The First Annual Blank Check Awards with Joe Reid

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

[00:00:20] And the Blank Check Award goes to your earbuds for you to listen to, because this is a podcast for you.

[00:00:28] I don't like you. I really don't like you. I'm within' on these week after week. That was funny. I think it was funny. I'm Griffin Newman. I'm David Sims.

[00:00:39] This is Blank Check with Griffin and David. A podcast that is usually constructed in a miniseries, but sometimes a one-off. Yeah, specials. We're in the middle of a miniseries called...

[00:00:49] Oh my God. Enough.

[00:00:52] ...Podnashamikas. Exploring the films of MNJML in order. But this is a one-off because, David, this is a very special time of year.

[00:01:02] For the first time in our history as podcasters. Yeah, because we started, I think, in March. Right after.

[00:01:07] We started in a march. We get to cover Hollywood's biggest night, David. The best and brightest come out where their finest duds.

[00:01:19] And try to... In the hopes of coming home with some hardware. Yeah, Teen Choice Awards.

[00:01:25] So this is our... If we chose the Teen Choice Awards. We're no longer teens. David and I are both in our 20s.

[00:01:32] I'm barely in my 20s. Yeah, I did... I have to say, I did vote in the Kids Choice Awards.

[00:01:37] But I don't know if that's gonna... I mean, if by admitting this, it made now...

[00:01:41] The Kids Choice Awards is the Nickelodeon blimp. Yes. And the Teen Choice Awards is the surfboard. It's a Fox surfboard. Right, right, right.

[00:01:47] I gotta say really underwhelmed by the nominees for the Kids Choice Awards this year. Really? Yeah.

[00:01:52] And that I didn't know 98% of them. Times change. Yeah.

[00:01:56] But Hold of Transylvania 2 was nominated for Best AMA Film, which is more than I can say from the Oscars.

[00:02:00] Callback. Callback. This is the Blank Check Awards. Yeah, we're doing the blankies. The blankies!

[00:02:07] Our common thread throughout all our subjects that we cover on this podcast is the idea of the blank check.

[00:02:16] If someone being given free reign to make whatever they want, usually because they have such monumental success early in their career

[00:02:22] that people keep on giving them the blank check to make their project in the hopes that they will replicate that magic one more time.

[00:02:27] Guess who's got the blank check today? Us? The two friends.

[00:02:35] We got a blank check because enough people listen to our podcast that we get to pick the Oscars!

[00:02:41] I mean, so we've decreed. We've decreed and it will have no bearing on anything whatsoever.

[00:02:46] So for all you guys who love listening to us just talk the years movies. This is the podcast for you.

[00:02:52] This is like the most side-tangent episode. Right. For everyone who's excited to hear about the village, wait till next week.

[00:02:56] Next week. We're coming back strong. My pot and I, Shemacast. We have a very special guest with us today.

[00:03:01] Yes! Really the only guest we could have had for this.

[00:03:05] He, much like us, is a devourer of Oscar knowledge. Not just winners but the ephemera of the awards shows.

[00:03:16] The moments, David, within the ceremony himself.

[00:03:20] Yeah. He knows things that no human knows about the Oscars.

[00:03:24] He's a keeper of secrets. He's a master of Oscars.

[00:03:30] And in our ongoing collection of trying to collect different groups.

[00:03:37] Our collection of trying to collect different groups?

[00:03:39] We've gotten another trivia team member. We've netted him, finally.

[00:03:45] Possibly. I mean he was really the third corner of our power triangle on our team.

[00:03:50] Okay. Yeah.

[00:03:52] No, because you and I were going...

[00:03:54] No, I know it's just the power triangle is not a phrase I've ever heard before.

[00:03:57] That's what people used to call us, the power triangle.

[00:03:59] No, but you and I would go alone and sometimes we have a friend and then we were like,

[00:04:02] we need to build a solid team. And we added this man as our third permanent member.

[00:04:06] Not that there weren't other permanent members, but he was a rock.

[00:04:09] He was there every week for us. And what happened? We won two seasons in a row with him.

[00:04:13] We did. He's shaking his head right now.

[00:04:15] Ladies and gentlemen.

[00:04:16] I think we were very good about not saying anything until just the second.

[00:04:19] He is air tower writer.

[00:04:22] He currently writes for the decider where he wrote a very nice piece about our podcast.

[00:04:27] He did.

[00:04:29] And you wrote a really good piece about the Simpsons episode homer's phobia that I read.

[00:04:32] Yes.

[00:04:34] Ladies and gentlemen, the great Joe Reed.

[00:04:36] Hey, Joe Reed.

[00:04:38] I tried to be that cool podcast guest who wouldn't say anything.

[00:04:40] And I couldn't...

[00:04:42] No, I prefer the people who just sort of butt in.

[00:04:43] You don't know who's that voice? Who's that strange voice on my podcast?

[00:04:47] They're excited. Like, oh, and they do know of course.

[00:04:49] I thought it was just two friends. What's going on?

[00:04:51] They looked at the title. That's the weird thing about podcasts.

[00:04:53] It's true. It's true. You should ideally have already been enticed by this before you even hit play.

[00:04:58] Right. Some podcasts think the title is literally only the names of the guests.

[00:05:02] And yet they still, they pretend.

[00:05:04] Wait, am I getting above title billing for this podcast?

[00:05:06] I don't know.

[00:05:08] Ben, you do the titles.

[00:05:10] You know I was a supporter of P-Cast Shyamalan.

[00:05:11] So I don't know whether that breaks the tie or something.

[00:05:13] Look, I appreciate your support in any form I can get it.

[00:05:17] I mean, see we don't believe in twist here.

[00:05:20] We're not a bunch of Shyamalan so we'll just say who the guest is.

[00:05:23] But I do think there's an order thing. You did sort of spoil a surprise.

[00:05:26] Would Ben's here again?

[00:05:28] Hey, don't say it.

[00:05:30] He's back.

[00:05:32] I'm back baby.

[00:05:34] You know how the Golden Globes have...

[00:05:36] I'm very comfortable with not speaking up.

[00:05:38] I know.

[00:05:39] So do you?

[00:05:41] When Ben's voice comes over on the walkie-talkie, it genuinely sounds strange.

[00:05:45] Did you hear it?

[00:05:47] You sound like a ghost coming through the walls.

[00:05:50] Maybe I planned it.

[00:05:52] You know how the Golden Globes always have Miss Golden Globe?

[00:05:55] They have...

[00:05:57] It's a second generation Hollywood.

[00:05:59] Sometimes even third generation.

[00:06:01] Remember Dakota Johnson before she was a movie star.

[00:06:03] Very true.

[00:06:05] It was third generation because it was Tippi Hedron and then Malinigruth and then herself.

[00:06:06] But it's always second generation or third generation Hollywood royalty.

[00:06:11] It's a coming out.

[00:06:13] Here's Jamie Foxx's daughter.

[00:06:15] She's going to wear a lovely dress.

[00:06:17] Do what you will with her, Hollywood.

[00:06:19] Do they even hold the award like the statues?

[00:06:21] Or do they just stand there?

[00:06:23] That sometimes feels like they're assistant award holder.

[00:06:25] Like they're still a professional award holder.

[00:06:27] They get to stand next to them and maybe...

[00:06:29] They escort them off stage or whatever.

[00:06:31] Guess who's been chosen to be our Mr. Blank Check Awards today.

[00:06:36] Who?

[00:06:38] I'll give you a hint.

[00:06:40] We call him Birthday Benny even though it only is his birthday once a year.

[00:06:43] We call him the tiebreaker.

[00:06:45] We call him the poet laureate.

[00:06:47] We call him the haze.

[00:06:49] We call him producer Ben.

[00:06:51] We do.

[00:06:53] We call him producer Ben.

[00:06:55] Catch him on a good day, he might be the bendusage.

[00:06:57] Let's speed it up.

[00:07:01] We call him the tiebreaker.

[00:07:03] We call him...

[00:07:05] Why am I...

[00:07:06] My favorite.

[00:07:08] Hello Fennel.

[00:07:10] I was trying to say that one for less.

[00:07:12] The Peeper, Kylo Ben, producer Ben Canovi.

[00:07:14] I had someone randomly...

[00:07:16] Not Professor Crispy.

[00:07:18] Someone said hello fennel to me.

[00:07:20] I didn't know.

[00:07:22] That's a genuine sandwich show.

[00:07:24] Was it a coincidence?

[00:07:26] Was it just someone saying hello fennel?

[00:07:28] Like the podcast?

[00:07:30] No, I thought you were a piece of fennel.

[00:07:32] I didn't realize you were like eating just loose fennel from a bag.

[00:07:34] Was there any conversation following that?

[00:07:37] Or did he just walk away?

[00:07:39] I was awestruck.

[00:07:41] I was just like, yeah, fennel!

[00:07:43] I misspoken.

[00:07:45] Now I have to think about it every fucking week.

[00:07:47] Before we started recording, me and Benny were having a conversation

[00:07:49] about how he's such a goofy guy.

[00:07:51] He's a real goofball.

[00:07:53] I can't talk to you guys before we record.

[00:07:55] I was trying to figure out how to do that.

[00:07:57] Like they have a new name, non-deplume,

[00:07:59] that has the word goofy in it.

[00:08:01] But I couldn't get it.

[00:08:02] That was something.

[00:08:04] Email him with your thoughts.

[00:08:08] And speaking of that...

[00:08:10] You took a big swig of water.

[00:08:12] Dramatically because I had to wet my whistle for this one.

[00:08:14] Ready?

[00:08:16] We have an email account.

[00:08:18] Oh yeah.

[00:08:20] I had forgot to sync it with my phone so I hadn't been reading the emails.

[00:08:22] I got an email alert when you synced it with your phone last night

[00:08:24] and I was briefly afraid that someone was trying to hack my email.

[00:08:26] But it was just good old griffy.

[00:08:28] I had forgotten when we set up,

[00:08:30] or I don't know which of us.

[00:08:32] You set the tweet again.

[00:08:34] I went to our email inbox and it was like 400 messages

[00:08:37] of anytime anything happened on Twitter.

[00:08:39] Oh yeah, right.

[00:08:41] Remember when Twitter would just email you

[00:08:43] if someone favorited your tweet?

[00:08:45] I still have had to create a sub folder

[00:08:47] to direct all those two

[00:08:49] and if I ever stumble upon it,

[00:08:51] it's just this horrible wasteland of 1,000 all Twitter emails.

[00:08:53] Yeah, aside from who followed you,

[00:08:55] who faved, it was also just like,

[00:08:57] hey check out this new tweet from David Itzkopf.

[00:08:59] And I was like, I don't need recommendations.

[00:09:01] It's Twitter.

[00:09:02] Itzkopf's doing fine enough out of his own.

[00:09:04] He doesn't need my retweet.

[00:09:06] He's doing fine.

[00:09:08] I found two genuine emails.

[00:09:10] In this wasteland.

[00:09:12] In this wasteland.

[00:09:14] One of them was from Will Stutz

[00:09:16] who sent in some recommendations

[00:09:18] of future mini-series.

[00:09:20] I'm not going to read them on air

[00:09:22] because we might use some of them.

[00:09:24] But the other one I must read.

[00:09:26] David, Joe, Ben, I must.

[00:09:28] Simply must.

[00:09:30] Is it from M Night?

[00:09:32] Fisto and the Haas.

[00:09:34] A fan fiction.

[00:09:36] Oh boy, you're not going to read fan fiction right now.

[00:09:38] Are you? Come on.

[00:09:39] Fisto and the Haas.

[00:09:40] Blank check with Griffin and David

[00:09:41] slash Star Wars crossover.

[00:09:43] Category fluff slash light angst.

[00:09:45] She's formatting this like it's on

[00:09:46] a proper fan fiction website.

[00:09:48] Relationships.

[00:09:50] Ben Haasley slash Kit Fisto.

[00:09:52] Rated T I think for teen.

[00:09:54] Trigger warning.

[00:09:56] Questionable transcription of a Jamaican accent.

[00:09:58] It's short. I promise you it's short.

[00:10:00] I swear to God.

[00:10:02] Heaving a sigh.

[00:10:04] What a day.

[00:10:06] Ben snuck a peek at the wary Nautiland.

[00:10:09] Cleared his throat.

[00:10:11] Oh yeah? Rough day at the old Clone Wars, huh?

[00:10:13] You said it.

[00:10:15] Between Doth Stupid Idiot and these...

[00:10:18] Oh, I guess Kit Fisto's supposed to be Jamaican.

[00:10:21] Between Doth Stupid Idiot and these

[00:10:22] toilet chairs in the Jedi Council.

[00:10:24] I cannot catch a break.

[00:10:26] My ass is on fire.

[00:10:28] I'm sounding like Dracula.

[00:10:29] I swear to God.

[00:10:31] Kit let his eyes slip shut,

[00:10:34] but making up for the lack of one sense

[00:10:36] his thick empathetic tendrils

[00:10:38] sniffed out the emotion around him.

[00:10:40] Immediately he felt Ben's distress.

[00:10:43] Hello fennel, Kit Gas.

[00:10:46] Sitting up and resting ahead.

[00:10:48] It's very short.

[00:10:50] One paragraph left on his friend's shoulder.

[00:10:52] What is wrong?

[00:10:54] Tell me now, Ben Dusser.

[00:10:56] I can feel your pain.

[00:10:57] Ben shook his head.

[00:10:59] N-Nothing!

[00:11:01] I was just sketching these new lightsaber designs.

[00:11:04] He tapped his sketchpadding.

[00:11:06] Sketchpadding Kit frowned at the rough drawings.

[00:11:08] Those weapons are far too large.

[00:11:11] Yeah well, I just like things really big.

[00:11:16] Kit, now realizing the cause of his friend's heartache,

[00:11:19] Grinden leaned in,

[00:11:21] tossing Mr. Positive a saucy wink.

[00:11:23] I understand.

[00:11:25] I think I can help with that.

[00:11:27] I'm a desperate voice pleaded.

[00:11:29] Guys, I can hear you in the earphones.

[00:11:31] It's really fucking creepy.

[00:11:33] Come in here if you're going to do that so I can see you.

[00:11:35] Are you going to cut that?

[00:11:37] I love that.

[00:11:39] Because it ended with what I subscribed to,

[00:11:42] which is I like things big.

[00:11:44] Thank you to Aaron Ashby,

[00:11:46] clearly a master talent,

[00:11:48] writer on the rise,

[00:11:50] you know how to turn a phrase and we appreciate your support.

[00:11:52] Please send in all other fan fiction.

[00:11:54] You have Blank Check Pod at gmail.com.

[00:11:55] Okay Griffin.

[00:11:57] Blank Check Pod.

[00:11:59] Okay, so here's what we're going to do.

[00:12:01] We're going to pick the Oscars.

[00:12:03] Yeah.

[00:12:05] Who needs the Oscars?

[00:12:07] The old Siskel and Ebertz of Yor.

[00:12:09] Who needs a bunch of old stuck up white men.

[00:12:11] Here are three young white men,

[00:12:13] four young white men in a group with full autonomy

[00:12:15] and full power.

[00:12:17] Thank you for calling me young, I appreciate it.

[00:12:19] Of course.

[00:12:21] So we're going to go through the major categories.

[00:12:23] And we're each going to pick our five

[00:12:25] and then we're going to pick the other three.

[00:12:27] So for the first time,

[00:12:29] I slept three hours last night.

[00:12:31] My brain is not running.

[00:12:33] And yeah, if we have extra time,

[00:12:35] we might pick some notables that we would

[00:12:37] nominate in below the line categories

[00:12:39] and technical awards.

[00:12:41] Things like that.

[00:12:43] So I think we got started with our best picture, right?

[00:12:45] Yeah.

[00:12:47] Do you want to start at the top?

[00:12:49] You want to work?

[00:12:51] We could do the traditional

[00:12:53] supporting actor categories first.

[00:12:55] really, really hue to the Oscars example.

[00:12:58] I think maybe let's do that, right?

[00:13:00] Yeah.

[00:13:01] Joe, do you wanna start with supporting actress?

[00:13:03] Sure, let's start with supporting actress.

[00:13:05] So this is the film.

[00:13:06] Film's just 2015, guys.

[00:13:07] So I'm just gonna lay out my five

[00:13:08] and then pass it on to you.

[00:13:10] We'll chat.

[00:13:10] We'll chew over him.

[00:13:11] All right.

[00:13:13] In classic Oscar order then, alphabetically.

[00:13:16] You do sneak through your pro.

[00:13:17] Look at that, geez.

[00:13:18] Elizabeth Banks for Love and Mercy.

[00:13:20] Mm-hmm.

[00:13:21] Oh, yeah, all right.

[00:13:23] Sarah Paulson for Carol.

[00:13:25] Yeah.

[00:13:26] Kristen Stewart, Clouds of Sils Maria.

[00:13:27] Mm-hmm.

[00:13:28] Kristen Wig, Diary of a Teenage Girl.

[00:13:31] She was good.

[00:13:32] And Kate Winslet for Steve Jobs.

[00:13:37] Interesting.

[00:13:37] What do you think?

[00:13:38] I want to discuss.

[00:13:39] Only Kate Winslet is Oscar nominated of those five.

[00:13:41] I think that's gonna be a running thing

[00:13:43] as I expect we have one overlap.

[00:13:45] Yeah, a little bit overlap with the actual Oscar.

[00:13:48] And I thought the Oscar nominations were fine

[00:13:50] in acting categories for this acting category.

[00:13:53] I thought it was okay.

[00:13:54] They've got the two leads.

[00:13:55] They've got Rooney Mara and Alicia Vikander.

[00:13:57] I don't like that.

[00:13:59] And I don't like it either.

[00:14:00] And especially this year when there was room upstairs

[00:14:04] for them, well, maybe.

[00:14:06] Oh, no.

[00:14:07] Best actress was pretty competitive.

[00:14:08] Best actress was pretty.

[00:14:09] But you roll with the performance you have.

[00:14:12] Rooney Mara is not a supporting actress in that movie.

[00:14:15] And it shoves out Sarah Paulson,

[00:14:18] who I think was an actual supporting actress

[00:14:19] in that movie and was really good.

[00:14:21] That's what I like about what you're doing, Joe,

[00:14:24] is you're really taking a stand.

[00:14:25] Which is like, if Rooney Mara's supporting actress,

[00:14:29] what's Sarah Paulson?

[00:14:30] A fucking cameo?

[00:14:31] No, that's a real supporting part.

[00:14:32] Yeah, I agree.

[00:14:34] So we all liked Paulson.

[00:14:36] Should we all do our lists and then talk

[00:14:38] to see where we have overlapped?

[00:14:39] Yeah, maybe each for our five out.

[00:14:40] And then, yeah, debate, yeah.

[00:14:42] All right.

[00:14:44] David, do you want to go?

[00:14:46] My best supporting actresses were

[00:14:48] Joan Allen in Room.

[00:14:50] Nice.

[00:14:51] Rose Byrne in Spy.

[00:14:53] Great choice.

[00:14:54] Jada Pinkett Smith in Magic Mike, XXL.

[00:14:59] Kristen Stewart in Clouds of Souls, Maria.

[00:15:02] And Elizabeth Waterston in Queen of Earth.

[00:15:04] The underseen Alex Ross Perry.

[00:15:06] Katherine Waterston.

[00:15:07] I always call her Elizabeth Waterston.

[00:15:09] She looks like an Elizabeth.

[00:15:09] I always call her Sam Waterston.

[00:15:11] No, but there isn't Elizabeth Waterston in the world.

[00:15:14] I don't believe so.

[00:15:15] I'm just giving her, yeah,

[00:15:16] Katherine Waterston in Queen of Earth, sorry.

[00:15:18] I'm sure there is an Elizabeth Waterston in the world,

[00:15:21] but probably not in the acting community.

[00:15:22] Who can say?

[00:15:24] My choices for best supporting actress are

[00:15:26] Elizabeth Banks for Love and Merchant.

[00:15:28] Nice.

[00:15:29] Wow, you guys liked her.

[00:15:30] Rebecca Ferguson in Mission Impossible, Rogue Nation.

[00:15:32] She's so good.

[00:15:34] Mia Taylor in Tangerine.

[00:15:36] Maya Taylor.

[00:15:37] Sure.

[00:15:38] Sure.

[00:15:39] Never heard it said out loud.

[00:15:40] I guess before now I agree.

[00:15:40] Actually, I haven't either, so I could be totally wrong.

[00:15:42] Mya, so I always thought it was Mia.

[00:15:45] I thought it was Maya, but I don't know.

[00:15:47] Yeah, okay.

[00:15:47] Maya Mia Taylor.

[00:15:48] I'll take Mia Taylor right in to the podcast address.

[00:15:51] Yeah, please do.

[00:15:52] We'd love to have you on as a guest.

[00:15:53] You're a great, great actress.

[00:15:56] Rachel Weiss in Youth.

[00:15:57] Nice.

[00:15:59] And ready for the griffiest pick?

[00:16:01] I think in any category we're gonna get this year.

[00:16:04] Rafi Cassidy in Tomorrowland.

[00:16:07] Wait, which one was she?

[00:16:08] That's the robot girl, right?

[00:16:08] The robot girl.

[00:16:09] She was good.

[00:16:10] I just saw that movie over the weekend.

[00:16:11] Did not care for it, but she was pretty good.

[00:16:15] That robot girl though.

[00:16:16] That robot girl.

[00:16:17] Anything else ever?

[00:16:19] Like was this her first big movie?

[00:16:20] Yeah, she did some like small British films.

[00:16:22] But I think she's one to watch.

[00:16:24] Oh, I agree.

[00:16:25] I liked her in that film.

[00:16:26] Okay, so let's get into our...

[00:16:27] So we did not overlap at all.

[00:16:30] No, we had two editors.

[00:16:32] The two friends with 10 different 10 picks

[00:16:34] all distributed for me.

[00:16:35] You guys just shared banks.

[00:16:36] We just shared banks.

[00:16:37] You two shared Chris and Stuart.

[00:16:38] And we shared Chris and Stuart,

[00:16:39] which is my winner.

[00:16:40] Really?

[00:16:41] Yeah, see, this is interesting, okay?

[00:16:43] I don't know.

[00:16:45] I'm not trying to really...

[00:16:46] Supporting is always very wide open.

[00:16:48] It's very tough.

[00:16:50] I have always been a huge Chris and Stuart fan.

[00:16:52] Okay.

[00:16:53] I used to how...

[00:16:54] You told me a gross story about her

[00:16:56] into the wild performance last weekend,

[00:16:59] and it was bad.

[00:16:59] I said I wanted to do a reverse purple rose

[00:17:02] of Cairo in that movie.

[00:17:03] And I won't go into any further detail.

[00:17:05] What kind of sexual position

[00:17:06] is the reverse purple rose of Cairo?

[00:17:08] I think you know.

[00:17:09] First of all.

[00:17:10] I think you know.

[00:17:11] I think you know.

[00:17:12] And we got young listeners.

[00:17:13] I don't want to get into it.

[00:17:14] We do.

[00:17:15] I used to...

[00:17:16] Yeah, we got some babies who listen.

[00:17:17] Get that demographic research out.

[00:17:19] Yeah, they played in maternity wars.

[00:17:22] Right when the babies come out,

[00:17:23] they're playing an episode of Blank Check.

[00:17:24] I eat you with this every time you're going off topic.

[00:17:29] Chris and Stuart, I'm a big fan of...

[00:17:31] I used to have two life-sized cardboard cutouts

[00:17:34] over in my bedroom.

[00:17:35] Oh my...

[00:17:36] Wow.

[00:17:37] I had...

[00:17:38] My early 20s were messy.

[00:17:39] Sure.

[00:17:40] But I always have argued

[00:17:42] that she's an underrated actress.

[00:17:43] I think she's phenomenal.

[00:17:44] I think it's the curse of a thing

[00:17:46] like Twilight being that big

[00:17:48] is I think people immediately discount

[00:17:50] anyone who's in something that successful.

[00:17:52] That's true.

[00:17:53] Whether or not they're doing good work

[00:17:54] and I also think that character is a cipher.

[00:17:56] And she did some OK work in those films

[00:17:59] that is kind of drowning against the films themselves.

[00:18:01] Anyway, I was very excited for Clouds of Souls, Maria,

[00:18:05] because I was like, finally,

[00:18:06] a film where everyone seems to be getting

[00:18:07] on the same page as me on Chris and Stuart.

[00:18:11] So I thought she was good.

[00:18:14] I didn't love the movie.

[00:18:16] I thought she was.

[00:18:17] She and Benosia were highlights.

[00:18:18] No, it's David's favorite movie of the year.

[00:18:20] I love the movie.

[00:18:21] And I thought she was bewitching in it.

[00:18:23] Incredible.

[00:18:24] This is my point, I guess.

[00:18:26] I have nothing bad to say about that performance.

[00:18:27] I think she's very, very good in it.

[00:18:29] I think she's excellent.

[00:18:29] I also think it's about as excellent as she usually is.

[00:18:32] Right.

[00:18:33] Yeah, OK.

[00:18:34] Just maybe in the context of a better movie.

[00:18:36] Better material.

[00:18:36] Yeah.

[00:18:38] Yeah, because I feel like she was really good

[00:18:39] and still Alice last year.

[00:18:40] I probably would have nominated her last year.

[00:18:42] I think she was great in that.

[00:18:44] She's great in Still Alice, but I think Clouds of Souls Maria

[00:18:47] is a part where she has a little more room to explore.

[00:18:51] Like in Still Alice, she is a character.

[00:18:54] Like and even if her parents don't totally get

[00:18:57] that she's like a real person immediately,

[00:18:59] like you know they have to learn things about her.

[00:19:02] You know, she's playing like, I don't know,

[00:19:03] she's like in Clouds of Souls Maria,

[00:19:05] her character like develops and pushes back

[00:19:07] against Julia Benosia's character

[00:19:09] and like there's a real dynamic between the two of them

[00:19:12] that's like very like.

[00:19:13] They're really good together.

[00:19:14] The power shifts between them like backwards and forwards

[00:19:17] and Clouds of Souls Maria is just incredible.

[00:19:20] You guys should all see it.

[00:19:21] Chloe Moretz in that movie.

[00:19:23] Yeah, not a good performance.

[00:19:24] We all agree on that, right?

[00:19:26] I think it's one of the better performances

[00:19:28] she's ever given to that's a pretty backhanded compliment.

[00:19:31] I'm not a big Chloe Grace Moretz fan.

[00:19:33] I thought she was suited to that role

[00:19:36] as a kind of jerky young stuff.

[00:19:40] Saying a lot of mean things about Chloe right now.

[00:19:43] Clouds of Souls Maria, if you guys haven't seen it,

[00:19:45] to Olivia, I asked the movie about.

[00:19:48] He's really good.

[00:19:49] Yeah.

[00:19:50] About like, well it's about a lot of stuff.

[00:19:51] I don't know.

[00:19:52] It's about life, it's about art,

[00:19:53] it's about aging, it's about identity.

[00:19:55] It's about growing up for sure.

[00:19:56] It's about how the way we think about things changes

[00:20:00] as we get older.

[00:20:01] It's about two friends.

[00:20:02] It's about the two friends.

[00:20:03] It is about the two, not the two friends.

[00:20:04] It's about two friends.

[00:20:05] We're the two friends.

[00:20:07] And that's Pat and Chloe.

[00:20:08] We have a utility patent on being friends.

[00:20:11] I love her, but let's talk about some of the other.

[00:20:12] Okay, so that would be your choice to win.

[00:20:14] Who would be your choice to win from your five Joe?

[00:20:17] I got Winslet.

[00:20:18] Wow, Winslet would be your winner.

[00:20:20] I watched Steve Jobs again on the plane back

[00:20:22] from LA the other day.

[00:20:22] She is, so I like Steve Jobs better

[00:20:25] than I think a lot of people like Steve Jobs.

[00:20:27] I'm high on Steve.

[00:20:28] I really liked it.

[00:20:29] I thought it's one of Sorkin's better screenplays.

[00:20:31] I think he does some really interesting

[00:20:33] structural stuff with it.

[00:20:34] And I think she, I think a lot of the attention

[00:20:37] for that performance, for her performance,

[00:20:39] boiled down to her accent and how, and it does.

[00:20:42] It definitely, it's a stronger accent

[00:20:44] in the second to thirds of the movie

[00:20:47] than it is in the first.

[00:20:48] She becomes more Polish when she gets older.

[00:20:50] She does.

[00:20:50] It's very interesting and very strange.

[00:20:53] But I think Sorkin's dialogue is not always

[00:20:57] the easiest and she adapts to it so well

[00:20:59] and she's sort of, she's your sort of anchor

[00:21:04] in that movie as Jobs becomes so unlikeable

[00:21:09] and sort of distant from everything.

[00:21:10] And then even when they're trying to like

[00:21:11] redeem him at the end, I think that's the most

[00:21:14] resistant I ever am to the movie

[00:21:15] where I was just like, I get it.

[00:21:16] He's gonna put songs in her pocket.

[00:21:19] But I think Winslet keeps everything

[00:21:21] sort of grounded in this very sort of

[00:21:25] like task focused kind of way.

[00:21:28] I think she's great.

[00:21:29] You do point out something interesting

[00:21:30] which is that usually actors have to like

[00:21:33] totally bend to the Sorkin thing

[00:21:34] and fit into those rhythms

[00:21:36] and she somehow manages to get her claws around Sorkin

[00:21:39] dialogue without making it sound Sorkin-y.

[00:21:41] She made it sound very naturalistic

[00:21:43] while keeping up the rhythm

[00:21:44] and the same sort of sharpness and everything.

[00:21:46] But I mean, I also think that the film's emotional

[00:21:48] or like moral heart center is always with her

[00:21:51] and it's always revolving around her

[00:21:53] in a weird specific way.

[00:21:54] Which is why I think she actually could win

[00:21:56] the actual Oscar because she's

[00:21:57] she's gonna win weirdly.

[00:21:59] She might, she won, I'd be so happy.

[00:22:01] I would be too.

[00:22:02] I think Alicia Vikander is a very exciting talent.

[00:22:05] She cries great in Danish girl

[00:22:07] but X-Makino is probably her better performance this year.

[00:22:10] Yep, yep.

[00:22:11] Danish girl, she's a lead who does a lot of crying.

[00:22:14] She cries, yes.

[00:22:15] They cry in one room.

[00:22:16] I think I was telling this to Griffin,

[00:22:17] that movie is like they cry in one room

[00:22:19] and then they find a new room.

[00:22:20] They cry in that room.

[00:22:21] Then they go to another country and just more crying.

[00:22:24] Well, I think that's what he's done.

[00:22:25] The interesting thing about the Oscar

[00:22:27] supporting actress race is you've got Rooney Mara

[00:22:29] and Alicia Vikander and Kate Winslet.

[00:22:30] That's what everybody seems to agree

[00:22:31] are the three front runners.

[00:22:33] All three movies that probably could have gotten

[00:22:35] best picture nominations but didn't.

[00:22:37] So you could get the sense that like the voters

[00:22:39] weren't crazy as crazy about those movies

[00:22:41] as they could have been.

[00:22:43] There wasn't this support.

[00:22:44] So it's not like you can tell from the best picture

[00:22:47] nominees who the winner is gonna be in that category.

[00:22:49] And same with hatefulad I would say was presumed

[00:22:51] to be like a 10.

[00:22:52] Rachel McAdams is the only one from a movie

[00:22:55] that you think might have like momentum.

[00:22:57] She's great because she has zero chance of winning.

[00:22:59] I think she's great in that movie.

[00:23:00] She would be like right outside my.

[00:23:02] And it's a very un-Oscar baby kind of performance

[00:23:05] which I like about it.

[00:23:06] That those get nominated.

[00:23:07] I give them a lot of credit because it's very on showy.

[00:23:11] Her two best moments in the film are very small.

[00:23:13] I'd say it's the scene where she goes to meet up

[00:23:16] with the guy at the diner and she like pushes him

[00:23:20] about needing to be specific.

[00:23:21] I think that was what her clip was at the SAG Awards.

[00:23:23] That's her clip to me.

[00:23:24] Cause that's the scene where she is capturing

[00:23:26] the weird dispassion of being a journalist

[00:23:30] that you have to kind of be sympathetic

[00:23:32] without just like kind of hugging someone

[00:23:34] and crying with them.

[00:23:34] You have to ask them extremely uncomfortable questions

[00:23:37] without just being a jerk.

[00:23:38] It's a sociopathic form of empathy.

[00:23:40] It's like weaponized empathy.

[00:23:41] And you see Ruffalo's take on how that works

[00:23:44] where he is much more guarded

[00:23:46] and almost autistic about it.

[00:23:48] But not mean or anything,

[00:23:50] but his scene with the survivor is also incredible.

[00:23:54] He's like, yeah, I think people want to hear about this.

[00:23:56] She would be right out of my five.

[00:23:59] Jada Pinkett and my ex Excel is also right out of my five.

[00:24:03] Roseburn inspires like one of the funniest

[00:24:06] comic performances that the monologue,

[00:24:08] I think we've talked about the monologue

[00:24:10] about the Bulgarian.

[00:24:11] It's the best single scene in a movie in 2015.

[00:24:14] It's so good.

[00:24:15] And there's this line she delivers that I've been,

[00:24:17] I can't really do it, but I just-

[00:24:18] She says you're funny.

[00:24:20] Well, that's great.

[00:24:21] But I mean, when they sit down,

[00:24:23] I think it's when they sit down to dinner and she says,

[00:24:26] we just have to talk about this stress,

[00:24:27] this hideous dress you're wearing, it's hysterical.

[00:24:29] And like I can't deliver that line as well as she delivers it.

[00:24:33] Only Rose can, she's the only one who can.

[00:24:35] She- A tough role.

[00:24:37] Very tough.

[00:24:37] Oh yeah.

[00:24:38] You have to be a villain, you have to be really funny,

[00:24:41] weirdly sympathetic by the end of the movie.

[00:24:44] Even though you are monstrous at all times.

[00:24:46] Great.

[00:24:47] Great.

[00:24:48] We've covered a lot on this podcast.

[00:24:49] She's one of my favorite actresses.

[00:24:50] I think she's one of our favorite actresses.

[00:24:52] Love Roseburn.

[00:24:53] Dormae.

[00:24:54] Great neighbors last year.

[00:24:54] Yes.

[00:24:55] Oh yeah, she was Dormae.

[00:24:56] I would have put her,

[00:24:57] I would have given her a blank check,

[00:25:00] best actress nomination for neighbors last year

[00:25:02] had we been doing this last year.

[00:25:03] We weren't doing this last year.

[00:25:04] I know and I probably would have nominated her

[00:25:06] for Bridesmaids within that respective year.

[00:25:08] I actually, she was, I put her on my top five list.

[00:25:11] Yep.

[00:25:11] But we should probably move on,

[00:25:13] but if there's anything anyone else wants to say-

[00:25:14] I didn't pick my winner.

[00:25:15] I just, I wanna quickly pick my winner.

[00:25:17] I would go even though I can't pronounce her name,

[00:25:19] I would go with Maya Taylor.

[00:25:21] She's great.

[00:25:22] She's the quasi lead.

[00:25:23] I think I would also be a Bridesmaid.

[00:25:25] She can be classified as a sport.

[00:25:26] I hate Category fraud, but I do,

[00:25:29] I don't know, my knee jerk watching that film

[00:25:31] was she's the supporting performance.

[00:25:32] She's the secondary character.

[00:25:33] I think she's on screen last.

[00:25:34] She is definitely on screen last.

[00:25:35] It comes down to when I was looking at those five,

[00:25:37] like she had all my favorite moments

[00:25:41] individually of a performance this year.

[00:25:43] The scene where she sings at Toyland.

[00:25:46] That scene is brutal.

[00:25:47] The ending of the film.

[00:25:48] And then she makes the like,

[00:25:49] the cut it off gesture.

[00:25:50] Yes.

[00:25:52] She has like four or five moments in that film,

[00:25:54] especially coming from a,

[00:25:57] not to use this term

[00:25:57] because who is a professional actress or not?

[00:26:00] But like a non-professional actress

[00:26:02] in the sense she had never done anything before.

[00:26:03] Right.

[00:26:04] She has four or five moments

[00:26:05] that are so profound and so small

[00:26:07] and so specific.

[00:26:08] She's great.

[00:26:09] Incredible.

[00:26:10] But yeah, I mean, do you wanna say like,

[00:26:11] I think Joanne, it's like just,

[00:26:13] let's all do brief things.

[00:26:14] Yeah, for other people.

[00:26:15] I think Joanne, it's crazy that Joanne

[00:26:17] never got any traction in the Oscar race this year,

[00:26:19] let alone any race.

[00:26:20] Joanne, Ellen's an actress who for somebody

[00:26:22] with three Oscar nominations,

[00:26:23] three, two, just the contender.

[00:26:26] Because the contender, Nixon and the crucible.

[00:26:28] Right.

[00:26:29] Should have been nominated for pleasant film.

[00:26:30] For someone with,

[00:26:31] Yeah, she should have been nominated for pleasant film.

[00:26:32] The upside of anger.

[00:26:33] She should have won for pleasant film.

[00:26:34] She's had slam dunk great

[00:26:36] Oscar-y performances and things

[00:26:38] that have got no attention

[00:26:39] and it's just very strange.

[00:26:40] She is one of the,

[00:26:41] but like that's why I thought like,

[00:26:43] here she carries the emotions

[00:26:45] of that movie's latter half.

[00:26:47] Yes, oh totally.

[00:26:48] And the scene where,

[00:26:50] with the cutting of the,

[00:26:51] whatever, I love Joanne Ellen.

[00:26:52] I thought Waterston was the standout of Queen of Earth.

[00:26:55] Didn't see it.

[00:26:56] Queen of Earth's really good.

[00:26:57] It's really good.

[00:26:58] It's really unsettling.

[00:26:59] I think she and Elizabeth Moth are both very good.

[00:27:02] Both very good.

[00:27:03] Yeah.

[00:27:04] And then, oh yeah, Jade is incredible.

[00:27:07] Jade is a lot of fun.

[00:27:07] That's another hard role.

[00:27:08] I didn't quite understand a lot of what that character

[00:27:10] and what that sort of portion of the movie

[00:27:12] was supposed to be,

[00:27:13] but by the time you get to the end

[00:27:15] where they're in Orlando,

[00:27:16] where are they?

[00:27:17] Tampa or Orlando, somewhere in Florida.

[00:27:19] Something like that.

[00:27:20] The convention, whatever.

[00:27:20] You know, the stripper convention.

[00:27:22] She's so great.

[00:27:24] You know, may I call you queens?

[00:27:26] Oh yeah.

[00:27:27] Yeah, all her on stage stuff is unbelievable.

[00:27:29] She would be my number six.

[00:27:30] I just think under heart,

[00:27:32] like harder than it looks to do that.

[00:27:34] 100%.

[00:27:35] You know, to sell those kinds of lines

[00:27:37] with like authority.

[00:27:39] Like an authenticity, hard.

[00:27:41] Yeah, one of the trickier acting asks of the year

[00:27:45] was that role as written.

[00:27:46] So anyone you wanted to mention, Grif?

[00:27:48] I mean, Elizabeth Banks,

[00:27:48] I guess we should both be kind of involved.

[00:27:50] Oh yeah, we both had her on the list.

[00:27:51] But I just think so astoundingly solid.

[00:27:53] I mean, playing like a rock, you know?

[00:27:55] Yep.

[00:27:56] A character that at first blush looks like

[00:28:00] a very familiar trope of these sorts of biopics,

[00:28:03] which is the loving woman

[00:28:05] who stands by the troubled genius.

[00:28:08] But there are a lot of layers to the character

[00:28:10] as written as unfolds.

[00:28:11] I think this character is written much more thoroughly

[00:28:13] than most of these parts in these types of films.

[00:28:16] And she just brings such an integrity

[00:28:19] and a real like emotional truth.

[00:28:21] The thing that I loved was she has to be

[00:28:23] such a different person with John Cusack

[00:28:25] than she has to be with Paul Giamatti.

[00:28:27] And she's so good at doing both of those things

[00:28:29] and still making it make sense as the same woman.

[00:28:31] I thought it was really good.

[00:28:33] Yeah, what I like about the performance

[00:28:34] is they sort of set up this thing

[00:28:35] of her backstory being like a former like beauty queen

[00:28:39] who now works at a car dealership.

[00:28:40] Yes.

[00:28:41] And she has this like ferocity

[00:28:43] that comes out and defending him that clearly,

[00:28:45] feels like an extension of people underrating her

[00:28:48] her entire life or objectifying her, whatever it is.

[00:28:51] She's very protective of making sure

[00:28:53] that people are seen as people.

[00:28:54] A great performance from a great actress

[00:28:56] who's been doing the great work for years.

[00:28:57] 100%.

[00:28:58] And this is probably the best showcase

[00:28:59] I think she's gotten as dramatic actress ever.

[00:29:01] Rebecca Ferguson Mission Impossible Brog Nation.

[00:29:04] Just kind of like such a stars born performance.

[00:29:06] Very, very much so astounding.

[00:29:08] And is like a full movie star performance

[00:29:11] has the glamour and the sort of aura of that

[00:29:14] really nails the dramatic scenes

[00:29:16] of what she has a surprising amount.

[00:29:17] And that was just on a physical level.

[00:29:19] Like, I don't know.

[00:29:20] She has like four different like things

[00:29:22] where she fucking scissor flips a guy with her legs.

[00:29:25] Like it's good shit.

[00:29:26] Good shit.

[00:29:27] But like stealing.

[00:29:28] Someone who you think is a killer.

[00:29:30] Someone who you think is like a good guy

[00:29:32] all at the same time.

[00:29:34] Like her eyes, it's all like her eyes

[00:29:36] are crazy in that movie.

[00:29:37] Well here's my argument for why I think

[00:29:38] like slam dunk nomination for me

[00:29:40] is she essentially has to play the female Tom Cruise.

[00:29:44] Rogue Nation is entirely,

[00:29:45] it's a deconstruction of Tom Cruise's movie star persona

[00:29:48] and what's exciting and terrifying about him

[00:29:50] at the same time.

[00:29:51] I think that's the meta narrative of that movie.

[00:29:53] And she has to come on

[00:29:54] and be the female analog to him without any history.

[00:29:57] So like Tom Cruise, we go into that movie

[00:29:59] with 30 years of baggage

[00:30:00] that the film was able to weaponize

[00:30:02] and use an intelligent way.

[00:30:03] Rebecca Ferguson has to present herself.

[00:30:05] Most of us have never seen her in anything before

[00:30:07] and immediately seem like,

[00:30:08] yeah, she's at the same level as Tom Cruise.

[00:30:11] She pulls it off.

[00:30:11] There's that line where Alcaldwin says

[00:30:13] that he is the literal manifestation of destiny.

[00:30:15] Probably my favorite line in any film.

[00:30:17] So great.

[00:30:18] Anyway, do you want to speak up for any of your guys?

[00:30:19] Oh no, you're not done.

[00:30:20] Rafiqashti in Tomorrowland, I just think...

[00:30:23] What a crazy pick.

[00:30:23] It's a crazy pick.

[00:30:25] It is the Griffinist pick.

[00:30:26] It's the Griffinist pick.

[00:30:27] I'm gonna top myself there.

[00:30:29] Oh God, I can't wait.

[00:30:29] I don't know if I get peaked.

[00:30:30] But Rafiqashti, yeah.

[00:30:34] She's a little girl playing a robot

[00:30:36] who's been around for 100 years.

[00:30:38] You believe that she's actually like, you know.

[00:30:40] Wise Boundary Years and everything.

[00:30:43] It's another performance that feels like this is a star.

[00:30:45] This girl's probably gonna be acting.

[00:30:46] I'm eager to see what she does in other things

[00:30:47] that I don't dislike as much as I disliked Tomorrowland.

[00:30:50] I am a Tomorrowland, apologize.

[00:30:52] And Rachel Faisin use...

[00:30:54] Oh, I think she was so good in that movie

[00:30:56] and so unheralded

[00:30:57] and it was sort of bugging me

[00:30:58] that people jumped to the Jane Fonda thing,

[00:30:59] which is like a cool cameo, I guess.

[00:31:02] It's sort of this intentionally disgusting,

[00:31:05] sort of like you're supposed to be taken aback

[00:31:08] by this woman and what acting is done to her.

[00:31:12] Rachel Faisin, I think she gets a monologue

[00:31:13] in that movie that's every bit as effective

[00:31:15] if not more so than the Jane Fonda thing.

[00:31:18] It's like a translucent performance.

[00:31:20] She is just so raw and vulnerable

[00:31:22] and, you know, unshoey but really, really strong.

[00:31:26] Ben, any thoughts?

[00:31:28] Oh no, I haven't seen predominantly

[00:31:30] most of the movies you've discussed.

[00:31:32] A while ago, Ben wrote down the word sexy on his notepad

[00:31:35] and underlined it.

[00:31:36] That's what I have to say.

[00:31:37] Wait for it though guys.

[00:31:38] We'll get to it later.

[00:31:39] Let's get through the real categories.

[00:31:41] Best supporting actor.

[00:31:43] Oh, best supporting actor.

[00:31:44] Okay, you wanna go first?

[00:31:45] Supporting actor.

[00:31:46] Mine lines up more with Oscars than the other.

[00:31:48] Well no, go ahead.

[00:31:49] Sure, I have one out of five with the Oscars.

[00:31:51] I have two, that's more.

[00:31:53] Mark Rylands for Bridge of Spies.

[00:31:55] Nice.

[00:31:55] I think no one can argue against that

[00:31:57] being a very good performance.

[00:31:59] Very good performance.

[00:32:00] I haven't heard anyone other than Jeff Walls,

[00:32:01] fuck Jeff Walls.

[00:32:03] Stanley Tucci for Spotlight.

[00:32:05] It's my favorite in Spotlight.

[00:32:06] No wait, Lee F. Schreiber is my favorite in Spotlight

[00:32:08] but he's my second favorite in Spotlight.

[00:32:09] Stanley?

[00:32:10] Yeah, Ben looks confused.

[00:32:11] Stanley Tucci, what do you think?

[00:32:13] I thought it was Steven.

[00:32:14] Oh it's not Steven Tucci, it's Stanley Tucci.

[00:32:17] What are you talking about Ben?

[00:32:19] It was just Elizabeth Tucci.

[00:32:21] Yeah, no it was just because we've been calling him

[00:32:23] the Tucci for so long.

[00:32:24] I love a little touch of the Tucci.

[00:32:27] You don't care about that, all right?

[00:32:28] You've won me back.

[00:32:30] As long as you're down with a touch of the Tucci.

[00:32:31] I thought it was Steven though.

[00:32:32] Wait, where are side tracks?

[00:32:34] Rylands and Tucci.

[00:32:35] Mark Rylands, Bridge of Spies.

[00:32:36] The Tucci, Spotlight.

[00:32:39] Henry Cohen for Brooklyn.

[00:32:40] Oh, we have some things to talk about with that.

[00:32:43] Here's one that I haven't,

[00:32:44] I did not throughout the entire season see anyone

[00:32:47] put him on any list.

[00:32:49] Who's that?

[00:32:50] No no no, not Henry Cohen,

[00:32:51] the next one I'm about to read.

[00:32:52] Okay, what do we got?

[00:32:53] I didn't see anyone going like this is who I wished,

[00:32:55] this is whatever.

[00:32:56] Tom Noonan for Anomalisa.

[00:32:58] If we're talking about Jennifer Jason Lee

[00:33:00] and Anomalisa, we should probably be talking

[00:33:01] about Tom Noonan and Anomalisa.

[00:33:03] He's very good.

[00:33:04] Most supporting actor one could argue.

[00:33:05] Certainly.

[00:33:06] And then my last,

[00:33:08] here's my real Griffin pick in this category.

[00:33:09] Wait, if Tom Noonan wasn't the real Griffin pick.

[00:33:11] Oh, get ready.

[00:33:12] I can't wait.

[00:33:13] Michael Shannon for The Night Before.

[00:33:16] Yeah, well you've talked to me about

[00:33:17] how much you love that performance.

[00:33:18] A lot.

[00:33:19] Did you see it?

[00:33:20] Joe, would you like to read your five?

[00:33:21] Sure, my five are Kyle Chandler for Carol,

[00:33:25] Benicio Del Toro for Sicario,

[00:33:29] Nicholas Holt for Mad Max Fury Road.

[00:33:32] Oh cool pick.

[00:33:33] Great pick.

[00:33:34] Joe Coolpick.

[00:33:35] Thank you guys.

[00:33:36] Oscar Isaac for Ex Machina

[00:33:38] and Sylvester Stallone for Creed.

[00:33:42] Yep, great picks.

[00:33:43] My nominees, I've got three in common with you guys

[00:33:46] so I'll just name them first.

[00:33:47] Oscar Isaac for Ex Machina for sure.

[00:33:50] Mark Ryland for Bridgespice for sure.

[00:33:52] Sylvester Stallone for Creed for double sure.

[00:33:55] And then I have Michael Keaton for spot play.

[00:33:58] Ah.

[00:33:59] Although he's a quasi lead but whatever,

[00:34:02] whatever if they campaign him and you know

[00:34:03] I can deal with that.

[00:34:04] He's a cusper.

[00:34:05] Adam Driver in While We're Young.

[00:34:07] He was one of my runners up.

[00:34:09] I don't like that movie, I really like him in it.

[00:34:12] Really good.

[00:34:12] I like that movie, I love him in it.

[00:34:14] Yeah, yeah.

[00:34:15] And then also that factors into this thing, you know,

[00:34:18] like also was great in Star Wars the Force Awakens.

[00:34:23] He's on a sort of run right now.

[00:34:25] Sometimes you wanna nominate someone

[00:34:26] like four specific performance

[00:34:28] but also kind of represents a year of content.

[00:34:30] I might ask you to stay tuned for that.

[00:34:32] Interesting.

[00:34:34] Well yeah, I mean spotlight, I find fascinating

[00:34:36] because everyone I talked to is a different spotlight pick.

[00:34:39] Yes, that's what I love about spotlight too

[00:34:41] is that everybody has a different best in chance.

[00:34:43] And they're all good.

[00:34:43] Tucci is marvelous in the movie.

[00:34:46] Lee Shriver is so good in spotlight.

[00:34:48] The second time he really, I remember when I watched it

[00:34:51] I was like this might be my favorite.

[00:34:52] You know, it switches and Ruffalo's great.

[00:34:55] Yeah.

[00:34:56] And his nomination is great.

[00:34:57] I love it all.

[00:34:58] He's the oscarie pick.

[00:34:59] So like they picked exactly right, I feel like.

[00:35:02] There's gotta be some sort of like Rorschach element to that

[00:35:04] of just sort of like what about your favorite spotlight actor?

[00:35:07] What does it say about you?

[00:35:08] I think so, yeah.

[00:35:10] I mean the reason why Tucci jumps out to me

[00:35:12] aside from always loving a touch of the Tucci.

[00:35:14] Well Tucci's always great.

[00:35:15] Always great.

[00:35:16] The only movie Stanley Tucci is bad

[00:35:17] and just the one he was asking about.

[00:35:18] That's 100% true.

[00:35:20] That's so weird.

[00:35:21] Do you remember when they played the clip

[00:35:22] for the lovely bones at the Oscars

[00:35:23] and he literally grimaced?

[00:35:25] I do.

[00:35:27] It's there's a few times where you'll see that

[00:35:29] in Oscar ceremonies.

[00:35:30] I think Kate Blanchett did it for Elizabeth the Golden Age.

[00:35:34] Oh yeah.

[00:35:35] Remember where she's just like, ugh, that was great.

[00:35:38] That was a stupid nomination.

[00:35:40] It was a stupid nomination.

[00:35:41] Really dumb.

[00:35:43] Tucci looks like one of the white chicks

[00:35:45] in The Lovely Bones.

[00:35:46] He does.

[00:35:47] Cause they put those weird blue contact lenses.

[00:35:49] It's cause of the contacts.

[00:35:50] That always comes off weird.

[00:35:51] I mean Jessica Alba looks like a white chick

[00:35:52] in Fantastic Four.

[00:35:54] Like if you put in weird like contacts

[00:35:55] in someone's eyes it can really mess with things.

[00:35:57] People with dark eyes should not have

[00:35:58] blue contact lenses.

[00:35:59] Never ever worked.

[00:36:01] The reason why I love Stingy Tucci in Spotlight

[00:36:03] and I think it's kind of like the ur-Tucci performance

[00:36:06] is that I think it uses the audience's relationship

[00:36:10] with Tucci in a really, really smart way

[00:36:12] in that we're used to like Tucci comes

[00:36:14] and he's supporting an actor, he's a grump.

[00:36:16] He's gonna throw out a lot of real zingers.

[00:36:17] He's gonna be really sharp

[00:36:18] and he kinda hates everyone around him

[00:36:20] for reasons that are unexplained.

[00:36:22] This guy's just got a chip on his shoulder.

[00:36:24] And I think Spotlight is sort of like

[00:36:26] reveals, unfolds at like,

[00:36:28] oh this guy's talking like a Stanley Tucci character

[00:36:31] because he's learned to not trust anyone in the world.

[00:36:33] And that's slowly, at first everyone's just like,

[00:36:35] oh he's a bit of a character.

[00:36:36] Like when he's being spoken of.

[00:36:38] And then you realize like, no,

[00:36:39] this guy has to keep all his cards closer

[00:36:41] so he can't trust anybody.

[00:36:43] That's a movie that does a really good job

[00:36:45] at a casting level where like,

[00:36:47] how many times have you seen Stanley Tucci

[00:36:49] play the smartest character in a movie?

[00:36:50] So many times and like that plays

[00:36:52] into that character so well.

[00:36:53] But goes beyond it.

[00:36:54] And Keaton is sort of like the every man

[00:36:56] who's gonna like really like stress himself out

[00:36:58] to like the brink to really get this thing right.

[00:37:00] And Slattery's gonna be the guy

[00:37:01] who's a little too comfortable in his position.

[00:37:03] He's great too.

[00:37:04] Everyone's great.

[00:37:05] It's the best top to bottom cast.

[00:37:06] Crude up's a little too slick,

[00:37:07] you can't really trust him.

[00:37:08] It's like it's so well cast.

[00:37:10] Crude up.

[00:37:11] Yeah.

[00:37:12] Great.

[00:37:12] All great performers.

[00:37:13] And all the people who play the survivors are great.

[00:37:15] Michael Cyril Creighton,

[00:37:17] who plays the one that Rich McAllen's made up with.

[00:37:19] I mean every like two line performance

[00:37:20] in the film is perfect.

[00:37:21] Fucking Richard Jenkins on the phone is great.

[00:37:23] Oh god.

[00:37:24] You know the people who play like the various higher ups

[00:37:27] that you know Len Carrey was great.

[00:37:29] Yes.

[00:37:30] Wasn't part of the SAG ensemble as laid out by.

[00:37:33] You gotta have your duel.

[00:37:34] You gotta have your single title card right?

[00:37:35] Yeah.

[00:37:36] It's the weird SAG rule.

[00:37:38] Let me see the rest of my nominees here.

[00:37:41] Mike Rylans, Berge of Spies.

[00:37:42] I mean just a great performance,

[00:37:42] one great actor.

[00:37:43] That's my winner.

[00:37:44] I think that's maybe the performance of the year.

[00:37:46] You just want him to read some poetry

[00:37:47] from that podium like he does

[00:37:48] at Tony's funeral.

[00:37:49] Love it when he wins an award for sure.

[00:37:51] But I mean,

[00:37:53] go on.

[00:37:54] Tom Noonan and Anomalysa,

[00:37:56] the central sort of like gimmick of that film

[00:37:58] is that the lead character,

[00:38:00] everyone looks and sounds exactly the same

[00:38:02] to him until he meets.

[00:38:03] All my favorite parts of Anomalysa

[00:38:04] are because of Tom Noonan.

[00:38:05] Yeah.

[00:38:06] I feel like.

[00:38:07] Well he's got this really like impossible needle

[00:38:09] to thread.

[00:38:10] Which is like play 100 different characters

[00:38:13] who all sound exactly the same

[00:38:15] but through performance all come off as different people.

[00:38:18] Cause the idea is that they're all blending

[00:38:19] together for him

[00:38:20] so he can't modify his voice at all.

[00:38:22] But they all have to have their own agency,

[00:38:25] their own personality,

[00:38:25] their own different speaking rhythms.

[00:38:27] He is also the movie's best tie in

[00:38:30] to Sinecta Key New York

[00:38:31] because he plays the kind of,

[00:38:32] cause in Sinecta Key New York

[00:38:33] he's also that kind of like quietly sort of

[00:38:36] he's threatening Philip Seymour Hoffman

[00:38:37] just by his mere presence there.

[00:38:39] He's creepy despite seeming really kind

[00:38:42] and unthreatening.

[00:38:43] And kind of boring.

[00:38:44] Yes, and really boring.

[00:38:44] I just saw his X-Files episode very recently.

[00:38:47] Oh that's a great episode.

[00:38:48] It's maybe my favorite X-Files episode

[00:38:50] after now watching it again.

[00:38:52] He's so creepy.

[00:38:53] And it reminded me that for a while

[00:38:55] he would only play killers

[00:38:58] and sort of after manhunter.

[00:38:59] He played a lot after manhunter.

[00:39:01] He's so good in Sinecta Key New York.

[00:39:03] He would be a non-manhunter.

[00:39:04] I would a non-manhunter too.

[00:39:05] Do you guys want to spotlight some?

[00:39:07] Yeah, I think, well let's talk about Nicholas Holt

[00:39:09] cause you guys seem to really like Nicholas Holt.

[00:39:12] He would be right behind my list.

[00:39:13] I love that character.

[00:39:14] And I do not like Nicholas Holt

[00:39:16] until Mad Max.

[00:39:17] I had never been a fan.

[00:39:18] It's his best performance.

[00:39:19] I had because I liked him in skins so much.

[00:39:20] Yeah I hate him in skins.

[00:39:22] Well you hate the character in skins

[00:39:23] cause he's such a hateable character.

[00:39:25] It's very true.

[00:39:27] No I think he's so,

[00:39:28] I think he's asked to play such a big character

[00:39:31] and asking somebody I think that young

[00:39:33] and maybe that not super experienced

[00:39:35] to play a character that big

[00:39:36] is sometimes a recipe for disaster.

[00:39:38] Agreed.

[00:39:39] But like he nails it.

[00:39:39] All that, you know,

[00:39:40] what a lovely day.

[00:39:41] Like witness me, all that stuff.

[00:39:43] Fits so perfectly on him

[00:39:44] because he plays it with that air of vulnerability

[00:39:48] that he's like,

[00:39:49] he's sort of the littlest war boy almost

[00:39:52] where he's just like got the blood bag hooked up

[00:39:54] and he's on his way out

[00:39:55] but man, he's gonna really try for it.

[00:39:57] I think his big scene is the one with Riley Coe

[00:39:59] where he shows her the...

[00:40:01] That's a good scene.

[00:40:02] He shows her his friends

[00:40:04] or whatever, his brothers,

[00:40:05] I forget what they're called.

[00:40:06] Something.

[00:40:07] He doesn't really call them.

[00:40:08] Whether he's drawing the faces on.

[00:40:09] When you said how dangerous could be

[00:40:11] for a young actor to be asked

[00:40:12] to give that big of a character performance.

[00:40:14] See, Dane Dahan and the amazing Spider-Man.

[00:40:16] Who I love but yeah.

[00:40:18] Yeah I love him too.

[00:40:19] That performance is like.

[00:40:20] It's tough.

[00:40:21] Bad on everyone.

[00:40:23] Not his fault, it's everyone's fault.

[00:40:24] It's America's fault for letting that happen.

[00:40:26] We all took a hit for that.

[00:40:29] So I left off Sylvester Stallone and Creed.

[00:40:31] And he was like my six.

[00:40:33] I mean it just missed the cusp for him.

[00:40:35] He's great in it.

[00:40:36] He's real.

[00:40:37] And I was very resistant to not only Creed

[00:40:40] but making around that.

[00:40:41] But Stallone too where I was just like

[00:40:43] okay let's all calm down.

[00:40:44] I know he was everybody's favorite

[00:40:46] when they were five or whatever

[00:40:47] but like and then I saw the movie

[00:40:48] and she was like nope he really does it.

[00:40:50] He really pulls it together.

[00:40:51] He uses his own history really well.

[00:40:53] He uses the characters history.

[00:40:55] Yeah.

[00:40:55] He uses his weird way of speaking.

[00:40:57] Yeah I was gonna say.

[00:40:58] To his advantage.

[00:40:59] He uses his limited sort of you know.

[00:41:02] Toolbox.

[00:41:03] Yeah exactly.

[00:41:05] But to an advantage that he doesn't usually have.

[00:41:07] I mean I think he's very well directed.

[00:41:09] Oh yeah.

[00:41:10] I think Hoogler helps to reign him in at all times

[00:41:13] which is like exactly what he needs.

[00:41:14] Yeah.

[00:41:15] Because it's funnier when he's delivering all these lines

[00:41:18] and we go oh it's faster than he used to be.

[00:41:21] Like when he's just kind of mumbling to himself

[00:41:24] and puttering around and like he feels so real.

[00:41:28] Like talk about the most cartoonish character

[00:41:30] and like what like right?

[00:41:32] He fought robots.

[00:41:32] There's been six Rockies.

[00:41:34] Yeah exactly he had a robot servant.

[00:41:35] Right.

[00:41:36] And yet he feels like a real guy

[00:41:38] who just kind of like walks in like from the base

[00:41:40] and he's like.

[00:41:41] Fought roaring 20s gangsters and Oscar.

[00:41:43] Yeah that's all the same character.

[00:41:45] Oscar's part of the Rocky verse.

[00:41:46] Yes.

[00:41:47] The moment for me in that performance

[00:41:48] is the scene where he gets the diagnosis

[00:41:51] and the power to that is that he like.

[00:41:53] He's just like.

[00:41:54] He doesn't he goes out of his way

[00:41:56] to not make it an Oscar scene.

[00:41:57] Right.

[00:41:58] You know?

[00:41:59] Like he doesn't hit any of the notes

[00:42:00] that would hook his face.

[00:42:01] So why didn't you nominate him yet?

[00:42:02] Well so Joe.

[00:42:03] You just want to be a each time you're in me.

[00:42:05] I mean I did have enough weirdo griffin picks

[00:42:07] that it was hard for me to like

[00:42:08] I didn't want to lose any of my guys.

[00:42:09] I understand.

[00:42:10] But I also Joe as you said that like

[00:42:11] he was everyone's favorite actor when they were five.

[00:42:14] I have specifically disliked

[00:42:16] Sylvester Stallone's entire life.

[00:42:18] That's stupid.

[00:42:18] I love the original Rocky.

[00:42:20] Uh huh.

[00:42:20] There are performances I like

[00:42:22] but I just there's something about him

[00:42:23] that always kind of rubs me the wrong way.

[00:42:25] And so he totally disarmed me with this performance.

[00:42:28] But I also I think there is just a little bit of baggage.

[00:42:31] I'm not holding against him

[00:42:31] but when it came down to him

[00:42:32] or like Nunein who I felt like was not being

[00:42:35] you know heralded by anyone else.

[00:42:37] He just made the loss.

[00:42:39] Yeah there's a tendency to like

[00:42:40] well if the Oscar's nominated

[00:42:41] he's gonna win an Oscar.

[00:42:42] What does he need my help for?

[00:42:43] Exactly I just feel like that selfishly.

[00:42:46] Like you know like well yeah

[00:42:48] I'm just gonna fit my guys in who need it.

[00:42:51] I'll take care of my guys.

[00:42:53] You take care of your guy.

[00:42:53] Exactly right.

[00:42:56] What's I put down here?

[00:42:57] Did you say what your winner would be?

[00:42:59] Holt would be my winner.

[00:43:00] Holt would be your great winner.

[00:43:01] Joe so cool.

[00:43:03] Love him in that movie.

[00:43:04] But Kyle Chandler would give a lot of chase.

[00:43:06] Oh he's great and Carol we didn't talk

[00:43:08] but he's so great in that movie.

[00:43:09] Another one where it's just sort of

[00:43:11] that's a character you're not supposed to like.

[00:43:13] Like I was very surprised that I ended up being

[00:43:17] even a little bit sympathetic to Harj.

[00:43:19] First of all his name is Harj.

[00:43:20] His name is Harj.

[00:43:21] What a great name.

[00:43:21] Everyone's name in that fucking movie.

[00:43:23] Oh my god.

[00:43:24] This is an omnation for the name alone yeah.

[00:43:26] But he really that scene with him and Paulson

[00:43:28] at the doorway of where the one where it's in the trailer

[00:43:32] and she's like I can't help you with that.

[00:43:33] But like him leading up to that

[00:43:34] it's just sort of like there are no true villains

[00:43:38] in this except for society let's all agree.

[00:43:41] Agreed.

[00:43:43] Emory Cohen and Brooklyn you just like that performance.

[00:43:45] It's funny I was the one who really liked him

[00:43:47] in place beyond the pines

[00:43:49] and everybody was just like that.

[00:43:50] But I think there's a little bit of the parts

[00:43:54] of Brooklyn that I don't like

[00:43:55] are the parts where it seems like him

[00:43:56] and his Italian family

[00:43:58] and his little precocious little brother

[00:43:59] all seemed a little cartoony for me.

[00:44:02] And he never quite sold me on

[00:44:04] being this sort of like New York City dreamboat.

[00:44:08] I did I am not crazy about that movie.

[00:44:11] I have my problems with it.

[00:44:13] Yeah but I just think that's a real star performance.

[00:44:16] It's a little cartoon it's a little large

[00:44:18] but I just think he's so charming in it.

[00:44:20] He's very charming.

[00:44:21] I don't want to give an Oscar just for charm

[00:44:22] but you know Dumbledease an actor I usually adore.

[00:44:26] I feel like that movie

[00:44:27] and this is my main problem with it.

[00:44:28] I feel like that movie really grinds

[00:44:29] to a halt when it goes back to Ireland

[00:44:31] because I don't think he provides

[00:44:32] the same sort of chemistry.

[00:44:34] I understand that the whole point

[00:44:35] is there's supposed to be a contrast

[00:44:36] between the two guys

[00:44:37] but for me it's not even a competition

[00:44:39] so when she goes to Ireland I go

[00:44:40] we'll just get back to Emory Cohen obviously.

[00:44:42] But that performance really like

[00:44:45] Dumbledease's performance really

[00:44:47] I almost knocked over my water bottle

[00:44:49] underlined for me how strong Emory Cohen was

[00:44:51] and how tricky it is to actually pull off something

[00:44:53] that looks that seamless if you're doing it correctly.

[00:44:56] My winner would be Michael Shannon

[00:44:58] for the night before.

[00:44:59] Which I haven't seen so I can't speak to Michael Shannon

[00:45:01] in that movie.

[00:45:02] It's my favorite performance of the year.

[00:45:03] It also falls into the category.

[00:45:06] So he's totally hidden from the marketing.

[00:45:07] Yes.

[00:45:08] He plays a drug dealer that began the film

[00:45:11] they go to pick up weed from

[00:45:12] and they keep on losing their weed

[00:45:13] so they come across them like four or five times

[00:45:15] in a movie.

[00:45:16] He's premium rushing them?

[00:45:17] Well, he essentially and they should

[00:45:20] he should be nominated for that

[00:45:21] and he should be nominated at 99 Homes

[00:45:23] which is great this year

[00:45:24] so I'm sort of combining the two performances.

[00:45:25] I generally don't like him

[00:45:26] although I would have nominated him

[00:45:28] for the Runaways which nobody saw.

[00:45:29] I also would have nominated him for that.

[00:45:31] I would have nominated him almost every year

[00:45:32] for whatever he was in.

[00:45:33] Yeah, he's good.

[00:45:34] But they totally hit this for the marketing

[00:45:37] but the main sort of like plot gimmick

[00:45:40] of the night before is that Michael Shannon

[00:45:42] functions as like a Christmas story

[00:45:45] where every time he sees them

[00:45:46] he gives them weed that goes into

[00:45:48] Christmas past, Christmas present, Christmas future

[00:45:50] but he just takes that insane Michael Shannon energy

[00:45:54] that sometimes can be overboard

[00:45:57] if it's not in the right film

[00:45:58] or sometimes it's something like premium rush

[00:46:00] can be so much fun

[00:46:01] because he's not holding anything back

[00:46:02] and dials it way down.

[00:46:04] He totally bottles it.

[00:46:05] He's totally sedated but terrifying

[00:46:08] just because you can't figure out

[00:46:09] what the fuck is up with this guy

[00:46:10] and I won't spoil it

[00:46:11] but he's got a monologue at the end of the film

[00:46:13] that's my favorite piece.

[00:46:14] You're selling me on seeing this movie Griffin?

[00:46:16] It's great, it's a great performance.

[00:46:17] It shows up on HBO.

[00:46:18] Yeah, the movie is aggressively okay

[00:46:22] but he's phenomenal in it

[00:46:23] and it's my favorite performance of the year period

[00:46:25] because I am a maniac.

[00:46:27] Ben any thoughts?

[00:46:29] I thought Stallone was cool.

[00:46:31] Stallone was cool.

[00:46:32] Adam Driver's really good and while we're young.

[00:46:34] Agreed 100%.

[00:46:35] Oh yeah, hate that movie, love Adam Driver.

[00:46:37] Another one where he should just be an easy villain

[00:46:40] but by the end of the movie you're like

[00:46:41] even though this guy has kind of been the problem

[00:46:44] like he's generated all of the tension in this movie

[00:46:46] or a lot of the tension in this movie.

[00:46:48] I get where he's coming from.

[00:46:49] He's got such a great energy as an actor.

[00:46:50] Yeah, he does.

[00:46:52] It's like he's playing someone who's inauthentic

[00:46:54] and then you realize like no

[00:46:55] this person isn't inauthentic.

[00:46:57] He's just like a different kind of authentic.

[00:46:59] He doesn't get that what he's doing is inauthentic.

[00:47:02] I'm not sure Noah Bomback agrees with you

[00:47:04] but I think you're right.

[00:47:05] Yeah.

[00:47:06] I think Noah Bomback agrees.

[00:47:07] Best actress.

[00:47:08] Yes.

[00:47:10] I think this is the category

[00:47:11] where we're gonna have some overlap.

[00:47:13] Possibly.

[00:47:14] My nominees are Charlotte Rampling for 45 years

[00:47:17] choosing to disregard recent comments

[00:47:19] she made to the press

[00:47:20] and just judge her based on her performance.

[00:47:22] Yeah, whatever.

[00:47:23] Ringo Kinkuchi, Kamiko the treasure hunter,

[00:47:27] Nina Haas for Phoenix,

[00:47:29] Kate Blanchett for Carol

[00:47:31] and Rune Mara for Carol.

[00:47:34] Joe.

[00:47:35] All right.

[00:47:35] I'm actually, I literally wrote down six

[00:47:37] so I'm like making this on the fly.

[00:47:38] Okay, wow.

[00:47:40] The squeaker.

[00:47:41] It is a squeaker.

[00:47:42] Kate Blanchett for Carol.

[00:47:43] Blythe Danner for I'll See You In My Dream.

[00:47:45] Good one.

[00:47:47] Brie Larson for Room,

[00:47:49] Rune Mara for Carol

[00:47:51] and Charlotte Rampling for 45 years.

[00:47:53] So we got some overlap.

[00:47:55] Maybe.

[00:47:57] I almost wanna just drop Kate Blanchett.

[00:47:59] Just for fun.

[00:48:00] I almost did actually.

[00:48:01] She wasn't your friend?

[00:48:02] Yeah, I've wavered on this.

[00:48:04] Anyway, Julia Pinoche for Clouds of Souls.

[00:48:07] There you go.

[00:48:08] Nina Haas for Phoenix.

[00:48:09] Hey now.

[00:48:11] Rune Mara for Carol.

[00:48:12] Hey now.

[00:48:13] Charlotte Rampling for 45 years

[00:48:16] and Kobe Smulders for Results.

[00:48:17] Oh.

[00:48:19] There's the sim spec.

[00:48:20] Such a good performance.

[00:48:22] No one's talking about it.

[00:48:23] I forgot to mention it,

[00:48:24] but Corrigan would be like my seven,

[00:48:27] I think for supporting actor for Results.

[00:48:29] He's great in Results.

[00:48:30] I think Guy Pierce is fantastic in Results.

[00:48:32] I do too, I think the whole cast is great.

[00:48:33] That was one of the little movies

[00:48:35] I saw right at the beginning of 2015

[00:48:37] that just never left me.

[00:48:40] After a while I was like,

[00:48:41] you know what?

[00:48:42] That wasn't just like a shitty little indie movie.

[00:48:44] That was one of the best movies I saw all year.

[00:48:46] Agreed.

[00:48:46] My pick who was just outside Best Actress for Me

[00:48:49] and falls into a similar area

[00:48:51] was Alison Brie for Sleeping with Other People.

[00:48:53] She's great in that movie.

[00:48:55] It's kind of a good movie.

[00:48:57] I liked it a lot.

[00:48:58] It's kind of a good movie and she's great in it.

[00:48:59] Yeah.

[00:49:00] I'd like to see her make a better movie.

[00:49:02] I would agree.

[00:49:03] You know, Leslie Headlin.

[00:49:04] And I think that's a good movie,

[00:49:05] but you know, I'd like to see her.

[00:49:06] I thought Bachelorette was a great movie.

[00:49:08] I thought this was a little bit of a step down,

[00:49:09] but different enough that I was like,

[00:49:11] you're not just trying to copy yourself in that school.

[00:49:13] I keep feeling like she's holding back

[00:49:15] a little something.

[00:49:15] You think so?

[00:49:16] Leslie Headlin.

[00:49:17] Dunst would have made my top five actresses

[00:49:18] that year by the way for Bachelorette.

[00:49:19] Great in that.

[00:49:20] Okay, so let's go over these.

[00:49:22] I almost had Nina Haas by the way.

[00:49:23] She was the one I dropped at the last second

[00:49:25] because you mentioned her,

[00:49:25] so I was like we'll get to talk about it.

[00:49:26] She's so fucked.

[00:49:27] She's so good.

[00:49:28] But we already had,

[00:49:29] we all agreed on two out of the five.

[00:49:31] Then we overlapped on Blanchett.

[00:49:35] Well yeah, all of us were on the same page

[00:49:37] as Mara and Rambling.

[00:49:39] We agreed on Blanchett.

[00:49:40] David, you and I agreed on Nina Haas.

[00:49:42] Was there another one?

[00:49:43] No, I think, yeah, but this is,

[00:49:45] there's a lot of coverage on this one.

[00:49:46] There's a lot of coverage.

[00:49:46] And the thing is,

[00:49:48] there are also like 10 more great performances out there.

[00:49:50] It was a really strong,

[00:49:51] what's her name for,

[00:49:52] I ever a teenage girl,

[00:49:53] she was great, so good.

[00:49:55] Charlie's there on Mad Max.

[00:49:56] Kristen Wiig by the way,

[00:49:57] you highlighted her.

[00:49:58] Oh yeah.

[00:49:59] I do agree that that's a good performance.

[00:50:01] You know, that movie for some reason didn't click for me.

[00:50:04] Oh, that's interesting.

[00:50:06] Wiig plays that role so much.

[00:50:09] You know, the sort of cold supporting character

[00:50:12] in an indie film.

[00:50:13] But that was not like that sort of phone

[00:50:16] and performance that I think she does all the time.

[00:50:17] She really nailed it, I thought.

[00:50:18] Yeah, that was like a scary kind of sad,

[00:50:21] like she walked right to the edge on that one.

[00:50:23] Full character totally.

[00:50:24] Yeah, anyway.

[00:50:25] And Belle Pallet's really good.

[00:50:26] Emily Blunt's Ikario would be right outside there for me too.

[00:50:29] Yeah, you too.

[00:50:29] Blunt's good.

[00:50:30] I really loved Greta Gerwig and Lola Kirk

[00:50:32] and Mr. Samad.

[00:50:33] I agree.

[00:50:34] I love Charlize Theron in Mad Max.

[00:50:36] I agree 100%.

[00:50:37] I love Kira Rodriguez in Tangerine.

[00:50:39] Agreed.

[00:50:40] That was a very strong answer.

[00:50:40] I love Tay on a Paris and Shy Rack.

[00:50:42] Oh yes.

[00:50:44] Yes, and you know what, Shy Rack?

[00:50:45] I love Daisy Ridley in Star Wars The Force Awakens.

[00:50:48] Cool.

[00:50:49] Lily Tomlin in Grandma, it was a very strong answer.

[00:50:51] Yeah, don't like Grandma.

[00:50:52] Lily Tomlin.

[00:50:53] Love her in that movie.

[00:50:54] I think she's very good.

[00:50:55] I think it's phenomenal performance.

[00:50:56] I kind of liked Meryl Streep and Ricky in the Fire.

[00:50:58] I did too.

[00:50:59] That's so insane.

[00:51:00] It's not a great movie, but it's pretty good.

[00:51:02] I like that movie.

[00:51:03] So can I stick up for Blive Daner a second here?

[00:51:05] Yeah, please.

[00:51:05] That's my outlier.

[00:51:07] Did you guys see that movie?

[00:51:08] I did not.

[00:51:09] I did.

[00:51:09] Great movie.

[00:51:10] I liked it a lot.

[00:51:11] Yes.

[00:51:11] And I think she is, she would have been my like

[00:51:14] Lily Tomlin, Golden Globe nominee.

[00:51:16] Right.

[00:51:16] For this year, I thought she was doing that kind of late in life.

[00:51:21] She's at sort of her wit's end.

[00:51:23] She just at the beginning of the movie, her dog dies.

[00:51:25] Like, and she's sort of all alone.

[00:51:27] And she has these really interesting relationships

[00:51:30] with Sam Elliott and with Martin Star.

[00:51:33] And it's such a like one of those sort of like sensitive,

[00:51:36] sort of well-observed little indie movies about, you know,

[00:51:39] people you wouldn't normally see movies about because it's

[00:51:41] just, you know, she's an older lady.

[00:51:43] It's great.

[00:51:43] Can I spotlight even though he didn't make my list?

[00:51:45] Sam Elliott has stellar fucking gear.

[00:51:47] What a good gear.

[00:51:48] I mean, I had a great ear.

[00:51:48] I think we've talked about it.

[00:51:49] I talked to him with Katie.

[00:51:50] I think we've talked on Twitter.

[00:51:52] He kind of gets MVP for the breadth of the world.

[00:51:54] You've got grandma.

[00:51:55] You're a big fan of his voice performance

[00:51:57] in The Good Dinosaur.

[00:51:58] I think the only good voice performance in that film.

[00:52:00] I think he's excellent in that.

[00:52:01] Yeah.

[00:52:01] He's fine.

[00:52:02] I think he's excellent in that.

[00:52:03] I think he's given a fucking Toyota ad performance

[00:52:05] or what.

[00:52:05] I don't know what ad it is that he does.

[00:52:08] I think it's great.

[00:52:09] I mean, he's got a great voice.

[00:52:10] He's got a great voice.

[00:52:11] I'm also just like, oh yeah, he should be a T-Rex.

[00:52:14] He gets bonus points just for his T-Rex in the T-Total app.

[00:52:17] Showed up to Videology and did a guest round.

[00:52:18] Yeah.

[00:52:19] When none of us were there.

[00:52:21] What was the best vocal performance of the year?

[00:52:23] You're not allowed to say Phyllis Smith and Inside Out.

[00:52:25] Why?

[00:52:25] Why not?

[00:52:26] Because that's the obvious answer.

[00:52:27] That's the obvious answer.

[00:52:28] Noonan.

[00:52:28] Noonan.

[00:52:29] I don't really have that fucking answer.

[00:52:29] Yeah, you already have that one.

[00:52:31] Or what are some vocal performances everyone liked?

[00:52:34] The entire Inside Out cast is great.

[00:52:36] I think Fuller is amazing.

[00:52:37] No, I agree.

[00:52:38] I agree.

[00:52:38] Inside Out.

[00:52:39] Obviously Kevin James.

[00:52:40] I have one that I feel like no one would have said.

[00:52:42] Yeah, I feel like you want to say something.

[00:52:44] Ben Wishon Paddington.

[00:52:45] Oh yeah!

[00:52:46] So good.

[00:52:46] He was, I thought that.

[00:52:47] Yes, I wasn't thinking of it because it's a live action movie.

[00:52:49] But it's a really good.

[00:52:50] That's a really good.

[00:52:50] 100%.

[00:52:51] Yep, that's good.

[00:52:52] Other than anything I could come up with.

[00:52:54] Yes, that's a great, great choice, David.

[00:52:57] You know who was very disappointing as a vocal performance?

[00:53:00] Sandra Bullock in Minions.

[00:53:01] Didn't see it.

[00:53:02] Did not see Minions yet.

[00:53:03] I love her.

[00:53:04] She cannot.

[00:53:05] That's not a voice character she can pull off.

[00:53:08] Bob crushed it though.

[00:53:09] You have to admit.

[00:53:09] Bob was so good Minions.

[00:53:10] Of course.

[00:53:11] Ah, but uh-uh-uh-uh-uh!

[00:53:12] So much better than those other two jokers.

[00:53:13] Uh-uh-uh-uh-uh!

[00:53:14] Another good vocal performance?

[00:53:15] James Spader in Age of Ultron.

[00:53:17] Yes!

[00:53:18] Yes, sir.

[00:53:19] Absolutely.

[00:53:20] Anyway, Ben Schwartz and Bill Hader.

[00:53:25] Bill Hader, BBA.

[00:53:25] BBA.

[00:53:26] Yeah.

[00:53:27] That's right.

[00:53:27] Can I spotlight another thing that didn't make it

[00:53:31] in any category for me almost because it is such a true ensemble?

[00:53:34] Yeah.

[00:53:34] There's so many good performance

[00:53:35] it was hard for me to pick any one of them

[00:53:37] to spotlight in any of their respective categories.

[00:53:39] The entire cast of Shirok is fucking unbelievable.

[00:53:42] Absolutely.

[00:53:43] Abacit, Teon of Paris.

[00:53:45] Nick Cannon's weirdly incredible in that film.

[00:53:47] Yeah, he's great.

[00:53:48] Sammy Jackson.

[00:53:49] Yeah, all of them were like right outside the pipe for me.

[00:53:51] Wesley Snipes is really funny.

[00:53:52] Really funny.

[00:53:53] Like this sort of over-the-top stupid male performances

[00:53:56] like Wesley Snipes and what's his name?

[00:53:58] Harris.

[00:53:59] Steve Harris from The Practice.

[00:54:00] Steve Harris.

[00:54:01] Like are really, really funny.

[00:54:03] And in like an obvious but a good way.

[00:54:06] Q-Sex right on the edge of working for me.

[00:54:08] I think he does.

[00:54:08] He almost works.

[00:54:09] I think he improbably works in that movie.

[00:54:11] He shouldn't.

[00:54:12] He really shouldn't but he does.

[00:54:14] DB Sweeney's eating a big ham sandwich.

[00:54:15] He's eating a big ham sandwich.

[00:54:16] Jennifer Hudson can't quite keep up

[00:54:18] but I think everybody else is doing it.

[00:54:19] A really, really good bunch of performances in that movie.

[00:54:22] OK, so let's go through the rest of these best actress picks.

[00:54:24] Yeah.

[00:54:25] I mean, first of all, we all just acknowledge

[00:54:26] yeah, Rooney Mars the fucking leader of that movie.

[00:54:29] Oh, of Carol?

[00:54:30] She's 100%.

[00:54:31] Arguably over cheap land share.

[00:54:32] I think she's my winner.

[00:54:33] Yes.

[00:54:34] I think she's my winner.

[00:54:35] She's my winner.

[00:54:35] Yeah.

[00:54:36] She's my winner.

[00:54:37] And I'm not normally a giant Rooney Marathon?

[00:54:39] Yeah.

[00:54:40] I am a giant Rooney Marathon.

[00:54:41] I am too.

[00:54:41] I am seven.

[00:54:42] Well, you guys love Soda Bird.

[00:54:43] You love that Soda Bird movie she made.

[00:54:45] Side Effects.

[00:54:46] Great film.

[00:54:46] She's a four-time nominee for me.

[00:54:48] Yeah, I would nominate her for Side Effects as well.

[00:54:50] Wow.

[00:54:50] Dragon Tattoo, Side Effects, this and what?

[00:54:52] You got to guess.

[00:54:54] OK.

[00:54:54] It's a supporting actress nomination.

[00:54:56] Social network?

[00:54:57] Yeah.

[00:54:57] Yeah?

[00:54:58] Oh yeah.

[00:54:59] Just on the edge of cameo but yeah.

[00:55:00] She's fucking great in that movie.

[00:55:01] I mean, I'd nominate her Pan.

[00:55:03] That joke doesn't even work.

[00:55:04] That joke doesn't even work because I've already

[00:55:05] done that category.

[00:55:06] And also, have you seen Pan?

[00:55:08] No, I saw the trailer.

[00:55:08] She looked at me.

[00:55:09] She's not great in Pan.

[00:55:12] Really?

[00:55:12] No.

[00:55:13] Not too sure.

[00:55:13] I love Rooney Marathon but that is no good.

[00:55:16] I love Rooney Marathon because I love scared birds.

[00:55:19] She looks like a bird that's terrified

[00:55:20] that her eggs are going to be stolen at any moment.

[00:55:23] I saw her at a Q&A for Side Effects

[00:55:26] where it was her and Soda Bird and Jude Law

[00:55:29] and the screenwriter.

[00:55:30] And every time she was asked a question

[00:55:33] she would curl up in her seat and turn over

[00:55:36] to either Jude Law or Soda Bird and whisper to them

[00:55:39] and they'd be like, so what Rooney's trying to say?

[00:55:41] So it was just like, love it.

[00:55:42] Good Lord.

[00:55:43] She's an odd one.

[00:55:44] She is.

[00:55:45] It's a great performance.

[00:55:45] It's the perfect use of her.

[00:55:47] My winner, it's almost like a coin toss

[00:55:49] between her and Nina Haas.

[00:55:51] Yeah.

[00:55:51] Haas is amazing.

[00:55:52] Phoenix is a phenomenal movie.

[00:55:53] People haven't seen Phoenix.

[00:55:54] I believe it's on Netflix.

[00:55:55] It is on Netflix.

[00:55:56] That's what I see the watch.

[00:55:57] It's on Netflix.

[00:55:57] 90 minute, tense, psychological, kind of thriller.

[00:56:02] Kind of noir-y.

[00:56:03] Kind of noir-y movie.

[00:56:04] Hitchcock-ian.

[00:56:05] If someone tells you it's a Holocaust movie,

[00:56:07] like don't go in thinking like, oh, I'm going to be like really

[00:56:10] just bummed out.

[00:56:11] The Holocaust is over by the time that it starts, you guys.

[00:56:13] Guys, it's over.

[00:56:15] I'll say this as a disclaimer too.

[00:56:16] My 17-year-old sister was sick recently

[00:56:18] after a movie recommendation to watch.

[00:56:20] I said, you should watch Phoenix

[00:56:21] because she likes sort of Hitchcock-y stuff like that.

[00:56:23] And she's sick so her, you know,

[00:56:25] attention is a little shot whatever.

[00:56:27] 40 minutes and she was like, this is really slow.

[00:56:29] And I was like, give it 10 more minutes.

[00:56:31] The movie takes a long time to set up.

[00:56:33] It's intriguing, but if you're not really on board with it,

[00:56:35] you might be going like, is this going to meander?

[00:56:37] Once it clicks into place, the second half of the film

[00:56:40] is just like a fricking freight train.

[00:56:41] You're just gripping your hands into your legs.

[00:56:43] You know, it's like, ah!

[00:56:45] Almost don't want to talk about a performance too much

[00:56:47] because I want people who are listening to this

[00:56:49] right now to watch it going in.

[00:56:51] One of those things, last scene.

[00:56:52] But it's, yes, we can't talk about it.

[00:56:54] The last scene's incredible,

[00:56:55] but it's also a performance where she is,

[00:56:57] without spoiling anything, having to sort of play

[00:56:59] people, playing people.

[00:57:01] So it's like a performance about performances.

[00:57:04] And it's just fascinating.

[00:57:06] I want to see her in a Michael Hannecke movie tomorrow.

[00:57:09] Like I want it to happen immediately.

[00:57:10] Oh, hello.

[00:57:11] All right, so we've done actress.

[00:57:13] I love Benosha in Clouds of Souls 3.

[00:57:15] I imagine you guys like Benosha.

[00:57:16] I thought Benosha was great.

[00:57:17] Benosha's great.

[00:57:18] When's Benosha bad?

[00:57:19] Pretty much never.

[00:57:20] Pretty much never.

[00:57:21] I guess I go, ugh.

[00:57:23] It's funny to think back on how much I resented

[00:57:25] that Chuck-A-Lot nomination now

[00:57:27] that I absolutely love her.

[00:57:29] She shouldn't have been nominated,

[00:57:30] but she's pretty good at your role.

[00:57:31] Oh yeah, yeah.

[00:57:32] Yeah, like.

[00:57:32] That whole thing is a mystery how that,

[00:57:35] I mean it's not a mystery, we all know how,

[00:57:36] but like, yeah.

[00:57:38] She should have been nominated for Godzilla instead.

[00:57:39] And I was, and it was like writing hard for Zellweger

[00:57:42] that you're for Nurse Betty.

[00:57:43] It's such an odd thing to think of now in 2016.

[00:57:45] Like she's good at this.

[00:57:46] She's great.

[00:57:47] Without opening up a big can of worms,

[00:57:48] I do think we have to talk about rambling

[00:57:49] for just a second and not talk about the controversy.

[00:57:51] From Rowland rambling?

[00:57:52] Yes.

[00:57:53] Yes, well, I should probably rambling.

[00:57:55] I think it's like now has become difficult

[00:57:58] to stand up for that performance

[00:57:59] because she just stuck her foot so hard in her mouth.

[00:58:01] Oh, whatever.

[00:58:02] It's the performance is the performance though.

[00:58:04] I agree and I also think in a way

[00:58:06] that performance is like a masterclass

[00:58:09] in what screen acting is.

[00:58:10] Yeah.

[00:58:11] Because it's all like reactions,

[00:58:12] it's all watching her think.

[00:58:13] Watching her in a scene where she's not talking

[00:58:16] is the best screen watching in a movie this year.

[00:58:19] Yes, agreed 100%.

[00:58:21] I'd maybe pick Nina Haas as my one.

[00:58:23] I don't, I wish we all agreed on something.

[00:58:26] Rudy Mara was right there.

[00:58:26] I don't know, I could go either way.

[00:58:28] Ramping's amazing in 45 years.

[00:58:32] She lives in France, they say a lot of weird things.

[00:58:33] I was gonna say like people like also

[00:58:36] it's that streep thing the other day

[00:58:38] where she's like we're all African in the end.

[00:58:39] It's like that's just a dumb thing that actors say.

[00:58:42] People just shouldn't be talking about this in interviews.

[00:58:43] They always talk about how the human experience is won

[00:58:45] and whatever like that's just like a thing.

[00:58:47] As someone who wrote the famous term paper

[00:58:50] back in blackface, my lesson I've learned

[00:58:52] is if you are white maybe just you can just have

[00:58:54] an opinion and not have to talk about it in interviews.

[00:58:57] Yeah, we should be more diverse.

[00:58:58] We don't wanna read into people's psychological,

[00:59:03] we don't know, states too much.

[00:59:04] But you can definitely imagine like Charlotte Ramping,

[00:59:07] someone who's been kind of roundly outside Hollywood

[00:59:10] for her entire career.

[00:59:12] Finally gives this like it's a dynamic performance.

[00:59:15] Finally gets an nomination.

[00:59:16] In this fucking thrillingly depressing and scary

[00:59:20] and quiet little movie.

[00:59:22] And she gets her nomination right.

[00:59:24] And all anybody talks about.

[00:59:25] Yeah, and then it's like.

[00:59:26] Like a minute after the nomination come out.

[00:59:27] Like she sits down in an interview

[00:59:29] and it's like well what do you think?

[00:59:30] But like I can't really defend her

[00:59:31] cause she said like racist against white people.

[00:59:33] It's a stupid dumb thing to say.

[00:59:35] I think she like a six year old was like

[00:59:37] you're taking this away from me, I want this Oscar.

[00:59:41] Annoying that she had to say that.

[00:59:42] So reminder of how incredibly sheltered

[00:59:44] a lot of actors really are.

[00:59:45] Yeah and also Francis Kooky.

[00:59:46] Yep.

[00:59:47] As we said, okay best actor.

[00:59:50] Actor.

[00:59:50] Ben any thoughts on actress?

[00:59:53] I mean, no I didn't see any of these movies.

[00:59:56] Best actor.

[00:59:57] Sorry.

[00:59:58] Best actor.

[01:00:00] Actor.

[01:00:02] Paul Dano, Love and Mercy.

[01:00:03] All right.

[01:00:04] Andrew Garfield, 99 Homes.

[01:00:07] Tom Hanks, Bridge of Spies.

[01:00:09] Michael B. Jordan Creed.

[01:00:11] Ian McKellen, Mr. Homes.

[01:00:12] Ah, that's interesting.

[01:00:15] Joseph.

[01:00:16] This is a weird category.

[01:00:17] Weird.

[01:00:18] We should say because like one

[01:00:19] of the weakest best actor categories in years.

[01:00:21] Incredible.

[01:00:22] Oscar nominees were kind of.

[01:00:23] I match one of the Oscar nominees

[01:00:24] and it's kind of amazing that I do

[01:00:25] because it's such a weak Oscar category this year.

[01:00:28] I match zero, I just realized.

[01:00:29] Yeah.

[01:00:31] I have Adam Driver for Hungry Hearts.

[01:00:34] Wow, I did not.

[01:00:36] I've heard of it.

[01:00:37] He's real good.

[01:00:38] He's real good in it.

[01:00:39] He won the Golden Lion or whatever.

[01:00:40] Did he win the Venice?

[01:00:41] Yep, he did.

[01:00:44] Michael Fassbender for Steve Jobs.

[01:00:46] Andrew Garfield for 99 Homes.

[01:00:48] Hey now.

[01:00:49] Michael B. Jordan for Creed.

[01:00:50] Hey now.

[01:00:51] Giza Roerig for Son of Saul.

[01:00:53] Wow.

[01:00:55] David.

[01:00:56] Michael B. Jordan for Creed.

[01:00:58] Hey.

[01:00:59] Three out of three.

[01:01:00] Samuel Jackson for The Hate Plate.

[01:01:01] Cool.

[01:01:03] Josh Lucas for The Mende.

[01:01:04] Right.

[01:01:05] Peter Sarsgard for Experimenter.

[01:01:09] Wow.

[01:01:09] And Jason Siegel for The End of the Tour.

[01:01:12] He was one of my runners up.

[01:01:14] Can't believe he didn't get more traction this year.

[01:01:16] He should have.

[01:01:17] I think it was category confusion.

[01:01:18] Fuck him over.

[01:01:19] I think it's true.

[01:01:20] Yep.

[01:01:21] Now David, I asked you a couple of weeks ago

[01:01:24] what your five was and Experimenter was not in there.

[01:01:26] Have you watched it that recently?

[01:01:27] No, Experimenter comes in and out

[01:01:29] because I think today at Fassbender there.

[01:01:31] Yeah, probably.

[01:01:32] Yeah, Experimenter sort of comes in and out.

[01:01:34] I think Fassbender is wonderful in Steve Jobs

[01:01:36] and he'd be a worthy winner for me almost

[01:01:39] but I loved Experimenter.

[01:01:42] I saw it a while ago.

[01:01:42] I should see that.

[01:01:43] I didn't see it.

[01:01:44] It's the movie about Stanley Milgram

[01:01:45] to buy a picket to Michael Alma Yerter movie.

[01:01:48] I don't know how you say his name.

[01:01:49] I think I did Hamlet, right?

[01:01:50] Ethan Hawke Hamlet.

[01:01:51] Yeah.

[01:01:52] And a bunch of other things that I and no one else

[01:01:54] have ever seen but it is all on Sarsguard that movie.

[01:01:59] Like because he has to talk to the camera over and over.

[01:02:02] He has to do all these weird things.

[01:02:03] It's like he's presenting a biopic

[01:02:05] as a university lecture.

[01:02:07] It shouldn't work.

[01:02:08] There's a scene where he's walking down,

[01:02:10] no here, well you know the Milgram experiment involves

[01:02:12] like buzzing noises, you know,

[01:02:13] because it's like making people get like a shock.

[01:02:14] Right, I keep giving that movie confused

[01:02:16] with Stand for Prison Experiment

[01:02:17] for that very reason.

[01:02:18] And there's one scene early on, the movie is so,

[01:02:21] you guys should really see it.

[01:02:22] I do wanna see it.

[01:02:23] There's one scene early on where he's meeting

[01:02:25] when owner writer places eventual wife at a party.

[01:02:27] Love it.

[01:02:28] After doing the first like a buzzer experiment

[01:02:31] and someone buzzes into the apartment

[01:02:34] like the intercom buzzes for a second

[01:02:35] and Sarsguard just like breaks

[01:02:37] and just goes like, huh?

[01:02:38] And like looks over his shoulder

[01:02:39] and like that's the kind of movie this is.

[01:02:41] Okay.

[01:02:42] He like walks down the corridor delivering

[01:02:43] whole monologues to you about what's happening

[01:02:45] in his life while an elephant walks behind him

[01:02:47] for no reason in a hallway.

[01:02:49] And like that's never explained.

[01:02:51] Sarsguard rules.

[01:02:51] Like near the end of his life

[01:02:55] because the movie charts his whole life,

[01:02:56] he like walks up to a hospital desk

[01:02:57] and says like something

[01:02:59] and the lady's kind of rude to him

[01:03:00] and he just goes like, charming.

[01:03:02] Or like right to the camera.

[01:03:03] It shouldn't work.

[01:03:04] Sarsguard is like one of the most

[01:03:05] transfixing actors.

[01:03:06] Can we get a ruling on Sarsguard in Black Mask?

[01:03:09] I was gonna say he gave two of my favorite performances

[01:03:11] in terrible movies in Black Mask.

[01:03:13] I think it works.

[01:03:14] I think it's the only performance

[01:03:15] that works in that movie really.

[01:03:17] I think he's great in pawn sacrifice.

[01:03:19] I was just about to break up pawn sacrifice.

[01:03:20] Two movies I don't like.

[01:03:22] I thought he killed it in both of them.

[01:03:23] Yeah.

[01:03:24] You know who's not making my best actor list

[01:03:26] is Toby McGuire for pawn sacrifice.

[01:03:28] Tough to be bad, tough to be great in a bad film though

[01:03:31] and Peter Sarsguard pulled it off twice this year.

[01:03:33] I need to watch Experimenter.

[01:03:34] I never saw Black Mask.

[01:03:36] I didn't want to do that myself.

[01:03:36] Really good for you.

[01:03:37] Well watch those five minutes

[01:03:38] that Peter Sarsguard's in.

[01:03:39] I'd say it's the only part worth watching.

[01:03:40] Anyway but I think Fastbender's amazing

[01:03:42] in Steve Jobs and I should just watch Steve Jobs again.

[01:03:45] I've only seen it twice.

[01:03:46] He's so comfortable with all of Jobs' bad parts.

[01:03:52] And yet, and I think Jesse Eisenberg's

[01:03:54] very good in the social network

[01:03:55] but I think one of the things

[01:03:56] that I didn't love about the social network

[01:03:58] was the way Aaron Sorkin was just sort of like

[01:04:00] so incredibly judgy of his characters in that movie

[01:04:04] and Zuckerberg in particular.

[01:04:05] And I think Sorkin's better at that in Steve Jobs

[01:04:10] of he shows the bad parts of Jobs

[01:04:13] but doesn't really try and be like

[01:04:16] it's because he's into computers that he has no soul.

[01:04:19] And I think Fastbender is probably better

[01:04:21] than Eisenberg at not judging his Steve Jobs,

[01:04:26] his character for his sort of failings and shortcomings.

[01:04:29] His foibles.

[01:04:31] Let's talk about Jordan

[01:04:32] cause he's the one we all agreed on.

[01:04:34] He's my number one.

[01:04:36] He's my number one too.

[01:04:36] I walk out to star making performance.

[01:04:39] The theater going oh this guy's gonna win Best Actor.

[01:04:41] I thought he was going to just

[01:04:42] he should be. We should be.

[01:04:44] Days away from winning Best Actor.

[01:04:45] It's insane.

[01:04:46] I mean A it's a star making performance.

[01:04:47] B it's a full course meal.

[01:04:49] He does everything you want

[01:04:51] out of an actor in a leading role.

[01:04:54] He holds the screen.

[01:04:54] He plays every possible emotion.

[01:04:56] I mean people fucking talk about

[01:04:58] oh my God, Leo was out in the cold and he ate a liver.

[01:05:00] Michael B Jordan got knocked out six times

[01:05:02] filming this movie

[01:05:03] and isn't going around patting himself on the backboard.

[01:05:06] It's like oh that's part of the job.

[01:05:07] I'm in the box.

[01:05:08] Do you know how many times I've seen a movie

[01:05:08] where the main character is good at something

[01:05:10] and then goes and tries to like smooth on a girl

[01:05:12] or whatever and I find him completely insufferable?

[01:05:14] And he should like that's by all reasons

[01:05:17] he should come off that way and create

[01:05:18] and he totally doesn't.

[01:05:19] He's so good in those scenes with Tessa Thompson.

[01:05:22] Every scene is a minor miracle.

[01:05:24] Their first date scene.

[01:05:25] Incredible.

[01:05:26] Incredible.

[01:05:27] That's where the movie really clicks.

[01:05:28] Like he should be being a smoothie.

[01:05:31] He should be annoying to shit out of those scenes.

[01:05:32] Or being like kind of annoyingly awkward

[01:05:35] or whatever he's neither.

[01:05:36] He's a regular person.

[01:05:37] Whiplash comes to mind in that regard.

[01:05:39] Like all those scenes

[01:05:40] are such an arch movie

[01:05:43] and those scenes are the most arch scenes.

[01:05:45] Right where they're like

[01:05:47] it's almost like they're getting ready

[01:05:48] to pull the rug out from under you.

[01:05:49] And yeah, those scenes are.

[01:05:51] Who's the girl?

[01:05:52] The girl's kind of...

[01:05:53] Melissa Bonoise, who's Supergirl now.

[01:05:54] I think it's very good in that.

[01:05:55] Oh, Whiplash.

[01:05:56] Yeah.

[01:05:57] There is, it's been talked about a lot

[01:06:00] from a filmmaking perspective.

[01:06:01] The first main fight in Creed

[01:06:04] is a qualifying fight.

[01:06:05] It's all done in one continuous shot

[01:06:07] without edits.

[01:06:08] People talk a lot about as a director

[01:06:10] that's crazy to plan that out

[01:06:11] and as a cinematographer,

[01:06:12] to camera operator,

[01:06:13] to move around the actors like that.

[01:06:15] As an actor, that's an insane feat.

[01:06:17] Because he has to look like he's really boxing.

[01:06:19] The punches have to look like they're really landing

[01:06:21] which is why he got knocked out

[01:06:22] a bunch of times filming that.

[01:06:23] Right?

[01:06:24] But also the choreography has to be

[01:06:25] really sharp and really precise

[01:06:27] because not only does he have to hit

[01:06:28] the beats they need for the fight

[01:06:30] but he has to move out of the way of the camera.

[01:06:33] So like in my small role

[01:06:36] on the new HBO series,

[01:06:37] Vinyl now is streaming on HBO.

[01:06:39] Go on such platforms.

[01:06:40] HBO now as well probably.

[01:06:41] Yes, they do a lot of like

[01:06:43] steady cam long shots like that.

[01:06:45] And it's really difficult in a way

[01:06:47] I never understood before having to do that

[01:06:48] because what will happen is

[01:06:49] if there's like a steady cam shot with eight characters

[01:06:52] and they go acting, oh just be present.

[01:06:53] Listen, stay in the moment.

[01:06:55] You're doing your scene, you hit your line

[01:06:57] and then you have to take four steps back

[01:06:59] to let the camera come through.

[01:07:00] Right, right, right.

[01:07:01] And then you have to land back in the position

[01:07:03] so that geographically

[01:07:04] you are where you were established previously.

[01:07:06] So you gotta like step out, step in,

[01:07:07] step out, step down.

[01:07:08] You have to be super technical

[01:07:09] The fact that he pulls off that scene is insane

[01:07:12] and it looks like a real fight the entire time.

[01:07:14] And it goes from his nerves before the fight

[01:07:16] to his like elation after the fight.

[01:07:19] Continuous, I mean that alone I feel like

[01:07:21] that's an Oscar.

[01:07:22] He's a star, he's the best.

[01:07:24] You know when people talk about the Oscar so white thing

[01:07:26] that's the one that sort of inarguably egregious.

[01:07:28] Absolutely.

[01:07:29] People go oh well,

[01:07:30] it started a comp and didn't deserve

[01:07:31] to be nominated for Best Picture.

[01:07:32] Okay that's an argument you can make.

[01:07:34] I think it deserved it over other things

[01:07:36] that were nominated but it wouldn't have made my 10.

[01:07:39] Correct.

[01:07:40] Mike would be Jordan,

[01:07:40] it's insanity for him to not get nominated.

[01:07:43] Yep.

[01:07:44] Especially in a big hit film.

[01:07:46] We didn't overlap on anything else right?

[01:07:49] All three of us.

[01:07:50] No you and I had Garfield.

[01:07:51] Oh yeah we both had Garfield.

[01:07:52] I really liked him in that movie.

[01:07:53] So I was sort of bummed that Michael Shannon

[01:07:56] was the one getting the awards attention for that.

[01:07:57] He got a lot of those precursor nominations for that.

[01:07:59] I thought Garfield was,

[01:08:01] this is a movie I saw a long time ago.

[01:08:02] I saw it at two Toronto Film Festivals ago.

[01:08:04] So it's not super fresh in my memory.

[01:08:07] But he's,

[01:08:09] I think it's,

[01:08:10] I always think of the accent

[01:08:11] which is kind of a dumb first compliment for someone

[01:08:13] but he's one of those rare,

[01:08:15] not American actors who can hit an American accent

[01:08:18] without making me feel like I'm going crazy.

[01:08:21] Donald Gleason's really good

[01:08:22] but I hate his American accent.

[01:08:24] It's my least favorite thing about him

[01:08:27] and I think Garfield really nails it.

[01:08:29] I think he's a wiry guy.

[01:08:33] Yeah.

[01:08:34] He's pretty slim.

[01:08:37] He's got a high-pitched voice.

[01:08:39] He's playing in this a real blue collar.

[01:08:42] What a voice that guy has.

[01:08:44] But he's like a construction worker,

[01:08:46] like contractor guy in Florida.

[01:08:49] And you could see a lot of other actors like him

[01:08:51] especially a guy who's sort of

[01:08:53] of a posh British background or whatever

[01:08:55] really trying to up the McKeesmo in a way

[01:08:57] to be like I gotta be like a guy's guy.

[01:09:00] And he gets that across in a way

[01:09:01] where you're like,

[01:09:02] Doesn't feel forced.

[01:09:03] But this is what a real guy is like

[01:09:05] who works construction,

[01:09:06] not like a movie manufacturing of that type of

[01:09:09] what it did.

[01:09:10] And he doesn't play up his character

[01:09:11] sort of like saintly working classness either.

[01:09:12] Like you see why he falls down this rabbit hole

[01:09:15] of working for this guy who's flipping homes

[01:09:18] and who's screwing people out of the mortgages.

[01:09:20] And even little details like his cigarette work

[01:09:22] in that movie is unbelievable.

[01:09:23] Underrated aspects.

[01:09:24] The way he keeps,

[01:09:26] the thing he does with his mouth

[01:09:27] to keep the cigarette in there

[01:09:28] while he's working is so specific

[01:09:30] where it's like oh he needs to have

[01:09:31] a tight grip on that.

[01:09:32] Because he's working machinery and shit.

[01:09:34] Great, great performance.

[01:09:36] Ian McKellen and Mr. Holmes.

[01:09:38] A movie I think is fine.

[01:09:40] I thought it was pretty underwhelming.

[01:09:42] But I think it's a pretty great

[01:09:43] like lifetime achievement Oscar.

[01:09:45] He has to play like-

[01:09:46] He deserves one of those.

[01:09:46] His own age and he plays like 95 in the film as well.

[01:09:50] And best puttering of the year.

[01:09:53] He wins my Putters and Murmurs award

[01:09:54] which last year would have gone to

[01:09:56] Timothy Spall for Mr. Turner.

[01:09:59] Yeah, Mr. Turner.

[01:10:00] So good.

[01:10:01] You have an old like a veteran British character actor

[01:10:04] playing a film in which they are the title character

[01:10:06] with Mr. before their last name

[01:10:09] and they putter and murmur,

[01:10:10] I will give you a nomination.

[01:10:13] He's great.

[01:10:14] He would almost be my winner

[01:10:15] but I probably want to go with Michael B. Jordan.

[01:10:17] Tom Hanks, Berger Spies,

[01:10:18] just reminds us why he's a movie star.

[01:10:20] Very so.

[01:10:20] Wonderful.

[01:10:21] And effortless performance that could only be done

[01:10:23] by someone who is that comfortable in their skin,

[01:10:25] knows their power,

[01:10:26] doesn't push it too hard.

[01:10:28] And just his work on having a head cold

[01:10:30] in the latter half of the film is unbelievable.

[01:10:34] That's true.

[01:10:34] Because you like, you keep on forgetting,

[01:10:38] like he's getting into these long mullocks

[01:10:39] where he's so caught up in what he's saying

[01:10:41] and you're like, is he just tired this day?

[01:10:42] And then he takes out the tissue,

[01:10:44] it's like, right, no,

[01:10:45] he's just got a little bit of a cold.

[01:10:46] It's one of those great ways

[01:10:48] of like ramping up tension in something

[01:10:49] without having to like put more stakes on the outcome.

[01:10:53] It's just sort of like, oh no,

[01:10:54] he's also just like, oh, he's so miserable.

[01:10:56] Just want to get home,

[01:10:57] want to get back into bed.

[01:10:58] Paul Dan-Eleven Mercy, great performance.

[01:11:01] I think he's very good at that.

[01:11:02] Yeah, yeah, and I think he also got fucked over

[01:11:05] by Category Placement.

[01:11:05] Yeah.

[01:11:06] Other ones you guys want to spotlight?

[01:11:08] Lucas is great in the mend,

[01:11:09] you guys should all watch the mend,

[01:11:10] it's on Netflix, I think you just watched it.

[01:11:12] Yeah, I just saw it recently

[01:11:14] and Lucas is an actor who I'm rooting for, I feel like.

[01:11:16] Me too.

[01:11:17] That's a movie that's a little tough for me.

[01:11:18] I think movies that sort of really try

[01:11:21] and sort of revel in how.

[01:11:22] Check out this jerk.

[01:11:23] Yeah, exactly, look at this jerk.

[01:11:24] I really root for this jerk.

[01:11:26] Root for this jerk movies are not my favorite.

[01:11:29] I waver on them and yet I root it for that jerk in the mend.

[01:11:33] You get him.

[01:11:34] What was last year's Alex Ross Perry movie?

[01:11:36] Well, that wasn't Alex Ross Perry,

[01:11:37] but last year it was Listen Up Phillip.

[01:11:38] There was another Root for This Jerk kind of movie.

[01:11:40] That one was more interesting

[01:11:41] because that one, what I liked about Listen Up Phillip,

[01:11:44] we should probably vote.

[01:11:45] The fact that it cuts in the middle

[01:11:47] to Elizabeth Ross and you're like, oh right.

[01:11:49] Yeah, they key to the entire film.

[01:11:52] And then Jason Segal's incredible

[01:11:53] at the end of the tour.

[01:11:54] It's a lead performance, everyone shut up.

[01:11:55] I also have not seen that yet.

[01:11:56] I need to see that.

[01:11:57] Also, Seek Out Hungry Hearts, I'm telling you.

[01:11:59] Adam Driver is very, very good.

[01:12:01] He plays a dad, recently married a new dad

[01:12:05] whose wife is sort of tumbling down this rabbit hole

[01:12:08] of not trusting the outside world and Western medicine

[01:12:13] and baby food companies.

[01:12:15] So like all of a sudden it's just like,

[01:12:16] what is she feeding their kid?

[01:12:17] And he's gotta figure out a way to deal with it.

[01:12:21] I believe that's on Netflix as well,

[01:12:22] streaming right now.

[01:12:23] I think you are correct.

[01:12:25] Ben was champion at the bit.

[01:12:26] You look like you have something to say.

[01:12:27] Well, I just wanted to add that I really kind of hope

[01:12:30] that DiCaprio doesn't win.

[01:12:32] Oh, me too.

[01:12:33] Nothing would make him happy.

[01:12:34] I'm so excited to watch his face.

[01:12:35] It'd be really funny.

[01:12:36] It'd be really funny.

[01:12:37] He's totally gonna win, but it'd be really funny.

[01:12:39] I mean, it's almost rigged when you look

[01:12:40] at the nominations.

[01:12:42] It's like so clearly pointing to him.

[01:12:45] Well, especially we just put out so many good contenders,

[01:12:48] some of whom were in big films

[01:12:50] that got nominated in other categories

[01:12:51] and it feels like they were just like,

[01:12:53] let's nominate four Patsy so that we can like,

[01:12:55] none of the other nominees are bad,

[01:12:56] but like none of them have what it takes to win.

[01:12:58] DiCaprio is the only one who has a shot.

[01:13:01] I hope he loses so hard.

[01:13:02] I think that is not a good performance.

[01:13:03] I love DiCaprio sometimes.

[01:13:05] I think he's got certain really bad habits

[01:13:08] that he can go into when he's trying to prove

[01:13:10] that he's a grown up and a tough guy and this and that.

[01:13:13] I think this is a collection

[01:13:14] of all his worst traits.

[01:13:15] Given who is nominated this year though,

[01:13:17] I would almost be like, you know what?

[01:13:18] Give it to DiCaprio and then we don't have to go

[01:13:20] through this whole rigmarole next time.

[01:13:22] With like, oh will he win?

[01:13:24] What's he got to do to win?

[01:13:25] What does he have to like,

[01:13:26] what hardships does he have to go through?

[01:13:29] It's a week here.

[01:13:30] Get it over with.

[01:13:31] Rip the bandaid on it.

[01:13:32] I hate it.

[01:13:33] Best director.

[01:13:34] Yes.

[01:13:35] My nominees are Todd Haynes for Carol,

[01:13:39] Steven Spielberg for Virgers Spies,

[01:13:41] George Miller for Mad Max Fury Road,

[01:13:43] Sean Baker for Tangerine.

[01:13:47] Baker is a good one.

[01:13:48] And you know what?

[01:13:49] I wrote down something different here

[01:13:50] but I'm gonna fucking flip it around.

[01:13:51] Ryan Coogler for Creed.

[01:13:52] That's good.

[01:13:53] That's also maybe a good one for me.

[01:13:56] You're making me question my picks.

[01:13:57] I had put in Charlie Kaufman and Duke Johnson

[01:13:58] for Nama Lisa, which I love.

[01:14:02] But Ryan Coogler, I think that's

[01:14:04] like such an incredible calling card movie.

[01:14:07] And an impossible task.

[01:14:09] I mean you look at what he was trying to do

[01:14:11] and you look at it in a year where,

[01:14:12] you know we all like The Force Awakens.

[01:14:15] But like, Creed, he pulls it off effortlessly

[01:14:17] in every box which is like make a film

[01:14:19] that reminds you of the original ones,

[01:14:21] charts out new territory,

[01:14:23] erases the things that people don't wanna remember

[01:14:25] from the previous.

[01:14:26] Introduce a new star that you wanna follow

[01:14:28] for as many films as you followed the original characters.

[01:14:32] Really on showy but really precise.

[01:14:34] Every shot, every cut has meaning

[01:14:38] and just a real authenticity and a real passion.

[01:14:40] He's great.

[01:14:41] Yeah.

[01:14:44] Todd Haynes, oh yeah let's-

[01:14:45] Oh yeah do you want me to get mine?

[01:14:46] Yes, yes.

[01:14:47] Okay, Todd Haynes for Carol.

[01:14:48] Mia Hansen Love for Eden.

[01:14:51] Joshua Oppenheimer for The Look of Silence.

[01:14:54] Ooh.

[01:14:54] George Miller for Mad Max for E-Road

[01:14:56] and Lozlo Nemis for Son of Saul.

[01:15:00] David.

[01:15:01] Olivia Asias for Clouds of Seals Maria.

[01:15:06] Todd Haynes for Carol.

[01:15:07] George Miller for Mad Max.

[01:15:09] Mia Hansen Love for Eden.

[01:15:11] How?

[01:15:12] And Stevie Spielberg.

[01:15:14] Stevie Spielberg.

[01:15:15] Just five.

[01:15:16] Good old Stevie Spielberg.

[01:15:17] You guys get, I feel like you guys are

[01:15:19] very big champions of British Spies.

[01:15:21] I feel like that one's hanging out

[01:15:22] in my like 20 to 30 range for the year.

[01:15:24] It's my number three.

[01:15:25] It's my number seven.

[01:15:27] Very good.

[01:15:28] But we'll get to that.

[01:15:30] Great movie, love it.

[01:15:31] I think we take them for granted now.

[01:15:34] Well I think that's definitely true.

[01:15:35] Yeah and the film is so low key.

[01:15:38] The amount of people I see who write off

[01:15:39] is going like oh it's like a good dad movie.

[01:15:41] It is.

[01:15:42] It's like yeah because it's not trying

[01:15:43] to do anything flashy.

[01:15:44] It's just a good story, well told.

[01:15:47] That's another film where if you look at

[01:15:48] the blocking of every scene, every single

[01:15:51] camera movement in that film is justified

[01:15:54] and is linked to revealing something

[01:15:56] about character or action or something like that.

[01:15:58] It was all giving me flashbacks to the year

[01:15:59] I defended War Horse for an entire award season.

[01:16:02] God I loved War Horse.

[01:16:03] That was a tough position to take.

[01:16:05] I don't envy that.

[01:16:05] Tintin was that same year, right?

[01:16:07] I was all about that Tintin.

[01:16:09] Living that Tintin life.

[01:16:10] But let's not dwell too much on the directors

[01:16:12] because we're about to do our best picture.

[01:16:13] Yeah I was gonna say we can talk

[01:16:14] about that within the conference.

[01:16:15] I think, I mean I'm guessing here.

[01:16:17] Unless anybody has a director who's not

[01:16:19] on their best picture list.

[01:16:21] Well are we doing five or 10 for picture?

[01:16:22] Kuhler would be right out of my 10.

[01:16:24] You know it's like.

[01:16:24] They're all in my top 10.

[01:16:25] Yeah, I think Creed would be out of my top 10 rather.

[01:16:28] You didn't pick, I can't pronounce his last name

[01:16:30] but the Revenant's director.

[01:16:32] Oh no I hate him.

[01:16:32] And Yarri too.

[01:16:33] Yeah.

[01:16:34] You guys hate him.

[01:16:35] He is the winner.

[01:16:36] I'm not a fan.

[01:16:37] He's the winner of my 2016 Punch In The Dick Award.

[01:16:39] You have a lot of different awards.

[01:16:40] Yeah he's my new.

[01:16:41] Mumbley Award.

[01:16:42] If you see mumbles and murmurs.

[01:16:46] If you see Colin Trevor please punch him in the penis.

[01:16:49] Same to Alejandro Gonzalez in irritate.

[01:16:53] But he's gonna win.

[01:16:54] I mean.

[01:16:55] Boy I hope not.

[01:16:56] He might win.

[01:16:57] Yeah I think at this point I think we all need

[01:16:59] to start making our piece with the fact

[01:17:00] that in Yarri too and the Revenant

[01:17:01] are both winning.

[01:17:02] He's the emperor's new movie.

[01:17:03] You know it's like that's his whole thing is

[01:17:06] it's like oh these films will see I live in my,

[01:17:08] oh in the desert.

[01:17:09] It's cold.

[01:17:10] It's about to be.

[01:17:11] It's gonna be a struggle.

[01:17:12] And it's like the movie's about nothing.

[01:17:13] Both of those movies are about nothing.

[01:17:14] Birdman's about nothing.

[01:17:16] It's gonna be really great when Colin Trevor

[01:17:17] gets pulled off of episode nine.

[01:17:19] Only to be replaced with Alejandro Gonzalez in Yarri too.

[01:17:23] I am going to blow a few.

[01:17:27] Who do we all pick in this?

[01:17:28] For winner?

[01:17:29] Haines.

[01:17:30] Todd Haines for Carol.

[01:17:31] David.

[01:17:32] Olivier Assas.

[01:17:34] I thought we were gonna all link up in this.

[01:17:36] I go George Miller.

[01:17:37] I know it's most director.

[01:17:39] It is definitely most director.

[01:17:41] But I think that's the toughest film to pull off.

[01:17:42] I almost never don't pick my favorite movie

[01:17:44] the year for Best Director.

[01:17:46] I think, you know.

[01:17:46] Are you a hardliner for that?

[01:17:49] Shouldn't split.

[01:17:50] You know nine times out of 10.

[01:17:51] Not always.

[01:17:52] Well I guess that makes me a hardliner.

[01:17:54] Perhaps foreshadowing as we go on to Best Picture.

[01:17:56] Yes.

[01:17:57] Gentlemen are we gonna do this

[01:17:58] in any sort of ranked order or do we wanna-

[01:18:00] I have them ranked one to 10.

[01:18:02] Do you have them ranked one to 10?

[01:18:03] I have them ranked.

[01:18:04] Okay so let's start at 10.

[01:18:05] Okay.

[01:18:07] Number 10.

[01:18:08] Number 10 in Jackson Heights.

[01:18:10] Creed.

[01:18:13] I was on the cusp between two films for number 10 here

[01:18:16] and I'm gonna make just a last second choice

[01:18:18] to flip one out.

[01:18:19] What a terrible title for a movie.

[01:18:20] Number 10, Mustang.

[01:18:22] Mustangs good.

[01:18:23] Mustangs real good.

[01:18:24] Best foreign language home nominee.

[01:18:25] Number nine.

[01:18:26] Number nine, Mad Max Fury Road.

[01:18:28] Mistress America.

[01:18:30] Phoenix.

[01:18:31] Good choice.

[01:18:32] Number eight.

[01:18:33] Mistress America.

[01:18:34] Phoenix.

[01:18:35] Viko the treasure hunter.

[01:18:38] Number seven.

[01:18:38] Spotlight.

[01:18:39] Bridget Spies.

[01:18:40] Inside out.

[01:18:41] Number six.

[01:18:42] Steve Jobs.

[01:18:43] Inside out.

[01:18:44] Anomalysa.

[01:18:45] Number five.

[01:18:46] Room.

[01:18:48] Tangerine.

[01:18:48] Carol.

[01:18:49] Number four.

[01:18:50] Eden.

[01:18:51] Eden.

[01:18:52] Furious Seven.

[01:18:53] Eden's a great movie by the way,

[01:18:54] we haven't talked about it.

[01:18:54] We should, yeah it's really good.

[01:18:56] Number three.

[01:18:57] Curious Seven.

[01:18:58] Son of Saul.

[01:18:59] Mad Max Fury Road.

[01:19:00] Bridge of Spies.

[01:19:01] Number two.

[01:19:02] The look of silent.

[01:19:03] Carol.

[01:19:04] Tangerine.

[01:19:04] Number one.

[01:19:05] Carol.

[01:19:06] Files of Sills Maria.

[01:19:07] Mad Max Fury Road.

[01:19:08] There we go.

[01:19:09] That was easy for everyone to hear.

[01:19:11] Hurricane of Titles coming at ya.

[01:19:13] All of those movies are worth seeing.

[01:19:14] Yep.

[01:19:15] Yeah, David.

[01:19:16] We don't really disagree.

[01:19:17] David, talk to me about Eden.

[01:19:19] We really love that movie.

[01:19:20] I still haven't seen that.

[01:19:20] Eden's incredible.

[01:19:21] It's like a, is it three hours long?

[01:19:23] I don't think it's quite that long.

[01:19:24] It's like two hour 45 minute.

[01:19:26] Doesn't feel like it, I'll say that.

[01:19:28] Epic about the French house music scene

[01:19:30] in the 90s.

[01:19:32] Stretch is quite a long period of time.

[01:19:34] Like it's telling a long story.

[01:19:36] Very immersive, very kind of,

[01:19:39] it brings you through that history

[01:19:41] in a way that you'll remember,

[01:19:43] even if you were not into house music

[01:19:44] as I wasn't really.

[01:19:46] There's a great sort of atmospheric 90s-ness to it.

[01:19:51] Absolutely.

[01:19:52] It's about artistic expression and stasis.

[01:19:57] Yes.

[01:19:58] And how following your passions can be rewarding,

[01:20:02] but then can also be devastating to your life

[01:20:06] in a weird sort of quiet and slowly building kind of way?

[01:20:09] And this just constant wallpaper

[01:20:12] of this really fantastic music

[01:20:14] that will really sort of like,

[01:20:15] as you're going through there's like there's ennui

[01:20:17] and there's sort of indecisiveness as you were saying,

[01:20:19] but it just like this music sort of propels you

[01:20:21] from scene to scene in a way that's just,

[01:20:23] I was so happy after seeing that movie.

[01:20:26] Everyone in it is good.

[01:20:27] Felix de Givry who plays the lead actor,

[01:20:30] he'd be the runner up for me.

[01:20:32] Yeah, he was one of my runners up.

[01:20:34] It's Mia Hunson Love who's a great director.

[01:20:36] Everything she's made is worth checking out.

[01:20:38] Goodbye First Love is one of my favorite stars.

[01:20:40] I got to talk to them after I saw that movie

[01:20:42] at Toronto a couple years ago

[01:20:44] and it was one of my better experiences

[01:20:47] at that film festival.

[01:20:47] She's married to the director of your number one.

[01:20:49] She's married to Olivia SAS.

[01:20:51] I love both of them so much.

[01:20:53] They're a real power couple.

[01:20:55] And it's great anyway, so guys check out Eden.

[01:20:57] I have no idea how.

[01:20:59] I don't think it's on.

[01:20:59] It came out.

[01:21:00] Yeah, I bet you you'd probably have to like pay

[01:21:02] a few bucks to rent an Amazon or something like that.

[01:21:05] But it's clear out a few hours and sit down

[01:21:08] and be in such a cheapskate.

[01:21:09] Pay a little bit.

[01:21:10] It's a good movie to be trapped within a theater.

[01:21:12] It's a good movie you don't want to be distracted from.

[01:21:14] But go on, yeah.

[01:21:14] It's all about mood and slowly building that mood.

[01:21:16] Totally.

[01:21:17] I just want quickly because I picked in a few categories.

[01:21:19] I just want to throw a little spotlight

[01:21:20] because it also is on Netflix and Amazon Prime,

[01:21:22] I believe, Kamiko the Treacher Hunter, which I love.

[01:21:25] It's cool that we're moving.

[01:21:26] It is a film based on a urban legend

[01:21:29] that has existed for a long time

[01:21:31] about a Japanese woman who saw the movie Fargo

[01:21:34] and because at the beginning of the film

[01:21:35] it says based on true story,

[01:21:36] believes that there's actually this briefcase

[01:21:38] with the money buried in the snow

[01:21:40] and goes to Minnesota to try to find the briefcase.

[01:21:42] And it's a fascinating movie

[01:21:44] because it's like loosely based on a true story

[01:21:47] they didn't do any research into

[01:21:49] in the same way that Fargo is loosely based

[01:21:51] on urban legends they didn't do any research into.

[01:21:53] Yep.

[01:21:54] So it's a movie about movies

[01:21:55] and our relationship with movies

[01:21:57] from Kuchiki as my character.

[01:21:58] The year, the Zola Brothers,

[01:22:01] who I haven't seen in either of their films,

[01:22:02] I know they sort of have a solid reputation as

[01:22:04] indie brother.

[01:22:07] They're kind of the next coin brothers

[01:22:08] in a weird sort of way.

[01:22:09] So it's a lot of interesting layers to that movie.

[01:22:11] I love it.

[01:22:13] We didn't talk about Inside Out at all

[01:22:14] because I feel like everyone in America

[01:22:15] has talked about Inside Out.

[01:22:16] We all like Inside Out.

[01:22:17] It's a good movie.

[01:22:18] It's a real good movie.

[01:22:19] Phoenix we talked about.

[01:22:20] I'm looking through these.

[01:22:21] Carol we all love, we're all gaga about.

[01:22:23] Yeah.

[01:22:23] That's your winner.

[01:22:24] That's my number one.

[01:22:25] Yep.

[01:22:26] I think that as soon as I saw that movie

[01:22:28] I was like this is gonna be very, very hard

[01:22:30] to displace as my number one.

[01:22:31] It comes together.

[01:22:32] It's got all the elements.

[01:22:34] I'll say that the reason why Mad Max is my number one

[01:22:37] it's the opposite thing where every time I saw it

[01:22:40] it got better.

[01:22:41] I saw the first time I liked it.

[01:22:42] I saw it with you David.

[01:22:43] You invited me to a critic screening.

[01:22:44] Correct.

[01:22:45] And I had-

[01:22:46] It's where we came up with the Black Blank Check

[01:22:47] concept.

[01:22:48] Oh that's true.

[01:22:48] Yes.

[01:22:49] I came in like, I don't remember what was happening.

[01:22:50] You came in with like I have a sort of overarching theory

[01:22:53] of what our podcast is about.

[01:22:54] I also came in with Hives.

[01:22:55] I don't remember why it was happening.

[01:22:57] Oh no.

[01:22:57] I was itching the whole movie and my eyes were like

[01:23:00] I had a very difficult time physically watching it

[01:23:03] the first time in the movie and I was like this is great

[01:23:04] but I'm in an intense amount of discomfort.

[01:23:06] Very intense, it's an intense movie.

[01:23:07] And my whole body was burning.

[01:23:08] Yeah.

[01:23:09] So I saw it a second time.

[01:23:10] Saw those boils on the screen

[01:23:11] we're probably not doing much for you.

[01:23:14] Right.

[01:23:14] And I was like I know I think this movie is excellent.

[01:23:15] I gotta see a second time where my body

[01:23:17] is calm the fuck down.

[01:23:18] And I saw it a second time and it grew for me.

[01:23:19] I think I saw it four times in theaters.

[01:23:21] Wow.

[01:23:22] I just think it's a miracle movie.

[01:23:23] It doesn't make sense that it exists.

[01:23:25] It weirdly holds up on television.

[01:23:27] I saw it on HBO a little bit ago

[01:23:29] and I was surprised at how much I still was like super into it.

[01:23:32] It gets deeper for me every time.

[01:23:34] Every time I watch it when I'm more familiar with the world

[01:23:38] I'm able to focus on other elements

[01:23:39] and just see how fully realized

[01:23:41] every single choice in that film is

[01:23:43] towards building a world and towards

[01:23:45] sort of asking questions about the world that we live in.

[01:23:49] Reflects the world that we live in.

[01:23:51] Also it does a bang up job with like geography

[01:23:53] in terms of action and in terms of narrative

[01:23:56] and where things are going.

[01:23:56] You always know exactly where you are,

[01:23:59] where the characters are,

[01:23:59] where their pursuers are, all of that.

[01:24:01] I read an interview with him where he said

[01:24:03] because he knew how many cuts he was gonna have

[01:24:04] and how much movement he was gonna have

[01:24:06] within the frames that he always...

[01:24:08] This runs throughout the entire movie.

[01:24:10] The most important element is always dead center

[01:24:12] at the center of the frame.

[01:24:13] And if you watch it, it's like

[01:24:15] every frame is perfectly composed

[01:24:17] so that you know what your eyes

[01:24:18] are supposed to go to first.

[01:24:20] He's a smart guy.

[01:24:22] Tangerine I love.

[01:24:23] I talked about the performances

[01:24:25] but it's for those who don't know.

[01:24:26] That was just outside my top 10.

[01:24:27] Also on Netflix I believe.

[01:24:28] It is on Netflix.

[01:24:30] And it was shot entirely on an iPhone 5.

[01:24:32] Which I noticed for the entirety of the first scene

[01:24:35] and then not at all after that.

[01:24:37] I mean, it completely stopped.

[01:24:38] So well.

[01:24:39] I would even consider putting it in my

[01:24:41] cinematography nominees over something

[01:24:43] like The Revenant that's technically so accomplished.

[01:24:46] That's the one thing I like about that movie

[01:24:47] is the cinematography.

[01:24:49] But Tangerine...

[01:24:49] But it calls attention to itself

[01:24:50] in The Revenant so much.

[01:24:51] In a way that like Tangerine really

[01:24:53] just doesn't ask for that kind of applause.

[01:24:55] They make it to an aesthetic choice

[01:24:57] but also you see how the fact

[01:24:59] that they are shooting on an iPhone

[01:25:00] affects I think in a positive way

[01:25:02] the performances from all these

[01:25:03] non-professional actors.

[01:25:05] Where they're so much more comfortable on screen.

[01:25:07] They're able to get these amazing long takes

[01:25:09] where they're like walking down the streets

[01:25:10] of Hollywood and no one's stopping them

[01:25:12] because they don't have to lay out track.

[01:25:13] Sure.

[01:25:14] They don't have to block out lights.

[01:25:15] They're just following someone around

[01:25:16] with an iPhone.

[01:25:16] Yeah, it's a movie that has a sense of its city.

[01:25:18] Yeah.

[01:25:19] And obviously that gorilla filmmaking style

[01:25:21] probably helped with that.

[01:25:22] I talked to Sean Baker.

[01:25:23] Did you?

[01:25:24] Yeah, he's a wonderful guy

[01:25:26] and he was very interesting

[01:25:28] in terms of talking about micro budgeting

[01:25:31] and how he feels like...

[01:25:32] I can't remember.

[01:25:33] I wish I could remember the exact amount of days

[01:25:35] they shot for.

[01:25:35] It's something like two weeks.

[01:25:37] And he was saying like,

[01:25:38] micro budget movies these days

[01:25:39] they shoot for a week.

[01:25:40] You can't do that.

[01:25:41] Everyone's bad the first four days.

[01:25:43] Essentially the way you put it.

[01:25:44] You need like this cushion

[01:25:45] because everyone sucks at acting

[01:25:48] and they don't know what to do.

[01:25:49] And then like after a few days

[01:25:50] it's fine and then you're good.

[01:25:52] So he had a lot of insights.

[01:25:54] He's been doing this for a long time.

[01:25:56] Smart guy, great movie.

[01:25:57] He also created Greg the Bunny.

[01:25:59] Where's that from?

[01:26:00] Many years ago.

[01:26:00] He's had a weird career.

[01:26:02] But it's a phenomenal film

[01:26:03] and I think announces the arrival

[01:26:05] of like a major, major director

[01:26:06] who I think is going to do

[01:26:07] incredible stuff going forward.

[01:26:08] But the film is about two

[01:26:11] transsexual prostitutes...

[01:26:12] Two friends.

[01:26:13] ...in Hollywood.

[01:26:13] The two...

[01:26:14] Not the two friends,

[01:26:14] but they are two friends.

[01:26:15] Two friends.

[01:26:16] One of them gets out of jail

[01:26:17] and finds out that her boyfriend

[01:26:18] who is also her pimp

[01:26:19] has been seeing another woman

[01:26:20] and the whole movie takes place

[01:26:21] on Christmas Eve with them

[01:26:22] trying to find the woman

[01:26:24] and the pimp and make him...

[01:26:25] I like that we have another Christmas movie

[01:26:26] where it can be like Christmas movie.

[01:26:28] Yeah.

[01:26:28] Tangerine's a Christmas movie.

[01:26:29] It goes into that Greek category

[01:26:30] of like Die Hard

[01:26:31] and all the Uncommissioned

[01:26:32] Christmas movies.

[01:26:33] And Iron Man 3,

[01:26:34] the best Christmas film.

[01:26:36] Which takes place all in one day

[01:26:37] from what I understand.

[01:26:38] God damn it.

[01:26:39] God damn it.

[01:26:41] Love it.

[01:26:42] Love that movie.

[01:26:43] Mustang Just Made It is my 10.

[01:26:45] I previously had written down

[01:26:46] when I locked this list

[01:26:47] like a month ago.

[01:26:48] Sean The Sheep movie.

[01:26:50] I liked Sean The Sheep movie.

[01:26:51] Which is an entirely silent film.

[01:26:53] And I think deserves major props

[01:26:55] for being...

[01:26:56] Having less dialogue than the artist did.

[01:26:58] Yeah.

[01:26:58] Because it doesn't even have

[01:26:59] intertitles.

[01:27:00] It doesn't have a single spoken line

[01:27:01] in it and it's just a very,

[01:27:02] very simple story that I think

[01:27:04] kind of ends up being

[01:27:06] a little profound about our places

[01:27:08] in the world.

[01:27:09] About learning to accept who you are.

[01:27:11] Yeah.

[01:27:12] And where you are rather than

[01:27:13] dreaming big.

[01:27:15] Great movie.

[01:27:16] Mustang also phenomenal.

[01:27:17] Yeah.

[01:27:18] I need to see that one.

[01:27:18] That would be my best foreign film

[01:27:19] winner.

[01:27:21] Animated...

[01:27:22] It would be Phoenix.

[01:27:23] Oh yeah.

[01:27:24] That'd be my number two.

[01:27:24] Mine would be Son of Saul,

[01:27:25] but I think they're all up there.

[01:27:27] Animated film for me this year

[01:27:28] that category is the most stacked.

[01:27:31] Really?

[01:27:31] You think so?

[01:27:32] Yeah.

[01:27:32] Because I think I mean...

[01:27:33] I like Sonoma Lisa.

[01:27:34] Well, yeah.

[01:27:34] I love Sonoma Lisa.

[01:27:35] I have a lot of time living,

[01:27:36] filling out my top five for that.

[01:27:37] Inside Out.

[01:27:38] I love Sean The Sheep movie.

[01:27:40] Yeah.

[01:27:40] You're a big fan of that one.

[01:27:41] Yeah.

[01:27:41] I've been very outspoken

[01:27:43] in my support of Hotel Transylvania 2.

[01:27:45] You have.

[01:27:46] While not living up to the

[01:27:47] heights of the original.

[01:27:48] Of course.

[01:27:48] Still is probably the most

[01:27:50] accomplished piece of animation

[01:27:51] this year.

[01:27:52] Yeah.

[01:27:52] From an animation standpoint

[01:27:53] alone, it's the best work in the

[01:27:55] medium.

[01:27:55] I just saw when Marnie was there,

[01:27:57] the Studio Ghibli movie.

[01:27:58] Great to see that.

[01:27:58] I quite liked that.

[01:27:59] Need to watch that.

[01:28:00] It's good.

[01:28:01] So I gotta ask guys,

[01:28:02] we're getting down to

[01:28:04] about an hour and a half.

[01:28:05] OK.

[01:28:05] So I think we should...

[01:28:06] We've done our major categories.

[01:28:07] Yeah.

[01:28:07] I think we should kind of wrap it

[01:28:08] up.

[01:28:09] I don't know if you want to hit

[01:28:10] some of the other categories

[01:28:11] or just what are our thoughts?

[01:28:13] I mean here's a thing that I

[01:28:14] just assume we're all on the

[01:28:15] same page about.

[01:28:16] Yeah.

[01:28:16] Best score of the year,

[01:28:17] Carter Burwell for Carol.

[01:28:19] Right?

[01:28:19] 100%.

[01:28:19] Although there have been some

[01:28:21] really good scores this year.

[01:28:22] Agreed.

[01:28:22] I will say.

[01:28:23] I was going to say,

[01:28:24] what are some favorite scores

[01:28:25] that people have?

[01:28:26] Disaster piece for it follows.

[01:28:28] That score is terrifying.

[01:28:30] So good.

[01:28:31] We're going to be listening to

[01:28:32] that score in movie trailers

[01:28:33] and in like montages

[01:28:35] and stuff like that for a long,

[01:28:36] long time.

[01:28:36] It follows like a top 20

[01:28:38] movie for me that year.

[01:28:39] Great, great movie.

[01:28:40] I really like

[01:28:42] Johann Johansson's incredibly

[01:28:44] nominated score for Sicario.

[01:28:46] I can't believe the Oscars

[01:28:47] went for that because

[01:28:47] it is all just like rumbles

[01:28:50] and twanging.

[01:28:52] Yeah, atonal bangs.

[01:28:54] But that's a really cool moody score.

[01:28:56] I think Daniel Pemberton's score

[01:28:58] for Steve Jobs, which I listen to

[01:28:59] over and over.

[01:29:00] I like it.

[01:29:00] I like it a lot.

[01:29:01] Very impressive,

[01:29:03] even though it's very over the top

[01:29:05] and obviously the guy's the movie.

[01:29:06] Danny Boyle leans on it

[01:29:07] a couple of times when you're

[01:29:08] just like Danny.

[01:29:09] He leans on his music.

[01:29:10] He I mean Boyle likes

[01:29:11] to lean on his music.

[01:29:12] You know, Sunshine has

[01:29:13] a very overbearing score

[01:29:14] that's great.

[01:29:14] Oh, one of my favorites.

[01:29:15] And now he's using every

[01:29:17] single trailer.

[01:29:17] Yeah, 28 days later.

[01:29:20] Twenty eight days later.

[01:29:21] I slumped up million

[01:29:21] are obviously the music's really

[01:29:23] crucial.

[01:29:25] I think our short spotlight

[01:29:26] score is fantastic.

[01:29:27] Phenomenal would be my five.

[01:29:28] No, someone who's just watched a ton

[01:29:30] of Cronenberg movies.

[01:29:32] Yeah, Howard Shore is the best.

[01:29:33] That's so much range.

[01:29:34] What a chameleon. Lord of the Rings.

[01:29:36] Like you can do anything.

[01:29:37] He was the original music director

[01:29:38] on Saturday Night Live.

[01:29:39] That guy's had an insane,

[01:29:41] amazing, insane varied career.

[01:29:42] Yeah, we got some good scores

[01:29:43] out of movies that I feel like

[01:29:44] were really small.

[01:29:45] Did you either of you see Z for

[01:29:47] Zachariah? No movie with

[01:29:49] Mark O'Roby and Shawetha

[01:29:50] Ledgifor. Really good score there.

[01:29:52] Heather Macintosh was the composer.

[01:29:54] A little chaos, the Alan

[01:29:56] Rickman directed movie with Kate

[01:29:57] Winslet. I know.

[01:29:59] Score by Peter Gregson.

[01:30:00] That's really good.

[01:30:01] Go out and listen to that.

[01:30:02] And then Junkie XL, who was

[01:30:04] nominated for Mad Max,

[01:30:06] also did the score for the

[01:30:07] Point Break remake.

[01:30:08] And that's not a great movie,

[01:30:09] but that is a good score.

[01:30:10] Hey, good point because I want

[01:30:12] to spotlight.

[01:30:13] I would nominate Point

[01:30:14] Break for best cinematography.

[01:30:16] It's got some elements.

[01:30:18] I didn't see that movie because

[01:30:19] I value my sanity and time.

[01:30:21] Yeah, you're smart because life is

[01:30:22] finite and at some point we die.

[01:30:24] It is true, except I would also

[01:30:26] say that Edgar Ramirez could

[01:30:28] have good chemistry with a man,

[01:30:30] a woman or a pile of leaves on

[01:30:32] the floor.

[01:30:33] He's great.

[01:30:34] I mean he's so charming and

[01:30:35] magnetic in everything and in

[01:30:37] this especially.

[01:30:38] He's a bit of a confusing element

[01:30:39] in Joy.

[01:30:41] He is. Well, he's not used very

[01:30:42] well. No, he is not.

[01:30:43] But what is in Joy?

[01:30:45] Joy is a bit of a confusing element.

[01:30:47] The mop is actually used very well.

[01:30:49] Well, yeah, the mop's great.

[01:30:50] And I'm fucking like saying

[01:30:51] should be called mop.

[01:30:53] Yeah.

[01:30:54] Do you want to say some?

[01:30:56] Well, I was just going to say

[01:30:57] pop the show on point break was

[01:30:58] directed by a cinematographer

[01:31:00] and it definitely shows.

[01:31:02] Yeah, because it's gorgeous

[01:31:04] looking. I saw in 3D.

[01:31:05] It's one of the only good uses

[01:31:06] of 3D I've seen in years.

[01:31:08] It was actually sort of immersive

[01:31:09] and astounding. They went to all

[01:31:10] these real locations, crazy

[01:31:11] places in the earth.

[01:31:13] But movie movie sucks.

[01:31:14] Otherwise, though, another

[01:31:16] cinematography nominee I'd want to

[01:31:17] spotlight is Magic Mike XXL.

[01:31:18] Great. Soderbergh himself.

[01:31:20] Soderbergh as Peter Andrews

[01:31:21] pretending to be a different person.

[01:31:23] The man can light.

[01:31:25] He lights things well.

[01:31:26] One scene that jumps out to me

[01:31:27] is the one where Chanteta

[01:31:29] meets on the beach.

[01:31:31] Never heard on the beach and it's

[01:31:32] all done. No, her name is What's

[01:31:34] Her Name? Yes. What's her name?

[01:31:35] She is a professional What's Her

[01:31:36] Name. Yeah.

[01:31:37] She's so bad in the day.

[01:31:38] But it's all done with moonlight

[01:31:39] and you can so terrible.

[01:31:40] Oh, I mean Top 5 Worst

[01:31:42] Performed. She would ruin the Danish

[01:31:43] girl if it was terrible.

[01:31:45] Yes. Yeah, I think she's getting off

[01:31:47] easy because everything else in the

[01:31:48] movie is so bad.

[01:31:49] But that's a terrible.

[01:31:50] But also it's just a triumph of

[01:31:51] terrible casting. Why do you cast

[01:31:52] why do you cast her?

[01:31:53] That's strange. Do you know what

[01:31:54] Tom Hooper said?

[01:31:55] Because Johnny Depp called him and

[01:31:56] was like, will you cast her?

[01:31:57] In an interview, Tom Hooper said,

[01:31:58] I cast her because I was trying

[01:31:59] to think of someone who was just

[01:32:00] so feminine and could represent

[01:32:02] femininity.

[01:32:03] Tommy, what are you talking

[01:32:05] about? What are we talking

[01:32:06] about here?

[01:32:08] But yes, Magic Mike XXL,

[01:32:10] the scene with What's Her Name

[01:32:12] on the Beach.

[01:32:13] It's all done with moonlight.

[01:32:14] Like a cool thing that fucking

[01:32:15] Soda Burke isn't afraid to do is

[01:32:16] just have scenes be dark if in

[01:32:18] real life those people would not

[01:32:20] be able to see each other.

[01:32:21] It was interesting that he lit

[01:32:22] Jada Pinkett's mansion as if it

[01:32:24] were an episode of True Blood.

[01:32:25] Loved it. All red.

[01:32:26] Me too. Love the mansion scene.

[01:32:27] Crushed Reds.

[01:32:29] Loved it.

[01:32:30] Yeah, good cinematography this

[01:32:32] year for me, you know, pretty

[01:32:33] obvious. Ed Lachman.

[01:32:34] Yeah, he's my number one.

[01:32:35] John Seal for Mad Max

[01:32:38] Fur Road.

[01:32:39] Star Wars, The Force Awakens.

[01:32:41] I want to follow that movie.

[01:32:42] Didn't get nomination.

[01:32:43] I think they were able to somehow

[01:32:45] make a movie that looks like

[01:32:46] Star Wars without trying to look

[01:32:48] like the old movies.

[01:32:49] Yeah, they came with a new visual

[01:32:51] language because the film does

[01:32:52] look different than the originals,

[01:32:54] but that represents the feeling

[01:32:55] of Star Wars. A tough task.

[01:32:57] I am rooting for Roger Deacon

[01:32:59] to win for Sicario.

[01:33:00] He just needs to fucking get

[01:33:01] an Oscar. He's so good.

[01:33:02] He should be our lean outer to

[01:33:03] Caprio this year. Just let's

[01:33:05] just give it to him.

[01:33:06] He's probably not going to win.

[01:33:07] He's probably not going to win.

[01:33:08] He's fucking Chivo is going to win again. Of course.

[01:33:09] He's great.

[01:33:10] Lubezki is great.

[01:33:11] Let's stop calling him Chivo.

[01:33:13] Yeah, I know you did that ironically.

[01:33:14] Yeah, we're not young.

[01:33:15] Friends of Janusz is great.

[01:33:17] Mr. Pool light himself for

[01:33:18] Bridgespies. That's great.

[01:33:20] Thomas Newman's work for Bridgespies

[01:33:22] talk about score as well.

[01:33:23] I love a Thomas Newman's.

[01:33:24] It's his first.

[01:33:25] It's one of two Spelark films

[01:33:28] not scored by Williams.

[01:33:30] Three and that's

[01:33:33] a trivia question.

[01:33:34] I'm waiting to show up at some point.

[01:33:35] Sugarland Express and

[01:33:37] and Color Purple was Quincy

[01:33:38] John.

[01:33:39] But I love John Williams.

[01:33:41] I actually, despite saying some

[01:33:42] previously harsh things on past

[01:33:44] episodes, I've been re-listening to

[01:33:46] the Star Wars score a lot now and

[01:33:47] really think it's great now.

[01:33:48] It's come around for me.

[01:33:50] But I think Creed works in a

[01:33:52] similar way.

[01:33:53] A great score. Excellent score.

[01:33:54] Very underrated.

[01:33:55] And incorporating new themes and

[01:33:57] matching them up really, really

[01:33:58] well. But it's just exciting to

[01:33:59] see Spelark work the new

[01:34:01] composer and vice versa.

[01:34:02] And Thomas Newman did like a

[01:34:03] really great classic old Hollywood

[01:34:05] score in that way.

[01:34:07] I hated Thomas Newman's score in

[01:34:08] Bridger Spies. It's the one thing

[01:34:09] that doesn't work for me in the

[01:34:10] movie.

[01:34:11] I didn't love it.

[01:34:12] Yeah, that movie needed a

[01:34:13] John Williams score.

[01:34:14] That's my jam.

[01:34:15] It's a huge bummer that John

[01:34:16] Williams didn't score that movie.

[01:34:17] No, I love that score.

[01:34:19] Ben, anything you want to throw

[01:34:21] out? You have a notepad in

[01:34:22] front of you.

[01:34:23] Yes, I do.

[01:34:24] I came up with some categories.

[01:34:27] Let's run through them.

[01:34:28] Yeah.

[01:34:29] Yeah.

[01:34:30] Is that why you wrote sexy?

[01:34:31] Nice.

[01:34:32] That's sexy.

[01:34:33] Ben's flipping over to a second

[01:34:34] page of notes now.

[01:34:36] Yeah, a lot of notes.

[01:34:37] OK, so let's just start with

[01:34:39] best location.

[01:34:40] OK.

[01:34:41] I think Steve Jobs

[01:34:44] really used the space.

[01:34:47] I agree with you.

[01:34:48] I don't even know if you're being funny.

[01:34:49] I can't tell.

[01:34:50] I don't know which side this

[01:34:52] coin is going to land on.

[01:34:53] I also thought room.

[01:34:55] I mean, that's just the good room.

[01:34:56] That just makes sense.

[01:34:57] See once again a funny joke but also

[01:34:59] correct.

[01:35:00] I don't know.

[01:35:01] Yeah, sure.

[01:35:02] And hatefully, I mean, again, kind of one

[01:35:04] space but you're just talking about

[01:35:06] places that are set inside.

[01:35:07] But he's also correct.

[01:35:08] All of his movies used to be locationable.

[01:35:10] Well, I got The Martian for you.

[01:35:13] Oh, Mars.

[01:35:15] Yeah, it's another planet.

[01:35:16] OK.

[01:35:17] We didn't use to see that.

[01:35:18] That's sort of like how Ben looks so proud.

[01:35:20] We didn't talk about The Martian.

[01:35:21] The Martian is good.

[01:35:22] It's good. Good movie.

[01:35:23] The Martian is the perfect number 10

[01:35:24] through 20 movie in like almost

[01:35:26] everything.

[01:35:27] Made me 21 for me but a lot of fun.

[01:35:28] Yes.

[01:35:29] Great ensemble cast.

[01:35:30] Good popcorn entertainment.

[01:35:31] The Martian.

[01:35:32] Glad it made all that money.

[01:35:34] Yes.

[01:35:35] I agree.

[01:35:36] Yeah, that's nice for America.

[01:35:37] As is Ridley Scott because that's all

[01:35:38] he could talk about during his

[01:35:39] Golden Globes acceptance speech.

[01:35:40] Yeah, right.

[01:35:41] That was great.

[01:35:42] Love Ridley Scott.

[01:35:43] And let's just all acknowledge

[01:35:44] that movie is so funny.

[01:35:45] The Martian is such a good comedy.

[01:35:46] All right.

[01:35:47] Enough, enough, enough.

[01:35:48] He makes a poo poo.

[01:35:49] Yeah.

[01:35:50] The foods.

[01:35:51] Couldn't stop laughing.

[01:35:52] Ah.

[01:35:53] Ben, other categories here?

[01:35:54] Oh, yeah.

[01:35:55] Or is there another nominee in that category?

[01:35:56] Well, then just Revenant

[01:35:57] for location.

[01:35:58] Best Revenant?

[01:35:59] Oh, OK.

[01:36:00] Actually, there are some movies

[01:36:01] with good locations we should

[01:36:02] talk about.

[01:36:03] I want to expand on him.

[01:36:04] The House and Ex Machina?

[01:36:05] The House and Mistress America,

[01:36:06] actually.

[01:36:07] Yes.

[01:36:08] The House and Ex Machina and the

[01:36:09] House and, yeah, which is in

[01:36:10] Norway and the House and Mistress

[01:36:11] America in Greenwich, Connecticut.

[01:36:12] Those are two great answers.

[01:36:13] Donut Time and Tangerine.

[01:36:14] Donut Time and Tangerine,

[01:36:15] which is a real place.

[01:36:16] You've got that crazy place

[01:36:17] under the bridge and it follows

[01:36:18] where he ties her to the chair.

[01:36:19] That's a scary location.

[01:36:20] The fucking opera house in Rogue

[01:36:21] Nation.

[01:36:22] Let's talk about Black Hat,

[01:36:23] that crazy end sequence where

[01:36:24] they're going to be

[01:36:25] playing the game of the

[01:36:26] game of the game.

[01:36:27] And then, you know,

[01:36:28] the game of the game of the

[01:36:29] game of the game of the

[01:36:30] game of the game.

[01:36:31] Let's talk about Black Hat,

[01:36:32] that crazy end sequence where

[01:36:33] they're in like Malaysia or

[01:36:34] something.

[01:36:35] Do you love Black Hat Joe?

[01:36:36] Because this is a very pro

[01:36:37] Black Hat podcast.

[01:36:38] No, I'm not.

[01:36:39] I didn't love Black Hat.

[01:36:40] You and I have talked about how

[01:36:41] much we love Viola Davis in

[01:36:42] my life.

[01:36:43] In my 6 through 10.

[01:36:44] She's in my 6 through 10

[01:36:45] supporting actress.

[01:36:46] She's really good.

[01:36:47] Weaving gold out of nothing.

[01:36:48] Yes.

[01:36:49] Out of absolutely nothing.

[01:36:50] Crimson Peak, the most

[01:36:51] haunted house in the world.

[01:36:52] If there's any one Oscar

[01:36:53] nomination that didn't happen

[01:36:54] that I'm saddest about,

[01:36:55] it's an art direction

[01:36:56] production design for

[01:36:57] Crimson Peak.

[01:36:58] That's Art Direction,

[01:36:59] that's the point of that movie.

[01:37:00] It is.

[01:37:01] That's entirely the point of

[01:37:02] that movie.

[01:37:03] Ben, further categories?

[01:37:04] Yeah.

[01:37:05] Okay.

[01:37:06] So David mentioned, yes, I

[01:37:07] wrote sexyist down.

[01:37:08] And so this is an interesting

[01:37:09] category where some of the

[01:37:10] entries I feel like are

[01:37:11] sexist and others are kind of

[01:37:12] sexy.

[01:37:13] We're both.

[01:37:14] Sexiest.

[01:37:15] Ben's always playing two

[01:37:16] angles at once.

[01:37:17] He's got 50 shades of gray.

[01:37:18] I mean, sort of sexy, but

[01:37:19] also kind of like, I found

[01:37:20] that movie not very sexy.

[01:37:21] I find one scene sexy

[01:37:22] and I'm like, I'm like,

[01:37:23] I'm like, I'm like, I'm

[01:37:24] like, I'm like, I'm like,

[01:37:25] I'm like, I'm like, I'm

[01:37:26] like, I'm like, I'm like,

[01:37:27] I'm like, I'm very sexy.

[01:37:28] I find one scene sexy and it's

[01:37:29] a scene where they're

[01:37:30] negotiating the terms of the

[01:37:31] contract.

[01:37:32] That's the best scene in the

[01:37:33] past.

[01:37:34] And then Jurassic World.

[01:37:35] It's sexist.

[01:37:36] Yeah.

[01:37:37] Oh yeah.

[01:37:38] Movie doesn't like women.

[01:37:39] It's got that going for it.

[01:37:40] Yeah, it's got that going

[01:37:41] for it.

[01:37:42] And then entourage.

[01:37:43] Yeah.

[01:37:44] I think I know which side

[01:37:45] that falls on.

[01:37:46] Yep.

[01:37:47] But then you got Carol.

[01:37:49] Ooh.

[01:37:50] No comment.

[01:37:52] Carol.

[01:37:53] Okay.

[01:37:54] Oh, sorry.

[01:37:55] What's going on?

[01:37:56] Okay.

[01:37:57] So that was that's another one of

[01:37:58] my original categories.

[01:37:59] The good original category.

[01:38:00] How about the Duke of Burgundy

[01:38:02] for sexiest movie?

[01:38:04] I'm so fucking crazy.

[01:38:05] Really good movie.

[01:38:06] Crazy, crazy movie.

[01:38:07] Magic Mike XXL.

[01:38:08] Legit as shit.

[01:38:09] Legit as shit.

[01:38:10] As I said, Edgar Ramirez

[01:38:11] in White Break.

[01:38:12] You know what movie is

[01:38:13] fucking sexy?

[01:38:14] But Creed.

[01:38:15] Yeah.

[01:38:16] It's a sexy movie.

[01:38:17] Ooh, those are some sexy

[01:38:18] young actors.

[01:38:19] They got some nice

[01:38:20] sex scenes.

[01:38:21] Very brief little sex.

[01:38:22] Yep.

[01:38:23] Shy Rack is really sexy.

[01:38:24] It is.

[01:38:25] Very sexy.

[01:38:26] That bridge is so fucking

[01:38:27] well designed.

[01:38:28] I'm trying to think.

[01:38:29] You know it's a sexy looking

[01:38:30] movie that I forgot to mention

[01:38:31] in cinematography and location?

[01:38:32] Slow West, one of the most

[01:38:33] suck movies.

[01:38:34] The way that movie works.

[01:38:35] That's a great western that

[01:38:36] everyone should see starring

[01:38:37] Mr. Michael Fassbender

[01:38:38] and Cody Smith McPhee

[01:38:39] and Ben Mendelsohn.

[01:38:40] What a nice group of guys.

[01:38:41] What a good group of guys.

[01:38:42] Good bunch of guys.

[01:38:43] And a young lady who

[01:38:44] I think I didn't know.

[01:38:45] She's good in that.

[01:38:46] But she's really good.

[01:38:47] She was like a more unknown

[01:38:48] actress.

[01:38:49] I'm going to have to find

[01:38:50] her name.

[01:38:51] Yeah, check out Slow Out.

[01:38:52] I'm going to go to

[01:38:53] the next one.

[01:38:54] I'm going to have to find her name.

[01:38:55] Yeah, check out Slow West.

[01:38:56] Very, very good.

[01:38:57] Ben?

[01:38:58] Okay.

[01:38:59] Now you're going to have

[01:39:00] to bear with me on this one

[01:39:01] guys.

[01:39:02] This one's a little

[01:39:03] complicated.

[01:39:04] Bear with you.

[01:39:05] What are you?

[01:39:06] The Revenant?

[01:39:07] Okay.

[01:39:08] So I felt like

[01:39:09] initially I was thinking

[01:39:10] like best remakes.

[01:39:11] Okay.

[01:39:12] Because there's like a lot

[01:39:13] of films that aren't even

[01:39:14] necessarily remakes like

[01:39:15] Point Break but like

[01:39:16] continuing with whatever

[01:39:17] the series.

[01:39:18] Like reboots.

[01:39:19] Like dormant franchises.

[01:39:20] But then I started thinking

[01:39:21] what would be more interesting

[01:39:22] films that would be

[01:39:23] remade where babies, animals

[01:39:24] or puppets are replacing all

[01:39:25] the actors?

[01:39:26] What?

[01:39:27] Your category is films that

[01:39:28] should be remade with babies,

[01:39:29] animals or puppets.

[01:39:30] Yeah.

[01:39:31] Okay.

[01:39:32] Then I specified what kind of

[01:39:33] thing.

[01:39:34] Okay.

[01:39:35] So you'll tell us which of

[01:39:36] the three it falls under.

[01:39:37] Okay.

[01:39:38] So spotlight clearly puppets

[01:39:39] just because of the nature

[01:39:40] of the film.

[01:39:41] Ben's face is red with pride

[01:39:42] right now.

[01:39:43] You know what?

[01:39:44] You don't want to

[01:39:45] you don't want to recast

[01:39:46] spotlight with babies.

[01:39:47] No, absolutely not.

[01:39:48] No, you can't do babies

[01:39:49] with puppets.

[01:39:50] That's very much.

[01:39:51] And animals are great actors.

[01:39:52] You need craft in order to pull

[01:39:53] off the roles in spotlight.

[01:39:54] Okay.

[01:39:55] Okay.

[01:39:56] So spotlight with puppets,

[01:39:57] that's one.

[01:39:58] The room animals?

[01:39:59] I think that would kind of

[01:40:00] liven that up a little bit.

[01:40:01] Well, you don't want to let

[01:40:02] the animals outside.

[01:40:03] Yeah.

[01:40:04] You know, you just want to

[01:40:05] keep them in a room.

[01:40:06] Exactly.

[01:40:07] It just feels more natural

[01:40:08] that way.

[01:40:09] Of course.

[01:40:10] Right?

[01:40:11] Hatefully, I thought fruit.

[01:40:12] So you just established

[01:40:13] one of three things

[01:40:14] and then now we're breaking

[01:40:15] all the rules.

[01:40:16] So you're going to

[01:40:17] have to do something

[01:40:18] about the role of

[01:40:19] the puppet.

[01:40:20] I'm breaking all the rules.

[01:40:21] I threw fruit into because

[01:40:22] I just thought that would be

[01:40:23] fun.

[01:40:24] Like fruits just sitting there

[01:40:25] and then people are talking

[01:40:26] like, you know.

[01:40:27] Then they all get like

[01:40:28] shot and they explode.

[01:40:29] Yeah.

[01:40:30] You know, a pulpy mess.

[01:40:31] There goes that cantaloupe

[01:40:32] just everywhere.

[01:40:33] Yeah, I was chanting

[01:40:34] tandem.

[01:40:35] He was a cantaloupe.

[01:40:36] Credit where credit is due.

[01:40:37] You never see it coming.

[01:40:38] Spoiler.

[01:40:39] Credit where credit is due.

[01:40:40] I thought you were going to

[01:40:41] go hatefully babies and I

[01:40:42] was going to be really

[01:40:43] on board with that.

[01:40:44] Fruit isn't even

[01:40:45] better choice.

[01:40:46] I want to see what

[01:40:47] would Michael Mazdin be?

[01:40:51] A star.

[01:40:52] A star fruit.

[01:40:53] A star fruit.

[01:40:54] No, he doesn't have the star

[01:40:55] power in that.

[01:40:56] But if anybody.

[01:40:57] Star off is a Kiwi.

[01:40:58] Sam Jackson's a star fruit.

[01:40:59] Yeah, you're right.

[01:41:01] You're right.

[01:41:02] I got to hear two more.

[01:41:05] Yeah, so it's a real

[01:41:06] throw up on this one.

[01:41:07] I don't know.

[01:41:08] It's a vomit.

[01:41:09] By the way,

[01:41:10] Ben just vomited on his

[01:41:11] little pebble.

[01:41:12] It's a real bag of vomit.

[01:41:13] Go ahead, Ben.

[01:41:14] So I wasn't sure for babies.

[01:41:16] I wanted to go for

[01:41:17] either Steve Jobs

[01:41:19] or Steve Jobs.

[01:41:20] Okay.

[01:41:21] Okay.

[01:41:22] Babies in business wear is

[01:41:23] always cute.

[01:41:24] Always cute.

[01:41:25] A lot of memorization

[01:41:26] of dialogue though for a baby.

[01:41:27] I love the idea of babies

[01:41:29] sitting in a control room

[01:41:30] like a NASA room

[01:41:32] for like the Martian.

[01:41:33] I think that's a better

[01:41:34] pet.

[01:41:35] I think that's the way to go.

[01:41:36] So you can call it

[01:41:37] Martian babies.

[01:41:38] Oh my gosh.

[01:41:39] Plus babies,

[01:41:40] a lot of poop so

[01:41:41] those potatoes would be

[01:41:42] growing like crazy.

[01:41:43] They'll have potatoes

[01:41:44] like crazy.

[01:41:45] And is there a fifth

[01:41:46] nominee?

[01:41:47] No.

[01:41:48] I think I hit them all.

[01:41:49] Great.

[01:41:50] Yeah.

[01:41:51] So just one more.

[01:41:52] Your category was

[01:41:53] movies that would be better

[01:41:55] if they were remade with babies,

[01:41:57] puppets or animals.

[01:41:59] And then I also added fruit.

[01:42:00] And added fruit.

[01:42:01] Right.

[01:42:02] So there are only four

[01:42:03] nominees and you didn't

[01:42:04] include fruit in the title

[01:42:05] of the category.

[01:42:06] All right.

[01:42:07] Let's move on.

[01:42:08] Okay.

[01:42:09] Great.

[01:42:10] You know what I was doing.

[01:42:11] We got it.

[01:42:12] We all heard.

[01:42:15] You're the poet laureate.

[01:42:16] You played by your own rules.

[01:42:17] Oh, and honorable mention

[01:42:18] to concussion.

[01:42:19] We're exposing to the world about

[01:42:21] the honorable mention.

[01:42:22] Just gets an honorable mention.

[01:42:23] NFL being

[01:42:25] evil.

[01:42:26] Anything you've got a category

[01:42:27] called um no thank you.

[01:42:28] Oh, I also have one favorite

[01:42:30] bit title.

[01:42:31] Your burnt.

[01:42:34] Is that like a lifetime

[01:42:35] achievement award for like a

[01:42:37] lifetime of your burnt?

[01:42:39] It could be.

[01:42:40] I mean,

[01:42:41] I'm going to be able to

[01:42:42] reference that.

[01:42:43] Yeah.

[01:42:44] And make a great bit out of it

[01:42:45] for years to come.

[01:42:47] Um, can we end on um no thank

[01:42:49] you.

[01:42:50] I just need to hear what that is.

[01:42:51] Yeah.

[01:42:52] Well, it's just movies that I

[01:42:53] didn't see and I was not

[01:42:55] interested in.

[01:42:56] I heard about them and I was

[01:42:57] like, no thank you.

[01:42:58] As we were talking about them,

[01:42:59] you were just like, yeah, no.

[01:43:00] I want to hear the list, but

[01:43:01] at the end of each movie you

[01:43:02] read off, you have to

[01:43:03] deliver an um no thank you.

[01:43:05] Okay.

[01:43:06] So the nominees for Ben

[01:43:07] Hosley's 2016 um no thank

[01:43:09] you award for indifference

[01:43:11] in 2015 are

[01:43:13] Well, we have black mass.

[01:43:15] Um, no thank you.

[01:43:17] Dude looks gross.

[01:43:18] Like that was just like what is

[01:43:20] going on with this make up?

[01:43:21] It's terrible.

[01:43:22] All right.

[01:43:23] And I just didn't want to watch

[01:43:24] it.

[01:43:25] I agree.

[01:43:26] Um, I saw it and I regret it.

[01:43:27] Crimson Peak.

[01:43:28] Uh, no thank you.

[01:43:29] I liked Crimson Peak.

[01:43:31] It just seems like a boring

[01:43:33] horror movie.

[01:43:34] It's all boring.

[01:43:36] It's not untrue.

[01:43:37] It's good.

[01:43:38] Okay.

[01:43:39] Trumbo.

[01:43:40] Uh, no thanks.

[01:43:41] Good call.

[01:43:42] I think any of us could really

[01:43:43] I don't want to watch a movie about

[01:43:45] a screenwriter.

[01:43:46] Unless it's Bob Lomandel.

[01:43:50] That was venomous.

[01:43:51] Oh, I would see a Bob Lomandel

[01:43:52] movie in a second.

[01:43:53] Just Bob Lomandel not a little

[01:43:54] Gans.

[01:43:55] Get Bob Lomandel.

[01:43:56] And we I would see only

[01:43:58] Scott Alexander, not Larry

[01:44:00] Karashu's hero.

[01:44:01] Who played Bob Lomandel?

[01:44:03] Goodman?

[01:44:04] Goodman.

[01:44:05] Oh my God.

[01:44:06] The role of Goodman's life.

[01:44:08] That sounds good.

[01:44:09] Okay.

[01:44:10] I think Ben still got two more.

[01:44:11] No thank you.

[01:44:12] We have the intern.

[01:44:13] Uh, yeah.

[01:44:14] No thanks.

[01:44:15] That was a twisty because you said,

[01:44:17] yeah, like you're going to like it,

[01:44:18] but it's a no.

[01:44:19] No, that looks like garbage.

[01:44:22] Bob Lomandel looks like a young Alan

[01:44:24] Arkin.

[01:44:25] Oh, I would say he was a big guy.

[01:44:26] So Adam Arkin?

[01:44:27] Is that who we're casting?

[01:44:28] Interesting.

[01:44:29] Just a cast?

[01:44:30] Adam Arkin?

[01:44:31] Yeah, Adam Arkin.

[01:44:32] He'd be great.

[01:44:33] Oh, I'm into it.

[01:44:34] Dave Krummholtz.

[01:44:35] Crummy.

[01:44:36] He's not skinny anymore.

[01:44:37] As we saw in Hell Caesar.

[01:44:38] And your fifth nominee

[01:44:39] for the um-no thank you award?

[01:44:41] Everest.

[01:44:42] Uh, yeah, no thanks.

[01:44:44] The reason why?

[01:44:46] I mean it's just like, I feel like

[01:44:49] you get it right away that they're

[01:44:51] going to get trapped on this fucking mountain.

[01:44:53] You're forgetting something, Ben.

[01:44:55] What?

[01:44:56] Mountain.

[01:44:57] It's really big.

[01:44:58] That's true.

[01:44:59] It's true, but it would be cool

[01:45:00] if there were giants climbing it.

[01:45:02] Okay, there we go.

[01:45:03] It's just little people.

[01:45:04] That's the concept I want to see.

[01:45:06] Giants climbing mountains.

[01:45:07] That makes it more interesting.

[01:45:08] When do you ever see that?

[01:45:09] Never?

[01:45:10] Big Everest.

[01:45:11] Never ever.

[01:45:12] Big Everest.

[01:45:13] Big Everest.

[01:45:14] Big Everest.

[01:45:15] Um, Joe, thank you so much for being on the show.

[01:45:18] Thank you guys so much for having me.

[01:45:20] Sharing your thoughts with us.

[01:45:21] Some classic read pics.

[01:45:22] That was great, Joe.

[01:45:23] Thanks.

[01:45:24] I'm worn out.

[01:45:25] Yeah, that's a lot.

[01:45:26] The Oscars are not this Sunday,

[01:45:28] but next Sunday, but next Sunday.

[01:45:30] February 28th.

[01:45:31] Yes.

[01:45:32] So this will be coming out right

[01:45:33] the week of the Oscar.

[01:45:34] The 23rd.

[01:45:35] Or the 22nd.

[01:45:36] And I gotta say, a lot of good movies

[01:45:38] this year, but I am done with 2015.

[01:45:40] Well, I feel like we get to that point

[01:45:42] of every Oscars, right?

[01:45:43] Where it's just like move on 2016.

[01:45:45] Let's do it.

[01:45:46] See what's even coming down the line.

[01:45:48] I have something to plug.

[01:45:50] On Oscar night, February 28th,

[01:45:53] I will be putting on a event of sorts

[01:45:57] at Union Hall along with John Braylock

[01:46:01] and Jerome Elegant of The Black Man Can't Jump

[01:46:03] in Hollywood podcast.

[01:46:04] Great guys.

[01:46:05] Great guys.

[01:46:06] I have one past guest, one who will hopefully

[01:46:08] be a future guest, but we are trying

[01:46:10] something.

[01:46:11] I have no idea if it's going to work or not,

[01:46:12] which is a great selling point for an event.

[01:46:14] But at Union Hall, they're going to

[01:46:16] screen the Oscars.

[01:46:18] We're not going to do live snarking over it

[01:46:20] because I fucking think you should watch

[01:46:21] the Oscars in peace.

[01:46:22] I agree.

[01:46:23] What we're going to do, the three of us

[01:46:24] and a group of other improvisers

[01:46:25] who are still being nailed down

[01:46:26] are going to improvise during the

[01:46:28] commercial breaks these scenes

[01:46:30] that we believe are happening off camera.

[01:46:32] So it's going to be an improv show

[01:46:34] in between the commercial breaks of the Oscars.

[01:46:36] Comment to God.