Singles

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

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

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

[00:00:34] We're the two friends

[00:00:39] We're the two friends and this is a podcast called WePodcast

[00:00:44] I hit a chord there

[00:00:49] This podcast is called Blank Check

[00:00:54] We're starting late today so we're trying to make up for lost time

[00:00:58] David Sims and I like to talk about directors who have had big successes early on their careers

[00:01:04] and spend the rest of their career either caching or bouncing their blank checks

[00:01:09] Exactly, Colin, because this is a series made up of mini-series

[00:01:13] We go director by director, cover the filmography, Colin, WePodcast

[00:01:17] This is episode two about one Academy Award winner Cameron Crowe

[00:01:22] The first feted filmmaker we have discussed on this show

[00:01:26] Feted? He was feted with an Academy Award

[00:01:29] Oh, I see, of course

[00:01:31] But he hadn't won it yet

[00:01:33] When he made the film we're discussing today in 1992

[00:01:37] Picture is called Singles

[00:01:39] Singles!

[00:01:41] In terms of baseball analogies, I'd say this is about a single

[00:01:44] This is non-base single

[00:01:46] It's a little blooper

[00:01:48] Maybe the shortstop kind of bobbles it and he sort of gets it to first base

[00:01:52] But not quite in time

[00:01:54] And so it's like, yeah, oh, it's not a strikeout

[00:01:57] It's a golf clap

[00:01:58] This would be far more impressive as a first movie

[00:02:02] Yes, but if he'd made this as his first movie, would Cameron Crowe have gone anywhere?

[00:02:06] I don't think so

[00:02:07] Maybe not

[00:02:08] It's just weird because this one feels a bit like a backtrack

[00:02:10] Anyway, in his narrative I believe this was a bit of a, you know, this was kind of a down period

[00:02:15] Like, you know, he had to sort of rebound from this movie

[00:02:18] Well, we'll get to this, but I want to talk about the third person in the room right now

[00:02:21] Of course, we're hashtagged the two friends

[00:02:23] But today has been brought to our attention

[00:02:24] Why aren't we referring to ourselves as the three buddies?

[00:02:26] No, no, we're the two friends

[00:02:28] But there is always also another friend

[00:02:32] Because what's the title that is more impressive carries more weight than a friend

[00:02:36] If you really care about someone, you don't call them a friend

[00:02:39] You call them produced there

[00:02:41] That's right

[00:02:43] It's the highest honor you can bestow upon someone

[00:02:46] Sure

[00:02:47] Producer Ben, aka producer Ben, aka the Ben Deucer, aka the Haas

[00:02:51] aka the Poet Laureate, aka Mr. Positive

[00:02:54] aka the Peeper, aka Birthday Benny

[00:02:57] It's actually my birthday on Friday

[00:02:59] Hey now

[00:03:00] Boom

[00:03:01] aka the Tidebreaker

[00:03:02] Once a year that really works

[00:03:03] It really works

[00:03:04] aka the Fuckmaster

[00:03:06] That's right

[00:03:07] He is not nor will he ever be Professor Crispy

[00:03:10] Well, who knows

[00:03:11] Please greet him with a hearty hello fennel if you see him on the street

[00:03:15] But also

[00:03:17] You should know that he graduates to certain titles at the end of the RMA series

[00:03:20] And he is now

[00:03:21] festooned with badges adorned on them are the names

[00:03:26] Producer Ben Canovi, Kylo Ben, Ben Knight Shyamalan

[00:03:30] and Ben Sate

[00:03:32] Hearing that should make you want to dive into our back catalog

[00:03:36] and listen to all the reasons those names would have been created

[00:03:39] Yeah

[00:03:40] Because in episode one he was producer Ben

[00:03:42] Done

[00:03:43] Yeah, it was only that

[00:03:44] Out of here

[00:03:45] Yeah

[00:03:47] Well hey guys

[00:03:48] Hi

[00:03:50] This is a movie we watched

[00:03:51] We definitely watched this movie

[00:03:53] Yeah, I watched it on a Sunday morning

[00:03:56] Uh huh

[00:03:57] You know, it was an okay way to pass the hours between 8 and 10 a.m.

[00:04:01] Somewhere around there

[00:04:03] It would have been 9 and 11 a.m.

[00:04:04] This is a good shit talking movie

[00:04:06] I watched with my roommates

[00:04:07] And you were making fun

[00:04:08] I think Ben likes the movie less than us

[00:04:10] I think so

[00:04:11] Cause this to me is like a three star movie

[00:04:13] What? No

[00:04:14] No way

[00:04:15] Two and a half

[00:04:16] Three out of five or three out of four

[00:04:17] Five

[00:04:18] I'm not Roger Ebert

[00:04:19] I've made this joke before

[00:04:20] I'm no Hallowell's film guide

[00:04:24] So I saw this movie

[00:04:25] I was trying to explain to a friend of mine last night

[00:04:28] Cause I told him we were talking about this tomorrow

[00:04:30] And he is older

[00:04:32] This movie has its fans

[00:04:33] Yes

[00:04:34] Yeah, so is this your friend?

[00:04:35] Is he a fan?

[00:04:36] Was it Joe Garden?

[00:04:37] It wasn't although it was

[00:04:39] While doing my show with Joe Garden

[00:04:40] My buddy Chris McCullough

[00:04:43] Was at the show afterwards

[00:04:45] And he was saying like

[00:04:47] I can't imagine that movie would have any relevance to

[00:04:49] Cause I grew up

[00:04:50] I was the age of those characters when that movie came

[00:04:52] Sure

[00:04:53] And that felt like an important generational movie

[00:04:55] And I don't even know what it would mean

[00:04:56] If you saw it today

[00:04:57] But I'll say my girlfriend had never seen it before

[00:05:00] And I was like

[00:05:02] I can't believe you've never seen singles

[00:05:03] So we rented it

[00:05:05] And he was like

[00:05:06] This movie means fucking nothing to me now

[00:05:08] I mean

[00:05:09] I can buy that this was the movie

[00:05:11] Of like a generation maybe

[00:05:13] But even compared to say anything

[00:05:15] It has no lasting cultural footprint

[00:05:17] No

[00:05:18] It's not like you hear a line in this movie

[00:05:20] And you go

[00:05:21] Oh, that's where that line comes from

[00:05:22] And here's the thing

[00:05:23] Even

[00:05:24] You see Dylan

[00:05:25] And you're like

[00:05:26] Oh, this is Dylan's best

[00:05:27] Dylan is best

[00:05:28] Even bad camera and crow movies

[00:05:30] Usually have at least one

[00:05:32] Like classic crow line

[00:05:34] Yeah

[00:05:35] You know

[00:05:36] The Chili Dog Line is my favorite line

[00:05:37] Yeah

[00:05:38] Yeah

[00:05:39] But go on

[00:05:40] I'm not going to come kind of close

[00:05:41] But I was looking at the INDB page for the quote

[00:05:43] That I was going to butcher into the intro of the show

[00:05:45] And I was like

[00:05:46] There are a lot of sort of equivalent level quotes

[00:05:48] In this movie

[00:05:49] Like, you know

[00:05:50] Like a okay

[00:05:51] Like B minus quotes

[00:05:53] Yeah, but there's not like a sort of like

[00:05:54] Stuck in your craw kind of line

[00:05:56] Yeah

[00:05:57] And I chose that A one

[00:05:58] Because it felt like structurally

[00:05:59] I mean

[00:06:00] It was funny to be able to use the word

[00:06:01] Podcast three times

[00:06:02] No, you did a good

[00:06:03] It was a good quote

[00:06:04] And honestly that's a decent line

[00:06:05] And the format of that

[00:06:06] It kind of was my favorite line

[00:06:07] But I did

[00:06:08] I mean so I saw this movie for the first time

[00:06:10] When I was in high school

[00:06:11] And I went through this weird Gen X phase

[00:06:13] This is definitely trying to be like

[00:06:17] The Generation X movie

[00:06:19] But I think Reality Bites is probably more successful than this

[00:06:22] Right?

[00:06:23] Reality Bites

[00:06:24] Although that's not a movie that I love

[00:06:26] Per se

[00:06:27] Is way more successful

[00:06:28] It tapped into the thing

[00:06:29] Is smarter

[00:06:30] Is funnier

[00:06:31] Is better acted

[00:06:32] Yeah

[00:06:33] Has a story

[00:06:34] Yeah

[00:06:35] This movie is

[00:06:36] Reality Bites and Pieces

[00:06:37] Yeah

[00:06:38] Yeah

[00:06:39] It doesn't have much to say about anything

[00:06:43] And I think

[00:06:44] It doesn't have much to

[00:06:45] Say anything about anything

[00:06:47] But I think that's the problem

[00:06:49] It feels like Crow is trying to

[00:06:52] Just sort of write very broad

[00:06:54] And it doesn't have any of his weird

[00:06:57] Original voicey stuff in it

[00:06:59] Not enough at least

[00:07:00] So this movie was produced by Art Linson

[00:07:02] Okay, who's that?

[00:07:03] Who produced Fast Times at Richmond High

[00:07:05] Okay

[00:07:06] And directed The Wild Side

[00:07:08] Is that what it was called?

[00:07:09] The one that was like

[00:07:10] The leftover stuff from Fast Times

[00:07:12] It was called The Wild Something

[00:07:14] And I'll have more for you on that in a moment

[00:07:16] So keep talking

[00:07:17] Only 20 minutes from now

[00:07:19] UCB's wireless network

[00:07:20] We'll start doing us some favors

[00:07:22] Those are the wheels of the wireless turning

[00:07:24] The steam starts to like puff

[00:07:26] He directed that forgotten

[00:07:27] Sort of Fast Times

[00:07:29] Spiritual sequel

[00:07:30] And then if I

[00:07:31] Understand correctly

[00:07:32] I believe Crow wrote this screenplay

[00:07:34] Immediately after that

[00:07:36] Okay, after Fast Times?

[00:07:37] And The Wildlife or whatever it was called

[00:07:39] So like in the mid-80s

[00:07:40] Yeah

[00:07:41] He wanted to make this

[00:07:42] Like right in the mid-80s

[00:07:44] Before Say Anything

[00:07:45] I think this was originally going to be his

[00:07:47] Debut film

[00:07:48] Okay

[00:07:49] And they like couldn't get the financing for a while

[00:07:50] It was close to being made

[00:07:51] It didn't, duh duh duh duh duh

[00:07:52] And then after Say Anything

[00:07:53] When he had some sort of heat

[00:07:55] He was like

[00:07:56] Oh this screenplay I wrote

[00:07:57] Seven years ago we should make this

[00:07:58] Sure and you know

[00:07:59] I mean it's not an expense

[00:08:00] Like once you've made Say Anything

[00:08:02] Like surely you can scrape the money together

[00:08:04] Yeah and that movie was

[00:08:05] Was well like

[00:08:06] Non-massive financial success

[00:08:07] The budget for this one was 9 million

[00:08:09] Which is smaller than Say Anything

[00:08:11] Yeah

[00:08:12] And I think

[00:08:14] This makes

[00:08:15] Wildlife came out in 84

[00:08:16] Wildlife

[00:08:17] Art Linson

[00:08:18] I think this

[00:08:20] Movie makes more sense

[00:08:22] As a first screenplay

[00:08:23] Do you know what I'm saying?

[00:08:24] Yes, sure

[00:08:25] Or like I know Fast Times

[00:08:26] Was adapting his own book

[00:08:27] No no no

[00:08:28] Like here's your first original screenplay

[00:08:29] Like Cameron Crowe

[00:08:30] You're going to try and make a movie

[00:08:31] With a first strike

[00:08:32] I think the mistake was

[00:08:33] After Say Anything

[00:08:34] Which is a far better work

[00:08:35] To go back to this earlier thing

[00:08:36] He had

[00:08:37] You know on the show

[00:08:38] It's kind of inconsequential

[00:08:39] People like this movie though

[00:08:40] I don't want to dismiss this movie

[00:08:41] Because I do feel like it has

[00:08:42] That little

[00:08:43] Core fan base

[00:08:44] That I speak up for it

[00:08:45] I don't either

[00:08:46] And I don't want to use

[00:08:47] You know Chris's words

[00:08:48] To speak for everyone

[00:08:49] But he was sort of saying

[00:08:50] Like at the time

[00:08:51] When you were that age

[00:08:52] Watching that movie

[00:08:53] When it came out

[00:08:54] It felt like it was something

[00:08:55] Right

[00:08:56] And watching it now

[00:08:57] I'm aware that it like

[00:08:58] Didn't crystallize this thing

[00:08:59] As much in there

[00:09:00] Time capsules

[00:09:01] It kind of makes me think of this

[00:09:02] Watching this movie

[00:09:03] Remember Kurt Loder on MTV?

[00:09:05] Yes

[00:09:06] Like not a cool dude

[00:09:07] Right?

[00:09:08] Objectively

[00:09:09] And all the characters in this movie

[00:09:11] Are super not cool

[00:09:12] I would say for the most part

[00:09:14] I guess like

[00:09:15] I don't know

[00:09:17] We can get into it

[00:09:18] But overall

[00:09:19] I feel like it's just

[00:09:20] Like a bunch of like

[00:09:21] Really unhip

[00:09:22] Like young people that are

[00:09:24] Supposed to be cool

[00:09:25] Or something

[00:09:26] Well they're you know

[00:09:27] Proto yuppies mostly

[00:09:28] But like that's

[00:09:29] That's the generation

[00:09:31] That's you know

[00:09:32] What it's about

[00:09:33] I mean not to keep on comparing

[00:09:34] To reality fights

[00:09:35] No man

[00:09:36] There are punks

[00:09:37] Cyber punks

[00:09:38] The early 90s

[00:09:40] Early 90s

[00:09:41] This is like yeah

[00:09:43] It's post Reagan

[00:09:44] Everyone's like

[00:09:45] I'm gonna go be a graphic designer

[00:09:46] No man there's like

[00:09:47] Cool zine culture

[00:09:48] Especially in the

[00:09:49] Pacific Northwest

[00:09:50] Yeah no

[00:09:51] Clearly not about that

[00:09:52] They're talking about a bunch of

[00:09:53] Fucking soon to be

[00:09:55] Yuppie jerk-offs

[00:09:56] But when Kurt wrote the screenplay

[00:09:58] I think he was interested

[00:09:59] Cameron Crueh writes about yuppie jerk-offs

[00:10:00] I just want to make that

[00:10:01] Like that is what he always writes

[00:10:02] You're right though

[00:10:03] That is Cameron Crueh's wheelhouse

[00:10:04] When Cameron Crueh wrote the screenplay

[00:10:06] Apparently the whole thing was

[00:10:07] He wanted to try to capture this like

[00:10:09] Scene that was emerging in Seattle

[00:10:11] Yeah the grunge scene

[00:10:12] And like not the cool grunge scene

[00:10:14] Like the Pearl Jam grunge scene

[00:10:15] Right

[00:10:16] But this was like mid 80s

[00:10:17] Into late 80s

[00:10:18] And when they started filming the movie

[00:10:20] I mean the sort of

[00:10:21] Anecdote that explains

[00:10:22] The weird timeline of this movie was

[00:10:24] This movie took a while to get made

[00:10:26] And then once they shot it

[00:10:28] Warner Brothers didn't know how to release it

[00:10:30] And they kept on a shelf for like over a year

[00:10:32] Yeah right

[00:10:33] Because they didn't know what to do with it

[00:10:34] And then suddenly

[00:10:36] Allison Chains, Pearl Jam, Sound Garden

[00:10:38] They all hit

[00:10:39] Right

[00:10:40] I mean

[00:10:41] It's true and like Eddie Vedder's in this fucking movie

[00:10:43] And like all these people are in this movie

[00:10:45] They shot this movie before Nevermind

[00:10:47] Was released

[00:10:48] Right

[00:10:49] And by the time they were like

[00:10:51] Finishing up the movie

[00:10:52] They couldn't afford the rights

[00:10:53] To any of the tracks off of Nevermind anymore

[00:10:55] And it's like that's like the film

[00:10:56] Ended up being released just in time

[00:10:58] To look like it was sort of like

[00:11:00] Cashing in on a wave

[00:11:02] When it was really like

[00:11:03] He was way before it

[00:11:04] And maybe wasn't as tapped into it

[00:11:06] As the public want

[00:11:07] Like this film doesn't feel like

[00:11:09] It was made in the wake of a cultural movie

[00:11:11] He's a music writer

[00:11:12] Yeah

[00:11:13] And it feels like he was just making a movie

[00:11:14] About a couple people he knew in Seattle

[00:11:16] Rather than like a movement

[00:11:17] You know

[00:11:18] Which he wasn't

[00:11:19] That's my point

[00:11:20] I mean it's not held against him

[00:11:21] No it's

[00:11:22] But the music stuff in this movie

[00:11:23] Is an afterthought

[00:11:24] Yeah which is weird

[00:11:25] Matt Dillon's character is the biggest afterthought

[00:11:27] He has no plot

[00:11:28] They try to conjure a plot about him

[00:11:30] Like getting a bad review

[00:11:31] And like maybe his band's not gonna go anywhere

[00:11:33] But there's no plot

[00:11:35] But he's maybe the best performance?

[00:11:36] Oh no I don't think so

[00:11:38] I wouldn't even

[00:11:39] Put him in the top five

[00:11:40] Really?

[00:11:41] Yeah he did nothing for me

[00:11:42] He's fine

[00:11:43] See I like him in this movie

[00:11:44] And I think the weird thing with this movie is

[00:11:45] And this also feels like

[00:11:47] A relic of Crow

[00:11:49] In like an immediate post-Fast times phase

[00:11:52] Sure

[00:11:53] Like that character feels like a real Spicoli to me

[00:11:56] You know?

[00:11:57] I'm not saying he's as good as Spicoli

[00:11:59] But I think there's a similar dynamic where it's like

[00:12:01] Okay you got a couple straight characters

[00:12:03] And then you got one guy who's like a little more

[00:12:05] Like

[00:12:06] He's got a funny vibe

[00:12:08] I don't agree

[00:12:09] I think he's a flop if you're gonna compare him to that

[00:12:11] Cause he doesn't come in and change the movie at all

[00:12:13] Like he doesn't do anything

[00:12:14] I'm not saying he's anywhere near as good as Spicoli

[00:12:16] I'm saying I think that character functions

[00:12:18] In a similar way

[00:12:19] How? What does he do?

[00:12:20] But in a very muted way

[00:12:21] Very muted

[00:12:22] Yeah he's very muted

[00:12:23] By muted you mean it's on mute

[00:12:25] Like there's no sound

[00:12:26] I like him in this

[00:12:27] I don't dislike him

[00:12:29] I just think he's kinda doing like a

[00:12:31] A Mastone guy

[00:12:32] A little bit of an airhead performance

[00:12:34] Yeah maybe I just like

[00:12:35] He talks to the camera but like only later

[00:12:38] And you're like whoa he's talking to the camera now

[00:12:40] But it opens with Kira Cedric talking to the camera

[00:12:42] It does

[00:12:43] I mean I guess the idea is that there are four main characters

[00:12:46] But he's the least fleshed out of the four

[00:12:48] He doesn't have his own sort of inner life

[00:12:50] Yeah I mean Fonda is also not

[00:12:52] We'll get to her

[00:12:53] That's the first bill

[00:12:54] I just, yeah

[00:12:55] No it's weird

[00:12:56] The billing is hard to make out

[00:12:59] You're like oh is this an alphabetical

[00:13:00] No because Cedric's not

[00:13:02] You know like this Campbell Scott second bill

[00:13:04] Alright

[00:13:05] But um

[00:13:06] That's another weird thing with this movie

[00:13:07] Is that like you look at fast times

[00:13:09] It's like okay that movie is beautifully cast

[00:13:11] Right?

[00:13:12] Great, great cast

[00:13:13] And like

[00:13:14] Great cast down like the guys you know

[00:13:15] And the guys you don't know

[00:13:16] They're all great

[00:13:17] But it definitely feels like you know

[00:13:18] Some of those people are bigger at the time

[00:13:19] The movie was released

[00:13:20] Some of them pop ten years later

[00:13:22] Some of them are at their biggest now

[00:13:23] But like it's a collection of actors

[00:13:25] You mean Reinhardt

[00:13:26] Yes

[00:13:27] At his biggest now

[00:13:28] Right

[00:13:29] That's a collection of you know people who like

[00:13:32] Made marks in cinema

[00:13:35] Yeah absolutely

[00:13:36] And same with Rowley Bytes

[00:13:37] And it's like oh yeah

[00:13:38] You watch this and you're like

[00:13:39] Yeah they had a good eye

[00:13:40] Yeah

[00:13:41] They had a good eye

[00:13:42] And you watch say anything and there's

[00:13:43] The similar thing with Qsack

[00:13:44] Or it's like man they got fucking sacked

[00:13:45] And this movie is fascinating to me

[00:13:46] Because it's like

[00:13:47] And Mahon

[00:13:48] They own Mahon

[00:13:49] They own Mahon

[00:13:50] This movie is fascinating to me

[00:13:51] I'm bringing that joke back

[00:13:52] Yeah

[00:13:53] Unbreakable

[00:13:54] This movie is fascinating to me

[00:13:55] No

[00:13:56] Yes 100%

[00:13:57] Yes yes yes

[00:13:58] Yes yes yes

[00:13:59] All right all right

[00:14:00] All right fine

[00:14:01] Unbreakable

[00:14:03] And do me a favor

[00:14:04] Yeah

[00:14:05] Right after us chanting yes

[00:14:06] And convincing you to put in unbreakable

[00:14:08] Fingered?

[00:14:09] Yeah can we get fingered

[00:14:10] Fingered

[00:14:11] Fingered

[00:14:14] That was you, that was all you Ben

[00:14:15] Yeah

[00:14:17] Yeah I mean but do we need to call it back?

[00:14:19] Yeah 100%

[00:14:20] Okay

[00:14:21] Creative mythology here Ben

[00:14:22] You're right you're right

[00:14:23] The blank check of hers

[00:14:25] Um the thing that's fascinating to me about this movie

[00:14:27] Is the four leads in this movie

[00:14:29] Are four people who didn't really

[00:14:31] Become movie stars in the way that people expected them to

[00:14:34] No although none of them became nothing

[00:14:36] They were all still floating around

[00:14:37] And Keira Cedric, Emmy winner

[00:14:39] Oh for the closer

[00:14:40] For the closer

[00:14:41] For the closer

[00:14:42] She was always the closest

[00:14:43] The show where she always goes

[00:14:44] Hey come a little closer

[00:14:45] I can't hear you come a little closer

[00:14:47] What I want to say is

[00:14:49] Like if I tell you hey singles

[00:14:51] It was a Cameron Crew movie

[00:14:53] And you're like okay

[00:14:54] It's set in Seattle during the grunge scene

[00:14:56] Oh and it's called singles

[00:14:57] Is it about rock music?

[00:14:59] No no no like little single apartments

[00:15:01] Oh

[00:15:02] Yeah there's these like houses that had

[00:15:04] Little single apartments for singles

[00:15:06] Cause they're singles

[00:15:07] Well do they do any music?

[00:15:09] No, they go to a concert

[00:15:11] One of the fours in a band

[00:15:12] Two of the media they come in

[00:15:13] Yeah they don't really see them performing

[00:15:15] But it feels like a perfect movie to have a double meaning title

[00:15:18] Like you're like oh it should be singles

[00:15:19] That's a thing right

[00:15:20] And it should be based around them buying

[00:15:21] Like cassette singles

[00:15:22] Casingles

[00:15:23] Casingles

[00:15:24] What if it was called casingles

[00:15:25] I mean I would love it

[00:15:26] Maybe a prequel

[00:15:27] Yeah

[00:15:28] What if Cameron Crew today was like

[00:15:30] Guys my next project

[00:15:32] Casingles

[00:15:33] For years people have been approaching me

[00:15:35] Asking when I would revisit the word of singles

[00:15:38] And now is the time

[00:15:39] So

[00:15:40] You know what I'm saying it's like

[00:15:41] Interesting cause there are four actors who like

[00:15:43] None of them

[00:15:44] I mean I guess Dylan was the most established at that point

[00:15:47] He was already a big star

[00:15:48] Cause he had been around for ten years

[00:15:50] Doing his sort of teen stuff

[00:15:51] He'd been you know the

[00:15:53] French for Coppola

[00:15:55] You know

[00:15:56] The bubblefish

[00:15:57] And he'd been in

[00:15:58] What else do you know

[00:15:59] Let's take a look

[00:16:00] He'd been in the Flamingo Kid

[00:16:02] Yeah

[00:16:03] And Drugstore Cowboy

[00:16:04] Right

[00:16:05] Yeah yeah

[00:16:06] Love Drugstore Cowboy

[00:16:07] He had done a lot of work

[00:16:08] But then he sort of dips a little bit after this movie

[00:16:11] A real tip

[00:16:12] And then like he has that late 90s

[00:16:14] Like to die for

[00:16:15] There's something about Mary

[00:16:16] Like little mini boy

[00:16:17] He comes back as a comedy guy

[00:16:18] But then that doesn't you know wild things

[00:16:20] But then that doesn't stick either

[00:16:22] And then he comes back with Crash

[00:16:23] He has a lot of common people

[00:16:24] And he comes back with Crash

[00:16:25] And some people are like

[00:16:26] It's gonna happen

[00:16:27] Supporting actor

[00:16:28] And then literally I'm looking at his

[00:16:30] Wikipedia credit right now

[00:16:31] And five movies in a row are

[00:16:34] Direct-to-View

[00:16:36] He did a factotum

[00:16:38] Which is a

[00:16:39] Yeah yeah

[00:16:40] And that was right around the same time as Crash

[00:16:42] And he's great in it

[00:16:43] Yeah yeah

[00:16:44] And again you were

[00:16:45] Yeah you were thinking like

[00:16:46] Yeah

[00:16:47] You me and Dupree

[00:16:48] Yeah these are old dogs

[00:16:50] I will say he's really good in old dogs

[00:16:52] And I'm not just saying that

[00:16:53] Okay

[00:16:55] I'm not just saying

[00:16:56] But look even like

[00:16:57] Okay so his film's coming up

[00:16:58] Right after Crash

[00:16:59] Or Loverboy

[00:17:00] Which is directed by Bacon

[00:17:01] With Kira Sedgwick

[00:17:02] Factotum

[00:17:03] Which is the Bacowski movie

[00:17:04] Then you go herbie fully loaded

[00:17:06] You me and Dupree

[00:17:07] He's the lead sort of person

[00:17:09] Or is he the villain

[00:17:10] Is Keaton the lead dad guy?

[00:17:11] Keaton's the

[00:17:12] Is Lindsay Lohan's dad in the movie

[00:17:14] And Matt Dillon is the evil racer

[00:17:17] And this is that's

[00:17:18] Yeah that's a movie

[00:17:19] Yeah

[00:17:21] Right and then

[00:17:22] Okay so then he does nothing but the truth

[00:17:24] But that's sort of the only drama

[00:17:26] Like real drama he does after Crash

[00:17:28] You know

[00:17:29] Yeah

[00:17:30] He does a lot of action stuff

[00:17:31] He's an armored

[00:17:32] Remember armored

[00:17:33] That's like an action movie

[00:17:34] Yeah no I know

[00:17:35] Yeah and Takers is a similar like

[00:17:36] Oh yeah

[00:17:37] That's the one where

[00:17:38] Hayden has his little hat

[00:17:40] That's Hayden's hat the movie

[00:17:41] Hayden's hat the movie

[00:17:42] Are you looking at me like I had on

[00:17:43] And then it just

[00:17:44] Had my look on my hat

[00:17:45] It just went away

[00:17:46] You know Dillon's had a funny career

[00:17:48] All these guys have had funny careers

[00:17:49] I mean you know Bridget Fonda

[00:17:51] Who I think is pretty good in this movie

[00:17:53] And I'm quite fond of her

[00:17:54] I'm quite fond of her

[00:17:55] She looks wonderful

[00:17:56] She's so cute

[00:17:58] One comedy point

[00:17:59] Fonda Bridget

[00:18:00] I'm fond of Bridget

[00:18:01] You know she had just been in Doc Hollywood

[00:18:03] And single wife female

[00:18:04] So she was like a big deal

[00:18:05] Oh wow

[00:18:06] I didn't realize this was right after SWF

[00:18:08] Yeah I think it's the same year

[00:18:10] SWF

[00:18:11] And then you know

[00:18:12] Then you've got it could happen to you

[00:18:14] Which I think is a cute movie

[00:18:15] Yeah she's cute in that

[00:18:16] Then she's in like a bunch of crap

[00:18:18] That like was supposed to be good

[00:18:20] Like City Hall

[00:18:21] The road to Wellville

[00:18:22] And then she's in Jackie Brown

[00:18:24] And you're like yeah

[00:18:25] Like Quinn got a really good performance

[00:18:26] Out of her here

[00:18:27] This is great

[00:18:28] And that was that

[00:18:29] Like and never was she heard from again

[00:18:31] Was her last film ever Monkey Bone

[00:18:34] Is that possible

[00:18:35] You know because she was also in things called

[00:18:37] Kiss of the Dragon and the whole shebang

[00:18:38] The same year

[00:18:39] But I've never heard of those

[00:18:40] Kiss of the Dragon was a Jet Lee movie

[00:18:41] That was the first American jet Lee vehicle

[00:18:43] Yes and she's second build

[00:18:45] On the poster Bridget Fonda

[00:18:47] Kiss of the Dragon

[00:18:48] And then I don't know whole shebang

[00:18:49] And that's the last thing she ever did

[00:18:51] The whole shebang is a movie by George Zaloum

[00:18:55] But does her career end

[00:18:56] That's it

[00:18:57] That's literally it's over

[00:18:58] She's married to Danny Elfman now

[00:18:59] And she doesn't do anything

[00:19:01] It takes it easy

[00:19:02] I loved her

[00:19:03] I thought she was

[00:19:04] Really really winning screen presence

[00:19:06] I think she's cute in this

[00:19:07] I do think the movie gives her pretty short

[00:19:10] Shrift for most of the movie

[00:19:12] At the end it kind of turns her into a real character

[00:19:15] Like in the last two scenes

[00:19:16] And you're like oh where was this

[00:19:18] During the whole boob job subplot

[00:19:20] Yeah which we'll talk about that

[00:19:21] Oh boy

[00:19:22] But I watched Jackie Brown with my sister

[00:19:26] It's one of my favorite movies

[00:19:27] My favorite Quentin Tarantino movie by Amyle

[00:19:29] I love that movie

[00:19:30] It's my second favorite film of this

[00:19:31] But I think that movie is a masterpiece

[00:19:32] Sure what's number one

[00:19:33] In Glorious Basterd

[00:19:34] Yeah it's a good movie

[00:19:35] I go in Glorious Basterd and then Jackie Brown

[00:19:36] But I watched it with her

[00:19:38] And she just like from the first scene

[00:19:40] My sister was like who's this

[00:19:41] Who's that?

[00:19:42] Yeah right right

[00:19:43] Like Bridget Fonda is so good in that

[00:19:44] And so controlled and so understated

[00:19:45] And it's a really interesting character

[00:19:47] Totally

[00:19:48] In a small supporting part

[00:19:49] And it feels like

[00:19:50] She's very good though

[00:19:51] A real kind of reinvention for her

[00:19:52] And it was like amazing because

[00:19:54] Because none of her movies

[00:19:55] Even if she was kind of big

[00:19:56] With all his promise at the time

[00:19:57] If you're born in 1998

[00:19:59] Like my sister is

[00:20:00] You don't grow up watching

[00:20:01] Zero

[00:20:02] You have no awareness of her

[00:20:03] The name Fonda might mean something to you

[00:20:05] You might have heard that there are movie stars

[00:20:07] With the name Fonda

[00:20:08] She's seen Peter Fonda movies

[00:20:09] But she hasn't seen Bridget Fonda

[00:20:10] We've all seen Uli's gold

[00:20:11] Yeah

[00:20:12] You know we all when we're young

[00:20:13] When we're five or six

[00:20:14] Our parents sit us down

[00:20:15] And they're like okay it's time

[00:20:16] It's time

[00:20:17] Time for you to see Uli's gold

[00:20:19] You're finally old enough to dig for gold

[00:20:21] But

[00:20:23] It's interesting like to watch something like that

[00:20:25] And like Romley's reaction was very much like

[00:20:27] Why don't I know who this person is

[00:20:29] Because she

[00:20:30] Yeah

[00:20:31] She cut it out

[00:20:32] She stopped

[00:20:33] Kira Sedgwick the role was originally

[00:20:34] Supposed to be Jennifer Jason Lee

[00:20:36] That was his idea

[00:20:37] But she turned it down

[00:20:39] Yeah

[00:20:40] And of course weirdly enough

[00:20:41] She's in single wife female

[00:20:43] With Bridget Fonda

[00:20:44] The same year

[00:20:45] And it had been in Fast Times at Richmond High

[00:20:46] Well obviously that's

[00:20:47] I'm sure that's what he was thinking

[00:20:48] Yeah

[00:20:49] And then Jody Foster

[00:20:50] And Robin Wright Penn

[00:20:51] Were considered for the part

[00:20:53] Both would be excellent

[00:20:54] Bridget, I mean Kyra Kira got it

[00:20:56] And I think she's good in the movie

[00:20:58] I think she's fine

[00:20:59] I think she's pretty good

[00:21:00] I think

[00:21:01] He had been in Born on the Fourth of July

[00:21:03] That was her big

[00:21:04] Yeah

[00:21:05] Breakout

[00:21:06] I think Campbell Scott this is coming right after

[00:21:08] Dying Young

[00:21:09] Which you know

[00:21:10] Premier Magazine predicts it would be the

[00:21:12] Highest grossing film of that year

[00:21:13] Yeah he was in

[00:21:15] Long-time companion

[00:21:16] Which is this like sort of

[00:21:18] Early gay

[00:21:20] Mates crisis movie

[00:21:21] It's not that good

[00:21:22] But it's sort of an interesting little artifact

[00:21:24] And then Dying Young, right

[00:21:25] Which is awful

[00:21:26] Yeah but we're supposed to be huge

[00:21:27] No no with Julia Roberts

[00:21:29] Yes and I think he got cast on

[00:21:31] The heat of that

[00:21:33] Of them presuming that movie would be big

[00:21:35] Yeah

[00:21:36] I think both of them

[00:21:38] I think he's a

[00:21:39] Campbell Scott is I think

[00:21:41] An A plus top shelf actor

[00:21:44] But he is not good

[00:21:46] In a role of like

[00:21:48] A nice normal guy who wants to find a girlfriend

[00:21:50] He's not a movie

[00:21:51] Like he doesn't have that spark

[00:21:54] And I think Kyra Sedgwick is a fine actress too

[00:21:56] But I think

[00:21:57] I think she's good at this

[00:21:59] For a movie like this that's so much about personality

[00:22:01] Because there's not much of a plot

[00:22:03] Or any plot whatsoever

[00:22:05] And there's no real hook to it

[00:22:06] You need people who just got some sort of wattage

[00:22:08] You know

[00:22:09] And like Bridget Fonda you watch her

[00:22:10] And it's like

[00:22:11] Okay Kyra Sedgwick and Campbell Scott are both better actors

[00:22:13] Than Bridget Fonda

[00:22:14] Bridget Fonda has that thing

[00:22:16] When she's in scenes you're kind of engaged

[00:22:17] You know

[00:22:18] And this is a movie where you need sort of charisma

[00:22:20] I mean I do think there's something too

[00:22:21] If you look at this movie

[00:22:22] And you go like

[00:22:23] Okay scatter shot

[00:22:24] Lot of characters

[00:22:25] Different plot lines

[00:22:26] Trying to capture a city

[00:22:28] And a time

[00:22:29] And an age group

[00:22:30] And you have one outside character

[00:22:32] I could see how in 1984

[00:22:34] Cameron Kerr wrote the script as like

[00:22:36] Seattle fast times

[00:22:37] Like here's fast times with 20 something

[00:22:39] Sure

[00:22:40] And then post say anything

[00:22:41] He was like

[00:22:42] Oh I think I found who I am as a director

[00:22:44] It's a little more calm

[00:22:45] Yeah a little more rom-com-y

[00:22:46] Yeah

[00:22:47] And then like filtered it through that

[00:22:48] But you could see how Amy Heckerling

[00:22:50] Could have directed the script in like 1985

[00:22:54] And it was like a comedy

[00:22:56] This movie should be a little more bubbly

[00:22:58] And like lively

[00:22:59] Agreed

[00:23:00] And I just wanted Campbell Scott

[00:23:01] You know what Campbell Scott?

[00:23:03] I like him

[00:23:04] And what I like him is that he rejects Hollywood

[00:23:05] Right after this pretty much

[00:23:06] Yes

[00:23:07] Because he makes

[00:23:08] Mrs. Park in the vicious circle

[00:23:09] Which he's really good at

[00:23:10] Yeah

[00:23:11] He makes Big Night with the Tooch

[00:23:12] Directed

[00:23:13] Directed with the Tooch

[00:23:14] Right stars

[00:23:15] Big Tooch

[00:23:16] Love a touch of the Tooch

[00:23:17] Oh he's a touch of the Tooch

[00:23:18] Mwah

[00:23:19] Touch of the Tooch

[00:23:20] He's the star of the Spanish prisoner

[00:23:21] Which is

[00:23:22] Yep

[00:23:23] And then he's in like doesn't do anything for a while

[00:23:26] Bunch of shit I've never heard of

[00:23:27] And then he's in Roger Dodger

[00:23:28] Which is an amazing performance

[00:23:30] Yeah I need to rewatch that movie

[00:23:32] Great movie

[00:23:33] I didn't like it when I saw it

[00:23:34] But I was young

[00:23:35] And then in the same year

[00:23:36] Maybe the next year

[00:23:37] Secret Lives of Dentist

[00:23:38] Secret Lives of Dentist

[00:23:39] Which is a great performance

[00:23:40] I like that movie a lot

[00:23:41] I think he's excellent in that

[00:23:42] I like that movie a lot

[00:23:43] You know who else is good in that movie?

[00:23:44] Uh, the Dennis Leary

[00:23:45] Our boy Dennis Leary

[00:23:46] Yeah, I mean he's really good

[00:23:47] And then since then he's come back

[00:23:49] And now he does like

[00:23:50] These sort of small parts in Hollywood movies

[00:23:52] Like he's in Spider-Man

[00:23:53] He's in stuff, you know

[00:23:54] He means Spider-Man too

[00:23:55] And won

[00:23:56] Yeah and he's been on 55 episodes

[00:23:57] Of Royal Pains I found out today

[00:23:59] On his IMTV

[00:24:00] Did not know that

[00:24:01] 55 episodes of Royal Pains

[00:24:03] Look, look

[00:24:04] You're an actor and you hear the pitch

[00:24:05] For Royal Pains

[00:24:06] Yeah

[00:24:07] You gotta jump at that

[00:24:08] Yeah

[00:24:09] He's a doctor

[00:24:10] On the beach

[00:24:11] Does he wear shoes?

[00:24:12] Nope

[00:24:13] Does he practice medicine?

[00:24:14] Yep

[00:24:15] Why is it called Royal Pains?

[00:24:17] Because rich people are annoying

[00:24:18] Yeah

[00:24:19] Uh, no I'm not

[00:24:20] I'm not, uh, you know

[00:24:22] Throwing shade on him being in Royal Pains

[00:24:24] He's just got a very interesting career

[00:24:25] I think he's a good actor

[00:24:26] I don't think he's like

[00:24:27] Capital M movie star that this movie needs

[00:24:29] You need a sack

[00:24:30] Yeah

[00:24:31] And he's so, uh, Campbell Scott

[00:24:32] You need a sack

[00:24:33] Campbell Scott is very thoughtful

[00:24:35] He's a weird little, yeah, yeah

[00:24:37] And he's very muted

[00:24:38] He's one of those actors

[00:24:39] Who's good at showing you, uh, him thinking

[00:24:42] Yes

[00:24:43] Uh, yeah

[00:24:44] And here's another thing with Campbell Scott

[00:24:45] Campbell Scott got better when he got into

[00:24:47] He got, got better when he got older

[00:24:49] Because he always felt like he was 47 years old

[00:24:51] Totally

[00:24:52] Oh, I just remembered

[00:24:53] I just saw him on Broadway in Noises Off

[00:24:55] Oh, how was he?

[00:24:56] Amazing

[00:24:57] So funny

[00:24:58] He was the director

[00:24:59] Which is funny

[00:25:00] You know

[00:25:01] Anyway, it doesn't matter

[00:25:02] He was really good

[00:25:03] But you know what I'm saying

[00:25:04] Like you're watching this movie

[00:25:05] And you're supposed to be, sort of like a young dude

[00:25:06] And I watch him the whole time

[00:25:07] And I'm like, you seem like you're 47

[00:25:09] Like you're so subdued

[00:25:10] Yeah

[00:25:11] You know

[00:25:12] I kind of felt like that with, uh, Kira Sedgwick's character

[00:25:15] You know, for a movie that's supposed to be about

[00:25:17] Sort of like a generation on the rise

[00:25:19] Both of them feel like grown-ups

[00:25:21] There was a part where they're on a park bench

[00:25:23] But it's a close shot

[00:25:24] And I was like joking out loud

[00:25:26] I'm like, are they at a soccer game right now?

[00:25:28] Yeah

[00:25:29] Like a kid's soccer game

[00:25:30] Yeah

[00:25:31] Like, yeah

[00:25:32] I felt that way for sure

[00:25:33] They definitely feel too old

[00:25:34] I think it's a, both of their energies are too mature

[00:25:37] Yeah

[00:25:38] And then the Bridget Fonda subplot does feel like

[00:25:40] Oh, she's like a kid

[00:25:41] She's figuring it out, you know

[00:25:42] But the two of them, it's like

[00:25:43] Yeah, why not get married?

[00:25:44] You're like 47, right?

[00:25:46] Uh, okay let's try it

[00:25:47] I mean, there's no real plot system

[00:25:49] Let's talk about the characters, I guess

[00:25:50] And their respective plot lines

[00:25:52] Yeah, there's two main plot lines-ish

[00:25:54] And then a couple sort of side lines

[00:25:56] I want to talk about 90s technology

[00:25:58] You want to do Ben's 90s technology?

[00:26:01] Ben's tech corner

[00:26:02] Yeah, we can get to that later

[00:26:03] What do you got?

[00:26:04] Well, I mean, do we want to talk about

[00:26:06] The breast program?

[00:26:08] Oh, god

[00:26:09] Yeah, well let's, yeah, okay

[00:26:10] So one plot is Bridget Fonda

[00:26:13] Yeah

[00:26:14] Young woman in her 20s

[00:26:15] She's got a short haircut

[00:26:17] 23

[00:26:18] There you go

[00:26:19] And she says I want to do something ridiculous

[00:26:20] Before I get too old

[00:26:21] Because I feel like when you're 25

[00:26:23] Ridiculous becomes embarrassed

[00:26:25] Or something like that

[00:26:26] And I'm like 30 and I'm watching this

[00:26:27] And I'm like, god fuck you

[00:26:29] And like Matt Dillon

[00:26:30] She's got this on off thing with Dillon

[00:26:32] Matt Dillon's character

[00:26:33] He won't commit to her

[00:26:34] He's like, I'm still seeing other people

[00:26:35] He's in a band called Citizen Dick

[00:26:37] He thinks he's fucking above it all

[00:26:38] And she's madly in love with him

[00:26:39] Campbell Scott's her like

[00:26:41] Her next door neighbor

[00:26:42] Yeah, their neighbor pal

[00:26:43] And he's like come on

[00:26:44] You don't need to be hung up on a guy like this

[00:26:46] And she decides

[00:26:47] That's a decent Campbell Scott

[00:26:48] Yeah, it was pretty good

[00:26:49] It was pretty good

[00:26:50] Listen, come on

[00:26:51] Yeah

[00:26:52] She decides that a problem with Dillon

[00:26:56] You know with Matt Dillon not liking her

[00:26:57] Is that she's too flat chested

[00:26:58] That's what it is

[00:26:59] Yeah

[00:27:00] So

[00:27:01] That's the ticket

[00:27:02] I mean, she did ask him

[00:27:03] And he said

[00:27:04] Sometimes

[00:27:05] Sometimes

[00:27:06] It's actually one of his best moments

[00:27:07] In the movie

[00:27:08] I think

[00:27:09] So you watch him

[00:27:10] And he's like

[00:27:11] And then I can't wait to anticipate how to react to this question

[00:27:14] When she's like

[00:27:15] My armory boobs are small for you

[00:27:16] And he's like

[00:27:17] Uhhh

[00:27:18] You know

[00:27:19] And that's the funniest answer

[00:27:20] Yeah, it's a funny answer

[00:27:21] So

[00:27:22] That scene is there like in his apartment

[00:27:25] And she's like

[00:27:26] Shirtless

[00:27:27] On top of him

[00:27:28] And she's looking around the walls

[00:27:29] And every

[00:27:30] Like he's got collaged

[00:27:31] All these women on the walls

[00:27:33] It's like rock stars

[00:27:34] It's the early 90s

[00:27:35] You know

[00:27:36] What can you say

[00:27:37] It was a different time

[00:27:38] Yeah

[00:27:39] and she on a waitress's salary.

[00:27:43] Yeah, they never really go into that.

[00:27:46] Installments, she'll pay an installment.

[00:27:48] I just felt like there should have been a scene

[00:27:49] where she calls up her rich mom.

[00:27:51] Sure.

[00:27:52] And she's like, I need this for student loans.

[00:27:54] Like if you give me one scene like that

[00:27:56] where it's like okay, she's handing money out.

[00:27:57] Just give me one scene like that.

[00:27:59] Cause I kept on thinking about,

[00:28:00] especially when they go to the computer

[00:28:01] and the technology so stay in the art.

[00:28:02] Oh yeah.

[00:28:03] Way cutting in.

[00:28:04] This is no back alley boom job.

[00:28:05] She goes to see a boob doctor played by.

[00:28:08] Dr. Bill Pullman.

[00:28:09] Dr. Pullman.

[00:28:10] Dr. Pullman.

[00:28:11] And he shows her a program that,

[00:28:16] I guess they full body scan her boobs.

[00:28:19] Yeah, it's like a wire frame like model of her chest.

[00:28:25] And he's like how about this?

[00:28:26] And she's like, boop boop boop boop boop.

[00:28:28] Like until there's a, you know, comically large.

[00:28:31] He's like, yeah, I don't know

[00:28:32] but let's scale it down a little bit.

[00:28:34] And she's like, nope.

[00:28:35] They just keep on going.

[00:28:37] Boom, boom, boom, boom, boom.

[00:28:39] Like up and down and he's like, well,

[00:28:40] on your frame that might look a little unnatural.

[00:28:41] What about this?

[00:28:42] Boom, boom, boom, boom, boom.

[00:28:43] And she's like, but I really want to win him over.

[00:28:45] Boom, boom, boom, boom.

[00:28:46] And he's like, do you jog?

[00:28:47] And she's like a little bit.

[00:28:48] And he's like, boom, boom, boom, boom.

[00:28:50] They go back and forth and back and forth.

[00:28:52] I felt so uncomfortable during this scene

[00:28:54] which I think is actually to this movie's credit.

[00:28:57] Like it makes me feel really,

[00:28:58] really uncomfortable when she's gonna do that.

[00:29:02] Like I get angry at her

[00:29:06] in a way I think the movie wants you to

[00:29:09] where it's like, come on, dump this guy.

[00:29:10] Like don't change yourself for him.

[00:29:13] And then that scene where Bill Pullman

[00:29:15] is not the most elegant scene.

[00:29:17] No, but the scene where Bill Pullman

[00:29:18] sort of like shakes it into her.

[00:29:20] And he's like, come on,

[00:29:20] you don't have to fucking change for some guy

[00:29:22] who doesn't appreciate you the way you are.

[00:29:24] You feel like, yeah, yeah.

[00:29:27] Thank you.

[00:29:28] Those graphics though, man.

[00:29:29] You just don't get graphics like that anymore.

[00:29:31] Have you tried to get a boob job recently, Ben?

[00:29:34] No.

[00:29:35] I was just wondering.

[00:29:37] Like, you know what I needed was graphics.

[00:29:38] That's why I didn't do it.

[00:29:39] You know, it's just the graphics word there.

[00:29:41] What's the program like though?

[00:29:43] They brought out a charcoal dron

[00:29:45] of what your body would look like with the boobs

[00:29:46] and you went, I can't see it.

[00:29:47] Pullman is such a weird career.

[00:29:51] Well, yeah, but like member of this cast

[00:29:53] because he's already been in space balls.

[00:29:55] Like he's already around.

[00:29:57] He was in The Accidental Tourist.

[00:29:58] And what about?

[00:29:59] Two times in a row we mentioned that movie.

[00:30:01] Not in a row.

[00:30:02] While you were sleeping?

[00:30:03] Has he been in that all day?

[00:30:04] No, that's later.

[00:30:04] That's 95.

[00:30:05] Okay.

[00:30:07] Yeah.

[00:30:07] I don't know.

[00:30:08] He's in New Zealand League of their own.

[00:30:10] Yeah, he's got a weird career.

[00:30:12] He's in Slipless in Seattle the next year.

[00:30:14] So I mean, he plays it dope.

[00:30:15] And in this he kind of plays it dope too

[00:30:17] because there's the implication

[00:30:18] that he's got a bit of a crush on Fonda.

[00:30:20] And you think that's where it's going.

[00:30:23] But in the end, all he does is like sort of tell her

[00:30:26] like look, I don't usually do this

[00:30:28] but I don't think you need a boob job

[00:30:29] and you shouldn't do it.

[00:30:30] Which is fucking ludicrous.

[00:30:32] Yeah.

[00:30:33] He's literally the one thing he does

[00:30:34] is breast augmentation.

[00:30:35] He's not gonna be like after all this,

[00:30:38] be like look everyone else who comes in here,

[00:30:40] I just, you know, I shove those little,

[00:30:41] you know, silicon patties in there.

[00:30:43] But you, Bridget Fonda, you're a movie star.

[00:30:46] You don't need to know.

[00:30:47] You're perfect the way you are.

[00:30:49] She kisses him on the cheek.

[00:30:50] Come on man, it's such dorsh it.

[00:30:51] She changes the part.

[00:30:52] Let her get a boob job or not.

[00:30:53] I don't fucking care.

[00:30:55] There is, what was I gonna say about Bill Pullman?

[00:31:01] I totally blanked on this.

[00:31:04] Oh, Michael Schruy-Walter, that movie The Baxter.

[00:31:07] He said he like based that movie off the Bill Pullman

[00:31:10] like early 90s.

[00:31:10] Sure, the Pullman Uber.

[00:31:12] Right, because he always fulfilled this role of like

[00:31:15] the guy who makes the girl realize

[00:31:17] who she should actually be with.

[00:31:19] And usually it's like he's the guy

[00:31:20] she's with at the beginning.

[00:31:22] Yeah, right, well Pullman's role

[00:31:23] in sleeplessness Seattle of course.

[00:31:25] That's a classic example.

[00:31:26] You got your Greg Keneer in-

[00:31:29] You got Mail.

[00:31:30] And you got Mail and a bunch of other fucking movies.

[00:31:33] Is this isn't Greg Keneer playing that role

[00:31:35] in someone like you?

[00:31:36] I feel like Greg Keneer's played that role

[00:31:37] in a classic different guy.

[00:31:39] She leaves him for Jackman.

[00:31:41] Is that what happens?

[00:31:42] I think Keneer is more of a villain in someone.

[00:31:44] I think he might cheat on her as well.

[00:31:46] With Jackman?

[00:31:47] Yeah, Keneer and Jackman get together, it's great.

[00:31:51] But in this movie he doesn't even get to be with her.

[00:31:54] Usually he has a relationship

[00:31:55] and then he makes her realize who she should be with.

[00:31:57] In this he's just like,

[00:31:58] look I'm gonna give you some tips for your own date advice

[00:32:01] and then you can just leave my office.

[00:32:03] Goodbye, I'll take none of your money.

[00:32:05] I regret saying that

[00:32:06] Matt Dillman was the best performance in the movie

[00:32:08] because I did realize what the best performance was.

[00:32:09] James Legros?

[00:32:10] Absolutely not.

[00:32:11] Absolutely not.

[00:32:12] He's great.

[00:32:13] The number one best performance in this movie

[00:32:16] is Paul Giamatti.

[00:32:17] Oh, he's good.

[00:32:19] Oh, Mr. Wrong.

[00:32:20] Oh, Mr. Wrong without any generous.

[00:32:21] He's holding up a phone, he's not saying anything.

[00:32:22] He's just holding up a phone with the poster for Mr. Wrong.

[00:32:25] We remember Mr. Wrong.

[00:32:26] But Mr. Wrong isn't that sort of like

[00:32:29] a subtle coming out film for Ellen DeGeneres or whatever?

[00:32:34] Because I mean, look at that poster

[00:32:35] where she's horrified at the idea

[00:32:37] of getting married to Bill Pullman.

[00:32:39] And Bill Pullman looks like a serial killer

[00:32:41] on this poster.

[00:32:42] 100%.

[00:32:42] But still, I mean Jesus, he's still a nice young man.

[00:32:46] Bill Pullman.

[00:32:47] She is screaming aloud.

[00:32:49] Yeah, that poster is upsetting.

[00:32:52] The movie is directed by the guy who played

[00:32:55] the shape in Halloween.

[00:32:56] No, but this was the bigger thing I wanted to point out,

[00:32:58] director of The Last Starfighter.

[00:32:59] Right, that's a great career.

[00:33:02] Yeah.

[00:33:03] Last Starfighter, Boy Who Could Fly,

[00:33:06] Dance the Menace with Walter Matthow.

[00:33:08] Wow, we're off top.

[00:33:09] Yeah, anyway.

[00:33:11] No, James LaGrosse is great in this movie.

[00:33:13] Giamatti's amazing in this movie.

[00:33:14] Giamatti is amazing because it's like

[00:33:16] the joke is that they're sitting next to this couple

[00:33:19] that are making out.

[00:33:20] And you're like, oh, I get it.

[00:33:22] I've been in that situation, PDA.

[00:33:24] It can be annoying.

[00:33:25] Then they break and Giamatti is the guy

[00:33:27] in this making out couple.

[00:33:29] And you're like, whoa!

[00:33:30] And he's got one word.

[00:33:31] He's got one word in the entire film.

[00:33:33] He goes, what?

[00:33:34] What?

[00:33:35] Oscar.

[00:33:36] Yeah, he's great.

[00:33:37] I mean, I maybe was not paying attention very closely,

[00:33:41] but I had this moment where I did kind of a double take

[00:33:45] and was like, is that Giamatti?

[00:33:47] That's the best part.

[00:33:48] Giamatti's sucking face.

[00:33:50] That's the best part for me.

[00:33:51] Finest film critic.

[00:33:52] It's like, because he's introduced making out,

[00:33:55] he is our finest film critic.

[00:33:56] Yes.

[00:33:57] When he's introduced making out,

[00:33:59] you're only seeing slivers of his face here.

[00:34:02] Maybe?

[00:34:03] No, that could be, is the timing workout?

[00:34:05] And then he looks, he's straight in the eyes.

[00:34:06] He goes, what?

[00:34:08] James LaGrosse is another interesting example

[00:34:10] in this film of someone who people thought

[00:34:12] was gonna be a movie star and it didn't happen.

[00:34:13] James LaGrosse, no, but my argument with James LaGrosse

[00:34:16] is he can't help but play weirdos.

[00:34:18] He loves it, so good at it.

[00:34:20] Can't play normal people.

[00:34:21] Hollywood would occasionally, especially on TV,

[00:34:23] try to squirm him into like a more of a classic

[00:34:26] just sort of like handsome dude role.

[00:34:28] Yeah, handsome dude.

[00:34:29] He is, I think he is,

[00:34:31] he's one of my favorite character actors.

[00:34:32] Whenever he's in a movie, I fucking lose my mind.

[00:34:34] Talking about the guy with the African hat?

[00:34:36] Yeah, the guy with the ponytail and the glasses.

[00:34:39] The guy who is the accurate set twist.

[00:34:41] Oh, no, no, no, okay.

[00:34:42] And he's kind of her hippie, you know.

[00:34:44] I'm talking about the friend.

[00:34:46] Right, at the coffee shop.

[00:34:49] Who's, he's the other guy who's like

[00:34:51] talking Campbell Scott about shit

[00:34:53] and he's got the little like skull cap on.

[00:34:55] He's played by a guy who played Buzz

[00:34:57] in a Hudsucker proxy.

[00:35:00] You mean Jim Truffrost?

[00:35:01] Yes.

[00:35:02] Yeah, yeah, he's Prez on The Wire,

[00:35:04] but I guess you guys didn't watch The Wire.

[00:35:05] Oh yeah.

[00:35:06] He's a Steppenwolf guy.

[00:35:08] So he's probably from, he's a pal of Johnny Ques.

[00:35:11] From Chicago?

[00:35:12] Yeah, from Chicago.

[00:35:13] The Pivs?

[00:35:14] Pal of the Pivs.

[00:35:15] Yeah.

[00:35:16] He is, you know, he was in like the original

[00:35:18] cast at Augusto Sage County.

[00:35:21] Good actor, okay.

[00:35:21] Oh yeah, yeah, he's a good actor.

[00:35:23] He's fine in this because he's got the look

[00:35:25] of Douchebag Yuppie who's got a soul patch.

[00:35:28] Yeah, so the home base of this movie

[00:35:30] is like the coffee shop where

[00:35:33] Bridgit Fonda and Matilda Mwork,

[00:35:35] it's one of like Mountain on Six jobs.

[00:35:38] Yes, he also delivers flowers.

[00:35:40] Yeah.

[00:35:41] And does some other stuff, I don't know.

[00:35:43] Yeah, some other bullshit.

[00:35:44] Citizen Dick.

[00:35:46] And then Campbell Scott goes there all the time.

[00:35:51] Got the skull caps, the other employee.

[00:35:53] Kind of, this is the thing, like you think,

[00:35:55] oh is it gonna be them hanging out in the coffee shop

[00:35:58] and like Cameron Crow famously said

[00:35:59] like that friends was a rip off of singles,

[00:36:01] but like there's like two or three scenes

[00:36:03] in the coffee shop, it's not enough, you know?

[00:36:05] Not enough like of a culture to this movie.

[00:36:08] But then it's also not centered around

[00:36:10] the apartment buildings really.

[00:36:11] Not really, I mean, you know,

[00:36:12] they're in them sometimes.

[00:36:14] Right.

[00:36:14] But then you have the other character

[00:36:16] who is the woman who's like desperately

[00:36:18] trying to find a boyfriend, but with the red hair.

[00:36:21] What a great storyline.

[00:36:23] Well that's the thing, it's like she's sort of

[00:36:25] just like tossed in there and like you see

[00:36:27] all these points where the movie could be like.

[00:36:28] Sheila Kelly as Debbie Hunt.

[00:36:31] Who I like as an actress.

[00:36:32] Yeah, she was on LA Law,

[00:36:34] I don't know her very well.

[00:36:35] She's a matchstick man?

[00:36:37] Oh yeah, so she is.

[00:36:39] Apparently she was in The Guest,

[00:36:40] which is a great movie.

[00:36:42] She's the mom in that.

[00:36:43] There you go.

[00:36:43] Yeah, she's great in that.

[00:36:44] It's weird her character,

[00:36:46] but I really liked when she went to get a haircut

[00:36:49] and she had all of these like previous styles

[00:36:53] and like all the printouts.

[00:36:54] Again guys, printouts, printers, color ink.

[00:36:58] You know what I'm talking about?

[00:36:59] Ben has just got out of a heart off for 90s tech.

[00:37:01] Have you ever seen the film Disclosure?

[00:37:03] No.

[00:37:04] Oh, Ben would love Disclosure.

[00:37:05] Would you love this movie?

[00:37:07] It's a movie that has multiple scenes

[00:37:08] set in quote to virtual reality,

[00:37:11] and they are not very well done.

[00:37:14] Disclosure?

[00:37:14] I'm writing it down now.

[00:37:15] Imagine a wire frame like a humanoid model

[00:37:19] moving like it's like sliding towards you,

[00:37:21] but Demi Moore's face has been like put on it,

[00:37:24] like a pixelated face of Demi Moore.

[00:37:26] I'm on board, yeah.

[00:37:27] Disclosure is a movie from the 90s

[00:37:28] that had the courage to ask

[00:37:31] what if a woman sexually harassed a man?

[00:37:35] That is correct.

[00:37:36] Now you're looking at me shocked.

[00:37:38] And they were thinking,

[00:37:40] draw a gape.

[00:37:41] Who should be in this?

[00:37:42] Maybe like a real subtle comedian

[00:37:44] who definitely is not politically correct.

[00:37:47] Very politically like Dennis Miller.

[00:37:48] Oh my God.

[00:37:50] I just showed him the VR.

[00:37:53] Have you seen Disclosure?

[00:37:54] It's a bad movie.

[00:37:56] So they use the VR to try to figure out

[00:37:58] what the sexual harassment was,

[00:38:00] because like you, they couldn't even process

[00:38:02] the idea of a woman sexually harassing a man.

[00:38:04] So they go, we're gonna use our computers

[00:38:06] top of the line computer.

[00:38:07] Super computer.

[00:38:07] To see how it went down.

[00:38:09] Yeah.

[00:38:09] Not like the NBC TV show Super Computer.

[00:38:12] No.

[00:38:13] Oh, okay.

[00:38:13] Sorry.

[00:38:14] But maybe we should do a whole series

[00:38:15] of like 90s tech movies

[00:38:17] like The Lawnmower Man.

[00:38:19] All these movies with Ben.

[00:38:21] Yeah.

[00:38:22] So bad.

[00:38:23] The Net.

[00:38:24] Oh, The Net.

[00:38:25] Hackers.

[00:38:25] I just want a movie where

[00:38:28] at one point a character goes,

[00:38:29] excuse me, I have to send a fax.

[00:38:33] Janya Mimonic would be great.

[00:38:34] I love that movie.

[00:38:36] There's this thing in the movie

[00:38:37] where you could see a movie

[00:38:37] where it's like the core of this movie

[00:38:39] is the singles department.

[00:38:40] Here are eight singles who live

[00:38:41] and they're all their separate plot lines.

[00:38:43] Or it could be here are people,

[00:38:44] they all overlap in the coffee shop.

[00:38:46] Or make the chapters work for each character.

[00:38:49] Each story.

[00:38:50] The chapters are totally arbitrary.

[00:38:51] It's so stupid.

[00:38:52] Every 20 minutes they just have

[00:38:53] like a still image of something

[00:38:55] and a quote that's gonna be out later in the movie.

[00:38:57] Oh, I hate that.

[00:38:57] I hate that.

[00:38:58] Yeah.

[00:38:59] Again, it just,

[00:39:00] it feels like this movie's reaching for a structure

[00:39:02] a lot and they're not quite committing to it.

[00:39:04] It's very scattershot.

[00:39:05] And by the way,

[00:39:06] I mean Fast Times doesn't have a structure.

[00:39:08] People are gonna be mad at us

[00:39:09] that we're shitting all over this movie.

[00:39:10] It's not that bad.

[00:39:11] No, it's not that bad.

[00:39:12] I didn't just like watching it.

[00:39:13] It just didn't leave me with much emotion

[00:39:15] where as Sanity thing leaves me with so much

[00:39:16] and Jerry McGuire does as well.

[00:39:18] Like you know, this movie is just in between those.

[00:39:20] But you know what I'm saying?

[00:39:21] That like Fast Times is very scattershot

[00:39:23] and it doesn't have a plot

[00:39:24] but it is much more panoramic.

[00:39:26] Its scope is much broader.

[00:39:28] And it takes risks.

[00:39:29] And it takes risks.

[00:39:30] It takes storytelling risks

[00:39:31] whereas this is like Bridget Fonda is like

[00:39:33] maybe she get a boob job

[00:39:35] and Bill Tolman's like

[00:39:36] don't get a boob job.

[00:39:36] And she's like, all right.

[00:39:38] And then she's like, I'm over you Matt Dillon.

[00:39:40] He's like, I realized I love you.

[00:39:42] But does Sheila Kelly think

[00:39:43] feels so tacked on when it's like

[00:39:45] two like four main characters

[00:39:47] that are coupled off into two couples?

[00:39:49] So Tia, it's really just two stories

[00:39:51] with a little overlap.

[00:39:52] Right.

[00:39:53] And then you just have this other person

[00:39:53] and it's like either you need

[00:39:54] sprinkling it in.

[00:39:55] You need like three more people

[00:39:57] or you need like two less people.

[00:39:59] There's this joke

[00:40:00] and like God help us

[00:40:02] when the fucking Tinder movies

[00:40:03] start populating the theaters

[00:40:05] because there's this joke

[00:40:07] that she tries this like video dating service

[00:40:09] where she like makes a movie about herself

[00:40:11] that sent around to perspective dates.

[00:40:13] Directed by?

[00:40:15] I don't know. Tim Burton.

[00:40:16] Oh, Tim Burton. Right.

[00:40:17] Right. Tim Burton plays the guy who directs the movie.

[00:40:19] In a movie, Tim Burton's only acting role.

[00:40:21] Yep.

[00:40:21] And she says that he is the new Martin Scorsese.

[00:40:24] Yes.

[00:40:25] He convinces her to take her top off.

[00:40:27] Yeah.

[00:40:28] And then she watches like

[00:40:29] this dorky montage of guys

[00:40:32] which is like kind of funny

[00:40:33] but again super broad.

[00:40:34] Her videos make my favorite part of the movie.

[00:40:36] Yeah, it's pretty funny.

[00:40:37] Her videos are pretty good.

[00:40:38] Her flying starts with a psycho homage.

[00:40:39] Like just the idea that like they're selling

[00:40:41] like your video is going to cost more

[00:40:42] but it's made by a real filmmaker.

[00:40:44] Right.

[00:40:44] And then it's just this filmmaker

[00:40:45] showing off his chops

[00:40:47] in a way that like isn't successful

[00:40:49] or functional at all as a dating video.

[00:40:50] Right.

[00:40:51] And then this montage of all the dating videos

[00:40:52] that are terrible.

[00:40:54] And then...

[00:40:55] They're all terrible

[00:40:55] except for one, the bike guy.

[00:40:57] Right.

[00:40:57] And they're all like, yeah, the bike guy.

[00:40:59] Go for the bike guy.

[00:41:00] So she takes a bike to the bike guy.

[00:41:01] It's like suddenly she's friends

[00:41:03] with Campbell Scott and Bridget Fon...

[00:41:04] And it's like, oh, were they friends?

[00:41:06] OK.

[00:41:07] All right.

[00:41:07] Because previously she was just kind of

[00:41:08] in the apartment complex.

[00:41:10] And she's annoying.

[00:41:11] Yeah.

[00:41:12] They're all annoying.

[00:41:13] Yeah.

[00:41:16] Other than J.M. Otis.

[00:41:16] J.M. Otis is really good.

[00:41:18] Who?

[00:41:18] J.M. Otis.

[00:41:20] He's really good.

[00:41:21] He's my favorite character in the movie.

[00:41:22] It's like...

[00:41:24] And there's like these like

[00:41:26] other vague 90s, early 90s shoutouts

[00:41:28] like Kira Cedric works for Greenpeace type thing.

[00:41:31] And Campbell Scott works

[00:41:33] for the Department of Transportation

[00:41:34] is trying to like get a new train in Seattle.

[00:41:36] A super train.

[00:41:37] And there's like...

[00:41:38] I do like that.

[00:41:39] I think he tacked on super.

[00:41:41] Yeah.

[00:41:43] Train 2, hyper train.

[00:41:45] Or super train 2, super hyper train.

[00:41:48] Hyper super train.

[00:41:51] But like, you know, maybe we could have done

[00:41:53] a little more with the train.

[00:41:54] Nah, it's just like,

[00:41:55] and we know he kind of wants a train.

[00:41:57] And then this is one scene where Tom Skerrett

[00:41:59] plays the mayor of Seattle.

[00:42:01] And he's like, no train for you.

[00:42:03] Yeah, the trains brought up very early on.

[00:42:04] When Kira Cedric comes back to his apartment,

[00:42:06] he's got the poster and explains it to her.

[00:42:07] And then it's like left on the ground

[00:42:09] for like 45 minutes,

[00:42:10] like a shard of a broken plate.

[00:42:12] And then...

[00:42:14] And characters kept stepping on it and it crunches.

[00:42:16] Right.

[00:42:17] And then like,

[00:42:17] and then 50 minutes later,

[00:42:19] it's like with all this urgency,

[00:42:20] he's pitching.

[00:42:21] I think it's supposed...

[00:42:22] Great music.

[00:42:23] Great coffee.

[00:42:24] Yeah.

[00:42:24] It's supposed to complete his like

[00:42:27] downward spiral, right?

[00:42:28] He like breaks up.

[00:42:29] He doesn't get a super train.

[00:42:32] Did you?

[00:42:33] Okay, so as a...

[00:42:33] He leaves a message and she doesn't pick it up

[00:42:35] because her...

[00:42:36] 90s technology...

[00:42:37] Yeah, talk about the 90s technology.

[00:42:38] Her answering machine eats the tape!

[00:42:40] That's how it goes sometimes.

[00:42:41] And also,

[00:42:43] garage door openers are a big pop point

[00:42:45] throughout this movie.

[00:42:46] Thank you very much.

[00:42:46] I'm checking off my list.

[00:42:48] That's like...

[00:42:50] I think camera's from...

[00:42:51] The most dramatic check I've ever seen.

[00:42:52] That was a full arm movement.

[00:42:54] The joke is,

[00:42:55] because there's that kind of awesome

[00:42:57] moment at the beginning of the movie.

[00:42:59] I love the opening.

[00:43:00] It's really great.

[00:43:00] We're Kira Falls for this like Spanish guy.

[00:43:03] Yeah.

[00:43:03] Luis.

[00:43:04] And Luis, who is played by...

[00:43:06] Let me find the actor's name.

[00:43:07] He's buried at the bottom there.

[00:43:08] Camillo Gallardo.

[00:43:10] His visa is running up.

[00:43:11] He's gonna have to leave the country in two days.

[00:43:12] He gives her this whole spiel

[00:43:13] where they kind of have this swoony romance.

[00:43:14] He's like, I gotta go.

[00:43:15] I'm going back to Spain,

[00:43:16] but I love you.

[00:43:17] You know, I love you.

[00:43:18] They do the sex.

[00:43:20] And then she gives him her garage door opener

[00:43:22] for some fucked up reason.

[00:43:24] This is important.

[00:43:25] He gives her the ring first

[00:43:27] and he's like, you know,

[00:43:28] I can't stay if I stay longer.

[00:43:29] I won't be able to come back for five years.

[00:43:31] I'll come back in two months,

[00:43:32] but until then here's something to remember.

[00:43:34] And by gives her a ring places on her finger.

[00:43:35] Ooh, big gesture.

[00:43:37] And she's like, here's something for you.

[00:43:38] My garage door is always open for you.

[00:43:39] Hands in the garage door.

[00:43:41] It makes no sense.

[00:43:42] He's going to Spain.

[00:43:43] You need the garage door opener

[00:43:45] to what open your garage.

[00:43:46] Gotta get out.

[00:43:46] Gotta drive your car.

[00:43:48] But Cameron Crowe is like,

[00:43:49] ah, and this is a mistake

[00:43:51] we're gonna see him make

[00:43:52] a lot in his later movies.

[00:43:53] Yeah.

[00:43:54] Where he's like, I've hit on something

[00:43:55] that's a really great metaphor.

[00:43:57] It's like the modern wedding ring.

[00:43:59] It's like the modern pin for your going say.

[00:44:01] The garage door opener.

[00:44:02] No.

[00:44:02] The pen.

[00:44:03] No.

[00:44:04] Yeah.

[00:44:04] No.

[00:44:05] I gave him my heart,

[00:44:05] he gave me a garage door opener.

[00:44:06] There's that fucking scene

[00:44:07] where they have sex

[00:44:08] and we see the garage door open and close

[00:44:10] because sex is a rhythmic activity

[00:44:13] that's punctuated with thrusting.

[00:44:15] Like usually in a sort of...

[00:44:16] That whole sequence is disgusting.

[00:44:18] Okay?

[00:44:20] Because of the fantasy

[00:44:21] where he imagines Xavier McDaniel

[00:44:23] telling him not to come.

[00:44:24] You've got close-ups

[00:44:25] of their faces all sweaty

[00:44:27] and they're just like,

[00:44:27] ugh, ugh.

[00:44:28] Right?

[00:44:28] And then you go...

[00:44:29] And then you go...

[00:44:29] Sex is a natural human activity.

[00:44:31] And then you go to the basketball thing

[00:44:33] and I'm like,

[00:44:34] and I said this,

[00:44:34] I'm like,

[00:44:35] is this a fucking cum joke?

[00:44:36] And goddamn it was a cum joke.

[00:44:38] Well, I think actually

[00:44:39] that joke makes me laugh.

[00:44:40] Yeah, I do.

[00:44:40] I think that jokes will execute

[00:44:42] although he does it better

[00:44:42] in J.R. McGuire.

[00:44:44] I mean so much better.

[00:44:45] Yeah.

[00:44:45] Because it's so fucking funny

[00:44:47] in J.R. McGuire.

[00:44:47] Yeah.

[00:44:47] And we'll get to J.R. McGuire.

[00:44:49] But I'll say this.

[00:44:49] So I saw this movie.

[00:44:51] I was really into Gen X stuff

[00:44:52] when I was like 13 or 14

[00:44:54] because I hated the time I was living in.

[00:44:56] So I was like,

[00:44:56] different time periods.

[00:44:57] I see you were trying to answer.

[00:44:58] Right?

[00:44:58] I was like,

[00:44:59] what are other hippies?

[00:44:59] Conjure, right.

[00:45:00] Right.

[00:45:01] So I like watched a bunch of Gen X movies

[00:45:03] and listened to a bunch of music,

[00:45:04] whatever.

[00:45:04] I spent like six months maybe...

[00:45:05] A lot of chain wallet.

[00:45:06] Yeah, yeah, actually good.

[00:45:08] But I maybe even less than six months...

[00:45:09] Maybe like a month or two hours

[00:45:11] like in a Gen X kind of zone.

[00:45:13] And I saw this movie.

[00:45:14] Sorry to take it swing dancing lessons.

[00:45:15] Yeah, yeah, exactly.

[00:45:17] Saw this movie,

[00:45:19] liked it a lot,

[00:45:21] bought it on DVD for like

[00:45:22] six dollars,

[00:45:23] bought it, never watched it ever again.

[00:45:25] Indeed.

[00:45:26] Like why did I buy this?

[00:45:27] Because I want to be like,

[00:45:27] oh look, I like a movie about 20 something.

[00:45:29] I mean, six dollars.

[00:45:31] Yeah.

[00:45:31] Um, but I hadn't seen it since then.

[00:45:34] Even though I bought it.

[00:45:35] So did you watch it on DVD?

[00:45:37] No, because I think I sold that DVD

[00:45:38] as something like that.

[00:45:38] So you watch it on Amazon X?

[00:45:40] I watch it on Amazon X

[00:45:41] right on my new Amazon Fire tablet.

[00:45:43] Oh, you fucking shill.

[00:45:44] Amazon's a great company.

[00:45:45] What do you talk about?

[00:45:45] Fuck you.

[00:45:46] Amazon's a great company.

[00:45:47] I like all the stuff they do,

[00:45:48] especially their pilot.

[00:45:48] I watch this on iTunes.

[00:45:51] Eek.

[00:45:52] Parody.

[00:45:53] Call me up when they do an original series.

[00:45:55] They probably will someday.

[00:45:57] I think it's original.

[00:45:57] It'll probably be really expensive.

[00:45:58] Actually all the movies on Amazon Prime.

[00:46:01] Yo, yo!

[00:46:02] And it's a lovely service.

[00:46:03] Thank you.

[00:46:04] Oh, they have a great catalog.

[00:46:05] Yeah.

[00:46:06] I use it because I have an Apple TV.

[00:46:08] Good video player.

[00:46:09] Yeah.

[00:46:09] Really great.

[00:46:10] I use it on my Apple TV.

[00:46:11] Doesn't have Amazon?

[00:46:12] Okay, well, listen.

[00:46:15] What are you going to do?

[00:46:15] My point is,

[00:46:18] I only like going into this,

[00:46:21] rewatching it

[00:46:22] as someone who liked it enough

[00:46:24] the first time I saw it to buy it.

[00:46:25] Sure.

[00:46:25] At a bargain price,

[00:46:26] but still I bought it.

[00:46:27] I was like,

[00:46:28] I remember none of this movie.

[00:46:29] And I was like,

[00:46:30] the only thing I remember really,

[00:46:32] I remember that the band's called Citizen Dick, right?

[00:46:34] Sure.

[00:46:34] And I remember one line from this film.

[00:46:37] And then the one line was not in the movie.

[00:46:39] Whoa, which was very...

[00:46:39] It was, you had me at Hello.

[00:46:41] It's actually in Jerry McGuire.

[00:46:42] I had a very distinct memory.

[00:46:43] Show me the money that's also Jerry McGuire.

[00:46:46] Rosebud.

[00:46:47] That's Citizen Kane.

[00:46:49] Yeah, right.

[00:46:49] Not Citizen Dick.

[00:46:51] No, well go ahead.

[00:46:52] I had a very,

[00:46:53] a very specific memory

[00:46:56] of in the scene where they're having sex.

[00:46:57] I didn't remember the Xavier McDaniel thing.

[00:46:59] Sure.

[00:47:00] I remembered it going to a close-up of his face,

[00:47:02] which is in the movie.

[00:47:03] And then over that close-up,

[00:47:04] there being voiceover of him saying

[00:47:07] the most important thing in the world right now

[00:47:08] is that you don't come.

[00:47:10] That's not in the movie.

[00:47:11] No, which I stuck my mind

[00:47:12] because I was like,

[00:47:12] that's a gross line.

[00:47:13] Yeah, it's a fucked up line.

[00:47:14] That's a gross moment.

[00:47:15] Because that's the sentiment of the scene is...

[00:47:18] Don't come, don't come, don't come!

[00:47:19] Xavier Mc...

[00:47:20] Right. Xavier McDaniel telling him not to come.

[00:47:22] Sure.

[00:47:22] But he does it at the end of a boilerplate sports speech

[00:47:26] where he's like,

[00:47:26] eh, you know...

[00:47:27] Anything else?

[00:47:27] Oh yeah.

[00:47:28] Yeah, we gave 100%,

[00:47:30] and anything else.

[00:47:31] So yeah, make sure...

[00:47:32] What is it?

[00:47:33] What's his name?

[00:47:33] Daniel.

[00:47:35] David.

[00:47:35] Steve.

[00:47:36] Tample.

[00:47:38] I just love that I imagined a terrible line

[00:47:41] from this movie and held it against the movie.

[00:47:42] I was like,

[00:47:43] yeah, but you know that fucking scene

[00:47:44] in singles or the voiceover?

[00:47:45] He goes,

[00:47:46] the most important thing in the world right now

[00:47:47] is that you don't come.

[00:47:48] It sounds like a bad camera curl line,

[00:47:50] but you know,

[00:47:50] camera curl is better than that.

[00:47:51] Yeah, agreed.

[00:47:52] Especially now.

[00:47:54] You're actually wrong about Cheyamati.

[00:47:55] I just remembered.

[00:47:56] You're wrong.

[00:47:56] Dead wrong.

[00:47:57] About him being the best performance?

[00:47:58] Who's the best performance?

[00:47:59] Victor Garber.

[00:48:02] With the mustache.

[00:48:04] You know how some people say like,

[00:48:05] you know, LeBron James for the win!

[00:48:07] Victor Garber with the mustache.

[00:48:09] In the billiard room.

[00:48:10] Yeah.

[00:48:11] With the best performance.

[00:48:12] The rose petals.

[00:48:14] Yeah, he plays,

[00:48:15] what's her name?

[00:48:16] A red-headed friend who goes on the...

[00:48:17] Sheila Kelly's character...

[00:48:19] She's like Kelly.

[00:48:20] Of, we already forgot her name.

[00:48:22] Jesus Debbie.

[00:48:23] Debbie.

[00:48:23] Right, okay.

[00:48:24] So Debbie's trying to meet a guy.

[00:48:25] Next to the bike guy,

[00:48:26] she bikes to a place.

[00:48:27] Next to the bike guy,

[00:48:27] there's a whole sequence

[00:48:28] where she bikes to the wrong restaurant.

[00:48:30] Yeah.

[00:48:30] Bikes to the other restaurant.

[00:48:31] She missed it.

[00:48:32] Her flat tire,

[00:48:34] bikes home.

[00:48:35] Uh-oh, the guy ran in with a roommate.

[00:48:37] They're here.

[00:48:37] Paid by Allie Walker.

[00:48:38] Yeah.

[00:48:38] Decent actress.

[00:48:39] Yeah, and they were in college together?

[00:48:43] Yeah, they're like old college buds

[00:48:44] and they're obviously flirting

[00:48:46] and they have like a conversation outside

[00:48:47] where she's like,

[00:48:48] I saw him first like,

[00:48:49] I have dibs on this guy.

[00:48:50] And she's like Kelly makes Allie Walker.

[00:48:51] It's a real great contribution to society and feminism.

[00:48:54] Hold on, I wrote it down.

[00:48:56] They agree upon $80.

[00:48:58] Yes.

[00:48:59] For his dong.

[00:49:00] She wants $200 reimbursement

[00:49:02] for the dating table

[00:49:03] and said it's $80 for the dong.

[00:49:05] And dishes for the month.

[00:49:06] Dishes for the month.

[00:49:07] Dishes and dong.

[00:49:09] For $80.

[00:49:11] You think that's the end of that plot line

[00:49:13] that they've only spent five minutes on?

[00:49:14] Sure.

[00:49:15] Then she goes to an airport

[00:49:16] and she's like,

[00:49:16] hey, can you seat me next to a single?

[00:49:19] And the woman's like,

[00:49:20] I think I have just the person

[00:49:22] and she's on a plane with like a 13 year old.

[00:49:25] He has a single.

[00:49:26] A joke.

[00:49:27] And then.

[00:49:27] And he makes a joke.

[00:49:28] He's like,

[00:49:30] can I go out with you?

[00:49:31] Like he's like,

[00:49:32] I got that whole joke.

[00:49:33] You know, it's funny

[00:49:34] when your little boys are like Casanovas.

[00:49:37] Jokey voice.

[00:49:38] And then he lands at the airport

[00:49:40] and his dad,

[00:49:40] his divorced dad who he was there to see

[00:49:43] is Victor Garber.

[00:49:45] BG.

[00:49:46] With a mustache.

[00:49:47] With the mustache.

[00:49:48] And he's got one shot in the film.

[00:49:51] No, he's got a couple.

[00:49:52] Really?

[00:49:52] Yeah, because it cuts, you know.

[00:49:54] Oh, them together.

[00:49:55] Yeah.

[00:49:56] And he says the most perfect thing in the world,

[00:49:58] which is those are great earrings.

[00:50:01] I can't even remember what his line is.

[00:50:02] Yeah.

[00:50:02] Yeah.

[00:50:03] I thought that actually that guy was

[00:50:04] the one of the creepy guys from the dating video.

[00:50:07] Like one who's really close to just like,

[00:50:08] I'm so alone.

[00:50:09] I thought it was like a call back to him.

[00:50:12] That moment's fine too

[00:50:13] when the guy goes,

[00:50:13] I'm just so, so, so, so, so, so lonely.

[00:50:19] Apart from the 1973 film Godspell,

[00:50:24] this is basically his first performance.

[00:50:26] Really?

[00:50:26] In a film.

[00:50:27] Obviously he was a major theater actor.

[00:50:29] Right, yeah.

[00:50:30] And then after this, you know,

[00:50:31] he is fantastic in Sleepless in Seattle,

[00:50:34] which is the next year.

[00:50:35] He's one of Tom Hanks' like sort of guy buddies.

[00:50:39] They have the scene where they talk about

[00:50:40] where they cry every time they watch The Dirty Dozen.

[00:50:42] Yeah.

[00:50:43] I've seen Sleepless in Seattle several times.

[00:50:45] I was going to say, it's an interesting overlap.

[00:50:46] He's in Mixed Nuts.

[00:50:48] Oh, Mixed Nuts?

[00:50:49] He's in First Wives Club.

[00:50:50] And then he's in a little movie called Teetonic.

[00:50:53] Yeah, and he's in a little movie called Legali Blonde.

[00:50:58] He's in a little movie called Milk.

[00:51:01] He's on a little TV show called Elias.

[00:51:04] Keep going.

[00:51:05] Yeah.

[00:51:05] And no one will have...

[00:51:06] He played Half of Firestorm in The Flash.

[00:51:08] Oh, right.

[00:51:08] That half, the top.

[00:51:09] That was weird.

[00:51:10] Yeah.

[00:51:12] What to say about this movie?

[00:51:14] I mean, the other...

[00:51:15] The main plotline we haven't even talked about

[00:51:16] because it's just so boilerplate.

[00:51:19] We were talking about the garage opener.

[00:51:21] Right, right, right, right.

[00:51:23] We were...

[00:51:23] That was a while ago.

[00:51:24] Yeah, she goes to the club.

[00:51:25] She sees Louise the day after,

[00:51:27] after she told her friend that she thinks

[00:51:28] they're going to get married.

[00:51:29] Right, no, I just like that because she just...

[00:51:31] Yeah, right.

[00:51:31] She thinks he's gone.

[00:51:32] She goes to a bar, sees him at the bar,

[00:51:34] and he just kind of goes like, eh.

[00:51:36] And you think, okay, maybe this movie's

[00:51:37] going to be about the perils of dating.

[00:51:39] Like different people, different relationships.

[00:51:41] It's trying to be a little bit.

[00:51:42] But then it's mostly two characters

[00:51:44] in two different relationships

[00:51:47] like that stay throughout the film.

[00:51:49] Do you know what I'm saying?

[00:51:50] I do.

[00:51:50] You can see it being all these different

[00:51:52] combinations of people having all these little flanks.

[00:51:54] And it's like...

[00:51:55] Yeah, right, because you...

[00:51:56] Do you want to talk about the pregnancy you subplot?

[00:51:58] Is that the fucking...

[00:52:00] That is the worst kind of Hollywood plotting

[00:52:03] where it's like she gets pregnant.

[00:52:05] Why? To spur a conversation.

[00:52:07] They can't have the conversation?

[00:52:09] Yeah.

[00:52:09] And like so she gets pregnant and he's like,

[00:52:11] oh god what are we gonna do?

[00:52:12] What are we gonna do?

[00:52:13] And he like proposes and she says,

[00:52:16] don't make this a memorable chili dog.

[00:52:17] Don't make me remember this chili dog.

[00:52:19] This is a memorable chili dog.

[00:52:20] And then they get to...

[00:52:21] They don't even have to say anything.

[00:52:22] So they're gonna get married.

[00:52:23] Then they...

[00:52:23] If the GS take a bite.

[00:52:24] They get in a fucking car accident

[00:52:26] and she loses the baby like that.

[00:52:27] There's no trauma.

[00:52:28] There's nothing earned.

[00:52:29] No.

[00:52:30] Like she just sort of wakes up

[00:52:31] and she's like I lost the baby, didn't I?

[00:52:33] No one actually even says yes.

[00:52:34] You're just like, yep.

[00:52:35] And then she wants to take some time alone

[00:52:37] and once she goes on a boat

[00:52:38] and when she comes back

[00:52:39] she's like I think we should just be friends

[00:52:40] or he says it first.

[00:52:41] He's like, you know there's no reason

[00:52:43] we have to go back to the way...

[00:52:44] But he's on the defensive

[00:52:45] because he knows she's feeling it.

[00:52:47] Like she's into her work again.

[00:52:49] And then like he leaves her a message

[00:52:51] and the tape eats it

[00:52:52] and then they get back together.

[00:52:53] And the whole thing fucking is so like predictable

[00:52:56] but not in a fun way.

[00:52:58] You're just like yeah, yeah.

[00:52:59] He calls her from a sound garden concert.

[00:53:02] Yeah well you know we've all done that.

[00:53:04] Yeah.

[00:53:04] We've all gone to a sound garden concert

[00:53:07] and gone to the phone booth.

[00:53:09] The payphone at the concert hall.

[00:53:12] Excuse me, I just have to make a check.

[00:53:13] Hey, I was checking that.

[00:53:14] I do like that scene where he's in the payphone

[00:53:17] and everyone's knocking on the door

[00:53:17] because they think it's the bathroom

[00:53:18] and he's trying to leave this noise out.

[00:53:20] Right, that's always gonna be the end of my joke.

[00:53:21] We've all gone to the payphone

[00:53:22] and people have tried to pee in it.

[00:53:24] Yeah.

[00:53:25] It is weird though that like

[00:53:27] the Citizen Dick doesn't like play in this movie.

[00:53:30] No, I think we hear something

[00:53:33] because we hear this song it's called like Touch My Dick.

[00:53:36] Yeah.

[00:53:38] It's not actually called Touch My Dick

[00:53:40] but it's close enough.

[00:53:41] Touch Me, Comma Dick.

[00:53:43] And Pearl Jam plays the other members.

[00:53:47] Yeah and Eddie Vedder's on screen

[00:53:49] and they even mention him in like a review,

[00:53:51] a negative review.

[00:53:52] I like that scene with the negative review.

[00:53:55] Yeah he goes don't read anything negative

[00:53:56] and they have to skip over the paragraphs

[00:53:57] that are about how.

[00:53:58] And then they're like

[00:53:59] the competent drum work of Eddie Vedder

[00:54:00] is like the first thing.

[00:54:03] But the band definitely like

[00:54:05] for a guy who's so interested in music

[00:54:07] the band feels like kind of an afterthought here.

[00:54:09] Yeah I think he does a better job with almost famous

[00:54:12] at having a fictional band.

[00:54:14] But I did hear he wrote like a full track list

[00:54:16] of what their songs would be.

[00:54:18] You don't hear them perform

[00:54:19] and Soundgarden who were in this movie

[00:54:21] were like oh those are good fake song names

[00:54:23] and apparently Soundgarden like wrote a bunch

[00:54:25] of like Chris Cornell wrote a bunch of songs off of that.

[00:54:27] You know my name did he write, you know my name?

[00:54:30] Yes that was based off of same question.

[00:54:31] Actually I did hear this Spoon Man.

[00:54:34] Spoon Man is based off of like

[00:54:35] the Soundgarden Spoon Man song.

[00:54:37] Spoon Man.

[00:54:38] Spoon Man.

[00:54:39] Fucking 90s man.

[00:54:41] Is based off of that was a fake song tell from singles

[00:54:43] but he like.

[00:54:44] Camera crew was like

[00:54:45] ah you're like looking around

[00:54:47] and you see it in Sierra Lea.

[00:54:48] Spoon Man.

[00:54:49] Spoon Man.

[00:54:50] Spoon Man.

[00:54:53] The music in this movie apart from

[00:54:55] you know they pepper in a lot of the grungy

[00:54:57] you know tracks but they also

[00:54:59] the music by Paul Westerberg

[00:55:00] of the replacements.

[00:55:01] That's like the score quote unquote

[00:55:03] the little jangly little guitar music.

[00:55:04] This movie was shot by Takfujimoto.

[00:55:06] Yeah it looks good.

[00:55:07] It does actually.

[00:55:08] It looks pretty good.

[00:55:09] He said like you know he's good at

[00:55:11] he hires good cinematographers.

[00:55:13] He's human.

[00:55:14] He's good DPs.

[00:55:15] This is some zooms.

[00:55:15] Yeah and I do like the classic Takfujimoto

[00:55:17] like direct address to the camera.

[00:55:20] Not just I'm not the scenes where they're

[00:55:23] literally monologuing to the camera

[00:55:25] but when he places the camera

[00:55:26] so that the lens is the character's eye line

[00:55:28] and you're like placed in the conversation.

[00:55:30] Yeah yeah yeah.

[00:55:31] The same thing he did to very different

[00:55:32] effect and songs the lambs in silence

[00:55:34] and he does it in the sixth sense.

[00:55:35] Yes I like that.

[00:55:37] Me too another tidbit Katie Rich

[00:55:41] former guest of this podcast.

[00:55:43] Cast and Future guest.

[00:55:44] Cast and Future guest.

[00:55:45] Her husband's sister

[00:55:48] he was telling me this yesterday

[00:55:49] it was at her birthday party yesterday

[00:55:50] lived in the singles apartments.

[00:55:53] Oh wow and apparently they had a lot of leaks.

[00:55:56] Little bit of info for you.

[00:55:58] Like leaking like a plot details

[00:55:59] when the movie singles.

[00:56:00] Correct yes no no no no leaking

[00:56:02] like CIA secrets.

[00:56:03] Oh yeah yeah leaking like a stolen sex cam

[00:56:06] but no no no leaks like water.

[00:56:08] Ben looks like he has a point that he's eager to make.

[00:56:10] Well while we were on the subject of music

[00:56:13] some montages are kind of problematic for me.

[00:56:16] It's touch me I'm dick.

[00:56:17] Okay what are some bad montages.

[00:56:19] Well there is the scene

[00:56:21] and it's like kind of a recurring thing

[00:56:23] of the magazine stand.

[00:56:25] Yes which I'm into I love magazines.

[00:56:27] Right he does that a lot.

[00:56:29] Yeah yeah you don't get to hold it in 90s

[00:56:32] but it was still in the 90s.

[00:56:33] Media anymore you know.

[00:56:35] The tactile media.

[00:56:36] Touchy media.

[00:56:37] Yeah.

[00:56:38] But there's the scene where

[00:56:40] after he blows it at the club

[00:56:44] they see they run into what's her name.

[00:56:46] Kierzadrik again yeah.

[00:56:48] And they play a little classic blues romance riff.

[00:56:52] Like what can you give us that romance riff.

[00:56:55] Well it's like bad blues like music.

[00:57:00] God I can't.

[00:57:01] Ben really got heated up about this movie.

[00:57:02] Yeah can you try to approximate the riff right now.

[00:57:05] Yeah it's like fine.

[00:57:07] She lacks the better homes.

[00:57:09] She lacks the maximum magazine.

[00:57:17] You get it.

[00:57:18] Yeah yeah yeah.

[00:57:20] And then there was a jazz part too

[00:57:22] where I was just like if this is about grunge music

[00:57:25] what the fuck are you putting in this stupid shit.

[00:57:28] It's a weird movie.

[00:57:30] It's a funny little movie.

[00:57:32] So it's 92 and then J. McWire is 95 or 96.

[00:57:34] 96.

[00:57:35] Yes it's a good movie.

[00:57:36] And remember this movie was made in like shot in like 1990.

[00:57:39] And yeah it was like done by 91.

[00:57:40] Yeah.

[00:57:41] It was on the shelf for a year.

[00:57:42] Yeah.

[00:57:43] It comes out September 92.

[00:57:45] Yeah.

[00:57:46] And then yeah he takes a break,

[00:57:48] writes a movie about a sports agent

[00:57:50] who has an epiphany about his business

[00:57:53] but then opens an independent sports agency

[00:57:55] with one client and also gets in a romance

[00:57:58] with a secretary from the sports agency

[00:58:00] and Tom Cruise decides to be in it.

[00:58:02] The biggest movie star.

[00:58:04] In 1996.

[00:58:05] In the world.

[00:58:06] I mean you know because it's a good script

[00:58:09] but still that's something.

[00:58:11] You couldn't write this shit you know.

[00:58:12] I mean it's crazy that Tom Cruise did the film.

[00:58:15] It is.

[00:58:16] And we'll talk about that next week.

[00:58:17] I mean that was when Cruise I feel like

[00:58:19] was like I want to work

[00:58:20] with really interesting creative.

[00:58:21] He was the he picks to Palma to make Mission Impossible.

[00:58:24] Like he's like he's trying to make interesting movies.

[00:58:27] He's gonna make you know.

[00:58:27] Well he only works with Otors.

[00:58:28] Tom is Anderson yeah.

[00:58:29] That was like Cruise's thing was like

[00:58:31] if you look at his movies for a while

[00:58:32] it's like I'll do like I'll do Pollock.

[00:58:35] I'll do Scorsese.

[00:58:37] I'll work with the Palma.

[00:58:39] I'll work with like he only.

[00:58:40] And Kubrick.

[00:58:41] Yeah he only would make movies with

[00:58:43] Otors for a very long while there.

[00:58:46] And yeah I mean you know I guess in his mind

[00:58:49] going for J.I. McGuire was like a Paul Thompson

[00:58:51] and the thing of like okay this is a guy

[00:58:53] who hasn't totally like done the thing yet.

[00:58:55] But like.

[00:58:56] Sure but I think he can pull this off.

[00:58:57] Like I think this yeah.

[00:58:58] Right but like.

[00:58:59] With me on board he can land a plane.

[00:59:01] Right but with Magnolia coming straight off a Boogie

[00:59:03] Knight someone this year coming straight off a single.

[00:59:05] It's true.

[00:59:06] Yeah it's true.

[00:59:08] I mean.

[00:59:09] I don't know man.

[00:59:10] He took a risk it paid off.

[00:59:12] He did.

[00:59:12] Yeah.

[00:59:13] But we'll talk about that next week.

[00:59:15] Yeah I don't know what I can say about this movie.

[00:59:17] Well I got some things.

[00:59:18] I got plenty of fans.

[00:59:19] Ben jeez.

[00:59:20] We got roses in the pregnancy aisle.

[00:59:24] All right Ben's just ripping on random shit.

[00:59:26] That was fucking weird man.

[00:59:29] Who does that.

[00:59:30] That's terrible.

[00:59:31] Anything else.

[00:59:32] Yeah of course.

[00:59:35] Okay Daving serves is.

[00:59:37] Oh when you meet Matt Dillon's character

[00:59:40] he's silk screening.

[00:59:41] Sure he is.

[00:59:42] Yeah citizen dick shirts.

[00:59:43] That's true.

[00:59:43] He's an artist.

[00:59:44] 90s technology check.

[00:59:47] Oh boy.

[00:59:48] Ben is genuinely checking here.

[00:59:50] He is he's checking off.

[00:59:51] He's adding check marks with a lot of flourish.

[00:59:53] Here's what Matt Cook of The Stranger

[00:59:55] which is Seattle's alt weekly said at the time.

[00:59:58] He's relying on the general hipness of our little

[01:00:00] Berg and the star power of a few local

[01:00:02] musicians to make a bundle of dough

[01:00:04] and he hasn't bothered to back them up

[01:00:05] with anything worth remembering.

[01:00:08] They were mad about it.

[01:00:10] Anyway Crow says that friends

[01:00:12] which friends you know is developed in the next year

[01:00:15] and obviously hits our screens in 94.

[01:00:18] And it's you know it is kind of this sick

[01:00:22] comify it's the same idea of like

[01:00:25] the whole concept is just being single

[01:00:27] in your late 20s and you're a generation

[01:00:29] excerpt.

[01:00:29] Yeah you know and like you have a bunch

[01:00:32] of jobs you know.

[01:00:34] It's definitely about people having jobs.

[01:00:36] Yeah.

[01:00:38] All right more stuff.

[01:00:40] OK win.

[01:00:42] And then Fonda breaks up with her her

[01:00:45] man's.

[01:00:45] Uh huh.

[01:00:47] I like that she buys a ton of magazines

[01:00:50] and then carries them up onto the roof

[01:00:53] with a landline like a fucking boss

[01:00:56] so she can take calls and she can just

[01:00:58] read magazines all day and night.

[01:01:00] David do you hear that?

[01:01:02] No you know I have one more thing to say

[01:01:04] before it happens.

[01:01:07] Wait.

[01:01:09] What is going on.

[01:01:11] Get closer.

[01:01:13] What.

[01:01:14] It's time for the burger report.

[01:01:16] OK.

[01:01:17] We're not done with singles but I think

[01:01:18] we got a sneak attack.

[01:01:19] Well have you got a burger report.

[01:01:21] No I was pitching a bet.

[01:01:23] What.

[01:01:25] OK.

[01:01:27] I don't have anything.

[01:01:29] I don't think I've even had a burger.

[01:01:30] I had a burger.

[01:01:32] OK.

[01:01:33] Yeah Jim Carrey.

[01:01:35] Oh what.

[01:01:36] Wow.

[01:01:37] He is this crazy carry like Emma Stone

[01:01:40] and Lovin' Jim Carrey.

[01:01:42] Mr. Popper's Penguin's Carry.

[01:01:44] Was he popping them penguins?

[01:01:45] I think this was around the penguin popping time.

[01:01:48] There's a penguin popping period you could say.

[01:01:50] Uh huh.

[01:01:52] And he was it was weird.

[01:01:54] He like really did not want to be treated VIP.

[01:01:57] He was like seat me downstairs right.

[01:02:02] And he was honestly such a nice guy.

[01:02:04] I didn't take his order but I delivered his burger.

[01:02:10] Fair enough.

[01:02:10] OK.

[01:02:11] OK.

[01:02:12] And I just remember him being with.

[01:02:15] Jenny McCarthy.

[01:02:16] No he wasn't this was post that for sure.

[01:02:19] He was with a rando.

[01:02:20] Rando.

[01:02:21] A non-famo.

[01:02:23] Yeah.

[01:02:23] Interesting.

[01:02:24] Yeah.

[01:02:26] And then I think he asked for some ketchup.

[01:02:32] There you have it folks.

[01:02:37] I have I have one thing to say.

[01:02:39] This is this is a tidbit.

[01:02:40] I like that it starts from far away.

[01:02:42] You keep doing that.

[01:02:43] I'm going to I'm going to keep that going on.

[01:02:44] OK one more tidbit sorry.

[01:02:45] I just want a little burger couple of tip.

[01:02:47] I was feeling hungry.

[01:02:48] I want to do it.

[01:02:48] Derek in on July 5th 2015 Derek Erdman who is some fucking

[01:02:53] rapper or something.

[01:02:54] OK.

[01:02:54] Some white rapper held a public screening of this movie at

[01:02:57] the courtyard of the Capitol Hill apartment court sorry

[01:03:01] Capitol Hill's Corielle Court Apartments these singles

[01:03:04] apartment.

[01:03:04] Uh huh.

[01:03:05] The event was attended by 1000 people despite initial

[01:03:08] concerns by the landlord.

[01:03:10] The event went off smoothly.

[01:03:11] The crowd was respectful and cleaned up after themselves.

[01:03:14] Reports of Bridget Fonda being in attendance were false

[01:03:18] burying the lead.

[01:03:19] It was actually her aunt Jane Fonda.

[01:03:21] Oh what.

[01:03:23] Two time Academy Award winner Jane Fonda great

[01:03:26] actress Jane Fonda was legendary movie star

[01:03:29] Rebel Rouser.

[01:03:30] Screen of my niece's movie down over in Seattle.

[01:03:33] Oh yeah pop over check it out.

[01:03:35] Also who has ever visually mistaken Jane Fonda for Bridget

[01:03:39] Fonda.

[01:03:39] Several years older and they don't look that similar.

[01:03:44] Jesus.

[01:03:46] That's a very bizarre tidbit.

[01:03:47] Yeah you guys are kind of wigging out too by the way.

[01:03:50] As as dudes what do you mean.

[01:03:52] Oh that's just a reference to the movie.

[01:03:54] Yeah they use they use like really old 90s like

[01:03:58] terminology that I just loved.

[01:04:00] Can I throw something out there that I that hit me

[01:04:03] while watching this movie.

[01:04:04] Sure.

[01:04:06] I feel like watching this in particular like

[01:04:10] Cameron Crowe is maybe responsible for a lot of

[01:04:14] what went wrong in American independent cinema.

[01:04:17] And I know he's not an independent film.

[01:04:18] Yeah I mean there's a studio movie.

[01:04:20] Yeah I mean but that's what I think is interesting

[01:04:22] as you watch this you watch say anything and you're

[01:04:23] like these would never be studio movies today right.

[01:04:27] Yes and it changes the tenor of everything because

[01:04:29] there's like a big difference if like you're a

[01:04:31] little studio movie and they're like OK we'll

[01:04:33] give you nine million dollars.

[01:04:34] You're off the radar we're not paying that much

[01:04:35] attention to you have studio funding but you know

[01:04:37] the movie is not falling apart at the scene.

[01:04:39] Right.

[01:04:39] And when you're an independent movie when like

[01:04:41] the finance could fall out at any moment

[01:04:43] everything's kind of being together.

[01:04:44] Everything's got a matter everything's got to be

[01:04:46] ready right when you get all the money

[01:04:47] together you gotta have a polished script.

[01:04:49] Right.

[01:04:50] That's the thing like even if you're a big

[01:04:52] budget independent film it's still it's like

[01:04:55] Danger Zone all the time.

[01:04:56] Danger Zone.

[01:04:57] Danger Zone.

[01:04:59] And I look at this and say anything and

[01:05:03] I'm a guire to a lesser degree you know both

[01:05:07] in the ways that they're successful and

[01:05:08] unsuccessful respectively as films.

[01:05:11] They were sort of this I this pushing this.

[01:05:14] OK.

[01:05:15] So you go in like the 70s.

[01:05:18] Everything used to be high concept right.

[01:05:20] OK.

[01:05:20] OK.

[01:05:21] And then in the 70s there's this shift to

[01:05:23] like high concept premises but done in

[01:05:26] sort of this work a day blue collar way.

[01:05:27] OK.

[01:05:28] If I'm just also the death of the studio

[01:05:29] system and all that's right.

[01:05:31] But I'm saying I think rise of you know great

[01:05:33] directors.

[01:05:33] I think that is what comes out of the 70s.

[01:05:36] New Hollywood studio driven director driven

[01:05:40] studio days this sort of like OK French

[01:05:43] connection is a cop movie but it's a cop

[01:05:45] movie that doesn't function like a thriller.

[01:05:47] Yeah.

[01:05:48] Right.

[01:05:48] You can make it more sort of every day you

[01:05:50] can make it about.

[01:05:51] I get it.

[01:05:52] Incident and about you know.

[01:05:53] And get you character.

[01:05:54] Yeah it's not about he has to get addicted

[01:05:57] to heroin and then kick it which is

[01:05:58] what the French connection to is about

[01:06:00] right concept very silly.

[01:06:01] Right.

[01:06:02] Oh hey speaking of heroin dealers the guy

[01:06:04] from Pulp Fiction he was the clown.

[01:06:06] Oh Eric Stoltz is the mime in this film.

[01:06:08] Yeah.

[01:06:08] And was also the party guy.

[01:06:09] I told him that he was insane anything

[01:06:11] and Ben was like oh he was the party guy

[01:06:13] who makes Qsack the key master.

[01:06:15] He gives Qsack the sack.

[01:06:18] Oh he's also a director.

[01:06:20] He's also a director.

[01:06:21] Anyway finish your thought because I want

[01:06:23] to do the box office game.

[01:06:24] Yeah because I do think that like

[01:06:26] Cameron Crowe spoke to a certain generation

[01:06:28] of burgeoning filmmakers who were like

[01:06:30] oh I can make a movie that's just about

[01:06:31] like people talking.

[01:06:33] You know his movies were so low concept

[01:06:35] sure and they were just sort of character

[01:06:37] based and dialogue based people were

[01:06:38] like oh it's just interesting characters

[01:06:40] and they're overlapping and they're

[01:06:41] just going through like daily life

[01:06:43] and even a movie like this that isn't

[01:06:45] that great you can tell it's written

[01:06:46] by a good writer like it feels like

[01:06:48] a bad screenplay by a good writer

[01:06:50] OK who is sort of perceptive

[01:06:52] and detail driven.

[01:06:53] OK and then I think all these

[01:06:55] independent filmmakers like people in

[01:06:56] film school around the time of

[01:06:57] these movies are coming out we're

[01:06:58] like oh this is what I want to do

[01:07:00] and you get a bunch of shitty like films

[01:07:02] and now the films like so many

[01:07:04] Sundance movies today are the films

[01:07:05] inspired by the films inspired by

[01:07:07] by the films inspired.

[01:07:08] I don't think you can take it all the

[01:07:09] way to the present day because I

[01:07:10] think this died.

[01:07:11] I think this died.

[01:07:12] No I think it died like it's just

[01:07:14] like a little bit.

[01:07:15] You're thinking of Ed Burns movies

[01:07:17] you're thinking of fucking Ed

[01:07:18] Burns.

[01:07:19] You're thinking of the nightmare of

[01:07:20] the mid to late 90s and when Sundance

[01:07:22] is just all that.

[01:07:23] Yes you know all that's.

[01:07:25] That's why movies one about

[01:07:26] jerking off and like you know falling

[01:07:29] in love with fucking you know TV

[01:07:30] girl stars like Jennifer Aniston.

[01:07:32] Yeah fuck that stuff.

[01:07:33] No that's that's that's what you're

[01:07:34] talking about.

[01:07:35] I do think yeah maybe Cameron Crowe

[01:07:37] definitely has some DNA strands

[01:07:39] you know in that sort of stuff.

[01:07:40] People took the wrong lessons from

[01:07:42] him.

[01:07:42] I think that has kind of petered

[01:07:44] out a little bit.

[01:07:44] I mean not that these movies aren't

[01:07:46] getting made still but there's

[01:07:47] also other movies and like you go to

[01:07:49] a Sundance now you know there's

[01:07:50] a little more of a wider variety

[01:07:52] of genres available

[01:07:55] of voices making indie movies.

[01:07:57] And of course there's more platforms

[01:07:59] so it's easier to yeah I mean

[01:08:00] there's still a yeah I'm not going

[01:08:02] to diss upcoming movies

[01:08:04] but OK you know you know it's the

[01:08:06] craziest thing in the world.

[01:08:07] You'll never guess any of the top

[01:08:09] five never.

[01:08:11] OK singles opens at number three

[01:08:12] four mil it clears 18 total

[01:08:15] the year is 1992.

[01:08:17] Yes September 92.

[01:08:20] I'll tell you that deeper in the

[01:08:22] box office are movies like Sister

[01:08:24] Act which has cleared up 132.

[01:08:27] Well you got Batman Returns all the

[01:08:29] way down there's got 160 million

[01:08:30] but it's basically done with its

[01:08:32] run my favorite of the Batman film.

[01:08:34] You've got unforgiven which has made

[01:08:36] 70 million dollars over the last

[01:08:38] couple months and it will go on to

[01:08:40] win best picture.

[01:08:41] Yes.

[01:08:42] But number one well it's a Phil

[01:08:45] Alden Robinson joint.

[01:08:46] Build your hands.

[01:08:47] Nope sneakers.

[01:08:48] Yeah sneakers.

[01:08:51] Who doesn't love sneakers.

[01:08:53] Sneakers.

[01:08:55] Is that the noise they make.

[01:08:56] Sneakers.

[01:08:58] Have you seen sneakers.

[01:08:59] Yeah it's pretty good.

[01:09:00] I believe you.

[01:09:01] I like sneakers.

[01:09:02] Yeah.

[01:09:03] Good cast.

[01:09:05] It's fucking Redford Portier

[01:09:06] Accroy Phoenix

[01:09:09] the Thurn and that's that's

[01:09:11] yeah we're Phoenix.

[01:09:12] That's when he's at his most like

[01:09:13] cutie.

[01:09:14] This isn't I thought it was

[01:09:16] leaf.

[01:09:17] No no not leave and not leaf

[01:09:19] slash walking this river before

[01:09:20] you turn over a new leaf yet to

[01:09:21] go down the river.

[01:09:23] Leaves still pretty young at

[01:09:24] this point.

[01:09:24] We're still kind of a late teens.

[01:09:27] OK number two the box number two

[01:09:28] with the box off is a movie starring

[01:09:30] Kurt Russell and Martin Short.

[01:09:32] Captain Ron what the fuck is that

[01:09:34] movie I've never heard of it.

[01:09:35] You know Captain Ron.

[01:09:36] Martin Short's on a boat Captain

[01:09:37] Ron's a captain.

[01:09:38] Look I mean this all sounds great.

[01:09:40] This all sounds great.

[01:09:41] They used to play in the Disney

[01:09:42] Channel a lot.

[01:09:43] Kurt Russell is like a boat

[01:09:44] captain with an eye patch.

[01:09:45] So is it like a kids movie.

[01:09:47] Like it's like a touchstone

[01:09:49] kind of guy like a gone fishing.

[01:09:51] Yeah it's a good gone fishing.

[01:09:53] Yes exactly.

[01:09:53] I'd say it's analogous to gone

[01:09:55] fishing.

[01:09:55] Martin Short and his wife

[01:09:57] you know Ron on a boat and they

[01:09:59] got a captain on the Russell

[01:10:00] sort of a pirate funny captain

[01:10:03] guy.

[01:10:03] Yeah.

[01:10:04] You know their mild mannered

[01:10:05] and he's wacky.

[01:10:07] Number four box off is an

[01:10:08] allegorical film by a major

[01:10:10] auteur who was going through a

[01:10:12] little bit of a tough time in

[01:10:13] the press.

[01:10:16] Husband's real fucked up thing

[01:10:17] yeah film is husband's and

[01:10:19] hubbies and YV's with Sydney

[01:10:21] Pollock and Judy Davis and

[01:10:23] you're a Faro.

[01:10:24] Yeah that's a weird movie who is

[01:10:25] the director Woody Allen.

[01:10:27] Yeah.

[01:10:28] Who had recently dumped me a

[01:10:29] Faro for their adopted daughter

[01:10:32] soon.

[01:10:33] Oh she was like 13 right.

[01:10:34] Going to see Cafe Society

[01:10:36] tomorrow Woody Allen still

[01:10:37] makes films make some once

[01:10:39] a year every year that happened

[01:10:40] in 1992 it's 2016.

[01:10:42] You also could watch and play

[01:10:43] jazz music at the.

[01:10:45] Oh yeah.

[01:10:45] What is it.

[01:10:46] Village East or something.

[01:10:47] No.

[01:10:47] Carthright.

[01:10:48] Carlisle.

[01:10:50] Yeah.

[01:10:50] Yeah.

[01:10:50] Yeah.

[01:10:51] That's our plug for the day is

[01:10:52] go see Woody Allen play clear and

[01:10:53] add up the car.

[01:10:54] It's only $80.

[01:10:56] Number five is a great work of

[01:10:58] Jewish cinema starring Mad

[01:10:59] Damon and Ben Affleck among

[01:11:01] other people.

[01:11:02] School ties.

[01:11:02] Yeah.

[01:11:05] Boy.

[01:11:05] OK I want to go early 90s

[01:11:07] baby.

[01:11:07] The rest of the 10 what's

[01:11:08] six.

[01:11:08] Honeymoon in Vegas.

[01:11:10] Oh oh so cages he's

[01:11:12] rattling around there.

[01:11:13] He's rattling around.

[01:11:14] You know you got young

[01:11:15] SJP.

[01:11:15] What what number what week

[01:11:17] number six and it's fourth week.

[01:11:19] It's made twenty eight million

[01:11:20] dollars.

[01:11:21] You got single white female

[01:11:22] which was a decent hit.

[01:11:24] So fun is all over the 10.

[01:11:26] She is big Fonda.

[01:11:27] Yeah.

[01:11:27] You got unforgiven number nine

[01:11:29] Hellraiser three hell on earth.

[01:11:31] I was going to try to guess this

[01:11:32] not a Hellraiser I've seen.

[01:11:33] No unless or how

[01:11:35] raise her entry.

[01:11:36] Number 10 is a film called

[01:11:37] Wind.

[01:11:39] Never heard of it.

[01:11:41] Matthew Modyne Jennifer Gray.

[01:11:43] Oh it's a Modyne Gray.

[01:11:44] OK.

[01:11:45] I have literally never heard

[01:11:46] of it.

[01:11:46] Me neither.

[01:11:47] You got death.

[01:11:48] Becomes or you got Pet cemetery

[01:11:49] to Bob Roberts.

[01:11:52] Yeah that's about it.

[01:11:54] 92 not

[01:11:56] you know not a I mean

[01:11:58] unforgiven is a great movie but

[01:12:00] not not a sterling year for

[01:12:01] cinema.

[01:12:02] No definitely not merchandise

[01:12:03] spotlight.

[01:12:05] Kidding me.

[01:12:05] No there was no merchandise for

[01:12:06] you said that's not.

[01:12:07] I was kidding.

[01:12:08] Is there any German guire

[01:12:09] merchandise.

[01:12:09] I feel like there isn't but

[01:12:10] there should be there should

[01:12:12] be like maybe there's a rod

[01:12:13] tid well.

[01:12:14] That's how I was going to say.

[01:12:15] Rookie card or something.

[01:12:16] Yeah I feel like if that movie

[01:12:18] had been made like four years

[01:12:19] later there would be a rod

[01:12:20] tid well doll.

[01:12:21] They would have made some like

[01:12:22] fucking talking keychain.

[01:12:23] They would have made something

[01:12:24] that said show me the money.

[01:12:25] There has to be a show me the

[01:12:26] money thing.

[01:12:27] Maybe not maybe Cameron Crowe is

[01:12:28] above that.

[01:12:29] Like a big mouth Billy Bass

[01:12:30] because they never even

[01:12:31] released.

[01:12:32] Yeah they never even released

[01:12:33] like a still water record.

[01:12:35] It came as a bonus disc on

[01:12:37] the untitled.

[01:12:38] Are we going to watch the

[01:12:39] untitled cut.

[01:12:40] Let's announce that I think

[01:12:41] we're going to watch the

[01:12:41] untitled cut of almost famous

[01:12:42] the bootleg cut.

[01:12:44] I think that's what we're going

[01:12:45] to watch.

[01:12:46] By the way it's Chris preferred

[01:12:47] version.

[01:12:47] The next weeks are two weeks

[01:12:49] from now.

[01:12:50] The mighty ducks comes out.

[01:12:52] So the first one.

[01:12:53] Yeah you know so American

[01:12:54] cinema is about to change.

[01:12:55] I mean the whole landscape is

[01:12:56] about to be in the last of the

[01:12:57] Mohicans which is really good.

[01:12:59] Right.

[01:12:59] So that undoes some of what

[01:13:00] my doc does.

[01:13:02] Once up or two.

[01:13:03] So yeah you know I mean

[01:13:05] singles.

[01:13:06] Yeah it's out there like you

[01:13:07] say it exists it definitely

[01:13:08] exists.

[01:13:09] It has its fans.

[01:13:10] We watched it.

[01:13:11] We had we were pretty

[01:13:11] dismissive and I do feel

[01:13:13] like some people might be mad

[01:13:14] about that.

[01:13:14] Yeah maybe.

[01:13:15] I don't know I actually don't

[01:13:16] know I've never met anyone

[01:13:17] who's really passionate about

[01:13:18] this movie but I know they

[01:13:19] exist.

[01:13:20] Yeah I mean I'd say maybe

[01:13:21] rewatch it.

[01:13:22] It's a long time.

[01:13:24] Yeah I don't think it's

[01:13:24] bad but it just it's

[01:13:25] garage door.

[01:13:26] It feels pretty inconsequential.

[01:13:29] Oh David just handed me his

[01:13:30] garage door opener.

[01:13:31] The whole door.

[01:13:32] No he handed me the whole

[01:13:33] door and he had to bend the

[01:13:34] opener and now Ben's hitting

[01:13:36] it and that I'm getting

[01:13:37] hit in the back with the

[01:13:38] garage door.

[01:13:40] Because I put it behind me.

[01:13:41] Who's your favorite.

[01:13:42] Who's your favorite.

[01:13:42] Who's my favorite what of the

[01:13:43] four like not in the movie just

[01:13:45] in general Kira Campbell Matt

[01:13:47] and Bridget Bridget Fonda.

[01:13:50] Yeah and I also I don't know

[01:13:52] I mean it's you know absence

[01:13:53] makes the heart grow Fonda the

[01:13:54] fact that she's been gone for

[01:13:56] so long.

[01:13:57] Makes me appreciate her more.

[01:13:58] What if Fonda came back.

[01:14:00] I would love that.

[01:14:01] It's funny because you know

[01:14:03] Coen Tarantino obviously took

[01:14:04] it upon himself to get

[01:14:05] Jennifer Jason Lee and Oscar

[01:14:06] nomination last year.

[01:14:08] I think it's a great

[01:14:09] Oscar nomination last year.

[01:14:11] And you know what if her single

[01:14:13] white female counterpart.

[01:14:16] What if he does what if he

[01:14:16] brings her back.

[01:14:17] It'd be great.

[01:14:18] I would love to see her do

[01:14:19] anything but you know by all

[01:14:20] accounts or say anything.

[01:14:21] I'd love to hear her say

[01:14:22] anything.

[01:14:24] I love that.

[01:14:28] Maybe she's just too busy

[01:14:29] playing chimes on Danny

[01:14:30] Elfin scores.

[01:14:31] I don't know what she's doing.

[01:14:32] She did the times is she the

[01:14:33] time.

[01:14:34] She married to him.

[01:14:34] I mean I want to believe

[01:14:35] they have a place his chance.

[01:14:37] Well David come on.

[01:14:38] Well I go boy.

[01:14:39] Go is that was that.

[01:14:40] He does only go his boy.

[01:14:41] But the time's joke was out of

[01:14:43] line.

[01:14:46] What if it turns out Bridget

[01:14:47] Fonda has been listening every

[01:14:48] week.

[01:14:49] I hope so.

[01:14:50] Bridget I mean please come on

[01:14:51] the show if you're blanky.

[01:14:54] You can be.

[01:14:54] Yes to talk to you.

[01:14:55] Yeah.

[01:14:55] If you want to talk about

[01:14:57] single wife female.

[01:14:58] Yeah we are only only

[01:14:59] white female only yeah.

[01:15:01] I mean I don't I feel like

[01:15:02] we're run off fumes now

[01:15:03] right.

[01:15:04] Yeah we're done.

[01:15:04] We're done.

[01:15:05] We're done.

[01:15:05] We're done.

[01:15:06] This is a soft

[01:15:08] a soft ending.

[01:15:09] You know I feel like

[01:15:10] oh some breaking news.

[01:15:11] Oh no I don't think I can reveal

[01:15:13] this actually but I'll tell you

[01:15:15] I'll tell you off.

[01:15:16] OK it's not interesting.

[01:15:17] It's a little tidbit from

[01:15:19] Katie Richard.

[01:15:20] Do I hear something off in the

[01:15:21] distance.

[01:15:22] I don't know what.

[01:15:28] Is this the orange.

[01:15:30] The orange twist.

[01:15:34] It's the orange twist.

[01:15:39] Ben Ben you can just say I

[01:15:40] don't have anything.

[01:15:41] No but you know he's got something

[01:15:42] we got an strong.

[01:15:44] Yeah.

[01:15:45] Hold on one second let me open up

[01:15:46] the file cabinet.

[01:15:50] Because it's the Irish twist file.

[01:15:52] Yeah it's a file and I'll open

[01:15:53] it sounds like a 90s video game

[01:15:55] where you like you know open a

[01:15:57] cabinet make like a really

[01:15:59] and then we flip through the

[01:16:00] files.

[01:16:01] I don't think Ben has anything

[01:16:02] well I've I mean I don't

[01:16:04] I'm not allowed to say this I

[01:16:06] think.

[01:16:07] OK what if you tell the story

[01:16:09] and you bleep the name out so we

[01:16:10] know and the audience at home

[01:16:11] is to get that.

[01:16:13] I guess that's OK.

[01:16:16] I like it.

[01:16:17] All right so

[01:16:27] has been known to have a bit

[01:16:29] of a drink.

[01:16:34] He was sort of

[01:16:36] a regular.

[01:16:38] OK.

[01:16:39] And would come in.

[01:16:40] Yeah on occasion

[01:16:43] to have a nightcap.

[01:16:44] Sure yeah how many nightcaps.

[01:16:46] Well I think he had had a bunch

[01:16:48] when he got there.

[01:16:48] Yeah.

[01:16:49] And so but he was a cool

[01:16:52] dude and like would chat

[01:16:54] with you and stuff you know it

[01:16:55] was like there often

[01:16:57] and one night

[01:17:00] we closed but he stayed

[01:17:02] and hung out with the employees.

[01:17:04] Sure.

[01:17:05] And we were all getting pretty

[01:17:06] drunk maybe even smoked a little

[01:17:09] weed.

[01:17:10] What.

[01:17:11] Yeah.

[01:17:12] Took in the reefer.

[01:17:13] Yeah and then we were all

[01:17:14] putting songs

[01:17:16] on the iPod.

[01:17:18] Right. OK.

[01:17:19] And he started picking songs

[01:17:22] and we all started dancing

[01:17:24] and then that dude was naked.

[01:17:26] Wow. Yeah.

[01:17:27] Like how quickly.

[01:17:30] I mean I was drinking too.

[01:17:31] But you know it was no

[01:17:33] no it was definitely weird.

[01:17:34] It was definitely like he was

[01:17:35] like the only one who was

[01:17:36] like we're doing this guys.

[01:17:38] Yeah. Here's my dick.

[01:17:40] You know how is that dick.

[01:17:42] It was pretty good decent way.

[01:17:43] Yeah. It's a good dick.

[01:17:44] I'm not surprised.

[01:17:46] But.

[01:17:47] Our bouncer had to put his

[01:17:48] clothes back on for him.

[01:17:50] Oh boy.

[01:17:51] So.

[01:17:52] Sort of drunk.

[01:17:53] Well if you have any guesses

[01:17:54] as to who Ben is talking about

[01:17:56] please tweet at them at us

[01:17:57] blank check pod or email

[01:17:59] blank check podcast at

[01:18:01] gmail.com we will not

[01:18:02] respond.

[01:18:03] No you're never going to

[01:18:03] find out.

[01:18:04] No but you know just have

[01:18:05] fun guessing.

[01:18:07] Yeah and you know share any

[01:18:09] other thoughts you may have

[01:18:10] with us.

[01:18:11] I have a feeling this is going

[01:18:13] to be our least lesson two

[01:18:14] episode.

[01:18:15] I don't mean that because of

[01:18:16] quality I just think people

[01:18:17] don't want to hear anyone talk

[01:18:18] about singles.

[01:18:20] But it'll be whatever

[01:18:22] it'll be a little blip.

[01:18:23] Look I always enjoy

[01:18:24] this week.

[01:18:25] Jerry McGuire.

[01:18:26] Jerry McGuire is great.

[01:18:27] Yeah we're going to fucking

[01:18:28] show you the podcast.

[01:18:29] Yeah.

[01:18:30] Are you ready.

[01:18:31] Yeah for Jerry McGuire.

[01:18:32] Show me the podcast.

[01:18:33] You had me at hello

[01:18:36] panel.

[01:18:37] That came from one of our

[01:18:38] listeners.

[01:18:39] I forgot someone tweeted that

[01:18:40] at us it was really good.

[01:18:41] You complete my

[01:18:43] podcast.

[01:18:44] You you yeah.

[01:18:46] Fuck yeah OK

[01:18:48] thank you for listening.

[01:18:49] Yeah please rate review

[01:18:50] subscribe

[01:18:52] sneeze off Mike

[01:18:54] and you know whatever

[01:18:56] you do NPR sorry Ben

[01:18:57] there was a been looks

[01:18:59] disgusted right now.

[01:19:00] Yeah sorry it's just

[01:19:02] allergies when you do NPR

[01:19:04] they have a sneeze button.

[01:19:05] Yeah no I'm not here.

[01:19:07] Yeah and as always

[01:19:08] and as always David

[01:19:10] because I love you.

[01:19:11] Oh I'm going to be the one who

[01:19:13] says bless me.

[01:19:17] Thank you.

[01:19:18] God about that is untied.

[01:19:19] I hate that all the S.

[01:19:21] U.S.

[01:19:21] was saying bless you.

[01:19:30] This has been a U.C.

[01:19:31] B. comedy production check out

[01:19:33] our other shows on the U.C.

[01:19:34] B. comedy podcast network.

[01:19:38] .