Say Anything…

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

[00:00:05] Blank Check with what to say or to express

[00:00:13] All you need to know is that the name of the show is Blank Check

[00:00:20] I gave her my heart and she gave me a podcast

[00:00:25] Yeah!

[00:00:26] David is holding his arms above his head as if

[00:00:30] As if a boombox is in them

[00:00:32] What's coming out of that boombox?

[00:00:34] A new miniseries

[00:00:36] Ladies and gentlemen, my name is Griffin Newman

[00:00:38] I'm David Thames

[00:00:39] This is a podcast called Blank Check with Griffin and David

[00:00:42] AKA the Two Friends

[00:00:44] That's not part of the title

[00:00:45] No, it's not

[00:00:46] That's just a little hint for the listeners

[00:00:48] In case you're wondering who we are

[00:00:49] We're hashtag the two friends, we're two friends

[00:00:51] We host a podcast together

[00:00:53] Here's what we do

[00:00:54] We pick filmmakers

[00:00:55] We go through their careers, their uvras

[00:00:57] We're fascinated by when someone gets a big success early on

[00:01:00] Big success

[00:01:01] And then they get a lot of work to do

[00:01:03] They're on and often

[00:01:05] They sort of fall off a cliff

[00:01:08] Sure, maybe they fall off a cliff

[00:01:10] Maybe they make something no one understands

[00:01:12] Maybe they do both

[00:01:13] Yeah

[00:01:14] Once in a while they get the magic back

[00:01:17] A lot of the time they try

[00:01:19] Yeah, we love redemption stories

[00:01:21] But for us it's like this

[00:01:22] It's fascinating

[00:01:24] We like looking at careers

[00:01:26] In the sort of the macro

[00:01:28] And then week by week we go into the micro

[00:01:30] What's that? Do you hear that?

[00:01:32] That's a clean snap of a new miniseries

[00:01:35] Right here that we're starting

[00:01:37] I'm doing some bad snap

[00:01:39] Let's do a high five

[00:01:40] Okay

[00:01:41] That was really bad, can we try a crisper?

[00:01:43] All right, that was pretty good

[00:01:44] I don't know if the mic's picked it up though

[00:01:46] Yeah, this is a new miniseries right now

[00:01:48] And by popular demand

[00:01:50] The title of this miniseries

[00:01:52] Is WePodcast

[00:01:55] Yes, do you want to talk about that?

[00:01:57] I would love to talk about that

[00:01:58] So we're for the next

[00:02:00] 8 to 9 episodes

[00:02:02] Yeah

[00:02:03] Are going to discuss the films of one Cameron Crowe

[00:02:07] Now let's say it's right off the bat

[00:02:09] There were some debating

[00:02:10] We are only going to cover the things that he directed

[00:02:13] Yeah

[00:02:14] He wrote Fast Times at Richmond High

[00:02:16] Yeah

[00:02:17] It was based off a book that he wrote

[00:02:18] He also wrote another screenplay

[00:02:19] That was based on leftover stuff from the book

[00:02:21] Called The Wildlife

[00:02:22] Yes

[00:02:23] We thought about doing a double episode with that

[00:02:25] But you know, for the sake of our show

[00:02:27] I wasn't that into that

[00:02:29] We're trying to keep it clean

[00:02:30] And he's got enough films

[00:02:31] I think we are going to cover

[00:02:33] We're our tourists, or at least I am

[00:02:34] We're our tourists

[00:02:35] Yes

[00:02:36] And we're going to cover with him

[00:02:37] There's some interesting stuff

[00:02:38] There are two feature-length music documentaries

[00:02:41] Music documentaries

[00:02:42] Music documentaries

[00:02:43] That I think we might do as a bonus

[00:02:46] Or put them both into one episode

[00:02:48] Or something like that

[00:02:49] Yeah, great

[00:02:50] I'm going to get to learn about Pearl Jam

[00:02:52] Pearl Jam

[00:02:53] Pearl Jam 20, bro

[00:02:54] And then there is also

[00:02:56] He has directed a handful of music videos

[00:02:59] Sure

[00:03:00] And

[00:03:01] We'll probably get to those in another bonus episode

[00:03:04] Is that the plan?

[00:03:05] Yes, I think by the time this episode is released

[00:03:10] It will be too late for people to attend this

[00:03:12] But we are going to be doing a live episode

[00:03:14] At the Del Close Marathon

[00:03:16] The UCB Del Close Marathon

[00:03:18] We'll tweet about it

[00:03:19] We'll be doing that with a special guest

[00:03:20] It'll be a 45-minute episode

[00:03:22] Because we're in time for this

[00:03:23] It'll be a little puncher

[00:03:24] It'll be a little

[00:03:25] We're going to go through some of the music videos

[00:03:26] That Old Crow

[00:03:27] In 45 minutes we will probably just set up

[00:03:29] The premise of the podcast

[00:03:30] Talk for five seconds and then sign off

[00:03:33] Well, here's something that usually

[00:03:34] Takes about 45 minutes

[00:03:36] Introducing the third member

[00:03:39] Of our remotely crew

[00:03:41] I'm nodding

[00:03:42] Of our Pearl Jam

[00:03:44] Yeah

[00:03:45] He is the producer of this show

[00:03:47] Of course, manning the ones and zeros

[00:03:49] Chiming in with his own opinions

[00:03:51] Generally just keeping us together

[00:03:55] We are the ghosts that haunt his studio

[00:03:57] And he is the gatekeeper

[00:03:59] I guess

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

[00:04:01] My metaphor is not tracking

[00:04:02] You're adding shit

[00:04:03] Yeah, okay

[00:04:04] His name is Benjamin Haas

[00:04:05] Great

[00:04:06] Hello, Fennell

[00:04:08] And there have been some complaints

[00:04:09] That Hello, Fennell has not been mentioned

[00:04:11] Explained

[00:04:12] Or has not been mentioned

[00:04:13] Explained

[00:04:14] That's not what we're talking about

[00:04:15] We might do a best of episode

[00:04:16] Or we just explain the weird in-jokes

[00:04:18] It's like a syllabus for some of our in-jokes

[00:04:20] Oh my God

[00:04:21] We might do that if we have a week

[00:04:22] Where we can't record

[00:04:23] We cut together an episode

[00:04:24] Where we explain some of the other stuff

[00:04:25] Like, you know, there are all these different nicknames

[00:04:27] And people don't know where they came from

[00:04:28] Yeah

[00:04:29] It would be pretty cool

[00:04:30] Well, there's probably a lot of work for men

[00:04:32] To go through the old episodes

[00:04:34] And find the first mention of every dumb fucking nickname

[00:04:37] Agreed

[00:04:38] But let's say this

[00:04:39] If you're a listener of the show

[00:04:40] Right?

[00:04:41] And you're listening at a different point

[00:04:42] You're going back to listening to old episodes

[00:04:43] You read and listen to whatever it is

[00:04:45] If you have ideas of some moments

[00:04:47] That you would want included in a best of

[00:04:49] They don't have to just be bits

[00:04:51] They don't have to be explanations of things

[00:04:52] That could be moments of

[00:04:53] I'm meeting a muffin

[00:04:54] Adept criticism

[00:04:55] Well, this is a classic bit

[00:04:56] Is eating on Mike

[00:04:57] Yup

[00:04:58] Um, if you have any suggestions like that

[00:05:00] Please email us at BlankTekpod

[00:05:02] At gmail.com

[00:05:03] Is it BlankTekpod or podcast?

[00:05:05] I think it's pod

[00:05:06] It's great that we don't know

[00:05:07] Also, we are opening a new

[00:05:08] In-Ease series by like

[00:05:10] You're talking about the back stories

[00:05:12] I know, Jesus Christ

[00:05:13] Twitter, Facebook

[00:05:14] All those places you can hit us up

[00:05:16] I read every email

[00:05:17] We never respond to them

[00:05:18] I'm bad at emails

[00:05:19] But know that they're always red

[00:05:21] And catalogued and processed your suggestions

[00:05:23] And feel free to suggest any things you want

[00:05:25] And best of

[00:05:26] Because people who are jumping in right now

[00:05:28] New mini-series that like Karen

[00:05:29] They might be confused

[00:05:30] They might be confused

[00:05:31] I might go Ben Hosley

[00:05:32] Okay, I got it

[00:05:33] But then if I were to say producer Ben

[00:05:34] They'd go, okay, that still makes sense

[00:05:35] Because he's the producer of the show

[00:05:36] I would say producer Ben

[00:05:37] They'd go, well, I guess because he's a professional

[00:05:39] You did this last time

[00:05:40] Don't annotate every single nickname

[00:05:42] It takes forever

[00:05:43] They drop the C though

[00:05:44] Ben do sir

[00:05:45] Yeah, I mean that's we're combining the two

[00:05:46] As a portmanteau

[00:05:47] You know, the peepers

[00:05:48] Because sometimes he likes to peep in

[00:05:49] And watch people flocking

[00:05:50] Well, no, hold on

[00:05:51] Keep going, keep going

[00:05:52] He's the tiebreaker

[00:05:53] Because if you and I are disagreeing on something

[00:05:54] He's the third party

[00:05:55] He's able to do that birthday Benny

[00:05:57] Because he has a birthday once a year

[00:05:59] Oh hey, you know actually

[00:06:00] After this episode airs

[00:06:01] It had been my 31st birthday

[00:06:03] Oh wow

[00:06:04] So

[00:06:05] They're many

[00:06:06] Never more topical

[00:06:07] That's right

[00:06:08] Another one that's topical

[00:06:09] Mr. Positive

[00:06:10] Because he sounds pretty good right now

[00:06:11] Usually it's an ironic nickname

[00:06:13] Because he's miserable

[00:06:14] But right now I think Ben

[00:06:15] You're in a pretty good mood, right

[00:06:16] Yeah, feeling good

[00:06:17] You seem to be doing pretty well in your life

[00:06:18] The poet laureate

[00:06:19] Because when he jumps in

[00:06:20] With this sort of super on point film criticism

[00:06:23] This is the first episode of a miniseries

[00:06:25] Than the two of us

[00:06:26] But it's because you write shit down

[00:06:28] And we have a hard out in 90 minutes

[00:06:30] In advance

[00:06:33] Hello Fennel obviously is

[00:06:34] No, not explained

[00:06:35] Carry on

[00:06:36] A nickname there

[00:06:37] No, because that needs to be a mystery

[00:06:38] People need to figure it out for themselves

[00:06:39] Yeah, go back

[00:06:40] Listen to the archives

[00:06:41] Now forget which episode it is

[00:06:42] I actually re-listened to it recently though

[00:06:43] And it's still funny

[00:06:44] It's always funny

[00:06:46] Yeah, listen to my podcast

[00:06:47] I listen to my own podcast

[00:06:48] Yeah, it's a great podcast

[00:06:49] Don't call him Professor Crispy

[00:06:52] You may be so inclined because

[00:06:54] No, but don't

[00:06:55] The audio is crisp but don't do it

[00:06:56] It's just rude, it's rude

[00:06:57] It's 2016

[00:06:58] And then there are some podcast names

[00:07:00] He's the fuckmaster, dude

[00:07:01] Don't forget he's the fuckmaster

[00:07:02] Sure, okay

[00:07:03] But then there are some podcasts

[00:07:04] Because he's the master fuckmaster

[00:07:05] There are some miniseries-specific names

[00:07:06] Well, he graduates to different titles

[00:07:08] Such as producer Ben Kenobi

[00:07:10] Kyle Laban

[00:07:11] Ben Niteschamelon

[00:07:12] And Ben Sate

[00:07:14] What will his next name be?

[00:07:15] We don't know

[00:07:16] Someone already suggested the one

[00:07:18] That I think it's gonna be

[00:07:19] Tell me, I wanna know

[00:07:21] You wanna know on air?

[00:07:22] I mean usually we save it for the last episode

[00:07:24] Alright fine

[00:07:25] I'll save it, I just got one suggestion

[00:07:26] That was so perfect

[00:07:27] I just wanna know

[00:07:28] I'm so, so whatever

[00:07:29] I'll tell you off, Mike

[00:07:30] Yeah, I know you will

[00:07:31] Cameron Crow

[00:07:32] Cameron Crow, so why do we want to do

[00:07:33] Cameron Crow, Griffin Newman

[00:07:35] Well, we thought it would be

[00:07:36] Interesting to mix it up

[00:07:38] With a non-genre filmmaker

[00:07:40] Yes, we've done genre filmmakers

[00:07:41] Like Niteschamelon, George Lucas and the Wachowskis

[00:07:44] Now we're doing a man who traffics in

[00:07:46] The rom-com

[00:07:47] The dramedy, I'd say the rom-drom

[00:07:49] The drum?

[00:07:50] Yeah, yeah, you sort of reinvented

[00:07:52] The romantic comedy drama genre

[00:07:54] Into his own weird sort of optimistic thing

[00:07:58] Weird sort of super specific

[00:08:00] He's as much of a genre bending guy

[00:08:03] As the other filmmakers that we've discussed

[00:08:05] But in a much smaller scale

[00:08:09] More focused, low budget kind of way

[00:08:11] Which makes him really fascinating

[00:08:13] It's very easy to redefine anything

[00:08:15] Everything if you're doing like

[00:08:17] Phobastic, super visual effects

[00:08:19] Super designed movies

[00:08:21] And Cameron Crow just came out

[00:08:22] This is his first film, 1989

[00:08:24] Say anything and just boom

[00:08:26] He's got a voice

[00:08:27] This guy's got a style

[00:08:28] He's got a tone

[00:08:29] He's got an approach with actors

[00:08:31] There's a sort of rhythm to his movies

[00:08:33] You know?

[00:08:34] An off-beat rhythm

[00:08:35] There's a pattern, you know?

[00:08:37] An off-beat pattern

[00:08:38] And there's a sort of

[00:08:40] An earnestness

[00:08:42] You know, like a hip earnestness

[00:08:44] Which is sort of counter to the

[00:08:48] Like, Gen X sort of cynical kind of 80s

[00:08:53] Tone you see or 90s tone

[00:08:55] Even when you see movies like

[00:08:56] Reality Byte

[00:08:57] Yes

[00:08:58] In movies like that

[00:08:59] And his golden age is

[00:09:00] Let's say 1989 to 2000

[00:09:02] Right?

[00:09:03] Absolutely, the 1990s

[00:09:05] And it's a time where culture

[00:09:07] Is becoming more and more cynical

[00:09:09] And his films get more and more poignant

[00:09:11] And become more and more sort of

[00:09:13] Culturally connected by the day

[00:09:14] Yes, eventually I think maybe to their detriment

[00:09:16] But for a while there

[00:09:18] He's great

[00:09:19] He's going against the grain

[00:09:20] In a good way

[00:09:21] It's weird, he like simultaneously was going

[00:09:23] Against the grain and tapping into something

[00:09:25] That was very present

[00:09:26] Sure

[00:09:27] And his films, you know

[00:09:30] Were able to

[00:09:32] They're kind of these incredible comfort food movies

[00:09:35] Because they're like these warm bath movies

[00:09:37] That also have an intelligence

[00:09:39] And an integrity to them, you know

[00:09:41] It's not like watching 13 Going on 30

[00:09:43] Which is like a very well made film

[00:09:45] And very entertaining

[00:09:46] Right

[00:09:47] But like, Cameron Cormes movies are

[00:09:49] An easy watch and they make you feel

[00:09:51] Like really fucking good

[00:09:52] And they're smart

[00:09:53] And they're smart

[00:09:54] I mean, I like 13 Going on 30

[00:09:55] I do too

[00:09:56] I think it's a really cute movie

[00:09:57] I don't mean to throw 13 Going on 30 out

[00:09:59] We can throw it under the bus

[00:10:00] But you know what I'm saying

[00:10:01] Like it's not smart

[00:10:02] Right

[00:10:03] But like, Cameron Cormes

[00:10:04] I mean, it's a warm bath thing

[00:10:06] It's like he's very insightful

[00:10:08] And he speaks to certain things

[00:10:10] In the human condition

[00:10:11] These very specific moments

[00:10:12] He gets to these

[00:10:13] Sometimes just a line

[00:10:14] That cuts through all the bullshit

[00:10:16] And captures a feeling

[00:10:17] He's obviously a very musical guy

[00:10:19] Well, he starts out as music critic

[00:10:21] Before moving into the world of

[00:10:23] Cinema

[00:10:24] Almost famous

[00:10:25] Is

[00:10:26] Cinema

[00:10:27] Almost famous is a largely autobiographical film

[00:10:29] So I don't know how much

[00:10:30] I think we can talk about his backstory here

[00:10:32] Because we'll get to that movie eventually

[00:10:33] We'll get to his childhood

[00:10:34] And his, yeah

[00:10:35] His Rolling Stone career

[00:10:37] Yeah, he was a very young journalist

[00:10:39] And then followed around bands

[00:10:41] For Rolling Stone

[00:10:42] And then after that

[00:10:43] He had dropped out of high school

[00:10:45] He was now older

[00:10:47] He decided to go back to high school

[00:10:48] Because he looked very young

[00:10:49] And had sort of missed out

[00:10:51] In a lot of his high school experience

[00:10:52] And went like undercover as a reporter

[00:10:54] In a California high school

[00:10:56] He did

[00:10:57] And then wrote a nonfiction book

[00:10:58] About that called

[00:10:59] Past Times at Richmond High

[00:11:00] Which was adapted into the two

[00:11:02] Affirmation films

[00:11:03] Past Times at Richmond High

[00:11:04] And The Wild Side

[00:11:06] To separate films starring two

[00:11:08] Separate pen brothers

[00:11:09] About Southern California high school

[00:11:12] True

[00:11:13] Those, the Past Times was huge

[00:11:15] Yeah, well it was a sleeper hit

[00:11:17] But a big one

[00:11:18] It landed with a real cultural impact

[00:11:21] The Wild Side or whatever

[00:11:22] That sank without a trace

[00:11:24] I own the book Past Times at Richmond High

[00:11:26] It's very hard to find, right?

[00:11:28] Very expensive

[00:11:29] Yeah, how is it?

[00:11:30] Oh, it's really good

[00:11:31] It's a great book

[00:11:32] Yeah, actually, yeah, right

[00:11:33] I forgot that I read the book

[00:11:34] Can you talk about the book a little bit?

[00:11:35] Yeah, it's more vignetti than the movie

[00:11:38] So every chapter is basically

[00:11:39] Just like a little high school story

[00:11:41] I mean it keeps repeating the characters

[00:11:43] And stuff like that

[00:11:44] But it's good, it's very smart

[00:11:45] It's got like a teeny voice

[00:11:47] It's good

[00:11:48] It is hard to find

[00:11:49] It's impossible to find

[00:11:50] It costs hundreds of dollars on Amazon

[00:11:52] I was once at a relative's house

[00:11:54] Like an old relative

[00:11:56] And saw it on the bookshelf

[00:11:57] And I took it

[00:11:58] I was like

[00:11:59] I've always wanted to read this

[00:12:00] And I read it

[00:12:01] Yeah, good job

[00:12:02] And now I have it

[00:12:03] How similar is it to the film?

[00:12:05] Like are the characters sort of

[00:12:07] Direct fictionalizations

[00:12:09] Of the characters in the book

[00:12:11] Or is it a lot of compositing kind of

[00:12:12] There's some compositing things

[00:12:13] But mostly it's, yeah

[00:12:15] I mean, but is there like

[00:12:16] A Spicoli type character in the book?

[00:12:18] Oh, okay

[00:12:19] So Spicoli's in the book

[00:12:20] Yeah, the main character's in the book

[00:12:21] The rat's in the book

[00:12:22] You know, I do think that one day

[00:12:24] We should do Amy Heckerling

[00:12:26] I do too

[00:12:27] Because one we don't

[00:12:28] There's a lot of female directors

[00:12:30] Yes

[00:12:31] Out there

[00:12:32] And they have enough films to cover

[00:12:33] Right, exactly

[00:12:34] And two, she's fascinating

[00:12:35] Even though she's made some stink bombs

[00:12:37] Yeah, but she's made some really important movies

[00:12:39] Like Fast Times in Richmond High?

[00:12:40] Yeah

[00:12:41] And Clueless

[00:12:42] What was the movie we were talking about

[00:12:43] In the last episode

[00:12:44] With the Chevy Chase movie

[00:12:45] That she wished she had never made?

[00:12:47] Uh, National Impunes European Vacation

[00:12:49] Right, the third or the fourth vacation

[00:12:51] Yes

[00:12:52] I think that's the film

[00:12:53] That made it right after Fast Times

[00:12:54] That sounds plausible

[00:12:55] I think that was her

[00:12:56] Fast Times follow-up

[00:12:57] The Fast Times was a cold hit

[00:12:58] But it really, it connected, right?

[00:13:01] It connected and it made stars out of

[00:13:04] You know, tons of people

[00:13:05] Jennifer Jason Leish on Penn,

[00:13:06] Forrest Whitaker

[00:13:07] Like so many actors came out of it

[00:13:09] The great judge, Reinhold

[00:13:11] Matt Trawitt, Jay Reinhold

[00:13:13] Van Slip-Ons

[00:13:14] I'm sorry?

[00:13:15] Van Slip-Ons

[00:13:16] Yeah, it made stars out of Van Slip-Ons

[00:13:17] Yes, exactly

[00:13:18] That's why we call Ben Hosley

[00:13:19] Our finest film critic

[00:13:22] Uh, because it made stars out of

[00:13:24] Van Slip-Ons

[00:13:25] It exposed those shoes to the mainstream

[00:13:28] And we're still wearing it to this day

[00:13:30] Yeah

[00:13:31] I had a pair of vans just a few years ago

[00:13:34] We should stop the punkers there

[00:13:36] Yeah, we should

[00:13:37] That was a great insight

[00:13:38] That was good

[00:13:39] So what are we at?

[00:13:40] Like 10, 11?

[00:13:41] About 15

[00:13:42] Oh wow, Jesus Christ

[00:13:43] We gotta get moving

[00:13:44] You literally

[00:13:45] To spent so long on fucking Ben's names

[00:13:47] But I mean look

[00:13:48] That's what we've written ourselves into here

[00:13:50] Yeah, we're in the pocket now

[00:13:52] Fast Times is a great movie

[00:13:55] It had a specificity

[00:13:57] In the characters

[00:13:59] And was like consistently funny without feeling forced

[00:14:01] I agree

[00:14:02] But it's very human setup

[00:14:03] But it's also honest and dark

[00:14:05] Yes

[00:14:06] And I think it has a brutality that was rare

[00:14:09] For the genre

[00:14:10] Yeah

[00:14:11] Strict and interesting balance

[00:14:12] I don't know if you have your Wikipedia open here

[00:14:14] But I

[00:14:15] I do

[00:14:16] I remember after that

[00:14:17] The film makes a sort of splash

[00:14:18] And James L. Brooks goes to Cameron Crowe

[00:14:21] Yeah, you're correct

[00:14:22] Yeah

[00:14:23] And says kind of

[00:14:24] He liked his voice

[00:14:25] I like your voice

[00:14:26] What would you want to make next?

[00:14:27] And Cameron Crowe was like, alright buddy

[00:14:31] He held his arms above his head

[00:14:32] Yeah, David told me his arms above his head

[00:14:34] Fast Times came out

[00:14:36] The movie came out in 82, right?

[00:14:38] Wow, yeah, yeah, yeah

[00:14:40] And then Wild Life comes out in 84

[00:14:43] So it takes a while

[00:14:45] It takes a while life

[00:14:48] One comedy film

[00:14:49] If that

[00:14:50] For say anything to come out in 1989

[00:14:53] 1989

[00:14:54] The year of my birth

[00:14:56] The year of my brother's birth

[00:14:58] Yeah

[00:14:59] When were you born exactly?

[00:15:00] February

[00:15:01] So you're, okay

[00:15:02] You're right at the top

[00:15:03] Yes

[00:15:04] Right at the top of 89

[00:15:05] My brother was December

[00:15:06] At the tippy top

[00:15:07] But it was produced by James L. Brooks

[00:15:09] As I just mentioned

[00:15:10] Executive produced

[00:15:11] Yeah

[00:15:12] James L. Brooks goes to him

[00:15:13] He says, what do you want to make

[00:15:14] He's got a few Oscars under his arm

[00:15:16] As he says this

[00:15:17] Yo, I'm James L. Brooks

[00:15:18] He's got some Simpsons residuals under the

[00:15:20] No, 89 is when it starts

[00:15:22] Yeah

[00:15:23] So he's got like

[00:15:24] An empty briefcase that's about to be filled with Simpsons residuals

[00:15:27] How rich do you think James L. Brooks is?

[00:15:30] I feel like I looked it up recently

[00:15:31] I think he's over 200 million

[00:15:33] He must be so fucking rich

[00:15:35] Yeah

[00:15:36] Every Simpsons episode has his name on it

[00:15:38] Yeah, I think

[00:15:39] I mean, he's in the hundreds of millions

[00:15:42] I wonder if he'll ever

[00:15:43] We should do him

[00:15:44] Oh, no question

[00:15:45] How do you know is

[00:15:47] Is sort of the super ultimate blank check rom-com

[00:15:50] Yeah, that movie cost

[00:15:51] 120 million dollars

[00:15:53] And takes place in three rooms

[00:15:55] And is insane

[00:15:56] Yeah, it's insane

[00:15:57] And he's about to bar-ride going to prison

[00:15:59] Yeah, and that's his follow-up to Spanglish

[00:16:02] Yeah, which is also, yeah, insane

[00:16:05] That's a crazy movie

[00:16:06] Yeah

[00:16:08] James L. Brooks were doing

[00:16:09] Like no question, we're doing James L. Brooks at some point

[00:16:11] But James L. Brooks reached out

[00:16:13] Said I like your voice

[00:16:14] Brought him in

[00:16:15] Worked on the script for a while

[00:16:17] And then when he was done

[00:16:18] He said, why don't you direct it?

[00:16:19] And Cameron Crowe said

[00:16:20] I don't know how to direct it

[00:16:21] I've never directed before

[00:16:22] Sure

[00:16:23] And he said, if you can write, you can direct

[00:16:25] That's what James L. Brooks did

[00:16:27] That was James L. Brooks' kind of

[00:16:28] That was his model

[00:16:29] The thing for a while was

[00:16:30] He, I mean it wasn't the exact same model

[00:16:32] But some years later

[00:16:34] The same sort of process

[00:16:35] Repeated with Wes Anderson

[00:16:37] Oh yeah?

[00:16:38] Oh yeah, James L. Brooks was behind

[00:16:40] Bottle Rocket

[00:16:41] They saw the short film

[00:16:42] They brought them in

[00:16:43] For like five years

[00:16:44] Four years, whatever it was

[00:16:45] A couple of years

[00:16:46] They developed the script

[00:16:47] With James L. Brooks

[00:16:48] And then he produced that film

[00:16:50] And he fought really hard to get

[00:16:52] Sony to give him a tiny amount of money

[00:16:54] To make it within the studio system

[00:16:55] Which is the same thing

[00:16:56] Happening where it say anything

[00:16:57] He had just done a couple of films at Fox

[00:16:59] He said, give this guy a little bit of money

[00:17:00] Low risk

[00:17:01] You know, a decent...

[00:17:03] It was the end as you say

[00:17:04] This was a 20th century Fox

[00:17:05] It was made by Gracie Films

[00:17:06] Which is James L. Brooks

[00:17:07] But you know as the end of The Simpsons

[00:17:09] Da-da-da-da-da-da-da-da-da

[00:17:12] Da-da-da-da-da-da-da-da-da-da

[00:17:14] Up next, on American Dead

[00:17:17] Sorry, I was doing the full

[00:17:18] No, no

[00:17:19] Oh no, I don't like American Dad.

[00:17:21] Animation domination continues.

[00:17:23] Um...

[00:17:25] $16 million is the budget on this movie.

[00:17:27] Hey now!

[00:17:28] 1999 for a movie set in Seattle and mostly set in rooms,

[00:17:31] you know, in cars.

[00:17:33] You know, that's a decent chunk of change.

[00:17:35] It's been like 20, 28 million dollars today.

[00:17:37] And this is a movie with one star in it.

[00:17:39] Yeah.

[00:17:40] And her name is Bibi New Earth.

[00:17:42] Like there's not any- I mean John Cusack is an actor

[00:17:45] and he's been around for a few years.

[00:17:47] But he was not a star.

[00:17:48] No, not at all. I mean he'd been in like the sure thing.

[00:17:51] Like he'd been in like-

[00:17:52] Okay so that was like his first big leading vehicle

[00:17:54] but that film was not wildly successful.

[00:17:56] He had popped up obviously in like 16 candles

[00:17:58] and Better Off Dead and One Crazy Summer

[00:18:00] and Stand By Me, but like these are supporting roles.

[00:18:02] Was almost cast as Bender in the Breakfast Club.

[00:18:04] Um... Right, right, yes.

[00:18:06] He was like close to a lot of those iconic high school roles

[00:18:09] and he didn't get that yet.

[00:18:10] Hollywood knew who he was and obviously John Cusack

[00:18:12] at this point is already an Oscar nominee

[00:18:14] for, well, we're the walking girl I almost said.

[00:18:17] The working girl.

[00:18:18] That's crazy, I didn't realize so she-

[00:18:20] I was just off on the time mark.

[00:18:21] Because the working girl is 88?

[00:18:22] Yeah, has to be.

[00:18:23] 87 or 88?

[00:18:24] Right, yeah.

[00:18:25] And this one's saying, no, yes.

[00:18:26] John Cusack was already nominated.

[00:18:27] Already been cast member on SNL.

[00:18:28] Yeah, she was more of a known quantity.

[00:18:30] She has a bigger part in 16 candles.

[00:18:32] I mean she had made more of a splash.

[00:18:35] There was also this kind of...

[00:18:37] There was this Chicago group.

[00:18:40] I mean there were like four acting Cusacks, right?

[00:18:42] I think only two of them really kind of rose to the water

[00:18:44] but there's Anne Cusack as well.

[00:18:46] The working girl 88 just...

[00:18:47] Yeah, one year earlier and I think there's one other Cusack who acts.

[00:18:50] Anne Cusack I know there probably is.

[00:18:52] I think there's one other one.

[00:18:53] You know, Valentino Cusack.

[00:18:55] But they all grew up in Chicago, Valentino Cusack.

[00:18:58] Great job, four comedy points.

[00:19:00] They all grew up in Chicago working with an acting teacher

[00:19:04] who was Jeremy Piven's mother.

[00:19:07] Jeremy Piven.

[00:19:08] Jeremy Piven.

[00:19:09] Who's in this movie?

[00:19:10] Yes.

[00:19:11] Jeremy Piven.

[00:19:12] He has to chill.

[00:19:13] And Shira Piven.

[00:19:14] He still has to chill.

[00:19:15] They should play that clip anytime Jeremy Piven does anything.

[00:19:18] Someone should just pipe that up.

[00:19:20] I have it in your keys!

[00:19:21] Listen, you know I love being on stage, I love Broadway

[00:19:24] but my mercury levels are too high.

[00:19:26] You must chill!

[00:19:27] Mr. Selfridge deserves to be nominated for 15 Emmys.

[00:19:31] You must chill.

[00:19:32] Mr. Selfridge.

[00:19:34] He looks older in saying anything than he does like 25 years later.

[00:19:39] Oh no, it's a weird Piven thing where he aged backwards

[00:19:42] but not really.

[00:19:43] Yeah.

[00:19:44] He fake aged backwards.

[00:19:45] Yeah, well like yeah.

[00:19:46] He goes from being bald to having some hair

[00:19:49] to having a full head of hair.

[00:19:50] Yeah, he pulled a Benjamin Button.

[00:19:51] And much like Benjamin Button, the team at ILM had to pull off most of the effects.

[00:19:55] Fucking Benjamin Button.

[00:19:56] Yeah.

[00:19:57] Yeah.

[00:19:58] Alright, so 16 mil.

[00:20:00] But my point is that the Chicago actors,

[00:20:02] Piven's mother teaches the Cusack,

[00:20:04] teaches the Pivens and some other people

[00:20:06] who come out of that generation

[00:20:07] and they sort of all hit Hollywood hard as like

[00:20:09] these are the serious actors.

[00:20:11] They're serious, stage trained actors

[00:20:14] but they all have this very light touch,

[00:20:16] this very sort of effortless, behavioral acting style.

[00:20:20] Right.

[00:20:21] And they come out strong.

[00:20:22] And Cusack was sort of in the circles

[00:20:24] but he wasn't getting that big shot.

[00:20:26] No, but here's his shot.

[00:20:28] Here's his shot.

[00:20:29] He was not throwing away his shot.

[00:20:30] He was not throwing away a shot in the immortal world,

[00:20:33] words of Waitress the Musical.

[00:20:35] He was not throwing away.

[00:20:37] That would've been funny if I didn't fuck up the word.

[00:20:39] World's...

[00:20:40] So he had been an eight man out

[00:20:42] and next year he's gonna be in the...

[00:20:44] Oh, he was already an eight man out then.

[00:20:45] Yeah.

[00:20:46] Okay.

[00:20:47] And next year was gonna be The Grifters

[00:20:48] which I feel like is the start of

[00:20:50] him being a Hollywood star.

[00:20:52] Agreed.

[00:20:53] And then he's in things like

[00:20:55] Bob Roberts and no, he's barely in that.

[00:20:58] So how old is he in this film?

[00:21:00] Like how old is John Cusack, the actor?

[00:21:02] Yes.

[00:21:03] Assuming it's shot in 88?

[00:21:04] Yeah.

[00:21:05] Fair assumption, he's 22 years old.

[00:21:07] Okay.

[00:21:08] And then...

[00:21:09] Ion Sky?

[00:21:10] Ion Sky, Ion Sky...

[00:21:13] Ion Sky, Ion.

[00:21:14] I'll excuse myself.

[00:21:16] Ion Sky who is an English actress

[00:21:19] but you wouldn't know it.

[00:21:21] Really?

[00:21:22] Because her mother's American.

[00:21:23] She's sort of like...

[00:21:24] Was she raised in America or England?

[00:21:25] I believe she was raised in both.

[00:21:28] She grew up, she was a kid in England,

[00:21:30] moved to Los Angeles

[00:21:32] and attended Immaculate Heart High School

[00:21:34] in Hollywood School for the Performing Arts.

[00:21:36] Interesting.

[00:21:37] She was born in 2018.

[00:21:38] I was going to get in this film.

[00:21:40] She feels like a genuine teenager.

[00:21:42] And she had just been in Rivers Edge

[00:21:44] and then this year she's also in the Rachel Papers

[00:21:47] which I don't know if you've seen that movie,

[00:21:48] it's an English movie.

[00:21:49] No.

[00:21:50] But she's naked in it a lot.

[00:21:51] Okay, well congratulations, David.

[00:21:53] I saw it years ago.

[00:21:54] It's an adaptation of a Martin Amos book.

[00:21:56] It's a decent movie.

[00:21:57] It's a little silly.

[00:21:58] Sort of a body comedy.

[00:22:00] Not to put her on blast

[00:22:02] but my sister was talking about

[00:22:05] Martin Amos' daughter goes to her high school

[00:22:07] or rather my sister just graduated from high school.

[00:22:09] Congratulations.

[00:22:10] Yeah, congratulations, Romley.

[00:22:12] Martin Amos' daughter went to her high school

[00:22:14] or she went to Martin Amos' daughter's high school.

[00:22:16] Who the hell are you?

[00:22:17] Fucking what the fuck is your story?

[00:22:19] And she was talking about the girl

[00:22:21] and also her dad is Martin Amos.

[00:22:23] Romley was named out there.

[00:22:24] And you were like, huh?

[00:22:25] I was like who?

[00:22:26] And she was like, oh my god,

[00:22:27] you don't know who Martin Amos is?

[00:22:29] Martin Amos is this incredible,

[00:22:30] he's such a famous novelist.

[00:22:32] Are you kidding me Griffin?

[00:22:34] That's so embarrassing that you don't know who Martin Amos is.

[00:22:37] And I was like, what books does Martin Amos wrote?

[00:22:39] And she went, he's like very famous.

[00:22:41] Oh my god, so famous.

[00:22:43] Does she listen to this podcast?

[00:22:44] No, she will never listen to this podcast.

[00:22:46] Take that Romley.

[00:22:48] Anyway, I own Sky.

[00:22:50] She's a very, very hot property.

[00:22:53] I feel like she's like this up-and-coming actress

[00:22:56] and Hollywood's got its eye on her.

[00:22:58] She never panned out.

[00:23:00] It never connected.

[00:23:01] I mean she's around

[00:23:02] and she's actually pretty good and stuff,

[00:23:04] but I feel like she just never became a big deal

[00:23:06] like John Cusack did.

[00:23:07] I even feel like mid 2000s

[00:23:08] she had a lower resurgence where she was...

[00:23:10] When she's in arrested development.

[00:23:12] Oh, I forgot about arrest development.

[00:23:14] Meet the Veals is one of my favorite

[00:23:16] arrested development episodes.

[00:23:17] And it's the one where

[00:23:19] Jason Bateman, you know,

[00:23:21] Michael can't explain how she's

[00:23:23] Mae Whitman's mother,

[00:23:24] how she's Anne's mother.

[00:23:25] Yeah.

[00:23:26] And he keeps saying,

[00:23:27] well you gotta lock that down

[00:23:28] when they talk about getting married young.

[00:23:30] Which is a line,

[00:23:31] it's one of those arrested development lines

[00:23:33] that's funny the first time.

[00:23:34] But then they say it so many times

[00:23:36] it just becomes like impossibly funny.

[00:23:38] Anyway.

[00:23:39] What I was thinking of

[00:23:40] she has a really, really strong

[00:23:42] small part in Zodiac.

[00:23:44] Yeah.

[00:23:45] She's very good in that

[00:23:46] and I think right around the same time

[00:23:47] of a year or two earlier

[00:23:48] she plays Drew Barrymore's friend

[00:23:50] in Fever Pitch.

[00:23:51] She was starting to like pop up more.

[00:23:53] Like that was like 2005 to 2007.

[00:23:55] Yeah, I don't know.

[00:23:56] And then she waned again.

[00:23:57] I don't know, she's a great actress.

[00:23:59] She is a good actress.

[00:24:00] She's good in Rivers Edge.

[00:24:01] She's good in this.

[00:24:02] She's good in the Rachel Papers.

[00:24:03] Yeah.

[00:24:04] She's in Wayne's World.

[00:24:05] Oh yes.

[00:24:06] Briefly.

[00:24:07] She plays Rob Lowe's girlfriend

[00:24:08] at the beginning of the film.

[00:24:09] But that's kind of...

[00:24:10] That's like a chemist.

[00:24:11] She's in one scene literally.

[00:24:12] Yeah.

[00:24:13] She's the one who turns

[00:24:14] Rob Lowe on to Wayne's World.

[00:24:15] The opening of the film is them

[00:24:16] and then together.

[00:24:17] Right, yeah when he's flipping around.

[00:24:18] And she goes stop this

[00:24:19] these guys are funny

[00:24:20] and she explains the appeal

[00:24:21] of Wayne's World.

[00:24:22] She dated Anthony Ketus

[00:24:24] from the Red Hot Chili Peppers

[00:24:26] and married Adam Horowitz.

[00:24:28] Oh I did know that.

[00:24:29] And the Beastie Boys

[00:24:30] and then divorced him.

[00:24:31] I knew that.

[00:24:32] So yeah, so she's

[00:24:34] and she's a painter.

[00:24:35] She wrote a children's book

[00:24:36] called My Yiddish Vacation.

[00:24:37] She's doing stuff.

[00:24:38] Yeah, I like it.

[00:24:39] She married a musician

[00:24:40] in a Hindu wedding ceremony

[00:24:42] in India in 2009.

[00:24:44] Uh huh.

[00:24:45] So she's up

[00:24:46] and up to stuff.

[00:24:47] But she's sort of

[00:24:48] unlike Kusak,

[00:24:49] she's a teen idol

[00:24:50] who's probably most famous

[00:24:51] as a teen idol.

[00:24:52] Yeah.

[00:24:53] Kusak who's like

[00:24:54] teen idol famous.

[00:24:55] Movie star famous.

[00:24:56] Weird...

[00:24:57] slightly bloated

[00:24:59] crazy person on Twitter.

[00:25:01] That's his thing now.

[00:25:03] Yeah.

[00:25:04] I mean, yeah.

[00:25:05] That's where he is at now.

[00:25:06] I hate even talking about it.

[00:25:08] He was pretty good in Shy Rack.

[00:25:09] Yeah.

[00:25:10] And I also,

[00:25:11] I liked him a lot

[00:25:12] in Maps of the Stars.

[00:25:13] Haven't seen.

[00:25:14] Liked him a lot.

[00:25:16] What does he do in that one?

[00:25:17] In that.

[00:25:18] Acts like a big old creep ball.

[00:25:19] Well that's the thing.

[00:25:20] He's got to play into it now.

[00:25:21] It's kind of a bummer though.

[00:25:22] Yeah.

[00:25:23] I feel like the last time

[00:25:24] the movies tried to sell

[00:25:25] him on us

[00:25:26] as like a regular leading man

[00:25:28] is Hot Dev Time Machine.

[00:25:29] Yes.

[00:25:30] That was the end of it, right?

[00:25:31] Yeah.

[00:25:32] After that he starts doing a lot of like...

[00:25:33] He's with Lizzie Kaplan

[00:25:34] and you're like,

[00:25:35] this is fucked up.

[00:25:36] He's like 20 years old.

[00:25:37] Yeah.

[00:25:38] This is weird.

[00:25:39] Yeah.

[00:25:40] That haven't been said

[00:25:41] in real life at the same time

[00:25:42] Lizzie Kaplan was dating Matthew Perry.

[00:25:44] No.

[00:25:45] I mean, I'm not saying

[00:25:46] it can be a little annoying

[00:25:47] in a movie

[00:25:48] when that's the dynamic.

[00:25:49] And I just want to make it clear.

[00:25:50] That's all.

[00:25:51] People can date who they want to date.

[00:25:52] I think both of those things

[00:25:53] are equally correct.

[00:25:54] I pass no moral judgment.

[00:25:56] I would date Matthew Perry

[00:25:57] and I wouldn't date John Cusack.

[00:25:58] It's weird.

[00:25:59] Now at the...

[00:26:00] Your current age?

[00:26:01] Right now!

[00:26:02] You would date Matthew Perry?

[00:26:03] I would.

[00:26:04] I think that's a big age gap.

[00:26:05] I think we're very different points in your life.

[00:26:07] You wouldn't improve?

[00:26:08] I don't know how much you'd have to relate on.

[00:26:09] I would just...

[00:26:10] I'd like to talk to him

[00:26:11] about like tenets and things.

[00:26:12] You're going through very different things.

[00:26:13] And what's Tom Lennon really like?

[00:26:15] Okay.

[00:26:16] Double takes.

[00:26:17] Yeah, double takes is...

[00:26:18] I mean that is

[00:26:19] he could really spoil your notes.

[00:26:20] 20 minutes.

[00:26:21] Okay, but here's my question.

[00:26:22] Do you want to like

[00:26:23] date like Matthew Perry a little bit casually?

[00:26:25] Or do you want to be like

[00:26:26] dating Matthew Perry?

[00:26:27] Do you know what I'm saying?

[00:26:28] I want to be dating him.

[00:26:29] I don't want to date him casually.

[00:26:30] Okay, see I would go on a couple dates with him.

[00:26:31] I would not...

[00:26:32] I would not get serious with Matthew Perry.

[00:26:33] Here's something you don't know

[00:26:34] and we should move off this

[00:26:36] but I really want to tell you.

[00:26:37] Yeah.

[00:26:38] Matthew Perry isn't describably rich.

[00:26:39] He probably has a lot of nice houses.

[00:26:40] I don't know that.

[00:26:41] I'd go hang out in those houses.

[00:26:42] But if you're going to marry rich,

[00:26:43] marry James L. Brox.

[00:26:45] Oh, I'd love to marry him.

[00:26:46] He's probably happily married.

[00:26:47] Yeah.

[00:26:48] He strikes me as a guy

[00:26:49] who's happily married.

[00:26:50] Okay, he definitely is.

[00:26:51] Kenyan Jim?

[00:26:52] Kenyan Jim was married.

[00:26:53] He's probably like married to some nice person.

[00:26:55] Yeah, I think they've been married for 82 years.

[00:26:57] Yeah, and right, exactly.

[00:26:58] And it's like they just eat like strawberries.

[00:27:00] You feel like they just hang out.

[00:27:02] Okay, quick sidebar.

[00:27:03] They go to the farmer's market.

[00:27:04] Quick sidebar, if you could marry

[00:27:05] any cast member from Friends,

[00:27:07] who would it be?

[00:27:08] Me?

[00:27:09] Yeah.

[00:27:10] Shweimer.

[00:27:11] Ben?

[00:27:12] Lisa Kudrow.

[00:27:13] That's my answer too.

[00:27:14] Good call.

[00:27:15] Yeah, yeah, yeah, I've got no beef with that.

[00:27:16] My answer too.

[00:27:17] She's happily married.

[00:27:18] Not to be heteronormative,

[00:27:19] but I go Kudrow, then I'd say Leblanc is my number two.

[00:27:24] Yeah, he's fine.

[00:27:25] I would happily marry Leblanc.

[00:27:27] I wouldn't want to marry Aniston just because it feels like

[00:27:30] a lot of tabloid pressure and stuff, a lot of, you know...

[00:27:33] I don't want to be part of a narrative.

[00:27:34] Do you know what I'm saying?

[00:27:35] I was about to say that you get put into a narrative.

[00:27:36] You get put into a narrative.

[00:27:37] I just want to live my life.

[00:27:39] I don't want people reading into it,

[00:27:40] you know, as a plot point.

[00:27:41] But I feel like Shweimer would be fun though.

[00:27:43] Shweimer's great.

[00:27:44] All right, here's some things about Shweimer.

[00:27:46] One, he plays my favorite character in Friends.

[00:27:47] Ross is easily my favorite friend.

[00:27:48] He plays my favorite character on The People vs. OJ Simpson.

[00:27:50] He plays my favorite character on The People vs. OJ Simpson.

[00:27:53] He goes to the theater a lot.

[00:27:55] I have been at two separate Broadway plays,

[00:27:58] or off-Broadway plays, and seen him in the audience.

[00:28:01] He does a lot of theater.

[00:28:02] And he does theater, he directs.

[00:28:03] I think he's kind of smart, Jewish.

[00:28:05] My mom would be happy.

[00:28:06] Yeah.

[00:28:07] And you know, maybe he learned to cook for Feed the Beast,

[00:28:10] so maybe he's got some cooking tricks up his sleeve?

[00:28:13] He is also...

[00:28:14] Doesn't like Waddo though.

[00:28:15] That would be a problem.

[00:28:16] I think Waddo is married to someone younger than all three of us.

[00:28:19] Yeah, I know.

[00:28:20] I know.

[00:28:21] He's married to like a 25.

[00:28:22] Yeah, yeah, I know.

[00:28:23] Anyway, that was a fun little...

[00:28:25] So he's the one we could probably pull in.

[00:28:27] I mean, we're in the right age zone for Shweimer.

[00:28:29] It was a fun little adventure.

[00:28:30] We could go swimming if we wanted to.

[00:28:32] Hey!

[00:28:33] All right, end of the podcast.

[00:28:36] People are like, oh my god, talk about saying anything.

[00:28:39] Great movie.

[00:28:40] Great movie.

[00:28:41] So I've seen this movie seven or eight times.

[00:28:44] I own it.

[00:28:45] I've liked this movie.

[00:28:46] Oh, really?

[00:28:47] Yeah.

[00:28:48] I hadn't seen it in a while.

[00:28:50] And you know, you worry especially with like a movie that was very generationally appropriate

[00:28:54] and very teen focused.

[00:28:56] And a movie I liked as a teen.

[00:28:58] You worry, uh-oh, am I going to watch this grown up and think that it's lame

[00:29:02] or think that it's sort of like, like notice flaws that I didn't see before.

[00:29:06] And I actually think I liked it a little bit more.

[00:29:09] Yeah.

[00:29:10] I had a similar thing.

[00:29:11] I think this is the third time I have seen this movie.

[00:29:14] Okay?

[00:29:15] The first time I saw it, Entertainment Weekly came out with a list of the top 25 best love

[00:29:21] stories in film.

[00:29:22] You were by the way, you were about two months old when this film was released in

[00:29:25] April 1999.

[00:29:26] Yeah.

[00:29:27] Okay.

[00:29:28] So EW comes out with the best teen movies?

[00:29:30] Yeah.

[00:29:31] I think about 2003, 2004.

[00:29:33] I mean I was 14, 15.

[00:29:35] It wasn't teen movies.

[00:29:36] It was best love stories.

[00:29:37] Best love movies.

[00:29:38] Right?

[00:29:39] Mm-hmm.

[00:29:40] I was number one and I was like, I know people like that movie, but I'm surprised they put

[00:29:43] a teen movie as number one over like Casablanca over whatever, whatever, whatever.

[00:29:47] Right?

[00:29:48] Mm-hmm.

[00:29:49] Um, I was very surprised by that.

[00:29:51] And I went like maybe-

[00:29:52] Not enough fucking in Casablanca, that's why.

[00:29:54] That's why.

[00:29:55] Uh, especially in the backseat of a car.

[00:29:57] Um, uh, I rented it with my mother who-

[00:30:01] They probably fucked on Sam's piano.

[00:30:03] They did Casablanca late at night.

[00:30:05] That's how they wrote-

[00:30:06] She was like played against Sam.

[00:30:07] That's how they wrote-

[00:30:08] You must remember this.

[00:30:09] It was accidentally the butt she's hitting against.

[00:30:12] And he was like-

[00:30:13] Bogart's butt she's-

[00:30:14] Wait a second, let's stop fucking for a second.

[00:30:15] Yeah, that's what he said.

[00:30:16] I think we gotta hit.

[00:30:18] Yep, that's his-

[00:30:19] I'm free Bogart.

[00:30:21] Bogie himself.

[00:30:22] Is this an episode of You Must Remember This?

[00:30:24] Bogie, Bogie, Bogie.

[00:30:26] Okay, all right.

[00:30:27] Um, anyway.

[00:30:28] Oh, so best love stories.

[00:30:30] By the way, this episode was written and narrated by Griffin Newman.

[00:30:34] I love Karina Longworth.

[00:30:35] I love her podcast.

[00:30:36] Me too.

[00:30:37] She certainly hits those T's very hard.

[00:30:38] Really hard.

[00:30:39] Crisp T's.

[00:30:40] Yeah, she hits those T's harder than Bogart's butt cheeks were hitting the piano keys.

[00:30:44] You know what I'm saying?

[00:30:45] Played against Sam.

[00:30:46] Played against Sam.

[00:30:47] Doesn't say that in the movie.

[00:30:48] Nope.

[00:30:50] Never says it.

[00:30:51] We say it on this podcast.

[00:30:52] That's her new catchphrase.

[00:30:53] Played against Sam.

[00:30:55] When people say played against Sam-

[00:30:56] Hashtag played against Sam.

[00:30:58] From here on out when people say played against Sam go,

[00:31:00] Oh, you listen to Blank Check.

[00:31:01] Yeah, it's about this podcast.

[00:31:02] Yeah, you have to promise me.

[00:31:03] Tweet at us every day.

[00:31:05] If you're a real fan of this podcast, every day at 10 in the morning,

[00:31:08] you have to tweet hashtag played against Sam at me and Griffin.

[00:31:11] Yeah, and also include Barack Obama because here's the thing, he's almost out of office.

[00:31:15] But yeah, include Barack Obama not at POTUS.

[00:31:17] No, no, no, the personal account because he's not going to be running the POTUS account anymore.

[00:31:23] Come next year and we want him as the third friend.

[00:31:27] Oh my God.

[00:31:28] Let's throw this out there right now.

[00:31:30] That'd be so good.

[00:31:31] That'd be so good.

[00:31:32] Let's throw this out there.

[00:31:33] We're not accepting a third host.

[00:31:35] Absolutely not.

[00:31:36] Except for the 44th president of the United States, President Barack Obama.

[00:31:42] Yeah.

[00:31:43] He could be a third host.

[00:31:44] Yeah.

[00:31:45] He'd be like Griffin.

[00:31:46] Uh, producer Bette, AKA the Ben Duce.

[00:31:51] Oh hey, what's up?

[00:31:52] AKA the poet.

[00:31:53] Okay.

[00:31:54] We've got an hour and 10 minutes or so.

[00:31:57] AKA the Haas.

[00:31:58] We forgot the Haas.

[00:31:59] Oh, that's a good one.

[00:32:00] I'd like to say to the American people, a hearty, elo fennel.

[00:32:07] Which is worse?

[00:32:08] Obama or my Bogart?

[00:32:09] Your Bogart.

[00:32:10] Your Bogart was worse.

[00:32:11] Bogart was worse.

[00:32:12] Bogart was terrible.

[00:32:14] Your Bogart was just a voice.

[00:32:16] It didn't sound like it was just like, I'm Humphrey Bogart.

[00:32:19] Humphrey Bogart.

[00:32:20] That was Peter Falk.

[00:32:22] Oh that was pretty good.

[00:32:23] I'm Humphrey Bogart.

[00:32:25] Mm-hmm.

[00:32:26] Right?

[00:32:27] Yeah.

[00:32:28] What about this one?

[00:32:29] I'm Humphrey Bogart.

[00:32:31] Bogart.

[00:32:32] As Pacino as Bogart.

[00:32:33] I think I know who that is.

[00:32:34] Yes.

[00:32:35] Pacino?

[00:32:36] Hell yeah.

[00:32:37] A good friend Al?

[00:32:38] What about this?

[00:32:39] I'm Humphrey Bogart.

[00:32:41] That's a waddo.

[00:32:43] As Humphrey Bogart.

[00:32:45] I mean, Humphrey Bogart's role in the Petrified Forest is somewhat waddo-esque.

[00:32:49] Yeah.

[00:32:50] I'm gonna roll 30's movie jam for you guys.

[00:32:53] Yeah.

[00:32:54] You motherfuckers want a jam with that?

[00:32:55] Next episode, the Petrified Forest.

[00:32:57] The year is 1989.

[00:32:59] 1989.

[00:33:00] Griffin Newman is two months old and playing in the multiplexes is say anything.

[00:33:05] I was about to turn three.

[00:33:07] My mother was pregnant but I may not have known it yet.

[00:33:09] You're leaving something out.

[00:33:10] What?

[00:33:11] Ellipses.

[00:33:12] What do you mean ellipses?

[00:33:13] Oh, the title is say anything ellipses.

[00:33:15] Say anything dot dot dot.

[00:33:16] Yeah.

[00:33:17] Thank you.

[00:33:18] My mom doesn't see it when it comes out because she's got a fucking new baby on her.

[00:33:21] And then she hasn't catch up with it later.

[00:33:23] And then when this Entertainment Weekly list comes out both of us go, huh.

[00:33:26] I've never seen that.

[00:33:27] Number one, we should rent that.

[00:33:29] So you rent it?

[00:33:30] We rent it?

[00:33:31] We watch it together and both of us go, oh it's okay.

[00:33:33] Interesting.

[00:33:34] Surprise number one.

[00:33:35] I mean just because we...

[00:33:36] The hype was hard for you to...

[00:33:38] I take Entertainment Weekly list very seriously.

[00:33:40] And especially at that time they were like, I mean I had to Entertainment Weekly like

[00:33:43] top 25 cult movies issue.

[00:33:45] No I get it.

[00:33:46] And that was like my Bible and I just read through that and I ran into all those

[00:33:48] movies and I was like, I get cult movies now.

[00:33:50] And so I saw a lot of movies that I had seen and loved ranked lower than say anything.

[00:33:54] I watched it, we went, that's pretty good.

[00:33:56] We both love Q-Sack, my mom and I.

[00:33:58] He was like one of our movie stars.

[00:34:00] My mom and I really like feel like a mutual kind of ownership of the sack, you know?

[00:34:05] I also love John Q-Sack and always hat.

[00:34:09] Yeah.

[00:34:10] He was also an early favorite of mine.

[00:34:11] And we watched it, I thought it was okay.

[00:34:13] And then I'd say about six or seven years later, 2021, living alone.

[00:34:20] Say anything comes out on Blu-ray for like the whatever it was, the 20th anniversary.

[00:34:24] Sure.

[00:34:25] Yeah, it would have been 20.

[00:34:26] It was the 20th anniversary.

[00:34:27] Yeah.

[00:34:28] The Blu-ray comes out and I rent it and I go, you know I may have been too young

[00:34:31] giving another shot and I watched it and I went, yeah, like a little more than I did last time

[00:34:34] but I still don't like as much as most people do.

[00:34:36] Watched it two nights ago.

[00:34:38] I think I finally get it.

[00:34:40] That's good.

[00:34:41] And I don't know if it's just that previously I was too close to some of it.

[00:34:47] Do you know what I'm saying?

[00:34:48] Mm-hmm.

[00:34:49] I think it makes a lot of his films function best as sort of like memory films.

[00:34:54] Okay.

[00:34:55] In the same way that Linklater movies do.

[00:34:57] There's so much about like reliving a time and a place in your life.

[00:35:01] Yeah.

[00:35:02] Where sometimes if you're in the middle of it, they're not as sharp as if you're

[00:35:06] watching it from the perspective that he had when he was making it.

[00:35:10] I think that's true.

[00:35:11] I think he's very good at putting you in the consciousness of a character.

[00:35:16] Yeah.

[00:35:17] And the movie is very much told from the perspectives of its two teenage protagonists.

[00:35:24] They're both about 18 years old and it has their energy, I think, which is this weird

[00:35:31] sort of mix of like super slow, leconic energy and then like sudden bursts of like

[00:35:36] crazy hormonal passion.

[00:35:38] And it like veers wildly between these two things.

[00:35:41] Lloyd Dobbler.

[00:35:42] Lloyd Dobbler is John Cusack's character and Diane Court.

[00:35:46] Is Ion Skye's character?

[00:35:47] Yeah.

[00:35:48] Ion Skye, I don't actually know how you say your name.

[00:35:51] I thought it was Ion.

[00:35:52] Ion.

[00:35:53] I'm not going to be around any more.

[00:35:55] And I got to tell you guys, Frazier's dad looking young.

[00:35:58] Well this, I'll talk about him for a second.

[00:36:01] So John Mahoney plays Diane's dad.

[00:36:04] And just Ben, for your clarification, the way they did that effects wise is

[00:36:09] that this movie was made before Frazier.

[00:36:11] Oh my God.

[00:36:12] Yeah.

[00:36:13] So just to give you a little Mahoney history.

[00:36:15] So they were able to save money on not Benjamin Buttoning him or not Jeremy Pivening him.

[00:36:19] I guess that means.

[00:36:20] You were talking about Chicago.

[00:36:22] Mahoney is a Steppenwolf theater man, like which is the Chicago, this like famous Chicago

[00:36:27] theater company, Malikovic came out of it, you know.

[00:36:29] The great Gary Sonees.

[00:36:30] Gary Sonees, this is a co-founder.

[00:36:32] And so he, you know, he had been a big deal there.

[00:36:36] He'd taken his work to Broadway.

[00:36:38] He'd won a Tony for the House of Blue Leaves.

[00:36:40] Like he was like this big theater actor.

[00:36:43] He had barely been in any movies by the time he's insane.

[00:36:46] He'd been in 10 men, he'd been in eight men out.

[00:36:48] Which was a Chicago movie.

[00:36:50] Yeah, John Sayles movie.

[00:36:52] And so, but you know, he's going to be in Barton Fink in a couple of years.

[00:36:57] Like he's going to be in the Huds Circle proxy.

[00:36:59] You know, the Coens liked him.

[00:37:01] In like reality bites, he's like floating around and then 93 he's in Frazier

[00:37:05] and then it's sort of like he's the Frazier guy I feel like.

[00:37:08] But he's like a great actor and I feel like he gets.

[00:37:10] Who became Frazier's dad?

[00:37:11] Yeah, he gets pegged to Frazier.

[00:37:12] You know, he's great in Frazier.

[00:37:14] Like it's a performance like he's very good.

[00:37:16] And he made tens of millions of dollars.

[00:37:18] Made so much money.

[00:37:19] But it is that sitcom curse.

[00:37:21] A little bit, a little bit, yeah.

[00:37:23] Yeah, and the same way that I'm going to be stuck as you know...

[00:37:27] Intern?

[00:37:29] You know, I was trying to make a better reference

[00:37:31] but I couldn't remember the name of the character.

[00:37:33] I don't remember.

[00:37:34] I was going to say the assistant I played on political animals.

[00:37:38] You don't even remember what the name of your character was?

[00:37:41] I can't even do it.

[00:37:43] Well, there you go.

[00:37:44] I think maybe it's Rick as well.

[00:37:46] Was it also Rick?

[00:37:47] It might have been.

[00:37:48] Which character of Frazier would you guys date?

[00:37:50] Which character in Frazier what I did?

[00:37:52] 100% Dr. Frazier Crane.

[00:37:54] Maybe Neewer.

[00:37:55] Lillith?

[00:37:56] Yeah.

[00:37:57] Well she's a Cheers character.

[00:37:58] Is she on Frazier?

[00:37:59] Yeah, she's on Frazier but I mean,

[00:38:01] she's more of a Cheers.

[00:38:02] She never got her own Frazier.

[00:38:04] I mean, you can count her if you really want to.

[00:38:06] Who was the sassy producer?

[00:38:08] You know, what the fuck is her name?

[00:38:10] I think it's Paragilpin.

[00:38:12] Ross?

[00:38:13] Ross, there you go.

[00:38:14] Yeah.

[00:38:15] Or Eddie.

[00:38:18] Eddie the dog?

[00:38:19] Yeah, Moose.

[00:38:20] Who was in The Artist?

[00:38:22] The dog's name was Moose.

[00:38:23] It was actually two dogs.

[00:38:24] Moose was the second.

[00:38:25] Oh, bling.

[00:38:27] You know what I'll say about BB Neworth?

[00:38:29] Because she's in this movie, say anything.

[00:38:31] For one scene.

[00:38:32] Yeah.

[00:38:33] And I watched the movie with Joanna and she was like,

[00:38:35] is she at the party too?

[00:38:36] It's a weird seat because she's the guidance counselor,

[00:38:38] but she's at like the teen party.

[00:38:40] Yeah.

[00:38:41] It's weird.

[00:38:42] You know what my biggest takeaway was from her appearance in this film?

[00:38:44] You wanted to make out with her?

[00:38:45] Yep.

[00:38:46] She's yet gorgeous.

[00:38:47] Yep, I'll take as much of that as you got.

[00:38:49] Did you watch the Tony Awards?

[00:38:50] I did.

[00:38:51] Yeah, she, you know, she did a number.

[00:38:54] She did Chicago.

[00:38:55] I know.

[00:38:56] She did a number from Chicago.

[00:38:57] She looked great.

[00:38:58] You know what was fun about that number?

[00:38:59] That number happened two hours and 50 minutes into a ceremony

[00:39:02] that was supposed to be three hours long

[00:39:04] and they still had five awards together.

[00:39:06] They only have three, but it was still crazy.

[00:39:07] They had the two acting musical leads and best musical to go.

[00:39:11] And it was like, and she was like,

[00:39:13] Chicago, the revival, it's been running for 20 years

[00:39:15] and we're all like, okay, I mean great.

[00:39:18] Yeah, we know that because you do a Chicago number every year.

[00:39:21] Get with the show.

[00:39:23] And all that jazz.

[00:39:24] Who of the main Chicago cast would you fuck in the movie?

[00:39:27] In the motion picture, Chicago?

[00:39:29] There's only one answer.

[00:39:31] Lucy Liu.

[00:39:32] She's not in the movie, is she?

[00:39:33] Lucy Liu's in the film Chicago.

[00:39:35] What is she doing again?

[00:39:36] Gets arrested.

[00:39:37] Oh yeah, right at the beginning.

[00:39:39] Yeah.

[00:39:40] Who's your one answer?

[00:39:42] Here.

[00:39:43] Razzle Dezl.

[00:39:44] I want him to razzle Dezl.

[00:39:45] He's not my type.

[00:39:49] I guess your type is not handsome people.

[00:39:52] No, well I'd go Lucy Liu number one.

[00:39:54] I'd go number two, Tay Diggs.

[00:39:57] Yeah, he's really hot.

[00:39:59] He looks good in that movie.

[00:40:01] And then I'd go Bransky number three of the bullet.

[00:40:04] All right, let's keep going.

[00:40:05] O'Reilly's number three.

[00:40:06] He's a tender lover.

[00:40:07] Who?

[00:40:08] O'Reilly.

[00:40:09] Oh, John C.

[00:40:10] O'Reilly would work harder because he doesn't have his looks to lie back on.

[00:40:13] Mr. Sullivan.

[00:40:14] You know?

[00:40:15] Yeah, yeah, yeah.

[00:40:16] Mr. Sullivan.

[00:40:17] He's Mr. Sullivan.

[00:40:18] What's the movie we're talking about today?

[00:40:20] Say Anything.

[00:40:21] Oh right, 1989 directed by Cameron Crowe starring John Cusack,

[00:40:24] A Own Sky, and John Mahoney.

[00:40:27] Three powerhouse performances.

[00:40:29] Let's talk about the plot of this film.

[00:40:31] Let's talk about because Cameron Crowe does not make plot driven films.

[00:40:35] That's become like a cornstone of the show as we go through the movie and we sort of summarize

[00:40:39] the events of the film and then come up with, you know, sort of notes and opinions.

[00:40:43] Yeah, that's usually our style.

[00:40:44] And insights as we're going through it.

[00:40:46] But these films are very sort of...

[00:40:48] They're shaggy.

[00:40:49] And they're kind of anecdotal, you know?

[00:40:51] They're a series of little events, little moments.

[00:40:54] Yeah, absolutely.

[00:40:55] They're shaggy in a charming way.

[00:40:57] This movie starts out mid-conversation.

[00:41:00] Yes.

[00:41:01] Lloyd Dobbler, played by John Cusack, sitting with a character named Corey,

[00:41:06] played by the great Lily Taylor.

[00:41:08] She's so good in this movie.

[00:41:10] So good in this movie.

[00:41:11] Oh my God.

[00:41:12] And then the third character is played by James L. Brooks' daughter.

[00:41:15] Oh really?

[00:41:16] Yeah.

[00:41:17] She's adorable, Amy Brooks.

[00:41:18] Amy Brooks.

[00:41:19] That's DC.

[00:41:20] Yeah, she's really cute, but she doesn't have much to do.

[00:41:22] She has that one moment where she's like...

[00:41:26] I wanted to say something.

[00:41:28] You're always talking over me and like, what is it?

[00:41:30] It's a good little moment.

[00:41:31] And it's like a good little encapsulation of the crow thing,

[00:41:35] which is like everyone's a person.

[00:41:37] Like he makes these movies...

[00:41:38] Yes, absolutely.

[00:41:39] ...where everyone is sort of a fully realized character

[00:41:42] and has their own victories and their own failures

[00:41:44] and aren't just there to like prop up anybody else.

[00:41:48] But the opening of this film starts mid-conversation.

[00:41:51] He's sitting around with these two girls.

[00:41:53] Yeah, and he's kind of part of his character.

[00:41:57] His best friends are girls.

[00:41:59] And I think in the late 80s this is like enough of an unusual concept.

[00:42:03] It's like...

[00:42:04] Definitely.

[00:42:05] Yeah, this guy is not very particularly typical,

[00:42:07] but he's not alternative exactly.

[00:42:09] He just kind of has the kind of energy where he's his best friends

[00:42:13] are these cool girls.

[00:42:14] But they don't push it too hard.

[00:42:15] You never see him really being friendly with other guys in the movie.

[00:42:18] The guy who seems closest to his Eric Stoltz character.

[00:42:20] But there's the one scene where he's like,

[00:42:22] maybe the problem is that I'm friends with girls

[00:42:24] and I should be friends with guys

[00:42:25] and he goes to talk to the guys

[00:42:26] and they're just like troglodytes.

[00:42:27] I love that scene.

[00:42:28] I love that scene.

[00:42:29] Those guys suck, including PIVs.

[00:42:31] But he's talking to ladies.

[00:42:32] I think you're right that this was kind of a novel concept at the time.

[00:42:35] Just slightly.

[00:42:36] And then after that,

[00:42:38] I think partly because of this film it becomes more of a trope

[00:42:41] to have like the sensitive guy with the best friend who is a girl.

[00:42:44] Sure.

[00:42:45] But the whole film is setting up to

[00:42:47] he's in love with the wrong person

[00:42:48] and he really should be in love with his best friend

[00:42:49] at the end of the movie.

[00:42:50] A classic rom-com trope.

[00:42:51] This is not what this is.

[00:42:52] Say anything doesn't do that.

[00:42:53] He's just a guy who is friends with a gal.

[00:42:56] I think what I like about this movie...

[00:42:57] Couple gals.

[00:42:58] Couple gals.

[00:42:59] And Lulie Taylor had just been in the year before.

[00:43:02] One of my favorite movies to just watch over and over again.

[00:43:05] Can you guess?

[00:43:06] It's really her only movie before this one.

[00:43:08] Dogfight?

[00:43:09] Mystic Pizza.

[00:43:10] Oh, right.

[00:43:11] Yeah.

[00:43:12] Which she's so good at.

[00:43:13] Dogfight was late.

[00:43:14] She's in Mystic Pizza.

[00:43:15] She's kind of the wild character, which is funny.

[00:43:16] Correct.

[00:43:17] Anyway, what I like about this versus what I think is a

[00:43:21] common teen movie of the 80s,

[00:43:23] which is the John Hughes movie,

[00:43:25] is that it is less factional.

[00:43:27] You know, it's like Cusack isn't a type.

[00:43:29] His friends aren't a type.

[00:43:31] And Diane is more of a type because she's like the

[00:43:33] goody two shoes.

[00:43:34] But I like that when they go to the party,

[00:43:36] which is my favorite scene in the movie,

[00:43:38] obviously it's an extended series of scenes right at the start.

[00:43:40] Yeah.

[00:43:41] It's not like a popularity thing.

[00:43:44] It's not like a weird, tense place.

[00:43:46] No.

[00:43:47] It's just a bunch of energy and sexy things.

[00:43:49] Yeah.

[00:43:50] And just kind of people being like,

[00:43:51] whoa, we're teenagers.

[00:43:52] Ah!

[00:43:53] They're behaving stupidly.

[00:43:55] And there are villains like there's Joe,

[00:43:57] but I mean he's a moron.

[00:43:58] He's just stupid, which is mostly teenagers

[00:44:02] are mean to each other because they are fucking stupid.

[00:44:05] And they wanted to have sex, which is a real problem.

[00:44:07] There's the...

[00:44:09] Oh boy.

[00:44:10] Anyway, I like saying it.

[00:44:11] It just upends so many tropes.

[00:44:12] There's the great genre and war quote that the great...

[00:44:15] I'm gonna fuck it up, but...

[00:44:17] Great French director?

[00:44:18] The great French director.

[00:44:20] His quote was something like,

[00:44:22] in the Grand Illusion.

[00:44:24] Or maybe it's in Rules of the Game.

[00:44:26] A character says,

[00:44:27] I believe maybe his character that he plays

[00:44:29] in Rules of the Game says,

[00:44:31] the great tragedy of the world is that everyone has their reasons.

[00:44:35] But maybe I'm wrong and maybe the Nazi says that

[00:44:37] in Grand Illusion.

[00:44:38] The point is...

[00:44:39] What is the world but the ocean

[00:44:40] but a multitude of drops?

[00:44:41] Yes.

[00:44:42] Anyway, go on.

[00:44:43] But that line always hit me really hard.

[00:44:45] The great tragedy of the world is that everyone has their reasons.

[00:44:47] Great line.

[00:44:48] I feel like, you know,

[00:44:50] Kim and Kurt makes films that are on their face kind of low stakes.

[00:44:54] There aren't do or die moments.

[00:44:55] It's people trying to define themselves, right?

[00:44:57] Especially this one, yes.

[00:44:58] Right, they're mostly movies of like internal self-exploration.

[00:45:02] And if there is some externalized goal

[00:45:04] of what they're trying to achieve in their career

[00:45:06] in their relationship,

[00:45:07] it's just about them trying to hit a different place in their life.

[00:45:10] Or, and but also it's like when plot things happen,

[00:45:13] they happen because crazy things happen in people's lives.

[00:45:16] Out of nowhere sometimes.

[00:45:17] Right.

[00:45:18] Or because someone makes one dumb decision.

[00:45:20] And that's, I think that's what Cameron Crowe

[00:45:23] eventually loses track of.

[00:45:24] But like that's how his early movies feel,

[00:45:26] where it's just suddenly there's a big plot development.

[00:45:28] And you're like, oh, this almost feels jarring.

[00:45:30] But it's like, you know,

[00:45:31] he's trying to capture how life works.

[00:45:33] Sometimes shit just happens, right?

[00:45:34] Yeah.

[00:45:35] Where it's like boop, boop, boop, boop.

[00:45:36] And then suddenly just someone comes up to you

[00:45:37] and goes like,

[00:45:38] this amazing or terrible thing just happened.

[00:45:40] Boom, boom, boom.

[00:45:41] And you go back to boop, boop, boop, boop, boop.

[00:45:44] But this opening scene, right?

[00:45:48] I forget what the first couple lines are.

[00:45:50] Oh, you really want to constrain on this opening scene.

[00:45:52] It is a great scene.

[00:45:53] It's really classic.

[00:45:54] There were a couple opening lines I was trying to write down,

[00:45:55] but I think I missed them that are happening

[00:45:57] over sort of the opening titles of the film.

[00:45:59] And then when we cut into the bedroom

[00:46:02] and we see them there,

[00:46:03] because it starts with like a skyline shot.

[00:46:05] Seattle.

[00:46:06] Right, one of the first things,

[00:46:07] the John Q-Sick,

[00:46:08] I believe the first thing his character says,

[00:46:09] because the dialogue we're hearing before that

[00:46:10] is Taylor and Brooks.

[00:46:12] He goes, I'm going to ask at Diane Court.

[00:46:14] The movie gets straight to the point.

[00:46:16] That's what it's about.

[00:46:17] It's about him wanting to ask her out.

[00:46:19] And that's what his character is about for the whole movie.

[00:46:22] I feel like a lot of movies,

[00:46:24] he would have other goals or problems.

[00:46:27] But as he keeps being asked

[00:46:29] what he wants to do with his life,

[00:46:30] and he keeps replying half jokely

[00:46:33] like, I want to be with your daughter.

[00:46:34] I want to be with Diane.

[00:46:35] But that's actually true.

[00:46:37] That's basically what he's got right now.

[00:46:39] He knows they'd be good together.

[00:46:41] He likes her.

[00:46:42] Yeah.

[00:46:43] And he wants to be with her.

[00:46:44] That's what he wants to do.

[00:46:45] Well, I just like that the two of them,

[00:46:47] the two friends,

[00:46:48] not hashtag the two friends,

[00:46:49] but his two friends.

[00:46:51] Move on.

[00:46:52] Let's make it clear.

[00:46:53] They're not edging in our territory.

[00:46:54] Move on.

[00:46:55] They're immediately like,

[00:46:56] Diane Court,

[00:46:57] she's like a brain,

[00:46:58] she doesn't socialize.

[00:46:59] She's a brain, she's valedictorian.

[00:47:00] He goes, what about the movies?

[00:47:01] Would the movies be a good second date?

[00:47:03] And they go, you haven't had a first date.

[00:47:04] And he's like, yeah we did.

[00:47:05] We sat together.

[00:47:06] We sat at the food court.

[00:47:07] We sat together for a little while and we talked.

[00:47:09] Right.

[00:47:10] And he thinks this happened.

[00:47:11] We never see this.

[00:47:12] Yeah.

[00:47:13] She just seems to have no memory of it.

[00:47:14] Yeah.

[00:47:15] But it definitely happened for him.

[00:47:16] He calls it later,

[00:47:17] our controversial first date.

[00:47:18] Yes.

[00:47:19] But did you ever have this in high school

[00:47:20] where you just one day like look at a person

[00:47:22] who's obviously existed for a while

[00:47:23] and just go like,

[00:47:24] oh I'm gonna have a crush on her now?

[00:47:26] Kind of.

[00:47:27] Now I can't know if the listeners know this.

[00:47:29] I went to a boys' school.

[00:47:30] Oh boy.

[00:47:31] So is it different,

[00:47:32] it's a different vibe.

[00:47:33] There's less of that.

[00:47:34] Or should I say, oh boys.

[00:47:35] Oh boys.

[00:47:36] Oh boys.

[00:47:37] So when you meet a girl

[00:47:38] at a boys' school

[00:47:39] and I met plenty of girls

[00:47:40] and I have my, you know,

[00:47:42] my romances and all this.

[00:47:43] Yeah, come over here.

[00:47:44] But it's more like when you meet a girl

[00:47:46] you're a little more conscious of like,

[00:47:48] ooh a girl, okay.

[00:47:49] Because all I see all day at school are boys.

[00:47:52] Like here's a girl.

[00:47:53] Yeah.

[00:47:54] Like I should think about her

[00:47:55] like a little more consciously

[00:47:56] than just like,

[00:47:57] you know, yeah.

[00:47:58] I guess this thing I'm getting at.

[00:47:59] I mean I'm a heterosexual man.

[00:48:01] Right.

[00:48:02] So that's how my brain works.

[00:48:03] That's all.

[00:48:04] Not to be, you know,

[00:48:05] not everyone at the boys' school

[00:48:06] was thinking this way.

[00:48:07] Put it that way.

[00:48:08] Put it that way.

[00:48:09] Put it.

[00:48:10] There were some gay boys at the school.

[00:48:12] Right, yeah.

[00:48:13] The way you'd put it was...

[00:48:14] That's how I would put it.

[00:48:15] Yeah.

[00:48:16] It is the rules of the game, your quote.

[00:48:17] Oh, thank you.

[00:48:18] Okay.

[00:48:19] And I think it is Akavit,

[00:48:20] it's his character.

[00:48:21] Correct.

[00:48:22] I always get,

[00:48:23] I get scared.

[00:48:24] You get tripped up on your own anxieties.

[00:48:25] I don't want to misattribute it

[00:48:26] but that's what I kind of knew

[00:48:27] in my heart.

[00:48:28] It was that character anyway.

[00:48:29] So he wants to take Diana

[00:48:30] on a date.

[00:48:31] Oh no, but what I was going to say

[00:48:32] was I just think I remember

[00:48:33] in high school like one day

[00:48:34] Oh sure, crushes.

[00:48:35] Walking past a lady who had like,

[00:48:37] you know, I'd been in the same building

[00:48:38] with for years.

[00:48:39] Sure.

[00:48:40] And just like nothing changed externally.

[00:48:43] It wasn't like she came in with some fucking

[00:48:45] Ali Sheedy makeover and I was like,

[00:48:46] I never noticed you before.

[00:48:47] Sure.

[00:48:48] I just...

[00:48:49] More of the Hughes crappy.

[00:48:50] Right.

[00:48:51] I would just go like,

[00:48:52] Oh, I could have a crush on that person.

[00:48:54] Sure.

[00:48:55] You know?

[00:48:56] And then I would just the next day

[00:48:57] decide like, I have a crush on that person.

[00:48:58] How am I going to talk to her?

[00:48:59] Okay.

[00:49:00] So you were maybe

[00:49:01] had a slightly obsessive

[00:49:02] or fixated thing personality type.

[00:49:04] Yeah.

[00:49:05] Yeah, listeners of this show

[00:49:06] might be surprised to hear that I obsess

[00:49:08] and fixate on things.

[00:49:10] Oh boy.

[00:49:11] But much like Lloyd Dobbler,

[00:49:13] I had like a lot of female friends

[00:49:15] and I'd go with them and I'd go like,

[00:49:16] how do I talk to her?

[00:49:17] What would be the thing?

[00:49:18] Sure, you would workshop.

[00:49:19] Where is she going to be at this party?

[00:49:20] What do I do?

[00:49:21] You know?

[00:49:22] But what I like about this movie

[00:49:23] is that the obsession is contained

[00:49:25] to the first scene

[00:49:26] and then he calls her on the phone.

[00:49:27] Yeah.

[00:49:28] So we see him go home.

[00:49:30] He lives with his sister.

[00:49:31] He lives with his older sister

[00:49:32] who has a kid.

[00:49:33] Played by the great Joan Cusack.

[00:49:35] Yes, and the kid is played by some kid.

[00:49:37] Yes.

[00:49:38] And he likes to go,

[00:49:39] yeah!

[00:49:40] The kid, the kid's,

[00:49:42] he's very kiddy.

[00:49:43] Yeah, he's a real kid.

[00:49:44] He's a real kid.

[00:49:45] He's a real 80s kid.

[00:49:46] Yeah, Joan Cusack rules in this movie.

[00:49:48] She's the best.

[00:49:49] So good.

[00:49:50] And I love that first scene

[00:49:51] where they've just graduated.

[00:49:53] The first scene where you see her,

[00:49:54] he just graduated

[00:49:55] and she comes in apologizing

[00:49:56] like, I'm sorry that I couldn't be there.

[00:49:58] And he's like,

[00:49:59] I don't worry about it.

[00:50:00] And she's like,

[00:50:01] oh, but you're graduating

[00:50:02] and I wish I could have been there.

[00:50:03] And then immediately

[00:50:04] Yeah.

[00:50:05] And he's like,

[00:50:06] will you back off?

[00:50:07] And she's like,

[00:50:08] yeah, I'm sorry.

[00:50:09] And he's like,

[00:50:10] you used to be cool.

[00:50:11] And she's like,

[00:50:12] I did use to be cool.

[00:50:13] It's this whole range of emotions

[00:50:14] in five minutes.

[00:50:15] She's his big sister

[00:50:16] with a kid

[00:50:17] It's so good!

[00:50:18] who was abandoned by her husband.

[00:50:20] They live together now

[00:50:21] while their parents are stationed in England.

[00:50:23] In Munich.

[00:50:24] His parents are in the military.

[00:50:26] Releases fatherhood.

[00:50:27] They're in Germany right now.

[00:50:28] Yes.

[00:50:29] You don't really hear anything about the mom,

[00:50:30] but the dad is in the military

[00:50:31] and wants Joan Cusack to join

[00:50:32] now that he's graduated.

[00:50:33] Right.

[00:50:34] And there isn't there a line that eludes the fact

[00:50:36] that he had spent some time stationed with them

[00:50:37] and decided he wanted to be back in the States

[00:50:38] and now he has to live with his sister.

[00:50:40] He spent some time in London.

[00:50:41] That's why you are thinking of that

[00:50:43] because she's,

[00:50:44] Diane's about to go to London.

[00:50:46] But he's also been there.

[00:50:47] Right.

[00:50:48] Right.

[00:50:49] Because he knows cool London places to recommend her.

[00:50:50] Cool.

[00:50:51] Yeah.

[00:50:52] In between these scenes,

[00:50:53] right, there is the scene

[00:50:54] of John Mahoney and I on Sky

[00:50:55] in the car.

[00:50:56] Mahoney is so good in the military.

[00:50:57] This is an unbelievable performance.

[00:50:59] It's it's

[00:51:00] This is one of the things for me

[00:51:01] that like clicked this time watching it

[00:51:03] that I don't think I was old enough

[00:51:04] the two previous times

[00:51:05] to really understand that character.

[00:51:08] Like I understood his actions

[00:51:10] and what he was doing.

[00:51:11] Sure.

[00:51:12] But it always was like,

[00:51:13] oh, so he's just a shitty guy

[00:51:14] and I watched this movie now as like

[00:51:16] somewhat of an adult.

[00:51:17] Sure.

[00:51:18] And I totally understand the fear

[00:51:20] that drove him to do these shitty things.

[00:51:22] No, exactly.

[00:51:23] And the delusions,

[00:51:24] the way he lies to himself

[00:51:25] and justifies his actions.

[00:51:26] That's what I think the movie gets at

[00:51:27] from the very first scene

[00:51:28] where she is going through her speech

[00:51:30] the valedictorian speech that she's going to give

[00:51:32] and she has this lame joke

[00:51:33] which is like, I've seen our future

[00:51:35] and I just have one thing to say.

[00:51:36] Go back.

[00:51:37] Is that it?

[00:51:38] Yes.

[00:51:39] And he's just like,

[00:51:40] ah, that's great.

[00:51:41] That's great, 3D.

[00:51:42] Go back.

[00:51:43] Yeah.

[00:51:44] Like, and it's just like

[00:51:45] there's no one on earth

[00:51:46] who would think that was that funny.

[00:51:47] No.

[00:51:48] He doesn't think that's that funny

[00:51:49] but he's thrown

[00:51:50] at all his eggs in her basket.

[00:51:52] Yeah.

[00:51:53] And like we're just getting it

[00:51:54] immediately.

[00:51:55] And like obviously this is the mistake

[00:51:56] he's made.

[00:51:57] He thinks his daughter is incredibly special

[00:51:58] which I think the film also argues she is.

[00:52:01] Totally.

[00:52:02] And he is so blindly afraid of

[00:52:06] anything going wrong in her life.

[00:52:08] Of her, for any reason

[00:52:10] not being able to live up to her potential.

[00:52:11] And he has like,

[00:52:12] they've basically like planned

[00:52:13] it's kind of like the Gilmore girls dynamic

[00:52:15] but much more intense.

[00:52:17] It's like since she was a kid

[00:52:19] the plan has just been like

[00:52:20] you're gonna be valedictorian.

[00:52:22] You're gonna like get this fellowship.

[00:52:23] You're gonna go to the best school.

[00:52:24] You're gonna get the best jobs.

[00:52:25] You're gonna be on think tanks.

[00:52:26] You're just gonna be an important person.

[00:52:29] And you're so smart.

[00:52:30] And she has this very close relationship

[00:52:32] with her father.

[00:52:33] He is also like her best friend.

[00:52:35] They can say anything to each other.

[00:52:39] And he administers an old folks home

[00:52:41] where she helps out.

[00:52:42] But I like the sense that's not that

[00:52:44] he's sort of this like controlling kind of stage.

[00:52:46] That's what I love about it.

[00:52:47] He's not controlling.

[00:52:49] You think early on when she comes

[00:52:50] home late from the party

[00:52:51] he's gonna cheer her out.

[00:52:52] He doesn't.

[00:52:53] He's just like hey.

[00:52:54] He loves her unconditionally.

[00:52:55] And she's like I'm glad I went.

[00:52:56] And he's like great.

[00:52:57] He knows how smart and talented she is.

[00:53:00] He is terrified of anything getting in the way.

[00:53:03] Any common thing that could trip up any kid.

[00:53:05] What if she starts drinking?

[00:53:06] What if she gets him with the wrong crowd?

[00:53:08] What if she socially becomes obsessed with this?

[00:53:10] He wants her to stay on the path

[00:53:12] to achieve some sort of greatness.

[00:53:14] I also like that the greatness isn't specific.

[00:53:17] No.

[00:53:18] He's not going you gotta be a lawyer

[00:53:19] or a doctor.

[00:53:20] No it's just he knows she's gonna be important.

[00:53:21] You have ability.

[00:53:23] And I want that to be placed somewhere important

[00:53:25] and not diluted at all in the way

[00:53:27] that can often happen in high school.

[00:53:29] Exactly.

[00:53:30] And she is very dorky

[00:53:33] and that she really just cares about

[00:53:36] this sort of stuff

[00:53:37] and has no social life whatsoever.

[00:53:40] But she's not socially inept.

[00:53:42] No.

[00:53:43] She's more socially untested.

[00:53:45] Yeah.

[00:53:46] And because she's been like

[00:53:48] and they mentioned early

[00:53:49] sacrificing her social life

[00:53:50] basically to go to classes

[00:53:52] and like do all this extra stuff.

[00:53:53] Yeah.

[00:53:54] So she's valedictorian.

[00:53:55] She makes the speech

[00:53:56] and bomb tart.

[00:53:57] And she makes a speech

[00:53:58] that the joke doesn't go over well

[00:53:59] but she makes a speech

[00:54:00] and then she seems to kind of go off script

[00:54:01] and she says like I've now

[00:54:03] you know I've considered the future

[00:54:04] and I'm really scared.

[00:54:05] Yeah.

[00:54:06] Which seems like an honest admission

[00:54:07] and not like a phony.

[00:54:09] Right.

[00:54:10] Which is a nice moment.

[00:54:11] And then Lloyd calls her up.

[00:54:13] Well Lloyd photo bombs her.

[00:54:14] He does the original photo bomb.

[00:54:15] He does the photo bomb.

[00:54:16] He goes to Corey

[00:54:17] and he goes take a picture

[00:54:18] I'm gonna stand behind her

[00:54:19] and then turns dressed at the right moment.

[00:54:20] But I feel like we should move.

[00:54:21] I agree.

[00:54:22] I just want to give him credit

[00:54:23] for being the original photo bomber.

[00:54:24] Okay.

[00:54:25] Yes.

[00:54:26] Yes.

[00:54:27] Okay.

[00:54:28] Hashtag the original photo bomber.

[00:54:29] No.

[00:54:30] He calls her up.

[00:54:31] Hashtag play it against him.

[00:54:32] He calls her up on the phone.

[00:54:33] Yeah.

[00:54:34] And like doesn't even really wear her down.

[00:54:36] Now I mean I feel like this is what

[00:54:37] I was afraid of rewatching this movie.

[00:54:39] Yeah.

[00:54:40] Is you rewatch some of this stuff

[00:54:41] that was romantic when you were younger

[00:54:43] and then when you're older

[00:54:44] you're like this is about a guy

[00:54:45] who won't stop pestering

[00:54:46] some poor woman until she finally falls

[00:54:48] in love with him.

[00:54:49] I got I had a big conversation last night

[00:54:51] with my best friend Sophie and Hawking

[00:54:53] who I've referenced a lot on this film.

[00:54:54] Love you Sophie.

[00:54:56] About this sort of thing

[00:54:58] in the media of like all these

[00:55:01] great romances being about a guy

[00:55:03] who won't give up trying to win over the girl.

[00:55:05] Sure your your your romance is

[00:55:06] problematic or whatever.

[00:55:07] Right but it sets this very weird

[00:55:09] precedent where it's like

[00:55:10] well eventually he wins her over

[00:55:11] and it's fine because of the one time

[00:55:13] that she relents.

[00:55:14] Yeah sure.

[00:55:15] But it's also like the line

[00:55:16] you're presenting there.

[00:55:17] Well I think people now just think

[00:55:19] like it's set this like bad kind of

[00:55:21] example for people younger people

[00:55:23] where they're like oh but I thought

[00:55:25] it's like if I just like bothered

[00:55:27] someone maybe that would work or

[00:55:29] like I'm a nice guy you're supposed

[00:55:31] to like take me seriously because

[00:55:33] I'm a quote unquote nice guy or

[00:55:34] whatever all these sort of bad

[00:55:36] habits.

[00:55:37] Yeah bad things bad things in the

[00:55:38] culture.

[00:55:39] But but he just has this like

[00:55:41] he's got such a light touch.

[00:55:43] Yeah that's what I think this movie

[00:55:45] mostly threads the needle.

[00:55:47] The one weird thing he does honestly

[00:55:49] is play in your eyes on the stereo

[00:55:51] for her like that's the one time when

[00:55:53] he's like borderline bothering her.

[00:55:55] But I'd say it's more weird like come

[00:55:57] on you're a weird guy like he I don't

[00:55:59] think it's too pestering.

[00:56:00] No me too I mean but that's

[00:56:02] the movie pulls it off.

[00:56:03] If there was a sequence where you

[00:56:04] saw him do that every morning

[00:56:06] like six mornings in a row be like

[00:56:08] okay fucking take it down and

[00:56:09] not stop right or if it was like

[00:56:11] the awful movie The Last Kiss where

[00:56:13] Zach Braff's big sacrifice after he

[00:56:15] cheats on his fiance whatever

[00:56:17] is that he just sits outside her

[00:56:19] house all day and night for days

[00:56:21] and days and days.

[00:56:22] Or the least romantic moment in

[00:56:24] any movie ever which is when

[00:56:28] Walking Dead has the note cards

[00:56:30] for hero nightly.

[00:56:31] Oh yeah yeah oh god I mean

[00:56:33] I hate love actually so much Andrew

[00:56:35] Lincoln Andrew Lincoln yes yes

[00:56:37] yeah to me you are perfect Rick

[00:56:39] Grimes in The Walking Dead and

[00:56:41] he played the character of Rick Grimes

[00:56:43] in Love Actually.

[00:56:44] Yes.

[00:56:45] Yeah and Kira Knightley played Anna

[00:56:46] Karenina.

[00:56:47] Yes and Chewattell Ejiofor played

[00:56:49] Baron Mordo.

[00:56:52] What was his name in those serenity

[00:56:54] it's like the inspector but it's not

[00:56:56] that.

[00:56:57] I've never seen serenity.

[00:56:58] He's so good.

[00:56:59] Yeah you know what that guy

[00:57:01] really fucking good actor.

[00:57:03] Oh my god he's an incredible actor

[00:57:05] the operative that's his name in

[00:57:07] the serenity.

[00:57:08] I saw him in something recently

[00:57:09] that was like so whatever and he

[00:57:11] was so above me on the secret in

[00:57:13] their eyes.

[00:57:14] No is he good in that.

[00:57:15] No I didn't see it I was just wondering.

[00:57:16] Oh you know what he's fucking great

[00:57:17] in and it's like a fucking throwaway

[00:57:19] of a movie a triple nine.

[00:57:21] Oh cool right with yeah

[00:57:23] I haven't seen that with everybody

[00:57:24] Winslet as the Jewish

[00:57:26] mobster she also rules in that

[00:57:28] although

[00:57:30] putting her next to Gal Gadot

[00:57:34] makes like it's a little treat

[00:57:36] because Gal Gadot is Israeli.

[00:57:38] Yeah she is.

[00:57:39] And Kate Winslet is not.

[00:57:41] Oh sure is a milky English woman.

[00:57:43] Right and she like plays it well

[00:57:44] and then anytime Gal Gadot

[00:57:45] standing next to her you're like

[00:57:46] ooh.

[00:57:47] Are you do you see him in something

[00:57:49] recently?

[00:57:50] Yeah I just watched him something.

[00:57:51] A Martian?

[00:57:52] He's good he's so good at Martian.

[00:57:54] He's good.

[00:57:55] Z for Zachariah?

[00:57:56] He's literally great in everything.

[00:57:57] I don't ever think I've seen

[00:57:58] a bad performance.

[00:57:59] Z for Zachariah?

[00:58:00] No but he is very good in that.

[00:58:02] Salt?

[00:58:03] You know a movie he's good.

[00:58:04] Who is Salt?

[00:58:05] I think actually Jolie.

[00:58:08] You know Red Belt?

[00:58:09] Oh he fucking rules in Red Belt.

[00:58:11] You know I go to the mat for Red Belt right?

[00:58:14] But you know I love Red Belt right?

[00:58:16] Inside Man?

[00:58:17] He's great in Inside Man.

[00:58:18] He's great and I rewatched that

[00:58:19] recently actually on TV.

[00:58:20] You know a movie he rules in?

[00:58:22] What?

[00:58:23] He is great as the only black man

[00:58:26] ever in the history of New York City

[00:58:28] in a Woody Allen film.

[00:58:29] In Miranda and Miranda?

[00:58:30] Yes.

[00:58:31] He's pretty good at that.

[00:58:32] He's fucking great in that movie.

[00:58:33] Has there ever been black people

[00:58:34] in Woody Allen movies?

[00:58:35] Melinda Melinda by the way

[00:58:36] Miranda and Miranda.

[00:58:37] Oh sorry.

[00:58:38] I was thinking of my favorite

[00:58:39] Sex and City character Miranda.

[00:58:40] Right and the name's so nice

[00:58:42] you got to name it twice.

[00:58:43] Correct.

[00:58:44] I think that's

[00:58:45] I think he's the only one.

[00:58:46] I'm trying to look like black actors

[00:58:47] in Woody Allen movies.

[00:58:48] I think he's the only one.

[00:58:49] He's made so many movies

[00:58:50] that can't be true.

[00:58:51] I mean who else can be

[00:58:52] Woody Allen couple of bad things

[00:58:54] in that career there

[00:58:55] but just wondering.

[00:58:56] I cannot think of another one

[00:58:58] of prominence.

[00:58:59] I will say that.

[00:59:00] I'm sure there are a couple

[00:59:01] like day player one liners.

[00:59:02] I cannot think of another

[00:59:03] substantial character.

[00:59:06] Yeah that's I mean just

[00:59:08] even though I expect nothing

[00:59:09] of Woody Allen

[00:59:10] and don't really even

[00:59:11] want to talk about him

[00:59:12] just hearing that

[00:59:13] and then considering the fact

[00:59:14] he's made like 40 movies.

[00:59:15] Yeah.

[00:59:16] It kind of takes your breath away.

[00:59:18] And that like 70%

[00:59:19] take place in New York City.

[00:59:21] New York City.

[00:59:23] Yeah.

[00:59:24] Anyway.

[00:59:25] Chewetel rules in that movie.

[00:59:26] Chewie.

[00:59:27] In a part that was originally

[00:59:28] written for do you know this?

[00:59:30] That role was written

[00:59:31] for Robert Downey Jr.

[00:59:32] and he was uninsurable.

[00:59:33] Interesting.

[00:59:34] So they cast Chewetel

[00:59:35] for instead.

[00:59:36] In Red Belt

[00:59:37] which one?

[00:59:38] Melinda Melinda.

[00:59:39] Oh Melinda Melinda.

[00:59:40] Cool.

[00:59:41] Yeah.

[00:59:42] There you go.

[00:59:43] OK.

[00:59:44] All right.

[00:59:45] We're really off track.

[00:59:46] Say anything.

[00:59:47] Say anything.

[00:59:48] Say anything.

[00:59:49] They go on the date.

[00:59:50] They go on the date.

[00:59:51] She goes.

[00:59:52] Huh.

[00:59:53] Yeah.

[00:59:54] Sorry Ben.

[00:59:55] They go on the date.

[00:59:56] They go to the party.

[00:59:57] Yeah.

[00:59:58] It's not even really a date.

[00:59:59] He says it's a date

[01:00:00] but it's you know

[01:00:01] they go to the party

[01:00:02] but the phone calls good.

[01:00:03] He goes OK.

[01:00:04] And he goes so I want to know

[01:00:05] if you want to go out sometime

[01:00:06] and she says like

[01:00:07] I'm just really busy.

[01:00:08] She says I'm busy.

[01:00:09] She gives him a couple blowoffs

[01:00:10] like I'm busy that day

[01:00:11] and busy that day

[01:00:12] and he's like

[01:00:13] well what about this party

[01:00:14] tonight?

[01:00:15] Like let's do the party

[01:00:16] tonight.

[01:00:17] Yeah.

[01:00:18] And he says

[01:00:19] you know I heard you're

[01:00:20] moving to London.

[01:00:21] I've actually spent some time

[01:00:22] on my parents' station

[01:00:23] there or some hot tips

[01:00:24] or some places you could go to

[01:00:25] so even if just for the

[01:00:26] London tips

[01:00:27] he's really charming

[01:00:28] and he's not pushy

[01:00:29] and

[01:00:30] He's not pushy

[01:00:31] but also I think

[01:00:32] he's appealing to a different

[01:00:33] thing which is that she feels

[01:00:34] disconnected from her class.

[01:00:36] Yeah.

[01:00:37] She doesn't know any of her

[01:00:38] peers really.

[01:00:39] Right.

[01:00:40] And so like

[01:00:41] he's giving her an opportunity

[01:00:42] to do at least mingle

[01:00:43] a little bit with

[01:00:44] like the people she went to

[01:00:45] school with for four years

[01:00:46] or whatever.

[01:00:47] Yeah.

[01:00:48] So he picks her up

[01:00:49] they go to this party.

[01:00:50] Yep.

[01:00:51] He's very cool to Mahoney

[01:00:52] he's like I don't really

[01:00:53] drink because I'm a kick

[01:00:54] boxer, kick boxing's

[01:00:55] part of the future

[01:00:56] he's so fucking good

[01:00:57] in this movie.

[01:00:58] He's so good in this

[01:00:59] movie.

[01:01:00] This is the Cusac

[01:01:01] when he of his mannerisms

[01:01:02] like began right.

[01:01:04] Well and I'll tell you this

[01:01:05] like you know a little less

[01:01:07] sometimes they're used better

[01:01:09] sometimes use worse.

[01:01:10] I'm not saying this is his

[01:01:11] best performance but it's

[01:01:12] it's kind of the beginning

[01:01:13] of his performances.

[01:01:14] A little less now because

[01:01:16] I'm a little bit older

[01:01:17] a little bit older

[01:01:18] but for like most of the

[01:01:19] last decade I've been

[01:01:20] the fucking auditioning

[01:01:21] for like shitty high

[01:01:22] school movies right

[01:01:23] or college movies

[01:01:24] or movies with young

[01:01:26] very young men right

[01:01:27] and so often in the

[01:01:28] breakdown the thing

[01:01:29] that right in parentheses

[01:01:30] is think a young John Q.

[01:01:32] John Q.

[01:01:33] Cusac type right they throw

[01:01:34] that as the archetype as

[01:01:35] the guy who's sort of

[01:01:36] smarter than one in the room

[01:01:37] but isn't cocky

[01:01:38] is very sensitive

[01:01:40] but has a certain slickness

[01:01:41] to him you know

[01:01:42] sure and has like really

[01:01:43] sharp kind of comic timing

[01:01:45] yeah and what always

[01:01:46] happens is when I go

[01:01:47] oh they want like a

[01:01:48] John Q.

[01:01:49] Cusac thing and I'm not

[01:01:50] saying I'm fucking going

[01:01:51] in there nailing it

[01:01:52] right but what always

[01:01:53] happens is you go in

[01:01:54] and they go hey can you

[01:01:55] make it like a little

[01:01:56] bigger like a little

[01:01:57] broader a little more

[01:01:58] leading get away from

[01:01:59] Cusac so important that's

[01:02:00] the thing you look at this

[01:02:01] performance and he's so

[01:02:02] small in it I mean yeah

[01:02:04] totally never really expresses

[01:02:06] right you know like a

[01:02:07] teenager yeah he's a real

[01:02:08] teenager yeah got that kind

[01:02:10] of blank face yeah the

[01:02:11] Mahoney the dad is just

[01:02:13] very expressive yeah and

[01:02:15] yeah yeah and I'm going

[01:02:17] on sky too I mean John she's

[01:02:19] got this crazy mouth

[01:02:20] I can't keep my eyes on

[01:02:21] and there's that great line

[01:02:22] huge mouth it's not

[01:02:23] pretty or anything it's

[01:02:24] just but really

[01:02:25] distinctive but it also

[01:02:26] definitely feels like

[01:02:27] a high school thing

[01:02:28] like your face hasn't

[01:02:29] totally hit the final

[01:02:30] proportions yet you know

[01:02:32] sure right she's like

[01:02:33] young person you know

[01:02:34] yeah it's still all

[01:02:35] shifting around there's

[01:02:36] the line where she goes to

[01:02:37] lunch with her mom and

[01:02:38] she's bringing over the

[01:02:39] boyfriend and the mom goes

[01:02:40] remember just keep talking

[01:02:41] because when you don't talk

[01:02:42] your mouth does that

[01:02:43] downward thing I forgot

[01:02:46] about that the most mean

[01:02:47] momentary mean and it

[01:02:48] speaks to the kind of

[01:02:49] thing where it's like

[01:02:50] she's got this mouth

[01:02:51] that's the other thing

[01:02:52] with her mouth is it's

[01:02:53] always a gate she's got

[01:02:54] this like high school

[01:02:55] thing where she doesn't

[01:02:56] know how to keep her

[01:02:57] mouth shut she's sort of

[01:02:58] grimacing or kind of

[01:02:59] clenching she's like

[01:03:00] like doing that a lot

[01:03:01] but she's always a character

[01:03:02] like jaw open

[01:03:03] always a little stressed

[01:03:04] Q-Sax always very tight lipped

[01:03:06] you know I mean he's got

[01:03:07] also this kind of purse

[01:03:08] mouth and he's got these

[01:03:10] very expressive eyes

[01:03:11] but they're small

[01:03:12] yeah he's a beady little

[01:03:13] guy yeah but he's got

[01:03:14] kind of a buster key

[01:03:15] where he sort of

[01:03:16] stone face the whole movie

[01:03:17] so they go to the party

[01:03:18] they both also talk

[01:03:19] really quietly which I

[01:03:20] like like the film

[01:03:21] they're talking literally

[01:03:22] at a quiet volume

[01:03:23] so they go to the party

[01:03:24] yeah okay all right

[01:03:26] they go to the party

[01:03:27] the party's great

[01:03:28] this is my favorite scene

[01:03:29] I already talked about it

[01:03:30] it's like a good party

[01:03:31] no I mean

[01:03:32] 20 minutes of the movie

[01:03:33] exactly I just like

[01:03:34] it's unique little things

[01:03:36] like I like the key master

[01:03:37] thing is great

[01:03:38] John Cusack has made

[01:03:39] you know Lloyd has made

[01:03:40] the key master

[01:03:41] by Eric Stoltz

[01:03:42] by Eric Stoltz who plays

[01:03:43] like yeah he plays

[01:03:45] like the character

[01:03:46] he's gonna play

[01:03:47] the college version

[01:03:48] he's gonna play

[01:03:49] and kicking and screaming

[01:03:50] like five years later

[01:03:51] which is like the guy

[01:03:52] who's a little too old

[01:03:53] to still be hanging out

[01:03:54] but he's just such

[01:03:55] makes Lloyd the key master

[01:03:57] so he has to like decide

[01:03:58] when people get to have

[01:03:59] their keys to drive home

[01:04:00] if they're not

[01:04:01] if they're sober enough

[01:04:02] yeah

[01:04:03] so a position of responsibility

[01:04:05] yeah

[01:04:06] and I feel like it's

[01:04:07] important in this movie

[01:04:08] because it's identifying

[01:04:09] for Diane that it's like

[01:04:10] this guy might seem

[01:04:11] like a fuck up

[01:04:12] and a weirdo

[01:04:13] but actually he's

[01:04:14] like a level headed dude

[01:04:15] solid like there's

[01:04:16] something solid about him

[01:04:17] and you've got

[01:04:18] you've got Jeremy Piven

[01:04:19] plays this drunk maniac

[01:04:20] who needs to chill

[01:04:22] he must chill

[01:04:23] he must chill

[01:04:24] and Lily Taylor's

[01:04:26] Corey has this whole drama

[01:04:27] going on with Joe

[01:04:28] played by Lauren Dean

[01:04:30] in a wonderful

[01:04:31] like one scene

[01:04:32] villain performance

[01:04:33] basically so funny

[01:04:35] she fell in love with Joe

[01:04:36] they slept together

[01:04:37] a bunch of times

[01:04:38] she lost her virginity to him

[01:04:39] he dumps her over

[01:04:40] and over again

[01:04:41] for another girl

[01:04:42] well she

[01:04:43] he was always with the other

[01:04:44] girl and Lily Taylor

[01:04:45] thought that at some point

[01:04:46] because he promised

[01:04:47] he was going to dump

[01:04:48] the other girl and be with her

[01:04:49] it never happened

[01:04:50] and Lily Taylor attempted

[01:04:51] suicide once because of it

[01:04:52] we get the sense fairly recently

[01:04:54] and now she only

[01:04:56] writes songs about him

[01:04:57] the film is slightly

[01:04:58] flippant about the

[01:04:59] suicide attempt

[01:05:00] but it works

[01:05:02] because that's how teenagers are

[01:05:03] I agree

[01:05:04] I think the same thing

[01:05:05] I mean I think

[01:05:07] if we're to presume

[01:05:08] the suicide happened

[01:05:09] the attempt happened

[01:05:10] the last month

[01:05:11] I'd say it's a little too flippant

[01:05:12] I think it's more like

[01:05:13] a year

[01:05:14] in which case

[01:05:15] I think

[01:05:16] it's treated with

[01:05:17] the right kind of

[01:05:18] weight for how

[01:05:19] events happen in high school

[01:05:20] they do talk about it

[01:05:21] and also she has written

[01:05:22] many songs about him

[01:05:23] she's now

[01:05:24] sort of very strong-minded

[01:05:25] about

[01:05:26] she's not going to let him

[01:05:27] beat her down

[01:05:29] she is going to take a stand

[01:05:30] she's written 60 songs about him

[01:05:32] she plants herself on the couch

[01:05:33] she goes

[01:05:34] she'll rise when he cries

[01:05:35] I'm going to sing

[01:05:36] every one of them tonight

[01:05:37] she's singing them

[01:05:38] they all sound pretty similar

[01:05:39] it's very funny

[01:05:40] Lily Taylor is

[01:05:41] hysterically funny

[01:05:42] in this movie

[01:05:43] there's a third friend

[01:05:44] in the

[01:05:45] girlfriend group that

[01:05:46] were introduced to in this scene

[01:05:47] played by

[01:05:48] Pamela Adlon

[01:05:49] the great Pamela Adlon

[01:05:50] who's referenced

[01:05:51] two episodes now

[01:05:52] she was in the

[01:05:53] Matrix as well

[01:05:54] yep good job on you Pam

[01:05:55] but she was Pamela Segal

[01:05:56] at that point

[01:05:57] oh I had no idea

[01:05:58] she was yeah

[01:05:59] pretty marriage

[01:06:00] she's credited as Pamela Segal

[01:06:01] anyway yeah

[01:06:03] she plants herself there

[01:06:04] plays all the songs

[01:06:05] very quickly

[01:06:07] Lloyd

[01:06:08] yeah they split up

[01:06:09] they're not in the part

[01:06:10] they're not together

[01:06:11] they get split up

[01:06:12] because everyone's like

[01:06:13] what's down here

[01:06:14] everyone's stalked her

[01:06:15] everyone wants to sign her

[01:06:16] yearbook

[01:06:17] they've never gone to speak

[01:06:18] to her before

[01:06:19] and the politician

[01:06:20] has emptied their midst

[01:06:21] and they're all just like

[01:06:22] shaking hands with her

[01:06:23] and they're like

[01:06:24] oh it's great to meet you

[01:06:25] you know

[01:06:26] and like a human capacity

[01:06:27] you know

[01:06:28] and she keeps on looking

[01:06:29] around and seeing Lloyd

[01:06:30] and he's always

[01:06:31] checking in on her

[01:06:32] he's always checking in

[01:06:33] on her and just sort

[01:06:34] of pointing at her

[01:06:35] and giving a thumbs up

[01:06:36] and she's like yeah

[01:06:37] thumbs up

[01:06:38] and he's got

[01:06:39] like the key bag

[01:06:40] on his head

[01:06:41] in one scene

[01:06:42] I love him

[01:06:43] he's so cute

[01:06:44] nice movie

[01:06:45] this is

[01:06:46] exactly what

[01:06:47] 99%

[01:06:48] of the story

[01:06:49] is just like

[01:06:50] a sequence that establishes

[01:06:53] why two people might like each other

[01:06:55] like most of these things

[01:06:56] try to do it

[01:06:57] in these super contrived ways

[01:06:58] or with some sort of

[01:06:59] big grand gesture

[01:07:00] or for no reason at all really

[01:07:01] then you'll start

[01:07:02] and I just think

[01:07:03] it's like

[01:07:04] you get it

[01:07:05] you get the connection here

[01:07:06] even though it takes a little while

[01:07:07] for it to become romantic

[01:07:08] but that's a really good point

[01:07:09] because the appeals

[01:07:10] I think me

[01:07:11] me cutes are stupid

[01:07:12] because they're

[01:07:13] usually kind of dumb

[01:07:14] no

[01:07:15] from the first time

[01:07:16] you meet somebody

[01:07:17] and you look on like

[01:07:18] oh my god this is the one

[01:07:19] I've been so fundamentally wrong

[01:07:20] about that

[01:07:21] yeah well that's

[01:07:22] your personality problem

[01:07:23] yeah 100%

[01:07:24] but

[01:07:25] there's

[01:07:26] yeah I think

[01:07:27] you're getting at something

[01:07:28] really smart here

[01:07:29] which is that

[01:07:30] like

[01:07:31] you meet someone

[01:07:32] and you're interested

[01:07:33] but there's a moment later

[01:07:34] where you start to go like

[01:07:35] oh there might be a thing

[01:07:36] here

[01:07:37] it's less about

[01:07:38] like a meat cutie

[01:07:39] and more about like a B-suite

[01:07:40] there's a moment

[01:07:41] where you just like

[01:07:42] B-suite with each other

[01:07:43] in a movie

[01:07:44] where you're like

[01:07:45] oh there's some nice

[01:07:46] things to think about this

[01:07:47] actually yeah

[01:07:48] yeah right this is like

[01:07:49] yeah

[01:07:50] I mean as the film

[01:07:51] repeatedly sort of reminds us

[01:07:52] Diane's a very methodical person

[01:07:54] she thinks things through

[01:07:55] she's like really careful

[01:07:56] and like collects evidence

[01:07:57] and

[01:07:58] I mean we'll get to that scene later

[01:08:00] but the scene where she sort of lays out her methodology

[01:08:02] for sleeping with John Cusack

[01:08:03] I love it

[01:08:04] yeah but she just has to

[01:08:05] and so we're watching that

[01:08:06] case kind of get built

[01:08:07] watching this film

[01:08:08] you need to see

[01:08:09] him present himself to her

[01:08:11] as

[01:08:12] someone

[01:08:14] who will make her

[01:08:15] feel good

[01:08:16] sure

[01:08:17] because that's like the one thing

[01:08:18] you know I mean she's not

[01:08:19] gonna have time

[01:08:20] and just went

[01:08:21] yeah

[01:08:22] yeah I'm good

[01:08:23] you're just grievousing a little bit

[01:08:24] no

[01:08:25] no I just

[01:08:26] I had a cough

[01:08:27] moment

[01:08:28] and I did it off my

[01:08:29] sorry to distract

[01:08:30] yeah I call that grievousing

[01:08:32] oh yeah yeah

[01:08:33] a little robot coffin

[01:08:34] yeah

[01:08:35] um

[01:08:36] so let's wrap up the party

[01:08:37] because we

[01:08:38] we've got

[01:08:39] we've got a ticking clock here

[01:08:40] yeah

[01:08:41] but there's one scene in the

[01:08:42] party I want to mention

[01:08:43] I don't know what yours is

[01:08:44] if you have anything

[01:08:45] no you say yours first

[01:08:46] well the Joe

[01:08:47] Corey kind of confrontation

[01:08:49] uh huh

[01:08:50] where he comes to her

[01:08:51] and I just love it

[01:08:52] because he's

[01:08:53] he is villainous

[01:08:54] because he's obviously

[01:08:55] manipulating her

[01:08:56] but he's mostly stupid

[01:08:57] yeah

[01:08:58] he's like about it

[01:08:59] like

[01:09:00] he's just sort of like

[01:09:01] I love you

[01:09:02] but you know

[01:09:03] like girlfriends moving away

[01:09:04] but I'll break up with her

[01:09:06] first and then we should be

[01:09:07] together

[01:09:08] have sex with me

[01:09:09] like

[01:09:10] and it's just as dumb

[01:09:11] as you could imagine

[01:09:12] and she gets that he's being

[01:09:14] dumb finally

[01:09:15] like that's what I like about it

[01:09:16] it feels like this might be

[01:09:17] the start of

[01:09:18] a plot for the whole movie

[01:09:19] where they're like together

[01:09:20] breaking up and she's just like

[01:09:21] no no no forget it

[01:09:22] and she's out

[01:09:23] I'm gonna take a stand

[01:09:24] and it also

[01:09:25] I mean that defines later

[01:09:26] the thing I like

[01:09:27] there's a thing that keeps on

[01:09:28] repeating throughout the party

[01:09:29] people keep on asking him

[01:09:31] you're here with dying court

[01:09:32] how did that happen

[01:09:33] and he goes

[01:09:34] I asked her

[01:09:35] and when people ask her

[01:09:36] the same thing

[01:09:37] the one time she really answers

[01:09:38] she goes

[01:09:39] maybe laugh

[01:09:40] yeah it's cute

[01:09:41] but it wasn't that sold

[01:09:42] and he said a couple things

[01:09:43] I thought were funny

[01:09:44] and I kinda went why not

[01:09:45] but I love that he says

[01:09:46] I asked her

[01:09:47] right

[01:09:48] so this like

[01:09:49] loser guy goes like

[01:09:50] hey give me hope man

[01:09:52] like yeah

[01:09:53] like yeah

[01:09:54] played by Jason Gould

[01:09:55] son of

[01:09:56] Barbara Streisand

[01:09:57] and

[01:09:58] Elliot Gould

[01:09:59] we're a sexy

[01:10:01] 70s couple that is

[01:10:02] have you ever seen that picture

[01:10:03] I used to be obsessed with

[01:10:04] imagine them

[01:10:05] have you seen that picture

[01:10:06] that's Elliot Gould

[01:10:07] and Barbara Streisand

[01:10:08] a swimming pool

[01:10:09] and she's on his shoulders

[01:10:10] and they're both just the most

[01:10:11] beautiful Jews you've ever seen

[01:10:12] yeah a lot of shoulder hair

[01:10:13] I used to be obsessed with

[01:10:14] there was a period of time

[01:10:15] where I was trying to make

[01:10:16] Elliot Gould my best friend

[01:10:17] well sure

[01:10:18] and I had that picture

[01:10:19] I have like that

[01:10:20] I'd never show you that thing

[01:10:21] he wrote to me

[01:10:22] you did it's very sweet

[01:10:23] yeah Elliot Gould

[01:10:24] wrote me a thing once

[01:10:26] to read

[01:10:27] when I was having panic attacks

[01:10:29] it's cool

[01:10:30] that was really nice

[01:10:31] anyway

[01:10:32] he's one of my favorite actors

[01:10:33] of all time

[01:10:34] his son's really good in this movie

[01:10:35] he is he is

[01:10:36] he's the one with the weird

[01:10:37] curly

[01:10:38] like side fade or whatever

[01:10:40] yeah the weird

[01:10:41] funny haircut

[01:10:42] the exact haircut

[01:10:43] I had freshman year of high school

[01:10:44] wow

[01:10:45] congratulations on that

[01:10:46] it was the curly flock of seagulls

[01:10:48] oh boy

[01:10:49] it was the angle

[01:10:50] why did you have that haircut

[01:10:51] I don't know

[01:10:53] I'll say this

[01:10:54] so I got into an eighth grade

[01:10:56] I was like I'm gonna have long hair

[01:10:57] I wanna look like

[01:10:58] Lars Urik from Metallica

[01:10:59] so I just didn't cut my hair

[01:11:01] and then like

[01:11:02] a year later

[01:11:03] I just looked like a brunette

[01:11:04] caratop

[01:11:05] like I just had this fucking

[01:11:06] mush of hair

[01:11:07] and my parents were like

[01:11:08] you gotta get a haircut

[01:11:09] and I was like okay

[01:11:10] but I wanna keep it long

[01:11:11] so I was like

[01:11:12] let me do something that's like

[01:11:13] layered

[01:11:14] so they cut it on the sides

[01:11:15] and weird

[01:11:16] and so I did that

[01:11:17] I like

[01:11:18] I don't know

[01:11:19] I brought in some weird

[01:11:20] like Johnny Depp picture

[01:11:21] where he had straight hair

[01:11:22] and I was like

[01:11:23] give me this

[01:11:24] and when I walked out

[01:11:25] I ended up looking

[01:11:26] like Jason Gold

[01:11:27] and say anything

[01:11:28] and I had that for like

[01:11:29] three months

[01:11:30] until I shaved my head

[01:11:31] okay so now

[01:11:32] I think we need to move

[01:11:33] past the party

[01:11:34] because

[01:11:35] I was just gonna say

[01:11:36] and she just keeps on saying like

[01:11:37] well he's a really good guy

[01:11:39] yes

[01:11:40] when is the scene

[01:11:41] one of my other favorites

[01:11:42] this is later though

[01:11:43] well I don't want to get to that yet

[01:11:44] okay okay

[01:11:45] but

[01:11:46] it's a really nice scene

[01:11:47] because like

[01:11:48] especially as someone dealing with

[01:11:49] a dude who's such a piece of shit

[01:11:51] sure

[01:11:52] and as someone who is like

[01:11:53] best friends with Lloyd

[01:11:54] but it doesn't feel

[01:11:55] him romantically

[01:11:56] she's kind of trying to just like

[01:11:57] it's not just being like

[01:11:58] please date my friend

[01:11:59] please date my friend

[01:12:00] I feel like she's telling Diane

[01:12:01] like

[01:12:02] you're lucky

[01:12:03] right

[01:12:04] that other people don't realize

[01:12:05] that Lloyd is such a good guy

[01:12:07] yeah that's the secret about him

[01:12:08] I've dealt with shitty guys

[01:12:09] people think

[01:12:10] I think the read on Lloyd

[01:12:11] seems to be like

[01:12:12] Lloyd

[01:12:13] he's cool

[01:12:14] yeah

[01:12:15] I don't know that guy's vibe

[01:12:16] but he's cool

[01:12:17] you can kind of count on Lloyd

[01:12:18] like he's alright

[01:12:19] but he's not in with the bros

[01:12:21] no

[01:12:22] who we see later for one scene

[01:12:23] we see the bros

[01:12:24] and he's not one of them

[01:12:25] but they're fine with him

[01:12:26] you know

[01:12:27] they'll talk to him

[01:12:29] and this

[01:12:30] you know this Taylor

[01:12:31] Brooks Adlon group

[01:12:32] seem to be sort of

[01:12:34] they're kind of latchkey kids

[01:12:36] in their own way

[01:12:37] yeah he's like the ultimate latchkey kid

[01:12:38] yeah that's right

[01:12:39] yeah yeah sure

[01:12:40] I mean he's such a Gen X kid in that way

[01:12:42] right so they're not like

[01:12:43] nerds

[01:12:44] but they're also not popular

[01:12:45] they're just kind of kids

[01:12:46] who like exist in high school

[01:12:47] like oh yeah

[01:12:48] she's nice

[01:12:49] which I think is one reason

[01:12:50] people love this movie

[01:12:51] is that they can glom onto him

[01:12:52] in that way

[01:12:53] they can be like

[01:12:54] yeah I'm kind of like this guy

[01:12:55] you know I'm not a feeder kid

[01:12:56] I'm not a jock

[01:12:57] you know like

[01:12:58] I'm kind of like this guy

[01:12:59] I'm kind of a jack of all trades

[01:13:00] and there's the scene where

[01:13:01] Q-Sack confronts

[01:13:02] Lauren Dean

[01:13:03] confronts Joe

[01:13:04] and is like don't you see

[01:13:05] she's written 60 songs about you

[01:13:06] you're like hurting her

[01:13:07] he's just like what

[01:13:08] please like

[01:13:09] he's so funny

[01:13:10] but he's like please let her out of her misery

[01:13:12] don't you understand

[01:13:13] that she's written all these songs

[01:13:14] and he goes like

[01:13:15] oh yeah I understand it

[01:13:16] I'm just gonna be famous one day

[01:13:17] and I'm gonna have all her tapes

[01:13:18] yeah why do you think I keep her tapes

[01:13:20] yeah and he's just like

[01:13:21] you fucking asshole

[01:13:22] but he's not

[01:13:23] he's just kind of like

[01:13:24] but he's just

[01:13:25] he's too young

[01:13:26] and too dumb

[01:13:27] at this point in time

[01:13:28] to understand that she's

[01:13:30] a human being

[01:13:31] and Lloyd understands

[01:13:33] how people are like often

[01:13:34] yes

[01:13:35] and Lloyd is different

[01:13:36] most teenagers are sociopaths

[01:13:38] to one degree or another

[01:13:39] Lloyd's a little different

[01:13:40] and he's the kind of guy

[01:13:41] who after the party

[01:13:42] when you go to the 7-Eleven or whatever

[01:13:44] and you're walking

[01:13:46] and you've taken your shoes off

[01:13:47] because they were high heels

[01:13:48] and your feet hurt

[01:13:49] and there's some glass

[01:13:50] on the street

[01:13:51] he'll sweep it aside with his foot

[01:13:53] and that's the defining moment

[01:13:54] he doesn't make a big deal out of it

[01:13:55] he's not looking for a medal

[01:13:56] he just does it

[01:13:57] because he doesn't want her to hurt her feet

[01:13:58] and he's observant

[01:13:59] he's aware

[01:14:00] walks her home

[01:14:01] gives her a hug

[01:14:02] off he goes

[01:14:03] now I'm going to say this gentlemen

[01:14:05] what we just described is a lot of showing

[01:14:07] correct

[01:14:08] that's the photo

[01:14:09] David just found the photo

[01:14:10] we're going to post on our twitter

[01:14:11] of Stray Santa and Gold

[01:14:12] it's the sexiest thing I've ever seen

[01:14:14] so it's a lot of showing

[01:14:15] then what were you saying

[01:14:16] but I've never seen this film

[01:14:18] prior to this viewing

[01:14:19] and I gotta tell you

[01:14:21] I kept waiting for a Q-Sack

[01:14:24] to tell me

[01:14:25] how he was feeling

[01:14:26] and break the fourth wall

[01:14:28] oh sure dude

[01:14:29] you mean you were looking for a high fidelity

[01:14:31] I think cause I also saw Leely

[01:14:33] right

[01:14:34] sure

[01:14:35] he's also in high fidelity

[01:14:36] yeah

[01:14:37] but this ain't a high fidelity baby

[01:14:38] no

[01:14:39] they're both great films

[01:14:40] high fidelity is a masterpiece

[01:14:42] one of the greatest romantic comedies

[01:14:44] ever made because it knows

[01:14:46] its protagonist is an evil

[01:14:48] not evil but awful person

[01:14:50] and takes him on those terms

[01:14:52] and it knows that romance is about dependency

[01:14:55] and takes the main romance on those terms

[01:14:58] and is still a somewhat heartwarming movie

[01:15:01] that you love

[01:15:02] it is a work of genius

[01:15:05] I agree 100%

[01:15:06] I also think I watched it again about a year ago

[01:15:09] and it's finally gotten to that interesting point

[01:15:11] where it's a perfect time capsule movie

[01:15:12] absolutely

[01:15:13] where the film feels very much of its time

[01:15:15] absolutely

[01:15:16] it feels like a period piece

[01:15:17] but it's so honed into what the culture was

[01:15:19] and the look of like the year 2000 was

[01:15:22] and the sound of the year 2000

[01:15:24] and all of that

[01:15:25] that it's like a perfect little movie

[01:15:28] talk about a movie that is brutal

[01:15:30] about its protagonist

[01:15:31] yeah which I love

[01:15:32] I know

[01:15:33] here's another thing about high fidelity

[01:15:35] one that bums me out

[01:15:36] about I think it aging poorly

[01:15:38] and this is not the movie's fault

[01:15:40] do you remember seeing that movie for the first time

[01:15:42] when you didn't know that Jack Black could sing that well

[01:15:44] yeah

[01:15:45] and it was cool when he sings at the end of the movie

[01:15:47] yeah

[01:15:48] and I tried to show the movie to Romley

[01:15:50] and she liked it a lot

[01:15:51] she was like I've seen school of rock

[01:15:52] I know Jack Black can sing

[01:15:53] he sings at all the time

[01:15:55] he won't never stop being a

[01:15:56] he's the singing guy

[01:15:57] he's the vicious D

[01:15:58] anyway this movie

[01:16:00] getting back to it

[01:16:02] she starts dating Lloyd

[01:16:04] at first seems pretty gentle

[01:16:06] but he comes to like a family dinner

[01:16:08] yeah

[01:16:09] and at that family dinner

[01:16:10] he says that he doesn't want to

[01:16:12] buy, sell or process anything

[01:16:14] he doesn't want to buy anything

[01:16:15] that's been sold or processed

[01:16:16] he doesn't want to sell anything

[01:16:17] that's been bought or processed

[01:16:18] he doesn't want to process anything

[01:16:19] that's been bought or sold or processed

[01:16:21] so do you know the story about that line?

[01:16:23] no it's so good

[01:16:24] that line was originally much shorter

[01:16:26] and Q-Sack fucked it up

[01:16:27] uh-huh

[01:16:28] and Crow used the take where he was trying to correct it

[01:16:30] after he had said it

[01:16:31] so he says it six different ways

[01:16:33] in such a perfect teenager at the dinner table

[01:16:35] moment

[01:16:36] yeah

[01:16:37] and if you notice they cut away to the family reactions

[01:16:39] a couple times

[01:16:40] but I think it's also because

[01:16:42] he had to cut away from Q-Sack's face

[01:16:44] clearly fucking up the lines

[01:16:45] oh yeah sure sure sure

[01:16:46] but he just wanted the line

[01:16:47] but he does that

[01:16:48] and there are a couple other moments in the film like that

[01:16:50] where I own Sky like start saying something

[01:16:53] and then re-says it

[01:16:54] that feels like an actor resetting on their line

[01:16:56] because they pronounce the first word

[01:16:58] but Crow just likes the weird like jangly energy of it

[01:17:00] well it's like I do it on the podcast all the time

[01:17:02] where I go like oh that's one of my favorite words

[01:17:04] and everyone loves it

[01:17:06] right and he everyone loves it

[01:17:08] people love it they put it on t-shirts

[01:17:09] they collect the trading cards

[01:17:10] correct

[01:17:11] um but um most directors were like

[01:17:14] I want the line clean

[01:17:15] right

[01:17:16] I want a clean take

[01:17:17] and Q-Sack's like

[01:17:18] not Q-Sack

[01:17:19] Crow is like that's who these characters are

[01:17:21] like they're young people

[01:17:22] they don't know how to express themselves yet

[01:17:24] and it feels human

[01:17:25] it feels messy it feels real

[01:17:26] it feels honest

[01:17:27] I don't know if Crow was like this

[01:17:29] I think he was

[01:17:30] I mean Crow's famous for playing music

[01:17:32] over the PA system

[01:17:33] while he's shooting

[01:17:34] like playing music that he wants to be on the soundtrack

[01:17:36] or wants to be part of the vibe of the film

[01:17:38] he's a mood filmmaker

[01:17:39] to like set the mood

[01:17:40] he's famous for his

[01:17:42] somewhat unconventional methods

[01:17:44] in this regard

[01:17:45] yeah

[01:17:46] I would say a great filmmaker

[01:17:48] like capital G, capital F

[01:17:50] in terms of like

[01:17:51] where he puts his camera

[01:17:52] or like that kind of stuff

[01:17:53] but he's not bad

[01:17:54] he's not a very visual filmmaker

[01:17:55] I think he's very good with editing

[01:17:56] which isn't surprising

[01:17:57] because he's a musical guy

[01:17:58] and there's a rhythm thing there

[01:17:59] yeah

[01:18:00] his cinematography is clean

[01:18:01] yeah

[01:18:02] but sort of

[01:18:03] I mean he gets

[01:18:04] we'll get to it

[01:18:05] he gets more inventive

[01:18:06] I mean like Jerem Aguire

[01:18:07] is one of the best edited comedies

[01:18:08] ever made

[01:18:09] editing has always been a strong suit of his

[01:18:10] cinematography has always been

[01:18:11] sort of perfunctory

[01:18:12] he hires good people

[01:18:13] the films are in focus

[01:18:15] this film was shot by Laszlo Kovacs

[01:18:17] that's what I'm saying

[01:18:18] he hires good people

[01:18:19] but he puts the camera

[01:18:20] and sort of just

[01:18:21] edited by Richard Marks

[01:18:22] the simplest place

[01:18:23] he has really good close ups

[01:18:24] because he trusts his actors

[01:18:27] and I think his biggest skill set

[01:18:28] is just he's amazing with actors

[01:18:30] he writes these great characters

[01:18:31] and I think he really loves actors

[01:18:33] there are certain filmmakers

[01:18:34] you watch like

[01:18:36] Crow

[01:18:37] I think when you watch

[01:18:38] Altman movies

[01:18:39] obviously Cassavetes movies

[01:18:41] where you sit there

[01:18:42] and you can just imagine

[01:18:44] the director behind the monitor

[01:18:46] watching the takes

[01:18:47] and just like being like

[01:18:48] oh god look how great this is

[01:18:49] yeah

[01:18:50] like look at them making all these choices

[01:18:51] David O. Russell's

[01:18:52] when you go too far into it

[01:18:53] it becomes indulgent

[01:18:54] good call

[01:18:55] but these guys just kind of like

[01:18:56] love actors

[01:18:57] love performances

[01:18:58] love actors love performances

[01:18:59] and you can feel the space

[01:19:00] they're giving them

[01:19:01] the movie just becomes

[01:19:02] at this point

[01:19:03] sort of a slow courtship

[01:19:05] she keeps on saying

[01:19:06] like we're not dating

[01:19:07] we're friends

[01:19:08] but then they're sort of kissing

[01:19:09] at the same time

[01:19:10] we know we realize

[01:19:11] at the dinner table

[01:19:12] that John Mahoney's character

[01:19:13] is being investigated by the IRS

[01:19:15] for something

[01:19:16] so that's kind of bubbling

[01:19:17] away in the background

[01:19:19] so I'd say there's three tracks

[01:19:20] set up now on this film

[01:19:21] which are

[01:19:22] John Mahoney's being investigated

[01:19:23] by the IRS

[01:19:24] we don't totally understand why

[01:19:25] a young guy is going to

[01:19:27] England at the end of the summer

[01:19:28] at the beginning she says

[01:19:29] a bit of a ticking time bomb

[01:19:30] right and she says like

[01:19:31] I'm leaving in 16 weeks

[01:19:32] seems like I want to see

[01:19:33] as much of the can

[01:19:34] in these 16 weeks

[01:19:35] yeah 6 weeks is a lot of time

[01:19:36] I want to see as much as I can

[01:19:37] because we're teenagers

[01:19:38] that is true

[01:19:39] 100%

[01:19:40] and Qsack

[01:19:41] has no idea what the fuck

[01:19:42] he's doing with his life

[01:19:43] and he's getting asked

[01:19:44] what he's going to do with his life

[01:19:45] he's feeling the pressure

[01:19:46] BV Newworth gets out of the car

[01:19:47] and she's like

[01:19:48] you really need to decide on a career

[01:19:49] his dad as he keeps reminding us

[01:19:51] like wants him to join the military

[01:19:52] but he doesn't really want to

[01:19:53] be part of that corporation

[01:19:55] as he puts it

[01:19:56] Mahoney's throwing a lot of shade

[01:19:57] you know at his lack of focus

[01:19:58] he doesn't believe in the kickboxing

[01:20:00] Mahoney's dislike of him increases

[01:20:02] which I like

[01:20:03] like it's not like

[01:20:04] he just sees this guy

[01:20:05] and is like fuck this guy

[01:20:06] yeah it's more like

[01:20:07] he sees this guy

[01:20:08] and is like this guy's not

[01:20:09] my daughter

[01:20:10] my daughter's like very clear minded

[01:20:11] she's not going to get distracted by this

[01:20:13] he keeps seeing him

[01:20:14] and he's like

[01:20:15] what's the deal with

[01:20:16] like you know

[01:20:17] what's this guy's problem

[01:20:18] and then I know

[01:20:19] we got to get to it

[01:20:20] because we do have to keep moving

[01:20:21] I know I was just going to say

[01:20:22] I like that

[01:20:23] Mahoney's problem

[01:20:24] isn't that he dislikes Lloyd

[01:20:26] it's that Lloyd is a distraction to her

[01:20:28] he dislikes how much his daughter likes him

[01:20:30] yeah he doesn't really think about him

[01:20:31] as a person much

[01:20:32] it's more just like

[01:20:33] the road he plays

[01:20:34] he's a roadblock

[01:20:35] yeah

[01:20:36] but then they have sex

[01:20:37] like pretty early in the movie

[01:20:38] like 45 minutes in

[01:20:39] I don't know

[01:20:40] like you know

[01:20:41] halfway through the movie maybe

[01:20:42] they're in the backseat of a car

[01:20:44] yeah

[01:20:45] hot sex

[01:20:46] it's a fucking hot scene

[01:20:47] yeah

[01:20:48] they're hot people

[01:20:49] yeah that's also my biggest sexual fantasy

[01:20:51] I've never had sex in a car before

[01:20:52] I really wanted to

[01:20:53] because I grew up in here

[01:20:54] so there was no car

[01:20:55] yeah it's not really a car sex

[01:20:56] it's not really a car town

[01:20:58] but they do some

[01:21:00] like really really cool car fucking

[01:21:03] and

[01:21:04] they listen to In Your Eyes by Peter Gabriel

[01:21:05] when she says

[01:21:06] listen to this song

[01:21:07] yeah but it's just kind of playing quietly

[01:21:08] he doesn't push it too hard

[01:21:10] In Your Eyes

[01:21:12] it's not like that

[01:21:13] it's more like

[01:21:15] it's just like quietly

[01:21:16] I am complete

[01:21:19] fencing too

[01:21:21] yeah we all have to harmonize

[01:21:23] okay ready

[01:21:24] all three of us at once

[01:21:25] okay ready

[01:21:26] one

[01:21:27] two

[01:21:28] three

[01:21:29] In Your Eyes

[01:21:31] The Lights, The Heat

[01:21:32] No Guys

[01:21:34] David you're not here

[01:21:35] you're not here

[01:21:36] ready?

[01:21:37] okay wait we gotta start over

[01:21:38] Ben so monotonous

[01:21:39] we have 15 minutes Griffin

[01:21:40] three

[01:21:41] two

[01:21:42] one

[01:21:43] In Your Eyes

[01:21:44] David

[01:21:45] I'm not doing this come on

[01:21:46] we gotta move on

[01:21:47] In Your Eyes

[01:21:48] I am complete

[01:21:50] I hate that when I start a ball rolling

[01:21:52] and then it's like

[01:21:53] I do it so often

[01:21:55] what do I think is gonna happen

[01:21:57] I don't know

[01:21:59] they have sex

[01:22:00] she explains this decision to her father

[01:22:02] she goes home

[01:22:03] she's like

[01:22:04] I wasn't gonna do it

[01:22:06] because where were you

[01:22:07] why don't you call

[01:22:08] I spent the night with Lloyd

[01:22:09] so immediately when he hears that

[01:22:10] he goes like oh boy

[01:22:11] spent the night

[01:22:12] is that a euphemism

[01:22:13] right

[01:22:14] and she goes I was with him

[01:22:15] so I think about how much I loved him

[01:22:17] and then you know

[01:22:18] how much I liked him

[01:22:19] then I wasn't ready to have sex

[01:22:21] make this decision

[01:22:22] so I told him that

[01:22:23] yeah

[01:22:24] and Mahoney gives her like

[01:22:25] you know

[01:22:26] a kind nod

[01:22:27] he's very proud of his daughter

[01:22:28] and then she goes

[01:22:29] and then I just attacked him anyway

[01:22:30] right right right

[01:22:31] which is great

[01:22:32] because you can see Mahoney be like

[01:22:34] oh good

[01:22:35] like you see his face relaxed

[01:22:36] and then she's like

[01:22:37] but then I attacked him anyway

[01:22:38] and he's just like

[01:22:39] yeah

[01:22:40] he's just terrified

[01:22:41] but I like that he's not angry at her

[01:22:42] no he's not angry for having sex

[01:22:44] he's not like some defender

[01:22:45] of her virginity

[01:22:46] or anything like that

[01:22:48] that virginity is not discussed

[01:22:50] like you know

[01:22:51] they have sex

[01:22:52] cause people have sex with each other

[01:22:53] yeah people like having sex

[01:22:55] good

[01:22:56] yeah

[01:22:57] A plus number one

[01:22:58] okay

[01:22:59] I say number two

[01:23:00] movies are better

[01:23:01] but then

[01:23:02] we see him try to buy a luggage set

[01:23:04] yeah

[01:23:05] owning Mahoney

[01:23:06] owning Mahoney

[01:23:07] great Phillip Mahoney

[01:23:08] he's trying to own

[01:23:09] he's trying to own Mahoney

[01:23:10] yeah

[01:23:11] but Phillip's you know

[01:23:12] how much more Hoffman will do it

[01:23:13] many months later

[01:23:14] goes

[01:23:15] is flirting hard

[01:23:16] no one has ever made an

[01:23:17] owning Mahoney reference

[01:23:18] on any podcast ever

[01:23:19] it's never happened

[01:23:20] it's one of the few Hoffman movies

[01:23:21] I haven't seen

[01:23:22] it's pretty good

[01:23:23] and it's directed by

[01:23:24] Todd Louiso

[01:23:25] from

[01:23:26] High Fidelity

[01:23:27] it's true

[01:23:28] tying it all together

[01:23:29] an actor that never happened

[01:23:30] yeah

[01:23:31] he made Love Liza too right

[01:23:32] he did a lot of movies with

[01:23:33] PSH

[01:23:34] oh he didn't do owning Mahoney

[01:23:35] I'm sorry I confused

[01:23:36] Love Lizing with owning Mahoney

[01:23:37] you know what film he's

[01:23:38] phenomenal in

[01:23:40] Jerry McGuire

[01:23:41] Todd Louiso is incredible

[01:23:42] in Jerry McGuire

[01:23:43] and in High Fidelity

[01:23:44] yeah

[01:23:45] he had a good run

[01:23:46] I don't know what

[01:23:47] fucking happened to him

[01:23:48] what is this music

[01:23:49] he also recently

[01:23:50] wrote

[01:23:51] the Michael Fassbender

[01:23:52] Hamlet movie

[01:23:53] what is this music

[01:23:55] you mean Michael Fassbender

[01:23:56] McBeth

[01:23:57] yes I'm sorry

[01:23:58] I'm getting

[01:23:59] confused

[01:24:00] owning Mahoney was directed by

[01:24:01] Richard Kiewinowski

[01:24:03] oh of course the great

[01:24:04] Richard

[01:24:05] I can't pronounce his name

[01:24:06] Kiewinowski

[01:24:07] he tries to buy a luggage set

[01:24:08] his card gets declined

[01:24:09] and he's flirting with this woman

[01:24:10] everyone

[01:24:11] another guy looks at him

[01:24:12] and is like thumbs up

[01:24:13] yeah right

[01:24:14] nice sweet content

[01:24:15] and he's like

[01:24:16] would you want to

[01:24:17] and she's like your card got

[01:24:18] declined

[01:24:19] and I was watching this

[01:24:20] drawing and I was like

[01:24:21] could they even get a card

[01:24:22] decline in 89

[01:24:23] like were there credit card

[01:24:24] machines at this point

[01:24:25] like or did they still do

[01:24:26] the

[01:24:27] you hear like a dial tone

[01:24:28] she says I have to confiscate

[01:24:29] your card never heard of that

[01:24:30] yeah to take your card away

[01:24:31] I mean just it doesn't work

[01:24:32] right I don't know

[01:24:33] but it's like

[01:24:34] it could be such a perfunctory

[01:24:35] scene of oh look

[01:24:36] your cards declined

[01:24:37] sure and crew adds this whole

[01:24:38] other element to it

[01:24:39] which is the wounded pride

[01:24:41] of yes flirting with this

[01:24:42] woman

[01:24:43] you get the sense that

[01:24:44] he hasn't had much of a dating

[01:24:45] life because this whole life

[01:24:46] is about to go away

[01:24:47] maybe he can get back in

[01:24:48] right right

[01:24:49] yeah it's so true

[01:24:50] they're like four things

[01:24:51] happening in this

[01:24:52] scene simultaneously

[01:24:53] boss in this movie

[01:24:54] do you know what the movie

[01:24:55] he's great in

[01:24:56] around the same time

[01:24:57] moonstruck

[01:24:58] oh yeah absolutely

[01:24:59] he's really good in that

[01:25:00] and moon struck that scene

[01:25:01] is where he keeps on

[01:25:02] Olympia to caucus keeps on

[01:25:03] seeing him at the restaurant

[01:25:04] flirting with these women

[01:25:05] and then they throw fucking

[01:25:06] drinks in his face

[01:25:07] and she's like just cool it

[01:25:09] cool it Mahoney

[01:25:11] you know I wrote an elevator

[01:25:12] with Olympia to caucus

[01:25:14] at this very podcast

[01:25:15] studio one

[01:25:16] really Joe Reed

[01:25:17] when we were coming up to

[01:25:18] record great Joe Reed

[01:25:19] we were in a podcast

[01:25:20] with an older lady

[01:25:21] and I wasn't really

[01:25:22] thinking in an elevator

[01:25:23] we were in a podcast

[01:25:24] we got to be in a

[01:25:25] podcast

[01:25:26] and I wasn't really paying

[01:25:27] attention and then we got out

[01:25:29] and Joe was like

[01:25:30] that was Olympia to caucus

[01:25:31] Academy Award winner

[01:25:32] of course Joe would know that

[01:25:34] 100% Joe would know that

[01:25:35] Joe Reed the king of best

[01:25:36] supporting actress

[01:25:38] anyway so

[01:25:42] she breaks up with him

[01:25:44] the dad

[01:25:45] it really kind of happens

[01:25:46] out of nowhere

[01:25:47] not quite but the dad

[01:25:48] just kind of like you need

[01:25:49] to break up with him

[01:25:50] Mahoney gives a big speech

[01:25:51] he's like you're moving away

[01:25:52] you don't want to get tied

[01:25:53] down you don't want to

[01:25:54] go think about any of this

[01:25:55] how am I supposed to do that

[01:25:56] he goes just give him this pen

[01:25:57] now Lloyd at this point

[01:25:58] has sent a letter

[01:25:59] right

[01:26:00] that is a big romantic

[01:26:01] overture she also says

[01:26:02] I would never give him a pen

[01:26:03] yeah

[01:26:04] she like when he suggests

[01:26:05] the pen she's like

[01:26:06] I would never do that

[01:26:07] that's weird

[01:26:08] that's weird

[01:26:09] dumb

[01:26:10] but indeed

[01:26:11] that's what happens

[01:26:12] she's it just

[01:26:13] have a better idea

[01:26:14] they have this car ride

[01:26:15] where Cusack

[01:26:16] where Lloyd's trying to

[01:26:17] go to the next level

[01:26:18] you know

[01:26:19] I love you level

[01:26:20] yeah

[01:26:21] and there's a great part

[01:26:22] where he goes there's

[01:26:23] something I've been meaning

[01:26:24] to say

[01:26:25] and he goes

[01:26:26] you don't even know what I'm going to say

[01:26:27] and she goes

[01:26:28] no I know what you're going to say

[01:26:29] and he goes

[01:26:30] I love you

[01:26:31] yeah

[01:26:32] and she's like

[01:26:33] we should see less of each other

[01:26:34] yeah

[01:26:35] and he's like

[01:26:36] what are you saying

[01:26:37] and she goes

[01:26:38] I think we should go back

[01:26:39] to being friends

[01:26:40] and he was like

[01:26:41] that's what we are

[01:26:42] we're just friends

[01:26:43] we're just hanging out

[01:26:44] and then she's like

[01:26:45] I think we should

[01:26:46] spend less time together

[01:26:47] right

[01:26:48] she has to

[01:26:49] we should stop

[01:26:50] seeing each other

[01:26:51] break up with him

[01:26:52] yeah

[01:26:53] calling her

[01:26:54] he plays

[01:26:55] no I think it works

[01:26:56] it's fine

[01:26:57] I mean

[01:26:58] mostly because it's not a big part

[01:26:59] of the movie anyway

[01:27:00] yeah

[01:27:01] and the movie

[01:27:02] basically invests

[01:27:03] the whole part of them

[01:27:04] being broken up

[01:27:05] in just him

[01:27:06] holding up the stereo

[01:27:07] yeah

[01:27:08] like that's

[01:27:09] like the whole story

[01:27:10] we got it

[01:27:11] we got it

[01:27:12] he's always

[01:27:13] going to be in her mind

[01:27:14] like he's like

[01:27:15] you know

[01:27:16] she's trying to forget it

[01:27:17] but he's still

[01:27:18] kind of

[01:27:19] thinking about it

[01:27:20] but that's the moment

[01:27:21] that makes Cameron

[01:27:22] she's just so memorable

[01:27:23] and weird

[01:27:24] it's so weird

[01:27:25] and it is

[01:27:26] he's able to capture

[01:27:27] an entire feeling

[01:27:28] in an image

[01:27:29] for someone who's not

[01:27:30] a very visual filmmaker

[01:27:31] he knows how to use

[01:27:32] performances

[01:27:33] and he knows how to use

[01:27:34] action

[01:27:35] showing rather than telling

[01:27:36] you know

[01:27:37] yes

[01:27:38] and

[01:27:39] he nails it

[01:27:40] and then the movie

[01:27:41] what's interesting

[01:27:42] is then the movie

[01:27:43] kind of joins its

[01:27:44] two plot lines

[01:27:45] with that very idea

[01:27:46] yeah

[01:27:47] and it's like

[01:27:48] basically

[01:27:49] she realizes

[01:27:50] she still wants to be

[01:27:51] is really guilty of

[01:27:53] tags fraud

[01:27:54] and she goes to the IRS

[01:27:55] where she meets

[01:27:57] who?

[01:27:58] the great

[01:27:59] Phillip

[01:28:00] Baker

[01:28:01] Hall

[01:28:02] such a great one-scene

[01:28:03] performance

[01:28:04] the kind of shit he just

[01:28:05] does on the reg

[01:28:06] I watched

[01:28:07] Boogie Nights the night

[01:28:08] before I watched this

[01:28:09] just by chance

[01:28:10] why did you watch Boogie Nights?

[01:28:11] it's on Netflix

[01:28:12] and I couldn't sleep

[01:28:13] and I had to watch all

[01:28:14] three hours of Boogie Nights

[01:28:15] okay

[01:28:16] so I watched Boogie Nights

[01:28:17] the night before

[01:28:18] where he also has

[01:28:19] a little more screen time

[01:28:20] and much yeah

[01:28:21] it's a similar thing

[01:28:22] where it's an office scene

[01:28:23] where he sits down

[01:28:24] now you're listening to me Griffin

[01:28:26] I wish I could do him

[01:28:27] if I could do a Phillip

[01:28:28] Baker Hall

[01:28:29] if I could do a Phillip

[01:28:30] Baker Hall I would be

[01:28:31] set in life

[01:28:32] what a particular voice

[01:28:33] he has

[01:28:34] if you could do Phillip

[01:28:35] Baker Hall

[01:28:36] you would be on mad TV

[01:28:37] right now

[01:28:38] and that's important to mention

[01:28:39] because we've referenced

[01:28:40] your mad TV

[01:28:41] real a lot recently

[01:28:42] I'm not in the

[01:28:43] I'm not in the

[01:28:44] new cast of Mad TV

[01:28:45] I'm sorry David

[01:28:46] yeah it's fine

[01:28:47] it's fine let's move on

[01:28:48] but have you seen

[01:28:49] I still have never seen

[01:28:50] he's so fucking good in it

[01:28:52] it's crazy how good he is

[01:28:53] isn't it

[01:28:54] it's crazy

[01:28:55] we shouldn't even talk about it

[01:28:56] it's like saying the name of God

[01:28:58] well Midnight Run

[01:28:59] if we ever get to

[01:29:00] Oh Bresty

[01:29:01] but you know his character

[01:29:02] in Heart 8

[01:29:03] is his character from Midnight Run

[01:29:04] right

[01:29:05] so right absolutely

[01:29:06] that like

[01:29:08] Clotom Sanderson was obsessed

[01:29:09] with his role in Midnight Run

[01:29:11] which is also essentially

[01:29:12] one or two scenes

[01:29:13] that was the Phillip Baker

[01:29:14] Hall special

[01:29:15] he said I want to know

[01:29:16] who that guy is

[01:29:17] and wrote a whole movie

[01:29:18] and the character has the same first name

[01:29:19] it's kind of like the conversation

[01:29:20] enemy of the state

[01:29:21] where they're like

[01:29:22] not really sequels

[01:29:23] but they both have the same character

[01:29:24] I mean

[01:29:25] the conversation between the state

[01:29:27] is less successful

[01:29:28] yes agreed

[01:29:29] so let's finish this up

[01:29:30] Phillip Baker Hall is the best

[01:29:31] he has this scene where

[01:29:32] he goes to the daughter

[01:29:33] and she's like

[01:29:34] can you explain to me

[01:29:35] what's going on

[01:29:36] no one will tell me anything

[01:29:37] can you treat me like an adult

[01:29:38] and just be honest with me

[01:29:39] and he's like

[01:29:40] your dad steals money

[01:29:41] he builds these old people

[01:29:42] for phony shit

[01:29:43] he has a lot of cash on hand

[01:29:45] probably he probably buys

[01:29:46] a lot of stuff

[01:29:47] he keeps his money

[01:29:48] his customers die

[01:29:49] and he acquires whatever

[01:29:51] and she goes like

[01:29:52] stop fucking lying to me

[01:29:53] and he's like

[01:29:54] I'm not lying you just told me the tell the truth

[01:29:55] I told the truth

[01:29:56] he said he could take it

[01:29:57] she says you're trying to get me to confess

[01:29:58] which is probably true

[01:29:59] he's probably trying it

[01:30:00] but he's also being like

[01:30:01] I think it's also out of amputty

[01:30:02] look we've been investing

[01:30:03] your dad for years

[01:30:04] this shit's probably on the level

[01:30:06] and I'm saying a lot of stuff

[01:30:08] that's classic for these kinds of cases

[01:30:09] have you noticed it

[01:30:10] she goes to the house

[01:30:12] there's we

[01:30:13] and then we start to notice

[01:30:14] the house is full of stuff

[01:30:15] he's bought her a car

[01:30:16] he's got two gifts

[01:30:17] he's always giving her gifts

[01:30:18] they've got a fucking jukebox

[01:30:20] they've got a jukebox

[01:30:21] the sat comments on the jukebox

[01:30:22] I know nine grand

[01:30:23] there's a lot of shit

[01:30:24] he keeps on buying gifts

[01:30:26] and she goes

[01:30:27] I don't need more gifts

[01:30:28] and he goes

[01:30:29] one's from you as a dad

[01:30:30] one's for you as a friend

[01:30:32] my best friend

[01:30:33] and you know

[01:30:34] she finds the money

[01:30:35] in the antique drawers

[01:30:37] or whatever

[01:30:38] and I love that the title

[01:30:39] of the film

[01:30:40] refers to the relationship

[01:30:41] between her and her father

[01:30:42] and not the relationship

[01:30:43] because they say that two times

[01:30:44] he goes

[01:30:45] you can say anything to me

[01:30:46] and he says that before

[01:30:47] she tells him about

[01:30:48] sleeping with Lloyd

[01:30:49] a later point in the film

[01:30:50] when he's trying to get to confess

[01:30:51] he goes

[01:30:52] you told me that

[01:30:53] we could say anything to each other

[01:30:54] you have to tell me

[01:30:55] and he doesn't

[01:30:56] yeah