like a really good cut. The build of Christoph Waltz coming into the bar to take the paintings after the Polito story has broken out in the newspaper. Polito bringing him into the back kitchen

[01:00:20] then having that look of like we're getting headlines and then the hard cut to Polito chasing, you know Waltz out of the kitchen screaming, putting on the show for everyone else. Right. And the way they cut to Schwarzman or Houston

[01:00:36] are all those people when the things are kind of like going here's another thing that we haven't talked about at all. Okay. Opening credit sequence is good which Burton's always good at. Even in his bad movies like even playing The Apes

[01:00:47] it's like he's very good at like setting the tone of what he wants the movie to be and what the big visual motif is and all of that, right? I think Burton doesn't get enough credit for how good he is at sound

[01:00:59] because I think in every one of his movies there's a lot of smart sound design work in terms of how each environment feels different when he has like the creaking of the floorboards in a house, you know. I mean it comes out of like old

[01:01:17] William Castle like shock tactics and all of that but I feel like even something like Dark Shadows that's all over the place he like gets the feel of the mansion in that movie in the same way that in this film I feel like the courtroom sounds very different

[01:01:32] than their houses do when it's a smaller house when they're sort of drowning in a bigger palace when she's in Hawaii I think he's really good at setting like an oral tone to environments. Do you like Tim Burton?

[01:01:46] I like him and I just want him to be making good movies. This movie is okay. This movie is good. It's fine which is worse in a way, you know. Like I wish I like hated it. Basically what Griffin's saying like when you say these specific shots

[01:01:59] and stuff like the matches, the looming I'm like yay, but then there's also just so much in this movie that feels like filler to me. See I'm so immersed by this movie. I mean, no, I'm with Richard it's fun to read about it. It's crazy that they painted.

[01:02:13] I mean they didn't even paint. She painted. He didn't paint. He didn't paint. He may be never painted. Richard. Yeah. I forgot to ask what do you think of like Tim Burton in general now that we're sort of talking Bert? Tim Burton is somebody who I think first

[01:02:27] became aware of with Batman Returns and then I think I was like kind of okay, there was a Beetlejuice cartoon. Yes. And I was like, I know this is based on something. So I kind of I guess at some point must have

[01:02:40] sought that out but was a little wary of it because I didn't like that it was going to be gross. Oh, there's bugs. Oh, there's bugs. They're friends. Yeah. Right. The movie they are not. It made me like kind of nervous. I was like, he's bad.

[01:02:51] It's kind of Calvin Cobb's type. Yeah. Unlikely friendship. Yeah. And so then after that, like I was, I went to go see Mars Attacks in the theater, walked out and was like with my sister and I was like, oh, that was bad. And then I got.

[01:03:05] You didn't stand a legend. Then I got home and I was like, wait no, I love that movie. Wow, it took that. It was only the journey home. Like it was really quick. I think it was just not what I was expecting. Sure.

[01:03:14] And then it was, so anyway, so I considered myself like I was like, we'll happily go see every Tim Burton movie. And then pretty quickly after that, he started putting me down. And then by the time we got to Charlie and the

[01:03:24] Chocolate Factory, which after listening to your episode, I think I need to revisit it. I was like, fuck this. I hate all this. I hate the rapping oompa-loompas or whatever it was. Like I was just like, I don't, I can't do this.

[01:03:33] And then Alice in Wonderland, you know. But of course, I mean, your biggest credit, you are the poll quote on the blue. Oh, that's right. Miss Peregrine's home for basically. Best in years, but it's not necessarily a compliment.

[01:03:45] No, I think Miss Peregrine felt like a return to something that like that world felt like what you're talking about, like kind of more fully realized. And I think that like going back to Dark Shadows, the way that he stages the town is great.

[01:04:00] I love that little seaside town. Yeah. You know, so like, I think maybe he's coming back to something. Yeah. I think that with Alice in Wonderland was just such a mess of CGI and all that shit. Like it's just so awful. You need to keep him on set.

[01:04:14] Yeah. Yeah, exactly. Keep him on sets. Keep him away from CGI fill-in shit as much as possible. It's also one of those things where like it is very difficult. There are very few people who are good at composing images in green screen.

[01:04:26] There are also very few eyes that have ever been this big. Yeah, that is true. You don't say you watched Alita, which has a lot of CGI stuff in it. It has more practical locations than I thought there would be. Well, they built like the city set. Right.

[01:04:40] They had like that. But like Rodriguez threw like all his trial and error during all those movies and Cameron certainly like they understand how to compose a frame in a green screen space that still looks like how you would shoot a movie. Yeah.

[01:04:52] But most directors need to be on a set, see where the actors are blocked in relation to the walls and the architecture and then figure out their angles and how to light and all that sort of stuff. Right, right, right.

[01:05:03] And so when you get like Alice in Wonderland where he's like, I don't know, walk towards the camera. Yeah, there's just anywhere there. And then he just hands the footage to someone and they paint a thousand like, you know, two lips jerking off.

[01:05:12] They did do that, which was weird. There's a weird tulip Bukaki scene. In Tulip Fever? Yeah, you're talking to a fever. And I'll just keep coming. Can I express my thoughts on Tim Burton? Like a Bukaki party. Yes.

[01:05:26] So I've been kind of going through Neil Young, Bob Dylan, some of these like, you know, really established musicians. The Tim Burton's of music. They're in later stuff. Okay, because like every what we all have like the album that represent like their peak and it's like sort of,

[01:05:45] oh my God, they still are putting out music. Are you trying to reassess the later work to see if it has merit? Also, who are you thinking of as a musician analog? Give me something. I don't really have it. I'm just saying more.

[01:05:58] This is what I'm going through. So like, I like the Rolling Stones like release like 10 more albums after all of their well, and they sell really well and no one talks about the rolling stone is this perfect example because it's like,

[01:06:08] you know, when I was a younger man, I used to be like, I don't want to listen to some old fucking dude. But now of course I've grown and matured and I've realized like they are a master at what they do. So they're on the planet longer.

[01:06:22] They've experienced more life. They were actually write better music and songs. So I've been reassessing people's like back cattle. I have a big back end of the cattle. But then you think of Rolling Stones. They've continued to put music out and continue to play, but it's garbage.

[01:06:42] So I kind of feel like with Tim Burton. Yeah. And I know they feel like late period Rolling Stones. Yes. Tim Burton should stop. He has nothing more to say. I'm going to say something. He's not the master. Ben, Ben, and we might have to cut this out.

[01:06:57] So just FYI, it's not a big deal. It's just, I was talking to Alex Ross Perry the other week at his wife's birthday and he debuted this theory to me. I'm not sure if this theory is like fit for public consumption yet.

[01:07:09] So just in case it's not, I'll check with him out. Okay. Basically there's no director. We were talking about this. Yes. Yes. Apart from maybe in the classic era where the last part of their career is their best chunk of their career.

[01:07:24] You know, like if you were going to say like, what are their five best, you know, five films in a row? They went out on top. There's no director where you'd be like the last five films are the best five. Right.

[01:07:33] We don't know what U-Bull is going to do. Let's not. And Burton is definitely pretty emblematic of that. Like he's a classic example of that. Yeah, the thing that you and I were talking about off of this is that like most filmmakers have a run

[01:07:48] where they're like most in the pocket. And like, and my Shyamalan has talked about this a lot about how he like scared himself into trying to make good movies again. Because he's like, when I started out, I was like very naive about a lot of things.

[01:08:02] And I was developing my technical craft. Right. And like sixth sense when you like get to that, it's like the perfect fulcrum point between like what I don't know and what I do know. And then I start overthinking things like, right, you know, not immediately unbreakable rules,

[01:08:16] but it's like more and more he starts relying on his own experiences. Like, well, I know how to make a movie. Right. Like clearly I've been proven right. Right. So he's not second guessing himself. He's not holding his feet to the flame.

[01:08:29] And he's just trusting his own instincts rather than interrogating his instincts. Right. You know? And he also is relying on the fact of like, I have technical skill at this point. I know how to compose a shot. I know how to edit a sequence

[01:08:42] so I shouldn't second guess myself. Right. And he said like I had to mortgage my house to be scared enough that my movie started getting a little interesting again. Good to be scared. We're also bad to be scared. Yes. Spooky.

[01:08:55] But the other part of that is I think like filmmakers and it's not always the first part of their career. Sometimes it's the middle. It's never really the end. And I think like the other part of it is that the other part of it is like

[01:09:05] they hit a point where they're sort of just in sync with the culture, you know? Right. So like... Well, that's the thing. I think Burton was so Gen X-y. Yeah. Like there was a certain... And now he's out of sync with the culture. Right. Yeah. He has.

[01:09:19] Post 9-11. Because you're kind of like... A lot of directors do. Why is this guy complaining so much about living in the suburbs where everything is like bright and sunny? Well, but what about if he's complaining about the meat pies and you know...

[01:09:30] That sort of sarcastic like, you know, cynicism about happy people. Right. You know? Right. Like what was that character, Emily or something? Emily the strange. Yeah. You know, it's like that kind of era of things. Why didn't Tim Burton ever make one of those?

[01:09:43] I think he maybe wasn't. Right? Yeah. Or like when I was in like middle school, early high school, like I was obsessed with Edward Gory, the gashly cartinies and all that stuff. And it's like... I still think that that's wonderful stuff,

[01:09:55] but it's also just like we're not sort of at that macabre sort of like... No. Cute, but like when we're not at big eyes, you know? Like no one's buying a big eye thing. That stuff kind of plays better when culture is kind of normal.

[01:10:07] And then people want to escape into things to be cynical about. And also... When things are bad, you want Paddington. Yeah. Well right. And I also think that like... Imagine Paddington being married to Christoph Waltz. I don't know. Tim Burton was my mama lady. It was my recipe.

[01:10:23] I made it all along. I was in the kitchen. I knew it, but just threw that up to you. You'd knock it out of the park. My mama lady. Sorry, go on, Richard. I was just saying that like, the pre-internet, Tim Burton offered maybe not exact,

[01:10:40] you know, haven for people who were like weird or goth or whatever. But now they can just go into any fucking forum. They can find their absolute niche. And Burton is just like, oh, but what about my thing? And they're like, well, we don't need that.

[01:10:51] It's too inexact. And he's less in touch with his thing, I think. Just in general, he's a rich guy. Do you think he got addicted to the money? I think he got addicted to those greenbacks. Man, I don't know. I think it's... This is the thing.

[01:11:05] We often with these mini series, we've got a real grasp on the director's personality and sort of like where they're at. But with Burton after he gets married, which we talk about and has kids and stuff, we kind of,

[01:11:15] we sort of lose any kind of hold on him in terms of like what's up with Tim Burton. Right. Because he gives these kind of laconic interviews. He does these like laconic director commentaries. Yeah. And he sort of like works a lot.

[01:11:27] Do you think Big Ears is going to be any good? I hope so. I mean, our friends who have seen it... say it's pretty good. And some of our friends who are not predisposed to liking late period Burton movies have been very...

[01:11:39] I mean no one has told me like this thing is a fucking masterpiece, but most reactions have been positive. It looks good. I'll tell you what both you and I have heard a lot of. What? It kind of secretly rolls. Like we've had the people in hushed tones

[01:11:51] like being like, I'm a little embarrassed to say this, but it like kind of secretly fucked up. Because I could see... Kind of rolls. That's what we're hearing. Big Ears. I could see Burton having a sort of late careery thing because,

[01:12:04] which is something I think works about Miss Peregrine. Mm-hmm. That it... Because I look stuff about time travel and shifting, you know, my absolute favorite movie after Spanglish is like... It's that kind of wistful feeling? Yes. Rather than the kind of like, creepy cute kind of thing.

[01:12:23] Like I'm more sort of like, I'm older now, time has passed, I realize the world is like sad in a different way. And like Dumbo could totally tap into that. Totally. 100%. I think Peregrine is a classic BBP movie. Mm-hmm. I think Asa doesn't work

[01:12:38] and he doesn't totally crack that character. Have you seen Sex Education? No. I'm like, why do they... That kid keep getting acting roles. I'm sorry if he's looking pretty. We talk about this on that episode. Yeah, he's better when he's British. Yes.

[01:12:49] But it is one of those things where I think he... You know, and this is the argument you can throw up big eyes. He used to be so good at the sort of alienated protagonist. Sure. And as time goes on, those characters start to feel

[01:13:04] more and more disingenuous. Like that's the thing he's not connecting with is the outsider, which used to be his specialty. You can only do that for so long. Right, the fact that he seems more interested in vaults perhaps than Amy Adams in this movie,

[01:13:19] that Asa Butterfield is like so kind of irrelevant in that film. A similar thing with Alice, where I think once she lands in Wonderland, he loses her. I kind of think the first 20 minutes of Alice when it's live action, he feels like he has that character

[01:13:33] and then she flutters away. Look at it. This is tomorrow forever. This is the painting that she did for the World's Fair that Robert Moses rejected on the grounds of being too frightening. Tomorrow now. Tomorrow forever. What the fact is Robert Moses? No, he was horrible. Yeah.

[01:13:50] It wasn't so great either, but it is this sort of bizarre, blasted like yellow alien landscape with steps. Right. And then an army of big-eyed children just kind of walk towards you. It's a little censor. What does Marguerite King know? What's coming? It's weird.

[01:14:05] I wouldn't say it's awesome exactly, but it's certainly like, I want to know about the person who did that. But then it turns out the story was, well, she married Christoph Waltz and she had a great flag, mistake number one. And she, you know,

[01:14:18] had to stay inside all day and paint big eyes. I mean, they created an industry. I mean, good for her that she moved to Hawaii. I like that that's her pivot. Yeah. And that house is beautiful. Incredible. It's a great pivot. And I was thinking about that too.

[01:14:31] I was like, when's the last time I saw Tim Burton do something that was so warm and like beautiful and set in the world, you know? And I think that that's nice. I mean, I think this movie's merits are aesthetic, you know, for the most part. Yes.

[01:14:43] It's so off-putting. I know that's kind of the point. I love his performance. Yeah. But like it's just like by the time you get to the courtroom, you're like, oh my God, someone like killed this guy. Like he's so awful. I'm very in the bag for Waltz.

[01:14:53] I like him a lot. Yeah. Even though he can sometimes kind of repeat himself. Yeah. Right? Yeah. I mean, what's he doing now? Oh, we don't know what he is doing next. He directed a movie. He directed a movie. What? It's at Tribeca. Which is called Georgetown.

[01:15:07] What's it about? Georgetown? No, I don't know what it's about. Let's find out. They announced four years ago that longer ago. They announced in 2010 that Universal Studios was making an Emily The Strange movie with Chloe Grace Moritz. Oh. She's all wrong for it. That's not right. That's terrible.

[01:15:26] Kristen Ritter or whatever. In December 20, well it's supposed to be very young. Well, in December 2016 it was reported that Universal had abandoned the project Dark Horse Entertainment and Amazon Studios. Interesting. Were in negotiations to make an animated film. Hmm. A social climber becomes the main

[01:15:42] suspect in his wealthy wife's death. Oh, that sounds interesting. It just sounds like Reversal of Fortune. Which, like if you made Reversal of Fortune now, Christoph Waltz would play Class of on Bulo and you'd be like, I did not kill my wife.

[01:15:57] I know such a thing who is in the film. It looks like Vanessa Redgrave and Net Benning and Corey Hawkins round out the cast. Interesting. And here's a picture also of Waltz in the movie. Yeah. It's a little too big. All right. Directorial debut of an actor

[01:16:14] premiering at Tribeca is sometimes a dicey proposition. No offense to the Tribeca film festival. Why? It's just sort of like... Because it means it didn't get into Sundance. Yeah, slightly lower tier film festival. Usually. Usually. Slightly, I don't know. And then like usually when an

[01:16:31] actor has directed a movie you're kind of like, well this could go anyway. You know what I mean? Like maybe, you know, sometimes it works out. I saw that guy's divorce movie. Gonna need more. Yeah. Little, just a little bit. He has weird looking.

[01:16:46] Dano is his last name. Paul Dano. A wildlife you're thinking of. Yeah. It's funny that you just Dano is his last name. It is that guy's divorce movie. Not how I would describe that one. But yeah. I think that's a fair assessment. Weird face.

[01:17:00] I like that movie fine. That's on the higher end of actors making a directorial debut. But their eyes are too small. I agree. They didn't have big eyes. Big fires. Although the kid has some big eyes. Can I read a thing? Nine years ago, I guess like right

[01:17:15] after Inglourious Bastard, Christoph Waltz announced he was gonna move transition to directing in a film that never got made. Emily the Strange. Was announced. I would play Emily. She is so strange. Announced post Oscar 2010, Christoph Waltz was gonna make a German comedy called Is there such a thing?

[01:17:35] Off, off, off on the van. Translates into up, up and away. Translates into big eyes? Can I read this? Please. Description and imagine him also playing the host. I assume he was gonna play the host. A romantic farce centered on the ruthless host of a dating competition

[01:17:54] show who develops feelings for one of her contestants. Oh so I guess the host is female? Her contestants. So he's one of the contestants? Maybe. No, it doesn't. I would love to take you on a date. I am Sebastian. I am Sebastian.

[01:18:09] Actress also can say I'm taking a supporting role in the film. Right. I think that sounds like a great Christoph Waltz movie. There's a lot of movies that I'd love to plug him into. Yeah. What's he doing in broadcast news? Show me that. You know what I mean?

[01:18:23] Like I want to see him play like a newspaper boss or something like. Sure. You know people always cast him as villains and that's fine when he plays a fine villain. It's just a little boring. Like I want to see him do that kind of middle character.

[01:18:34] Well here's a pitch. What if he plays J. Jonah Jameson? Sure, that'd be weird. That's like the one Marvel character they won't recast. They have a cast. Right, yeah, yeah, yeah. Just get Simmons back. Yeah, that's what I want. I want them to just be like

[01:18:47] Simmons and you just do a different performance. Sure, sure. Right, yeah. Just bring him back. You're still the right actor. Just come up with a new take on the guy. Redo the movie Jack with Christoph Waltz. Call Chris? I am five years old. I am but a child.

[01:19:03] They could probably get Jennifer Lopez again. I want my nap time and my juice. Cosby's busy. Cosby's busy. Might be tricky. He's typing. Big sentence. I don't know. The small German boy looks like a man. This is Christoph Waltz for Jello. Like the Jello pudding pops, they jiggle.

[01:19:26] Get him a sitcom. Put him in the conners. Can you imagine doing the impression? How can you marry a Connor? Can you imagine? Can you imagine Christoph Waltz like Thursdays at eight on CBS? Exactly. Christoph. Christoph! How are things down at the, you know, the plants?

[01:19:45] It should be called Take This Waltz. I am just a blue collar American worker. It is kind of like if there's another direction for him, it would be that thing where they would just like, Arnold Schwarzenegger will just play Americans and it won't be addressed to him. Exactly.

[01:20:00] I mark so hard to put the meats and potatoes on the table. It's like how in like Liam Neeson movies, like sometimes they're like, yeah, like we'll call him something weird and like that will indicate that he's not from America. Sometimes he's like, I could drop a Chicago.

[01:20:13] It's so weird when he does that. I'm just a local Colorado boy. Howdy y'all. Are you listening to me? I'm Abraham Lincoln. On this podcast a while ago, we were doing a joke about Harrison Ford being in Lincoln and just like, damn it, Lincoln.

[01:20:34] Just every time I think about it makes me laugh. Damn it, Lincoln. Big eyes. Big eyes. Big eyes. Oh, we didn't talk about the Lana Del Ray songs. Yes. One of which is just called Big Eyes. With your big eyes and your big lies.

[01:20:52] And it plays in the movie. It does. And the other one's called I Can Fly. And that's at the end of the list. Is I spelled E-Y-E? It should have been. I believe Big Eyes was nominated for Golden Globe. I believe it was. Not a Golden Oscar.

[01:21:07] So Lana Del Ray is a Golden Globe nominee. Yeah. Yeah. We get Lana Del Ray, I really don't. I don't know if I like her music. I think that first album is still really good. Yeah, the first yeah. I like Young and Beautiful.

[01:21:18] You know, I like some of those songs. I like that she seems a little in on the joke. Yeah, a little bit too. Or a lot in on the joke. Yeah. The whole argument when everyone was like, it's a made up persona.

[01:21:27] It's like that's the history of pop music. What are you talking about? Who cares? Right. This was also her weird corridor. She had a couple years where she was like mostly a movie song person. Like she did the Great Gatsby songs. Maleficent to the show Maleficent.

[01:21:40] She did Maleficent the cover. Right. She was like every movie had a like and now the single from Lana Del Ray. Right. Either her covering something or writing an original. Oh, do we notice that we mentioned how big the eyes are?

[01:21:54] I don't know if we're talking about movie. Yeah, that's right. They're very big. We've talked about all the performances. The judge James Saito. Oh, I could show you. You know how I sometimes will just tweet at people just a photo with no text.

[01:22:07] I used to do this a big one, a reaction photo from Amy Adams on the set of Big Eyes. Her expression is just like something about it. Just makes me laugh. It is wild when they do the classic, which I mean look,

[01:22:21] I know people make fun of this all the time. They make fun of this all the time. This is one of the few cases when they show the real people they look a lot like the characters in the movie. Yes. I just want to make this clear.

[01:22:30] I am such a sucker for the photo of the real person. I don't care. Do it. Show me the real person. Blow it up. Show me eight photos. Right. I mean, I do think it's hilarious and green book that they couldn't find a photo of them together,

[01:22:41] which is like true. What do you mean? Truly telling. I thought it was based on true friendship. It is based on true friendship. How dare you? But I love a photo of the real person. The staging of the real person and the actress together is more unusual. Yes.

[01:22:58] But I kind of admire the boldness of that. But yes, when you see the picture of her, you're like what? That was her hair. Right? Very intense like Bob. Yeah. Right. Yeah. She's still alive painting her fucking painting. That's the other thing is like she's talking about Jehovah.

[01:23:12] That's like her expression. Like that's her thing. And she can't psychoanalyze her own process. And that's Burton. Much like Tim Burton. Yeah. And sometimes he's totally in sync with the culture and he becomes an industry, but he doesn't really know what to do with it, you know? Mm-hmm.

[01:23:27] And Kristoff Waltz was the opposite. Like he was just the salesman. He understood the position. Right, which is what he's good at. This is nominated for an independent spirit award for best screenplay. I think it's an excellent screenplay. I do think it would be better.

[01:23:38] I agree with the take from Twitter. It probably would be a better film structured around. The flashbacks. Yeah, right. Well, because the court case is so compelling. And because of the narrative strictures of like how long a movie can be. Right. They kind of have to rush it.

[01:23:55] But this is kind of the whole thing. And the other thing is, yes, I mean, it would maybe more satisfying if that's a superstructure and you can keep cutting back and forth. And then the other thing is, I think what's interesting about this character

[01:24:04] and about all these people, these like highly successful sociopaths who just like lie and lie and lie and lie and lie is that they truly don't believe they're lying. Right. And there's something kind of fascinating to maybe doing a movie

[01:24:16] where you show a little more of how he remembers things being. Yeah. Because this is clearly a guy who's rewriting his own reality. I mean, I like that scene a lot with the daughter where they're like convincing her that she didn't see the mother It's creepy.

[01:24:29] with the painting. And that's like, I agree is like a failing of this movie is that the older daughter is not very good. She's just like, I always believed you mom. So you can't really like dive into like her perspective. Yeah. Interesting.

[01:24:41] Because she had to live with that asshole for like so long, you know, and be kind of gaslit by. That's the thing. I think like, you know, it's an interesting subject when these children grow up and like weird households and are just completely like accepting memories

[01:24:54] that they are told, you know, by the parents who are trying to write what their past was. I wonder what she's doing now. The daughter? Yeah. Making even bigger. She wrote Dumbo. Yeah. Right. Big ears, yes. Next Pinocchio. Oh, I think you already turned it down.

[01:25:11] Do we know what Burton's doing after Dumbo? No. No. No idea. What are you going to do? Oh, bye. Goodbye. What the heck? It's time to get out of here. You're going to put up. I mean, look like. There's a bit of the Simpsons thing with Burton

[01:25:27] where it's just like it kind of sucks that the Simpsons is still on the air. Yes for sure. I mean, certainly true of the Simpsons. You know, in the same way, like between like Burton and Simpsons. There's now been like twice as much Simpsons that's bad than good.

[01:25:40] It used to be that there was the same. Right. And now it's like we're getting close to 20 bad seasons versus 10 good ones. Right. Because like the Simpsons, it's like 10 seasons. Burton, it's like the first 10 movies. And for me, those things are like you can bring up

[01:25:53] your qualms, but it's a pretty incredible run. You know, for that first 10. And then you get to the period where it's just like the shining spots are so few and far between. Yeah. And then there's a lot of heavy lifting to really like argue their worth.

[01:26:08] Now this is my question to the three of you. This movie is his second lowest-grossing film ever. $14 million domestic, 29 worldwide. So then after this, Disney announces that he's making Dumbo. Right after this thing? What did he make out?

[01:26:24] I guess I feel like maybe he signed on to five years before Paris and before Dumbo. I think he signed on to Dumbo early. Okay. Because they shot it a while ago. There was a lot of CGI. Okay, well, they didn't shoot it five years ago.

[01:26:40] But I think he attached himself pretty early. Anyway, the point is I remembered them announcing Dumbo 2015. So yeah, you're correct. Thank you. I agree with you. Now? Yeah. Now you agree with him. He was announced as the director. Yeah. They didn't start making it until two years later.

[01:26:57] Yeah, but they announced it. They stopped throwing lit matches at each other. And everyone went like, oh, see, look, here's the proof. Tim Burton, he's got nothing to say. He's just remaking all the old classic Disney movies. Yeah.

[01:27:08] And I go, if you want him to do something different, you got to show up. Well, here's two things about that. One, this movie was released by the Weinstein Company, which at this point was completely unable to release something. Correct. Just couldn't do it anymore.

[01:27:22] Didn't have the financial resources. Right, they're like insolvent. Yeah. Had that weird thing where like, they can only like release it at a time. Yeah. Two was released Christmas Day, which is an abominable time to release this movie. Yeah. This should have come out in like April. Yeah.

[01:27:34] You know what I mean? Yeah. Like this movie needs a lot of space. Yeah. Three, I'm pretty sure 14 million is the ceiling for this movie anyway. It's a Maudi movie. It maybe could get like 30 because it's got big actors. Yeah. But you know, like this is a movie.

[01:27:49] And big eyes. And big eyes. Big eyes. I mean, it's probably the highest grossing big eye. Well, no, because you got to lead in it. Yeah, thank you. But um, you know. Does box office mojo have a tab for that? It should. Big eye movie. They should. Yeah.

[01:28:02] But you know like this should be like a Sony Pictures Classics movie that comes out in the summer and kind of like, you know, a wife that kind of gets us to like, you know, loop around. What if there was a wife? Thank you.

[01:28:11] What if the book was green? What if the eyes were big? Yeah. Okay, let's play box office game. Yeah. Christmas 2014. Ooh. How wide was the release that first weekend? 1300 screens. Wow. So they immediately went to 1300. Why the wine stains? It opened to 4 million number 15 at the box office.

[01:28:31] That's insane. That's insane. That's insane of them to do that. A mid wide release. Like what are they thinking? Mid wide is the worst release. That's when you know the distributor has no like. Idea to do what to do with it.

[01:28:43] You either go little or you go wide and mid wide is like them being able to go like, well we tried. We couldn't do any. It's like eyes. Right. You know, you either go big or you don't. Right. It's the impatient platform. I don't know.

[01:28:54] I don't have time to platform this. Yeah, you build like half a platform. You're like, get on that. Three quarters. No. Exactly. Exactly. All right. Number one is um. Christmas 14. Okay. It's a sequel. Oh, it's the it's the it's a tree. Well, it's a third third one.

[01:29:11] It's the third and final entrance in a trilogy. It's not a hobbit. Is it? It's a hobbit. Oh, which one? The Desolation of Smary. No. It's the it's the back at it. High noon and mega mountain. What's the fucking is the last one?

[01:29:27] It is kind of a high noon and mega mountain. What if the Lord of the Rings three was the Lord of the Rings? High noon and mega mountain. The third one isn't called there and back again. No, the first one's an unexpected journey. Dance, man.

[01:29:41] Oh, it's the battle of the five armies. Yes. I believe initially the first two were going to be called like that's what it's going to be called unexpected journey there back. But instead they'd split into three and the third one's called the battle of the

[01:29:52] five armies, which is something that happens mostly off screen. I know I have seen that movie, but I could I don't remember a single thing about it. Billy Connolly as a dwarf, right? A giant bore. What? Yes. Right. You haven't seen it.

[01:30:06] No one tell me that it has a whole 20 minute sequence where Richard Armitage is like on LSD and drowns in a pool of gold. Oh, wait. I do remember that. Yeah. Yeah. No, it's nuts. I know. But now you have a pop culture complete as I am.

[01:30:20] Now you might as well just wait until we do it on these podcasts. Once we started this podcast, I'm like, I'm going to wait until we get to that. So when does anyone ever just sit down at home and think you fire up the hobby?

[01:30:29] I weirdly like you. I got 10. You like them, don't you? I like them all. They're so bad. They are kind of bad. I was so turned off by the first one after being a big Lord of the Rings fan that I was like, I don't care.

[01:30:39] I was kind of excited and the movie started within 10 minutes. I was like, oh my God, I have to be here for so long. There's all the dishes to do. They have a party and then they do the dishes.

[01:30:48] And then they sit around and they sing about the mountains they're going to go to and you're like, are you guys going to leave the house? I've told this story before on the podcast, but my father did not see any of the Lord

[01:31:00] of the Rings films and then went with me to go see the Hobbit in high frame rate. And when they're at like minute eight of doing the dishes, he was just like, what the fuck is this? Like he just like could not be less into anything.

[01:31:15] Well, can you tell me the battle of five armies worldwide final total? $948 million. $956. Amazing. That's crazy. That's the thing where it's like no one likes those Hobbits that made billions of dollars. It was like jury duty. Like those three movies were like jury duty.

[01:31:34] It's like what it's the Mr. Show coupon, the movie sketch. It's like a required romp. Yes. Mandatory fun. Yeah. You know those movies came about because Peter Jackson was suing Guillermo del Toro and they went to court and the judge said make a make three Hobbit movies. Right.

[01:31:53] And Del Toro couldn't do it. There literally was. My arm is hurting. But that's what they don't say is that those movies were shot entirely in a courtroom. There was a jury who had to spend three years of their life watching Peter Jackson. Yep.

[01:32:08] They had to go through all production. All a blocking rehearsal. And it was like I give you each $250 million per picture. Now go. It is truly a crazy thing that we don't talk about that. Del Toro was so close to making those movies. Yeah.

[01:32:22] And he's credited on them. So late. Yeah. And then Jackson didn't want to make them and was like fuck if I don't make them they're going to get shut down. Yeah. And all my friends are like. Yes. 100%.

[01:32:33] And New Zealand was basically like are we going to have to fire all the teachers this year? Jackson was like I'll make the Hobbits. They're like yay. School stay off. Right. It was like he felt so much guilt.

[01:32:42] It's a huge provider of the obviously big jobs in New Zealand. He talks about how he had like three months to prep. Right. No, it's insane. And he was just like I just felt bad. I didn't want everyone to lose their children.

[01:32:55] When you see I mean there's a lot of Del Toro in those movies. The monster design especially especially the first. Right. But you know it's just sort of like smattering. Yeah. It's very weird. Anyway number two at the box office.

[01:33:08] I remember seeing him talk and he made his take on the how it's some really interesting Del Toro. Yeah. Oh, I believe it. We'll talk about that if we ever do Jackson or Del Toro. He's doing well. He's in fact let's see how he's doing in the poll.

[01:33:20] Just posted today. Okay. Just went up to Del Toro up against today. Here's a blast from the past. How is he beaten? Is he sending them to jail? Not Del Toro. Jackson read the post. Jackson copy on the post.

[01:33:34] Here quote the Tolkien boy Jackson versus John quote jail. Macchurnan go. Did you write that? Ben wrote. Did you text it to Andrew? No, he just posted it himself two hours late. Great. Oh, I love you bad. I'm sorry. It's one of my favorite. He feels bad.

[01:33:53] I was having fun. It's one of my film Twitter favorite jokes. But when Black Panther came out and they said so they cast Bilbo and Gollum in Black Panther, it's literally a movie with two Tolkien white guys. Jackson is beating Macchurnan. Jackson beating Churnan 42 to 48 52 to 48. Okay.

[01:34:16] Very close. Okay. What's number two at the box office? It's a musical. Huge hit. Into the woods. Yes. Another one people forget. It doesn't exist. No one likes it. No one likes it. Well, the woods were big. I don't forget it.

[01:34:29] It's so weird that Disney made that and that it made a lot of people forget it. She got nominated for best supporting actress and no one will ever watch it again for the rest of time. Never. Nope.

[01:34:39] It's not even a movie where like if your high school theater class is doing into the woods, you screen it for them. Absolutely not. It's not even that. And it's not like when I found out too much to my horror

[01:34:49] that like people younger than me like regularly watch the rent movie, which I think is like should be buried under a pyramid or something. But I don't even have that weird. Right. No. The woods is just you see it and like as a scene like leaves,

[01:35:03] it just leaves your brain as right as they cut. And it just made like a breezy 114 domestic. I think like 125. It's just a cool laid back 114. The hobbit 3 making almost a bill. That's the thing. You guys are talking about two movies that don't exist.

[01:35:19] Get ready for number three. Oh, no. Does not exist. And made 115 million domestic 163 worldwide. This was a hit film. A genuine hit. An additional 163. That's the world by worldwide total. So it didn't make as much of this low. But I made one heard of this.

[01:35:37] He's never heard of this. One 15 domestic. It's like an inspirational movie. It was trying to go for Oscars. It didn't, you know, it didn't get Oscars, but it connected with the public. I guess 115. If you sat anyone down and said like, do you remember seeing the film?

[01:35:51] They'd be like, nope. And you'd be like, well, I have your ticket here. You clearly saw the film. To get any nomination. It's got a sound, but not faith based. Well, well. Oh, oh yes. This is everyone thought this was going to be like the runaway best picture.

[01:36:06] Sure. This is unbroken. Unbroken. Angelina Jolie is unbroken. Oh Jesus Christ. A full fledged domestic blockbuster. I stood in an elevator with her for that movie. And I don't, I don't remember. Do you remember a year in advance when everyone's like,

[01:36:19] this is going to be the second woman wins best director? This is the one. And that movie is also nothing. Does it exist? Not only does that movie not exist, wasn't well received particularly. No, but no one was angry about it.

[01:36:30] I was just like, yeah, it's sort of perfunctory. And it made lots of money. So much money. It crazy. Crazy. How much did it cost though? 65 million. Oh, so it did fine. That's a big hit. Yeah. Big guys. Big guys. She has big guys.

[01:36:45] Yes, she's got big guys. Very big guys. Not Alita big, but no. Tim Burton turned out Maleficent did big guys instead. Number four. Wow. Number four also doesn't exist. Okay. It's the third in a series of children's films. Is it? No, it's not Narnia three. No, no.

[01:37:05] Third in a series of children's films. It doesn't exist. Is it the last? I believe so. I believe this is live action or animated live action, but it's got a lot of like CGI. I have action with creatures. Yeah. It's got some creatures. Yeah. Three of them.

[01:37:21] And it's not chipmunks. No, not chipmunks. Does it have celebrity big star? Did the creatures talk? I don't know. I've never seen these. It's a big star, but it's the same big star in all three of them. Yeah. It's not the Garfield. No. Big star.

[01:37:38] No, no, no, no, no, no. Because three was kind of a hard read. I was about to say not yours, Merce. It takes place during my time at the game. No, they're not my Smurfs. It takes place during your favorite time. Is it a night movie? Correct.

[01:37:52] It's a nighttime movie? Is night in the title or is it just a big element? Night in the title. Oh, night at the museum three. What's the subtitle? Legends of Curly's Gold. It's... I knew it back about. I knew it back about. Can I get this correct?

[01:38:06] Is it Secret of the Tomb? Correct. Wow. And you know... Romimolic. That's whose tomb it is. Yeah. That's who's tomb it is. That he's going to win a... Yeah, right. Ben so looks it in his face, melts off and he turns it to a skull.

[01:38:19] Yes, that's the other movie that doesn't exist. Doesn't exist? Speaking of Romimolic, David, on the last time I was on this podcast, you had just seen Booking Me in Rhapsody. You were talking about this a little gold man. Yeah, they're like...

[01:38:29] No one's going to be talking about that movie by this time. It's like what a piece of shit. Whoops. Yeah. One... Four Academy Awards? Four Oscars. It made close to a billion dollars. David's swinging his micro. I don't know what to do about that. Like a victory laugh.

[01:38:43] Remember when it kept winning Oscars? Yeah. And I was just like in a cold sweat and then like Roma won direct turn. I'm like, okay maybe I can settle down and then Best Picture went to a green book. Do you remember when we could not stop it?

[01:38:54] When Booking Me was like still number five at the box office. Right. Two hundred and twelve weeks later. I was flying back from Mexico recently and literally everyone who's a lot of our concierge was watching that movie. Yeah.

[01:39:06] I know a lot of people who watch it on a plane because I feel like they also feel like well now I'm not contributing to its box office or anything like that right? I can watch it on a plane.

[01:39:14] Do you remember when the last 20 minutes of that movie are just a shot for shot recreation of a concert you can just watch on YouTube instead? Correct. That is better. Yeah, sure. Anyway, that's the secret of the tomb. It made $113 million. It made 363 worldwide.

[01:39:28] That kind of a big drop off. Yeah. But it's still, you know... Because the first one did like 260. Oh and Amy Adams isn't she? She's really good in two. Is she in two? She's in two. I was in both but yeah. Well there's three.

[01:39:39] No, I thought she was in two and three. No, she's only in two because it ends with I think her flying away. And then happily ever after and then she's fine and she lands wherever she's going. You've never seen two, right? No.

[01:39:50] I'm debating whether or not to say this. What's next at the box office? Another movie that doesn't exist. Hooray! It's another musical. It's another musical? That's right. starring Richard's favorite actor. Did it get any Oscar traction? No. Is it an adaptation of a Broadway show? Yes.

[01:40:07] It's been done as a movie before. Dickie's favorite actor. Yes. His favorite actor. Is it a movie before? Dickie Lawson. No, she's younger. Younger than Taryn. Quite young. She! Oh, Quivinzenay Wallace is Annie. That's right. Is Annie. It's a hard knock life. It is Friday. For viewers?

[01:40:27] I don't know. No, that was good. I actually never saw Annie. Is it bad? I think it's like the ultimate like gentlemen's five. Cameron Diaz and it is pretty rough. Yeah. Like I understand why she retired. It took a lot. That is her last movie.

[01:40:40] It was supposed to be... 85 it made. Because it was supposed to be Bullock and Willow Smith. That was the whole thing with that movie was Will Smith was setting up his kids to be movie stars. And then they were like, we're not into it.

[01:40:52] You're doing Karate Kid, you're doing Annie Go. But the movie was like fully set up and she was like, no I don't really want to go to school today. And like Quivinzenay had just got nominated. She's cute right? Yeah. Friday! She does a musical theater training.

[01:41:05] Thank God it's Friday. It is the weekend baby. Have fun and enjoy it. I fed anyone done. There's a great Quivinzenay Wallace Street where she was like eight years old and she has this like world weary like, thank God it's Friday. It's like, what are you talking about?

[01:41:16] What did you do all week? Aren't you happy that she seemingly has just like... Just I think is living a normal life. Yeah, good for her. I was worried that Annie and Quivinzenay were gonna keep. They should like the... Like 100%.

[01:41:27] One good performance then you're go live a normal life. Yeah, I agree. That's the top five for the box office. We've also got Mockingjay part one. We've got the gambler. Another movie that barely exists. Oh, it does not exist. We've got The Imitation Game.

[01:41:41] Today we call them Big Computers. One best screenplay. Yeah, that's insane. Exodus which we call Big River. A movie I like. Really? I like that movie. I like Noah. I like Noah. I'm into Noah. Big Arc. Big Arc. We've got Wild Big Hike. You know what's crazy?

[01:42:00] This top 15, top 10 you're reading is mostly horrible films that don't exist. 2014 was a rough year. Okay, but then I was going back to your list. Well, no, not even my list. I was trying to find... Is that one Birdman one? Yes. Which is terrible.

[01:42:15] I mean it's my least favorite best picture winner of the modern era. I guess I hate Green Book. I hate Green Book. I don't know if you know about this movie called Green Book. Hey, fuck you. I'm better than the Birdman. Get out of here.

[01:42:28] Hey, give me a sandwich. What is he called? Okay. I'll beat you in the hot dog competition. What is he called in the movie? Like what's his lip Tony lip? Tony lip because I got a mouth, you know? Virtuoso. It's Italian for pretty good.

[01:42:41] We fold this pizza in half here. Hey, give me a fucking pizza. Give me a pizza as big as her eyes. Hey, deep south. Whoa, whoa, whoa, you're racist. Okay, look, I'm racist, but you guys are being racist. I'm cool with gay people of course.

[01:42:53] Of course, I have no problem with that at all. That makes contextual sense. I work at the Copa. I said this to someone. I don't know if it was to Griffin. I'd watch a movie of him being a bouncer at the Copa. Fully.

[01:43:02] That sounds like a great movie. Him just bashing skulls. Walter Keane comes through. Green Book 2. Yeah, exactly. Hey, big eyes. I got big fists. So I was looking for what Bill Goh wrote about big eyes. Yeah, big eyes.

[01:43:14] And I found his top 20 list, which is where he wrote it on his blog. Okay? Right. And Bad Year at the Box Office, Bad Year at the Oscars. Let me rattle off some 2014 movies to you. Okay? Inner Stellar. My number one of the year. Beyond the Lights. Selma.

[01:43:32] Great movie. We are the best. Great movie. Two Days One Night. Great movie. The Lego Movie. Love it. The Immigrant. Sure. Snowpiercer. Pierce Big Train. Heron Vice. Big Mystery. Force Major. Big Avalanche. I mean, that's his top 10. And then you get down to Edge of Tomorrow.

[01:43:50] I was going to say that's a much better. John Wick. Yeah, but like some good genre films too. You also had Big Hotel. Number 18. Big Eyes. Grand Budapest. Whiplash. Big Drums. Did you have Princess? I think Big Turner. Big Turner. Big Turner.

[01:44:05] I mean, the war good movies are gone. Big girl's gone. Where'd she go? I don't know. That's the end of this movie. That is the end of our working relationship. Excuse me. The big clock has almost done counting down. And don't forget about Big Zilla.

[01:44:16] People don't give that movie respect, but that's a great movie. He is a chunky boy. I get it. Godzilla's a chunky boy. I thought you were going to say Aaron Taylor Johnson and I was like, I agree. You've got a chunky boy. Look at Aaron Taylor Johnson.

[01:44:30] Oh, gross. Yeah, sorry. Big Dude. Big Dude. Now that the new Godzilla is on my top list. I feel like people are bringing up again the argument of why is Godzilla so chunky? And they're like, it's an American thing. It's like American gluttony.

[01:44:46] The Americans have made Godzilla so fat. You look at the old Godzilla films, you always had Thunder Thighs. Yeah, he's always been there. Because he needed space for the fucking person to fit. The only time the guy's ever been lean is in the Roland Emmerich movie. Right.

[01:45:00] And yeah, and that's the one that's bad. Right. All right, we got to wrap up. Yeah, we're done. Hey, excuse you. I still got seven minutes to seven. And it's 53 seconds on the clock. Now, but we're done. Grif, we're done. Rich has got to go. 420. Yeah, baby.

[01:45:15] Smoke weed every day. Are you going to see a screen? No, I'm going to my appointment to get TSA Pre-Check. It's time. I gotta say, did you see Beachbomb? I did not see Beachbomb and they're screening it. They are done screening it. They fucking have a backup.

[01:45:27] When we're recording, it's out in like two weeks. Yeah. Also, how did you see us early? I actually can't tell you on mic, but I'll tell you off. Wow. Oh, I have to tell you the shit story. It's not like a shocking story.

[01:45:38] So let's end the show because now I want to hear these stories. All right. Let me just say, Blank Check thoroughly endorses signing up for TSA Pre-Check. No, seriously. I mean, you just walk right in. It is kind of nuts. It's so good. People don't realize.

[01:45:50] I'll be a checkie of a different variety. It takes so little work. I'm trying to get a close authorship. You know what I'm paying you guys money? Thank you. I'm paying money for this podcast that I'm on right now in some ways. Blank Pre-Check. Yeah.

[01:46:02] I'm also doing, I think, the global entry even though I don't fly internationally that often, but why not? Why not? Sure. Okay. Thank you all. Everyone's very interested. Reddit's going to blow up about this one. Do you have anything to plug? Your book and paperback.

[01:46:16] My book is in paperback. In the title. All we can do is wait. It's a really nice new cover. I'm happy about that. It's a smart buy and a great read. And oh yeah, Ghosty Miss Peregrine, my favorite movie of all time. Of course.

[01:46:32] Well, we'll talk about her next week. Do you get money every time they sell a copy of Peregrine? No, they just send me a blue right. So I have a lot. They send you a Peregrine? Yeah, they send me Eva Green. She does my laundry for a week.

[01:46:43] Exactly. Do you want to promote your Game of Thrones podcast? Oh yeah. So I have a little old man which is the main podcast of EF, but also we're doing a Game of Thrones thing for the last season.

[01:46:53] I guess the episodes will be up like Monday morning, I think. Me and Joanna Robinson who's been on this show. Thrones, Thrones, Thrones. Yeah, still watching Game of Thrones. Find it on Apple iTunes podcast or whatever that thing is. Right. How's that? Nailed it.

[01:47:09] Thank you all for listening. Please remember to rate, review, and subscribe. Go to blankies.rat.com for some real nerdy shit. Go to T-Public for some real nerdy shirts. Remember to sign up for Blank Check special features on Patreon. They're so wonderful, by the way. Thank you.

[01:47:24] They're really great and I want to do big nines. We're going to get you on the couch. Speaking of big things. We got to get you on the couch. That's the other thing. We had that one idea. Oh yes.

[01:47:33] Well we should do that, but you can also do a commentary. We put that on the schedule, but you also can and should do a commentary.

[01:47:38] I do like that now that we record at Big Nice we can say like we can refer to doing the couch like where Johnny Carson. That's right. We put that on the couch. Yes, that's the big and the greatest honor. Call me over. Call you over.

[01:47:51] You're Tim Allen. And we're calling you over to do panel. Seeing here you are a guardian of the galaxy. That was a great Kristoff Waltz. Yeah. These eyes are sure big. You see these eyes, Ed? A raccoon has a rocket. So big. Some weird wild shit.

[01:48:09] You don't want to do Carson? Not into the Carson? I don't want to do Kristoff Carlson. What's wrong with Carson? Nothing! Come on! You feel now? Yeah. I get no eyes, no eyes. My eyes are so little. Don Rickles. He gets gone. Harky Puck!

[01:48:28] You got split peas for eyes. I watched the Twilight Zone episode with Don Rickles last night. Was it good? Yeah, that guy was such a good actor. He never got an amazing actor. Opportunity to show us what he could do. He's great in Toy Story? Potato Head?

[01:48:43] The Norm MacDonald movie. He did win his Oscar for that. Of course. Thank you all for listening. You already did all that. And as always, the thing I didn't want to say is that Amy Adams' butt looks really good in the night museum too. Wow! A million-air butt!

[01:49:03] Every heterosexual adult male I know who has seen that movie took note of it. It's a weird thing. Also big eyes. Big eyes.