The Mirror Has Two Faces with Bobby Finger & Lindsey Weber

[00:00:00] Blank Check with Griffin & David, Blank Check with Griffin & David. Don't know what to say or to expect. All you need to know is that the name of the shot is Blank Check.

[00:00:20] When my day takes me home and kisses me good night, if I don't hear the podcast in my head, I dump him.

[00:00:27] What's the podcast?

[00:00:29] Philharmonic.

[00:00:30] You got to move to your Lincoln Center if you want that to happen.

[00:00:36] There are so many babes lines in this movie that she delivers with what I can only call "hectoralizondo" energy.

[00:00:43] You recently talked about the most successful joke in movie history. Oh, no, that's in a future episode.

[00:00:51] Oh, it's in a future episode, okay. But you've run away, bride, have you seen...

[00:00:55] Of course, have I seen... But when she gets on the FedEx truck and the guy...

[00:01:03] To run away. To flee away, to flee away.

[00:01:05] Yeah, to interact, right.

[00:01:06] And someone's like, "Where's she going?" And Elizondo says, "I don't know, but wherever she is, she's going.

[00:01:11] She'll be there at 10.30 tomorrow." And I just saw a crowd just start firing guns in the air.

[00:01:16] When he said that, just like, they just were ready to just storm a castle.

[00:01:20] That's so good.

[00:01:21] Hopefully, we're so energized.

[00:01:22] It's funny.

[00:01:23] I don't have my immediate hot take on this movie.

[00:01:25] Yeah.

[00:01:26] This is like an Appetto film directed by Gary Marshall.

[00:01:29] That's a great call.

[00:01:30] Right?

[00:01:31] Maybe that's what she is, at least as a rom-com director.

[00:01:34] Yes.

[00:01:35] And she thinks it's an Albert Brooks film.

[00:01:37] Yes.

[00:01:38] But it's not.

[00:01:39] It's not.

[00:01:40] Where she's like a sixth act.

[00:01:41] And you're like, "I don't know, Barb," and she's like, "No, it's there.

[00:01:43] I'm putting it in."

[00:01:44] She's always right.

[00:01:46] That's the thing about Barbra that you have to know that I've learned by reading about

[00:01:49] 250 pages of her book now is that people say, they say, "Barbara, it can't be done."

[00:01:57] "Barbara, no, Barbara, not this."

[00:01:59] And she goes, "No, I'm doing it."

[00:02:00] And then guess what?

[00:02:01] She was right.

[00:02:02] She's never taken the novel.

[00:02:03] Never.

[00:02:04] Never.

[00:02:05] Never.

[00:02:06] And her entire life is built up of small moments in which people said, "No," but she did it

[00:02:09] and she was right.

[00:02:10] Yeah.

[00:02:11] No, the six act of this movie--

[00:02:12] I lived the same way.

[00:02:13] --of this movie.

[00:02:14] Yeah.

[00:02:15] You and Barbara very similar.

[00:02:16] Very similar.

[00:02:17] The six act of this movie is one and click for me, where it's like, "Abba, tell must have

[00:02:21] lost his mind."

[00:02:22] And been like, "Wait, movies don't have to end.

[00:02:25] I can do anything."

[00:02:26] Like this was his 2001, it's what he saw the scene.

[00:02:29] "Shut, shut, shut, romantic comedies, 95 minutes tops."

[00:02:33] And he's like, "What if we push on through that?"

[00:02:35] Right.

[00:02:36] What if the movie contains three sequels to itself?

[00:02:39] That is.

[00:02:41] The thing about him is, knocked up is a little long.

[00:02:44] Yeah.

[00:02:45] You're like, "Yeah, this is pretty long."

[00:02:46] Then funny people is way too long in every-- I like that movie, but everyone's like, "Jesus."

[00:02:50] Yeah.

[00:02:51] Like the whole fucking other movie in this and he's like, "This is 40 should be similarly

[00:02:55] long."

[00:02:56] Yes.

[00:02:57] Right?

[00:02:58] Right.

[00:02:59] I'm not learning my lesson at all, right?

[00:03:00] He never learned his lesson.

[00:03:01] No.

[00:03:02] King of Staten Island was like 140 minutes long, right?

[00:03:05] Yeah.

[00:03:06] And then it was just like, "P. Davidson going to the Bodega."

[00:03:08] Well, nothing happens then.

[00:03:10] You can see in the roadshow version, have you?

[00:03:13] Oh, yeah.

[00:03:14] No, you're right.

[00:03:15] You call.

[00:03:17] I just like, it's just funny to have the movie be this sort of like--

[00:03:20] It's 137 minutes.

[00:03:21] It looks like it.

[00:03:22] Wow.

[00:03:23] This movie have an analogy of like, "Look, we're not plot-driven.

[00:03:25] It's by characters.

[00:03:26] It's by dynamics.

[00:03:27] It flows."

[00:03:28] And then every scene, there's at least four lines that are pitched to the back of Yankee

[00:03:32] Stadium that are given full, like, sort of, any young men.

[00:03:37] There's one line that really made me laugh.

[00:03:39] But it also needs to end like it's a 90-minute rom-com, but like a very traditional ending.

[00:03:44] Yeah.

[00:03:45] Yes.

[00:03:46] But she does succeed in making, it gives you that good feel.

[00:03:49] Yeah.

[00:03:50] Like, it works, but you're like, "We could have done this in less time," and it would

[00:03:55] have been cleaner, I guess.

[00:03:56] Could have had another hour of Lauren McCall too, and that would have been fine.

[00:03:58] No, it's so true.

[00:03:59] But I--

[00:04:00] Now, she would have a spin-off show.

[00:04:01] Now, she would go to Apple TV Plus.

[00:04:04] Yes.

[00:04:05] And no one would watch it, but two of your friends would be like, "Why aren't you watching

[00:04:08] the Lauren McCall show?"

[00:04:09] And she would be nominated for something.

[00:04:10] Yeah, and it's just wonders of her tight close-ups.

[00:04:14] Who's-- Lauren McCall, whose real name is Betty, and is a Jew, which Barbara learns

[00:04:18] in the book, and then calls her Betty the entire chapter.

[00:04:21] The whole day, the whole day, the whole day.

[00:04:22] I'm sure Lauren loved that.

[00:04:23] Betty Perske.

[00:04:24] Yeah.

[00:04:25] Betty Perske.

[00:04:26] Yeah.

[00:04:27] I mean, I can see why they changed it to the sexiest name of all time.

[00:04:31] Lauren McCall, yeah.

[00:04:32] I got so excited watching this movie, knowing we were going to do an episode on it.

[00:04:37] I'd never seen it before.

[00:04:39] Oh.

[00:04:40] Yeah.

[00:04:41] But not to call our shot.

[00:04:42] Watching this movie, knowing our guests are coming in, and we're just like, "This is

[00:04:45] fucking automatic, home run.

[00:04:47] We're just going to have a ball."

[00:04:50] It's been a while since I feel like we've talked about a movie that is crazy in this

[00:04:54] way.

[00:04:55] Yeah.

[00:04:56] Right.

[00:04:57] It feels like you're having a dream, like a fevered dream.

[00:04:59] Yeah.

[00:05:00] Not to invoke.

[00:05:01] Yeah.

[00:05:02] It's the rare combo of, "I can't think of another movie like this.

[00:05:04] That's, I mean, sure there are plenty.

[00:05:05] Cozy crazy."

[00:05:06] It's very warm, but it's also completely demented.

[00:05:09] The home again experience.

[00:05:10] Home again experience.

[00:05:11] Home again isn't this, which is easy.

[00:05:13] Right.

[00:05:14] Home again is less, it's quite huge.

[00:05:15] It's too late.

[00:05:16] You're like, "This is bad."

[00:05:17] You need to be cold enough in, you have to be in jackets in New York City to be this

[00:05:21] cozy.

[00:05:22] That's why Barbara's so good.

[00:05:23] Right.

[00:05:24] She'll always, it'll always be so finely appointed.

[00:05:26] Everyone will have nice clothes.

[00:05:27] Every set will be nice.

[00:05:29] Sure.

[00:05:30] Right.

[00:05:31] Like I'll shoot on location.

[00:05:32] But that's the other thing is home again.

[00:05:33] So even though it's not on the surface of the sun.

[00:05:34] Everyone in this movie likes to go to an asylum.

[00:05:36] Right.

[00:05:37] But they're just kind of like, "But they are having a great job."

[00:05:39] It's a great New York.

[00:05:40] It shows New York so beautifully, which I think is always something that you notice

[00:05:44] now because we're not getting a lot of good movies don't look good anymore.

[00:05:48] Yeah, Vancouver.

[00:05:49] Like this movie has looks great.

[00:05:50] Two of history's best DPs worked on this movie.

[00:05:53] Yeah.

[00:05:54] One was fired and the other one was brought back.

[00:05:56] Right.

[00:05:57] Yes.

[00:05:58] But like yeah, home again, I mean we did a whole episode litigating this but what's so

[00:05:59] fascinating about that movie is it's happening at like the death of this type of film.

[00:06:05] So they're like, "You only get to make this as an open road movie with a $12 million bucks."

[00:06:09] Yeah.

[00:06:10] And 20 days to film, this has the scale and the budget and the fucking Marvin Hamlet's

[00:06:16] score.

[00:06:17] Oh my god.

[00:06:18] And just like.

[00:06:19] That's his best friend.

[00:06:20] Yeah.

[00:06:21] One of her BFF.

[00:06:22] I mean she's calling in favors everywhere.

[00:06:23] She's Barbara.

[00:06:24] She can.

[00:06:25] But it really is a curation and I love that that's about her is that it's taste.

[00:06:28] Yes.

[00:06:29] It's in the movie is written with, "I went to the opera or the symphony to get inspiration

[00:06:34] or whatever."

[00:06:35] Because she is having an ending.

[00:06:36] And then I thought of the end.

[00:06:37] And it's like, "Wow.

[00:06:38] That's so New York.

[00:06:39] You said it right before we start recording Lindsey.

[00:06:43] But the feeling of this movie being the, "You know what?

[00:06:46] I'm going to try to make an easy one."

[00:06:48] It's so telling of a type of artist we're obsessed with who's like, "You know what?

[00:06:51] I've taken on these big ambitious, unwieldy, emotionally raw projects.

[00:06:55] Yeah.

[00:06:56] I want easy--

[00:06:57] I wrote some balls up a hill.

[00:06:58] That's just right.

[00:06:59] I'm a New York rom total piece of cake.

[00:07:00] Yes.

[00:07:01] Do you think she says, "Well, that wasn't worth it?"

[00:07:03] Or like, or I guess--

[00:07:04] That's literally what she says.

[00:07:05] I guess that's it.

[00:07:06] Yeah.

[00:07:07] She hates to work.

[00:07:08] Also, that's another thing about Barbara.

[00:07:09] I'm not going to tell you that.

[00:07:10] I'm going to tell you that.

[00:07:11] I'm going to tell you that.

[00:07:12] I'm going to tell you that.

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[00:11:47] I'm going to tell you that.

[00:11:48] I'm going to tell you that.

[00:11:49] I'm going to tell you that.

[00:11:50] I'm going to tell you that.

[00:11:51] I'm going to tell you that.

[00:11:52] I'm going to tell you that.

[00:11:53] I'm going to tell you that.

[00:11:54] I'm going to tell you that.

[00:11:55] I'm going to tell you that.

[00:11:56] I'm going to tell you that.

[00:11:57] I'm going to tell you that.

[00:11:58] I'm going to tell you that.

[00:11:59] I'm going to tell you that.

[00:12:00] I'm going to tell you that.

[00:12:01] I'm going to tell you that.

[00:12:02] I'm going to tell you that.

[00:12:12] I'm going to tell you that.

[00:12:16] I'm going to tell you that.

[00:12:17] I'm going to tell you that.

[00:12:18] I'm going to tell you that.

[00:12:19] I'm going to tell you that.

[00:12:20] I'm going to tell you that.

[00:12:21] I'm going to tell you that.

[00:12:22] I'm going to tell you that.

[00:12:23] I'm going to tell you that.

[00:12:24] I'm going to tell you that.

[00:12:25] I'm going to tell you that.

[00:12:26] I'm going to tell you that.

[00:12:27] I'm going to tell you that.

[00:12:28] I'm going to tell you that.

[00:12:29] I'm going to tell you that.

[00:12:30] I'm going to tell you that.

[00:12:31] I'm going to tell you that.

[00:12:32] I'm going to tell you that.

[00:12:33] I'm going to tell you that.

[00:12:34] I'm going to tell you that.

[00:12:35] I'm going to tell you that.

[00:12:36] I'm going to tell you that.

[00:12:37] I'm going to tell you that.

[00:12:38] I'm going to tell you that.

[00:12:39] I'm going to tell you that.

[00:12:40] I'm going to tell you that.

[00:12:41] I'm going to tell you that.

[00:12:42] I'm going to tell you that.

[00:12:43] I'm going to tell you that.

[00:12:44] I'm going to tell you that.

[00:12:45] I'm going to tell you that.

[00:12:46] I'm going to tell you that.

[00:12:47] I'm going to tell you that.

[00:12:48] I'm going to tell you that.

[00:12:49] I'm going to tell you that.

[00:12:50] I'm going to tell you that.

[00:12:51] I'm going to tell you that.

[00:12:52] I'm going to tell you that.

[00:12:53] I'm going to tell you that.

[00:12:54] I'm going to tell you that.

[00:12:55] I'm going to tell you that.

[00:12:56] I'm going to tell you that.

[00:12:57] I'm going to tell you that.

[00:12:58] I'm going to tell you that.

[00:12:59] I'm going to tell you that.

[00:13:00] I'm going to tell you that.

[00:13:01] I'm going to tell you that.

[00:13:02] I'm going to tell you that.

[00:13:03] I'm going to tell you that.

[00:13:04] I'm going to tell you that.

[00:13:05] I'm going to tell you that.

[00:13:06] I'm going to tell you that.

[00:13:07] I'm going to tell you that.

[00:13:08] I'm going to tell you that.

[00:13:09] I'm going to tell you that.

[00:13:10] I'm going to tell you that.

[00:13:11] I'm going to tell you that.

[00:13:12] I'm going to tell you that.

[00:13:13] I'm going to tell you that.

[00:13:14] I'm going to tell you that.

[00:13:15] I'm going to tell you that.

[00:13:16] I'm going to tell you that.

[00:13:17] I'm going to tell you that.

[00:13:18] I'm going to tell you that.

[00:13:19] I'm going to tell you that.

[00:13:20] I'm going to tell you that.

[00:13:21] I'm going to tell you that.

[00:13:22] I'm going to tell you that.

[00:13:23] I'm going to tell you that.

[00:13:24] I'm going to tell you that.

[00:13:25] I'm going to tell you that.

[00:13:26] I'm going to tell you that.

[00:13:27] I'm going to tell you that.

[00:13:28] I'm going to tell you that.

[00:13:29] I'm going to tell you that.

[00:13:30] I'm going to tell you that.

[00:13:31] I'm going to tell you that.

[00:13:32] I'm going to tell you that.

[00:13:33] I'm going to tell you that.

[00:13:34] I'm going to tell you that.

[00:13:35] I'm going to tell you that.

[00:13:36] I'm going to tell you that.

[00:13:38] I'm going to tell you that.

[00:13:39] I'm going to tell you that.

[00:13:40] I'm going to tell you that.

[00:13:41] I'm going to tell you that.

[00:13:42] I'm going to tell you that.

[00:13:43] I'm going to tell you that.

[00:13:44] I'm going to tell you that.

[00:13:45] I'm going to tell you that.

[00:13:46] I'm going to tell you that.

[00:13:47] I'm going to tell you that.

[00:13:48] I'm going to tell you that.

[00:13:49] I'm going to tell you that.

[00:13:50] I'm going to tell you that.

[00:13:51] I'm going to tell you that.

[00:13:52] I'm going to tell you that.

[00:13:53] I'm going to tell you that.

[00:13:54] I'm going to tell you that.

[00:13:55] I'm going to tell you that.

[00:13:56] I'm going to tell you that.

[00:13:57] I'm going to tell you that.

[00:13:58] I'm going to tell you that.

[00:13:59] I'm going to tell you that.

[00:14:00] I'm going to tell you that.

[00:14:01] I'm going to tell you that.

[00:14:02] I'm going to tell you that.

[00:14:03] I'm going to tell you that.

[00:14:04] I'm going to tell you that.

[00:14:05] I'm going to tell you that.

[00:14:06] I'm going to tell you that.

[00:14:07] I'm going to tell you that.

[00:14:08] I'm going to tell you that.

[00:14:09] I'm going to tell you that.

[00:14:10] I'm going to tell you that.

[00:14:11] I'm going to tell you that.

[00:14:12] I'm going to tell you that.

[00:14:13] I'm going to tell you that.

[00:14:14] I'm going to tell you that.

[00:14:15] I'm going to tell you that.

[00:14:16] I'm going to tell you that.

[00:14:17] I'm going to tell you that.

[00:14:18] I'm going to tell you that.

[00:14:19] I'm going to tell you that.

[00:14:20] I'm going to tell you that.

[00:14:21] I'm going to tell you that.

[00:14:22] I'm going to tell you that.

[00:14:23] I'm going to tell you that.

[00:14:24] I'm going to tell you that.

[00:14:25] I'm going to tell you that.

[00:14:26] I'm going to tell you that.

[00:14:27] I'm going to tell you that.

[00:14:28] I'm going to tell you that.

[00:14:29] I'm going to tell you that.

[00:14:30] I'm going to tell you that.

[00:14:31] I'm going to tell you that.

[00:14:32] I'm going to tell you that.

[00:14:33] I'm going to tell you that.

[00:14:34] I'm going to tell you that.

[00:14:35] I'm going to tell you that.

[00:14:36] I'm going to tell you that.

[00:14:37] I'm going to tell you that.

[00:14:38] I'm going to tell you that.

[00:14:39] I'm going to tell you that.

[00:14:40] I'm going to tell you that.

[00:14:41] I'm going to tell you that.

[00:14:42] I'm going to tell you that.

[00:14:43] I'm going to tell you that.

[00:14:44] I'm going to tell you that.

[00:14:45] I'm going to tell you that.

[00:14:46] I'm going to tell you that.

[00:14:47] I'm going to tell you that.

[00:14:48] I'm going to tell you that.

[00:14:49] I'm going to tell you that.

[00:14:50] I'm going to tell you that.

[00:14:51] I'm going to tell you that.

[00:14:52] I'm going to tell you that.

[00:14:53] I'm going to tell you that.

[00:14:54] I'm going to tell you that.

[00:14:55] I'm going to tell you that.

[00:14:56] I'm going to tell you that.

[00:14:57] I'm going to tell you that.

[00:14:58] I'm going to tell you that.

[00:14:59] I'm going to tell you that.

[00:15:00] I'm going to tell you that.

[00:15:01] I'm going to tell you that.

[00:15:02] I'm going to tell you that.

[00:15:03] I'm going to tell you that.

[00:15:04] I'm going to tell you that.

[00:15:05] I'm going to tell you that.

[00:15:06] I'm going to tell you that.

[00:15:07] I'm going to tell you that.

[00:15:08] I'm going to tell you that.

[00:15:09] I'm going to tell you that.

[00:15:10] I'm going to tell you that.

[00:15:11] I'm going to tell you that.

[00:15:12] I'm going to tell you that.

[00:15:13] I'm going to tell you that.

[00:15:14] I'm going to tell you that.

[00:15:15] I'm going to tell you that.

[00:15:16] I'm going to tell you that.

[00:15:17] I'm going to tell you that.

[00:15:18] I'm going to tell you that.

[00:15:19] I'm going to tell you that.

[00:15:20] I'm going to tell you that.

[00:15:21] I'm going to tell you that.

[00:15:22] I'm going to tell you that.

[00:15:23] I'm going to tell you that.

[00:15:24] I'm going to tell you that.

[00:15:25] I'm going to tell you that.

[00:15:26] I'm going to tell you that.

[00:15:27] I'm going to tell you that.

[00:15:28] I'm going to tell you that.

[00:15:29] I'm going to tell you that.

[00:15:30] I'm going to tell you that.

[00:15:31] I'm going to tell you that.

[00:15:32] You're going to tell me that.

[00:15:33] I'm going to tell you that.

[00:15:34] I'm going to tell you that.

[00:15:35] I'm going to tell you that.

[00:15:36] I'm going to tell you that.

[00:15:37] I'm going to tell you that.

[00:15:38] I'm going to tell you that.

[00:15:39] I'm going to tell you that.

[00:15:40] I'm going to tell you that.

[00:15:41] I'm going to tell you that.

[00:15:42] I'm going to tell you that.

[00:15:43] I'm going to tell you that.

[00:15:44] I'm going to tell you that.

[00:15:45] I'm going to tell you that.

[00:15:46] I'm going to tell you that.

[00:15:47] I'm going to tell you that.

[00:15:48] I'm going to tell you that.

[00:15:49] I'm going to tell you that.

[00:15:50] I'm going to tell you that.

[00:15:51] I'm going to tell you that.

[00:15:52] I'm going to tell you that.

[00:15:53] I'm going to tell you that.

[00:15:54] I'm going to tell you that.

[00:15:55] I'm going to tell you that.

[00:15:56] I'm going to tell you that.

[00:15:57] I'm going to tell you that.

[00:15:58] I'm going to tell you that.

[00:15:59] I'm going to tell you that.

[00:16:00] I'm going to tell you that.

[00:16:01] I'm going to tell you that.

[00:16:02] I'm going to tell you that.

[00:16:03] I'm going to tell you that.

[00:16:04] I'm going to tell you that.

[00:16:05] I'm going to tell you that.

[00:16:06] I'm going to tell you that.

[00:16:07] I'm going to tell you that.

[00:16:08] I'm going to tell you that.

[00:16:09] I'm going to tell you that.

[00:16:10] I'm going to tell you that.

[00:16:11] I'm going to tell you that.

[00:16:12] I'm going to tell you that.

[00:16:13] I'm going to tell you that.

[00:16:14] I'm going to tell you that.

[00:16:15] I'm going to tell you that.

[00:16:16] I'm going to tell you that.

[00:16:17] I'm going to tell you that.

[00:16:18] I'm going to tell you that.

[00:16:19] I'm going to tell you that.

[00:16:20] I'm going to tell you that.

[00:16:21] I'm going to tell you that.

[00:16:22] I'm going to tell you that.

[00:16:23] I'm going to tell you that.

[00:16:24] I'm going to tell you that.

[00:16:25] I'm going to tell you that.

[00:16:26] I'm going to tell you that.

[00:16:27] I'm going to tell you that.

[00:16:28] I'm going to tell you that.

[00:16:29] I'm going to tell you that.

[00:16:30] I'm going to tell you that.

[00:16:31] I'm going to tell you that.

[00:16:32] I'm going to tell you that.

[00:16:33] I'm going to tell you that.

[00:16:34] I'm going to tell you that.

[00:16:36] I'm going to tell you that.

[00:16:37] I'm going to tell you that.

[00:16:38] I'm going to tell you that.

[00:16:39] I'm going to tell you that.

[00:16:40] I'm going to tell you that.

[00:16:41] I'm going to tell you that.

[00:16:42] I'm going to tell you that.

[00:16:43] I'm going to tell you that.

[00:16:44] I'm going to tell you that.

[00:16:45] I'm going to tell you that.

[00:16:46] I'm going to tell you that.

[00:16:47] I'm going to tell you that.

[00:16:48] I'm going to tell you that.

[00:16:49] I'm going to tell you that.

[00:16:50] I'm going to tell you that.

[00:16:51] I'm going to tell you that.

[00:16:52] I'm going to tell you that.

[00:16:53] I'm going to tell you that.

[00:16:54] I'm going to tell you that.

[00:16:55] I'm going to tell you that.

[00:16:56] I'm going to tell you that.

[00:16:57] I'm going to tell you that.

[00:16:58] I'm going to tell you that.

[00:16:59] I'm going to tell you that.

[00:17:00] I'm going to tell you that.

[00:17:01] I'm going to tell you that.

[00:17:02] I'm going to tell you that.

[00:17:03] I'm going to tell you that.

[00:17:04] I'm going to tell you that.

[00:17:05] I'm going to tell you that.

[00:17:06] I'm going to tell you that.

[00:17:07] I'm going to tell you that.

[00:17:08] I'm going to tell you that.

[00:17:09] I'm going to tell you that.

[00:17:10] I'm going to tell you that.

[00:17:11] I'm going to tell you that.

[00:17:12] I'm going to tell you that.

[00:17:13] I'm going to tell you that.

[00:17:14] I'm going to tell you that.

[00:17:15] I'm going to tell you that.

[00:17:16] I'm going to tell you that.

[00:17:17] I'm going to tell you that.

[00:17:18] I'm going to tell you that.

[00:17:19] I'm going to tell you that.

[00:17:20] I'm going to tell you that.

[00:17:21] I'm going to tell you that.

[00:17:22] I'm going to tell you that.

[00:17:23] I'm going to tell you that.

[00:17:24] I'm going to tell you that.

[00:17:25] I'm going to tell you that.

[00:17:26] I'm going to tell you that.

[00:17:27] I'm going to tell you that.

[00:17:28] I'm going to tell you that.

[00:17:29] I'm going to tell you that.

[00:17:30] I'm going to tell you that.

[00:17:31] I'm going to tell you that.

[00:17:32] I'm going to tell you that.

[00:17:33] I'm going to tell you that.

[00:17:34] I'm going to tell you that.

[00:17:35] I'm going to tell you that.

[00:17:36] I'm going to tell you that.

[00:17:37] I'm going to tell you that.

[00:17:38] I'm going to tell you that.

[00:17:39] I'm going to tell you that.

[00:17:40] I'm going to tell you that.

[00:17:41] I'm going to tell you that.

[00:17:42] I'm going to tell you that.

[00:17:43] I'm going to tell you that.

[00:17:44] I'm going to tell you that.

[00:17:45] I'm going to tell you that.

[00:17:46] I'm going to tell you that.

[00:17:47] I'm going to tell you that.

[00:17:48] I'm going to tell you that.

[00:17:49] I'm going to tell you that.

[00:17:50] I'm going to tell you that.

[00:17:51] I'm going to tell you that.

[00:17:52] I'm going to tell you that.

[00:17:53] I'm going to tell you that.

[00:17:54] I'm going to tell you that.

[00:17:55] I'm going to tell you that.

[00:17:56] I'm going to tell you that.

[00:17:57] I'm going to tell you that.

[00:17:58] I'm going to tell you that.

[00:17:59] I'm going to tell you that.

[00:18:00] I'm going to tell you that.

[00:18:01] I'm going to tell you that.

[00:18:02] I'm going to tell you that.

[00:18:03] I'm going to tell you that.

[00:18:04] I'm going to tell you that.

[00:18:05] I'm going to tell you that.

[00:18:06] I'm going to tell you that.

[00:18:07] I'm going to tell you that.

[00:18:08] I'm going to tell you that.

[00:18:09] I'm going to tell you that.

[00:18:10] I'm going to tell you that.

[00:18:11] I'm going to tell you that.

[00:18:12] I'm going to tell you that.

[00:18:13] I'm going to tell you that.

[00:18:14] I'm going to tell you that.

[00:18:15] I'm going to tell you that.

[00:18:16] I'm going to tell you that.

[00:18:17] I'm going to tell you that.

[00:18:18] I'm going to tell you that.

[00:18:19] I'm going to tell you that.

[00:18:20] I'm going to tell you that.

[00:18:21] I'm going to tell you that.

[00:18:22] I'm going to tell you that.

[00:18:23] I'm going to tell you that.

[00:18:24] I'm going to tell you that.

[00:18:25] I'm going to tell you that.

[00:18:26] I'm going to tell you that.

[00:18:27] I'm going to tell you that.

[00:18:28] I'm going to tell you that.

[00:18:29] I'm going to tell you that.

[00:18:30] I'm going to tell you that.

[00:18:31] I'm going to tell you that.

[00:18:32] I'm going to tell you that.

[00:18:33] I'm going to tell you that.

[00:18:34] I'm going to tell you that.

[00:18:35] I'm going to tell you that.

[00:18:36] I'm going to tell you that.

[00:18:37] I'm going to tell you that.

[00:18:38] I'm going to tell you that.

[00:18:39] I'm going to tell you that.

[00:18:40] I'm going to tell you that.

[00:18:41] I'm going to tell you that.

[00:18:42] I'm going to tell you that.

[00:18:43] I'm going to tell you that.

[00:18:44] I'm going to tell you that.

[00:18:45] I'm going to tell you that.

[00:18:46] I'm going to tell you that.

[00:18:47] I'm going to tell you that.

[00:18:48] I'm going to tell you that.

[00:18:49] I'm going to tell you that.

[00:18:50] I'm going to tell you that.

[00:18:51] I'm going to tell you that.

[00:18:52] I'm going to tell you that.

[00:18:53] I'm going to tell you that.

[00:18:54] I'm going to tell you that.

[00:18:55] I'm going to tell you that.

[00:18:56] I'm going to tell you that.

[00:18:57] I'm going to tell you that.

[00:18:58] I'm going to tell you that.

[00:18:59] I'm going to tell you that.

[00:19:00] I'm going to tell you that.

[00:19:01] I'm going to tell you that.

[00:19:02] I'm going to tell you that.

[00:19:03] I'm going to tell you that.

[00:19:04] I'm going to tell you that.

[00:19:05] I'm going to tell you that.

[00:19:06] I'm going to tell you that.

[00:19:07] I'm going to tell you that.

[00:19:08] I'm going to tell you that.

[00:19:09] I'm going to tell you that.

[00:19:10] I'm going to tell you that.

[00:19:11] I'm going to tell you that.

[00:19:12] I'm going to tell you that.

[00:19:13] I'm going to tell you that.

[00:19:14] I'm going to tell you that.

[00:19:15] I'm going to tell you that.

[00:19:16] I'm going to tell you that.

[00:19:17] I'm going to tell you that.

[00:19:18] I'm going to tell you that.

[00:19:19] I'm going to tell you that.

[00:19:20] I'm going to tell you that.

[00:19:21] I'm going to tell you that.

[00:19:22] I'm going to tell you that.

[00:19:23] I'm going to tell you that.

[00:19:24] I'm going to tell you that.

[00:19:25] I'm going to tell you that.

[00:19:26] I'm going to tell you that.

[00:19:27] I'm going to tell you that.

[00:19:28] I'm going to tell you that.

[00:19:29] I'm going to tell you that.

[00:19:30] I'm going to tell you that.

[00:19:31] I'm going to tell you that.

[00:19:32] I'm going to tell you that.

[00:19:33] I'm going to tell you that.

[00:19:34] I'm going to tell you that.

[00:19:35] I'm going to tell you that.

[00:19:36] I'm going to tell you that.

[00:19:37] I'm going to tell you that.

[00:19:38] I'm going to tell you that.

[00:19:39] I'm going to tell you that.

[00:19:40] I'm going to tell you that.

[00:19:41] I'm going to tell you that.

[00:19:42] I'm going to tell you that.

[00:19:43] I'm going to tell you that.

[00:19:44] I'm going to tell you that.

[00:19:45] I'm going to tell you that.

[00:19:46] I'm going to tell you that.

[00:19:47] I'm going to tell you that.

[00:19:48] I'm going to tell you that.

[00:19:49] I'm going to tell you that.

[00:19:50] I'm going to tell you that.

[00:19:51] I'm going to tell you that.

[00:19:52] I'm going to tell you that.

[00:19:53] I'm going to tell you that.

[00:19:54] I'm going to tell you that.

[00:19:55] I'm going to tell you that.

[00:19:56] I'm going to tell you that.

[00:19:57] I'm going to tell you that.

[00:19:58] I'm going to tell you that.

[00:19:59] I'm going to tell you that.

[00:20:00] I'm going to tell you that.

[00:20:01] I'm going to tell you that.

[00:20:02] I'm going to tell you that.

[00:20:03] I'm going to tell you that.

[00:20:04] I'm going to tell you that.

[00:20:05] I'm going to tell you that.

[00:20:06] I'm going to tell you that.

[00:20:07] I'm going to tell you that.

[00:20:08] I'm going to tell you that.

[00:20:09] I'm going to tell you that.

[00:20:10] I'm going to tell you that.

[00:20:11] I'm going to tell you that.

[00:20:12] I'm going to tell you that.

[00:20:13] I'm going to tell you that.

[00:20:14] I'm going to tell you that.

[00:20:16] I'm going to tell you that.

[00:20:17] I'm going to tell you that.

[00:20:18] I'm going to tell you that.

[00:20:19] I'm going to tell you that.

[00:20:20] I'm going to tell you that.

[00:20:21] I'm going to tell you that.

[00:20:22] I'm going to tell you that.

[00:20:23] I'm going to tell you that.

[00:20:24] I'm going to tell you that.

[00:20:25] I'm going to tell you that.

[00:20:26] I'm going to tell you that.

[00:20:27] I'm going to tell you that.

[00:20:28] I'm going to tell you that.

[00:20:29] I'm going to tell you that.

[00:20:30] I'm going to tell you that.

[00:20:31] I'm going to tell you that.

[00:20:32] I'm going to tell you that.

[00:20:33] I'm going to tell you that.

[00:20:34] I'm going to tell you that.

[00:20:35] I'm going to tell you that.

[00:20:36] I'm going to tell you that.

[00:20:37] I'm going to tell you that.

[00:20:38] I'm going to tell you that.

[00:20:39] I'm going to tell you that.

[00:20:40] I'm going to tell you that.

[00:20:41] I'm going to tell you that.

[00:20:42] I'm going to tell you that.

[00:20:43] I'm going to tell you that.

[00:20:44] I'm going to tell you that.

[00:20:45] I'm going to tell you that.

[00:20:46] I'm going to tell you that.

[00:20:47] I'm going to tell you that.

[00:20:48] I'm going to tell you that.

[00:20:49] I'm going to tell you that.

[00:20:50] I'm going to tell you that.

[00:20:51] I'm going to tell you that.

[00:20:52] I'm going to tell you that.

[00:20:53] I'm going to tell you that.

[00:20:54] I'm going to tell you that.

[00:20:55] I'm going to tell you that.

[00:20:56] I'm going to tell you that.

[00:20:57] I'm going to tell you that.

[00:20:58] I'm going to tell you that.

[00:20:59] I'm going to tell you that.

[00:21:00] I'm going to tell you that.

[00:21:01] I'm going to tell you that.

[00:21:02] I'm going to tell you that.

[00:21:03] I'm going to tell you that.

[00:21:04] I'm going to tell you that.

[00:21:05] I'm going to tell you that.

[00:21:06] I'm going to tell you that.

[00:21:07] I'm going to tell you that.

[00:21:08] I'm going to tell you that.

[00:21:09] I'm going to tell you that.

[00:21:10] I'm going to tell you that.

[00:21:11] I'm going to tell you that.

[00:21:12] I'm going to tell you that.

[00:21:13] I'm going to tell you that.

[00:21:14] I'm going to tell you that.

[00:21:15] I'm going to tell you that.

[00:21:16] I'm going to tell you that.

[00:21:17] I'm going to tell you that.

[00:21:18] I'm going to tell you that.

[00:21:19] I'm going to tell you that.

[00:21:20] I'm going to tell you that.

[00:21:21] I'm going to tell you that.

[00:21:22] I'm going to tell you that.

[00:21:23] I'm going to tell you that.

[00:21:24] I'm going to tell you that.

[00:21:25] I'm going to tell you that.

[00:21:26] I'm going to tell you that.

[00:21:27] I'm going to tell you that.

[00:21:28] I'm going to tell you that.

[00:21:29] I'm going to tell you that.

[00:21:30] I'm going to tell you that.

[00:21:31] I'm going to tell you that.

[00:21:32] I'm going to tell you that.

[00:21:33] I'm going to tell you that.

[00:21:34] I'm going to tell you that.

[00:21:35] I'm going to tell you that.

[00:21:36] I'm going to tell you that.

[00:21:37] I'm going to tell you that.

[00:21:38] I'm going to tell you that.

[00:21:39] I'm going to tell you that.

[00:21:40] I'm going to tell you that.

[00:21:41] I'm going to tell you that.

[00:21:42] I'm going to tell you that.

[00:21:43] I'm going to tell you that.

[00:21:45] I'm going to tell you that.

[00:21:46] I'm going to tell you that.

[00:21:47] I'm going to tell you that.

[00:21:48] I'm going to tell you that.

[00:21:49] I'm going to tell you that.

[00:21:50] I'm going to tell you that.

[00:21:51] I'm going to tell you that.

[00:21:52] I'm going to tell you that.

[00:21:53] I'm going to tell you that.

[00:21:54] I'm going to tell you that.

[00:21:55] I'm going to tell you that.

[00:21:56] I'm going to tell you that.

[00:21:57] I'm going to tell you that.

[00:21:58] I'm going to tell you that.

[00:21:59] I'm going to tell you that.

[00:22:00] I'm going to tell you that.

[00:22:01] I'm going to tell you that.

[00:22:02] I'm going to tell you that.

[00:22:03] I'm going to tell you that.

[00:22:04] I'm going to tell you that.

[00:22:05] I'm going to tell you that.

[00:22:06] I'm going to tell you that.

[00:22:07] I'm going to tell you that.

[00:22:08] I'm going to tell you that.

[00:22:09] I'm going to tell you that.

[00:22:10] I'm going to tell you that.

[00:22:11] I'm going to tell you that.

[00:22:12] I'm going to tell you that.

[00:22:13] I'm going to tell you that.

[00:22:14] I'm going to tell you that.

[00:22:15] I'm going to tell you that.

[00:22:16] I'm going to tell you that.

[00:22:17] I'm going to tell you that.

[00:22:18] I'm going to tell you that.

[00:22:19] I'm going to tell you that.

[00:22:20] I'm going to tell you that.

[00:22:21] I'm going to tell you that.

[00:22:22] I'm going to tell you that.

[00:22:23] I'm going to tell you that.

[00:22:24] I'm going to tell you that.

[00:22:25] I'm going to tell you that.

[00:22:26] I'm going to tell you that.

[00:22:27] I'm going to tell you that.

[00:22:28] I'm going to tell you that.

[00:22:30] I'm going to tell you that.

[00:22:31] I'm going to tell you that.

[00:22:32] I'm going to tell you that.

[00:22:33] I'm going to tell you that.

[00:22:34] I'm going to tell you that.

[00:22:35] I'm going to tell you that.

[00:22:36] I'm going to tell you that.

[00:22:37] I'm going to tell you that.

[00:22:38] I'm going to tell you that.

[00:22:39] I'm going to tell you that.

[00:22:40] I'm going to tell you that.

[00:22:41] I'm going to tell you that.

[00:22:42] I'm going to tell you that.

[00:22:43] I'm going to tell you that.

[00:22:44] I'm going to tell you that.

[00:22:45] I'm going to tell you that.

[00:22:46] I'm going to tell you that.

[00:22:47] I'm going to tell you that.

[00:22:48] I'm going to tell you that.

[00:22:49] I'm going to tell you that.

[00:22:50] I'm going to tell you that.

[00:22:51] I'm going to tell you that.

[00:22:53] I'm going to tell you that.

[00:22:54] I'm going to tell you that.

[00:22:55] I'm going to tell you that.

[00:22:56] I'm going to tell you that.

[00:22:57] I'm going to tell you that.

[00:22:58] I'm going to tell you that.

[00:22:59] I'm going to tell you that.

[00:23:00] I'm going to tell you that.

[00:23:01] I'm going to tell you that.

[00:23:02] I'm going to tell you that.

[00:23:03] I'm going to tell you that.

[00:23:04] I'm going to tell you that.

[00:23:05] I'm going to tell you that.

[00:23:06] I'm going to tell you that.

[00:23:07] I'm going to tell you that.

[00:23:08] I'm going to tell you that.

[00:23:09] I'm going to tell you that.

[00:23:10] I'm going to tell you that.

[00:23:11] I'm going to tell you that.

[00:23:12] I'm going to tell you that.

[00:23:13] I'm going to tell you that.

[00:23:14] I'm going to tell you that.

[00:23:16] I'm going to tell you that.

[00:23:17] I'm going to tell you that.

[00:23:18] I'm going to tell you that.

[00:23:19] I'm going to tell you that.

[00:23:20] I'm going to tell you that.

[00:23:21] I'm going to tell you that.

[00:23:22] I'm going to tell you that.

[00:23:23] I'm going to tell you that.

[00:23:24] I'm going to tell you that.

[00:23:25] I'm going to tell you that.

[00:23:26] I'm going to tell you that.

[00:23:27] I'm going to tell you that.

[00:23:28] I'm going to tell you that.

[00:23:29] I'm going to tell you that.

[00:23:30] I'm going to tell you that.

[00:23:31] I'm going to tell you that.

[00:23:32] I'm going to tell you that.

[00:23:33] I'm going to tell you that.

[00:23:34] I'm going to tell you that.

[00:23:35] I'm going to tell you that.

[00:23:36] I'm going to tell you that.

[00:23:37] I'm going to tell you that.

[00:23:38] I'm going to tell you that.

[00:23:39] I'm going to tell you that.

[00:23:40] I'm going to tell you that.

[00:23:41] I'm going to tell you that.

[00:23:42] I'm going to tell you that.

[00:23:43] I'm going to tell you that.

[00:23:44] I'm going to tell you that.

[00:23:45] I'm going to tell you that.

[00:23:46] I'm going to tell you that.

[00:23:47] I'm going to tell you that.

[00:23:48] I'm going to tell you that.

[00:23:49] I'm going to tell you that.

[00:23:50] I'm going to tell you that.

[00:23:51] I'm going to tell you that.

[00:23:52] I'm going to tell you that.

[00:23:53] I'm going to tell you that.

[00:23:54] I'm going to tell you that.

[00:23:55] I'm going to tell you that.

[00:23:56] I'm going to tell you that.

[00:23:57] I'm going to tell you that.

[00:23:58] I'm going to tell you that.

[00:23:59] I'm going to tell you that.

[00:24:00] I'm going to tell you that.

[00:24:01] I'm going to tell you that.

[00:24:02] I'm going to tell you that.

[00:24:03] I'm going to tell you that.

[00:24:04] I'm going to tell you that.

[00:24:05] I'm going to tell you that.

[00:24:06] I'm going to tell you that.

[00:24:07] I'm going to tell you that.

[00:24:08] I'm going to tell you that.

[00:24:09] I'm going to tell you that.

[00:24:10] I'm going to tell you that.

[00:24:11] I'm going to tell you that.

[00:24:12] I'm going to tell you that.

[00:24:13] I'm going to tell you that.

[00:24:14] I'm going to tell you that.

[00:24:15] I'm going to tell you that.

[00:24:16] I'm going to tell you that.

[00:24:17] I'm going to tell you that.

[00:24:18] I'm going to tell you that.

[00:24:19] I'm going to tell you that.

[00:24:20] I'm going to tell you that.

[00:24:21] I'm going to tell you that.

[00:24:22] I'm going to tell you that.

[00:24:23] I'm going to tell you that.

[00:24:24] I'm going to tell you that.

[00:24:25] I'm going to tell you that.

[00:24:26] I'm going to tell you that.

[00:24:27] I'm going to tell you that.

[00:24:28] I'm going to tell you that.

[00:24:29] I'm going to tell you that.

[00:24:30] I'm going to tell you that.

[00:24:31] I'm going to tell you that.

[00:24:32] I'm going to tell you that.

[00:24:33] I'm going to tell you that.

[00:24:34] I'm going to tell you that.

[00:24:35] I'm going to tell you that.

[00:24:36] I'm going to tell you that.

[00:24:37] I'm going to tell you that.

[00:24:38] I'm going to tell you that.

[00:24:39] I'm going to tell you that.

[00:24:40] I'm going to tell you that.

[00:24:41] I'm going to tell you that.

[00:24:42] I'm going to tell you that.

[00:24:43] I'm going to tell you that.

[00:24:44] I'm going to tell you that.

[00:24:45] I'm going to tell you that.

[00:24:46] I'm going to tell you that.

[00:24:47] I'm going to tell you that.

[00:24:48] I'm going to tell you that.

[00:24:49] I'm going to tell you that.

[00:24:50] I'm going to tell you that.

[00:24:51] I'm going to tell you that.

[00:24:52] I'm going to tell you that.

[00:24:53] I'm going to tell you that.

[00:24:54] I'm going to tell you that.

[00:24:55] I'm going to tell you that.

[00:24:56] I'm going to tell you that.

[00:24:57] I'm going to tell you that.

[00:24:58] I'm going to tell you that.

[00:24:59] I'm going to tell you that.

[00:25:00] I'm going to tell you that.

[00:25:01] I'm going to tell you that.

[00:25:02] I'm going to tell you that.

[00:25:03] I'm going to tell you that.

[00:25:04] I'm going to tell you that.

[00:25:05] I'm going to tell you that.

[00:25:06] I'm going to tell you that.

[00:25:07] I'm going to tell you that.

[00:25:08] I'm going to tell you that.

[00:25:09] I'm going to tell you that.

[00:25:10] Ben's just going to mime his.

[00:25:11] He doesn't have a mic.

[00:25:12] John Candy getting plastic surgery to look different is sort.

[00:25:16] Like I could see that being funny in 1991.

[00:25:19] It would be giving something we're not really allowed to do,

[00:25:22] which is like kind of fat suit vibe.

[00:25:24] Sure.

[00:25:25] Yeah.

[00:25:26] I don't know.

[00:25:27] What candy be playing husband and wife?

[00:25:28] Was that the pitch?

[00:25:29] Whoa.

[00:25:30] That'd be professor.

[00:25:31] Yeah.

[00:25:32] I don't know.

[00:25:33] Okay.

[00:25:34] Let's see.

[00:25:35] What the movie is.

[00:25:36] Richard Lagravanes.

[00:25:37] Lagravanes.

[00:25:38] Lagravanes.

[00:25:39] I think he's having eyes.

[00:25:41] How do you say his last name?

[00:25:42] We don't know.

[00:25:43] He is brought into write it and starts turning it into a rom-com.

[00:25:47] Okay.

[00:25:48] Prince of Tides and Fisher King, which he also wrote, are in the

[00:25:52] awards race at the same time.

[00:25:54] They're the 91 movies.

[00:25:55] And so they keep crossing paths, he says.

[00:25:58] And he gives her the script.

[00:26:01] You know, had turned a dark middle drop into a romantic comedy

[00:26:04] about people disillusioned by love.

[00:26:06] Streisand said, "I wanted to make a movie with a happy ending.

[00:26:10] All my characters, Fanny, Katie, Yental.

[00:26:13] Low and steam."

[00:26:14] Low and steam.

[00:26:15] They all wind up alone.

[00:26:17] I wanted the girl to finally get the guy.

[00:26:19] Yeah.

[00:26:20] Yes.

[00:26:21] You guys seen the Prince of Tides, of course.

[00:26:22] Oh, yeah.

[00:26:23] Oh, yeah.

[00:26:24] And she related it, she related to the mother-daughter

[00:26:28] relationship here to me being a teacher in the film because my

[00:26:32] father was a teacher.

[00:26:33] She said, "Okay.

[00:26:34] My dad went to Columbia, which is the university and the movie.

[00:26:36] It just felt right."

[00:26:37] Okay.

[00:26:38] She saw a comedian too.

[00:26:41] Her classroom performance in this movie.

[00:26:45] Oh, my God.

[00:26:46] It is like she is doing the Bernie Mac Def Jam set.

[00:26:49] Yes.

[00:26:50] I have never seen her fit.

[00:26:51] There are also like 400 kids in the room and she seems to know all

[00:26:54] their names.

[00:26:55] And what of them is?

[00:26:56] Jimmy, you know, they're cracking up.

[00:26:58] I did not know this last.

[00:26:59] I did notice Skipper from Sex and Sex.

[00:27:01] Sex and Sex is in his class.

[00:27:03] Yes.

[00:27:04] He's in his class, right?

[00:27:05] He's the one where Jeff Bridges is like, "I don't see a baseballs

[00:27:08] going through the air."

[00:27:10] And they're all suddenly like, "Wait, Baff can be about baseball?"

[00:27:14] When they go to the symphony and what's his face is like, "Who's

[00:27:19] your girl?"

[00:27:20] And he's like, "It's Rose."

[00:27:21] And he's like, "Hi Rose."

[00:27:23] She sees students from her class up at the balcony and Eli Roth.

[00:27:27] Eli Roth is in two shots.

[00:27:30] He's in the classroom as well.

[00:27:32] He's got one ear pierced.

[00:27:34] And he's giving a performance that I would say is somewhat

[00:27:38] swishy.

[00:27:39] Oh, shit.

[00:27:40] That feels swishy.

[00:27:41] He's got the same brows.

[00:27:43] Yes.

[00:27:44] He's always got them.

[00:27:45] To just have him monologue about his time on this move.

[00:27:47] Like, where is that?

[00:27:48] Probably where is that?

[00:27:49] He made a film based on it.

[00:27:51] It's called Thanksgiving.

[00:27:52] Oh, God.

[00:27:53] I haven't seen it yet.

[00:27:54] I've got this.

[00:27:55] Gotta go see Thanksgiving.

[00:27:56] So, of course, what else tracks Barbara to this project?

[00:27:59] The idea that she can make a film about appearance.

[00:28:03] A sermon on beauty.

[00:28:04] The idea, the beauties and the eye of the beholder.

[00:28:07] That the world mirrors back to your own perception of yourself based on your experiences as a child.

[00:28:13] It's about all this stuff she can finally weigh in on it.

[00:28:17] She says, "I've been called an ugly duckling and I've been called one of the most beautiful people in the world."

[00:28:21] So, people love my profile.

[00:28:24] They hate my profile.

[00:28:25] Her profile gets a lot of work in this one.

[00:28:27] I really like her profile.

[00:28:28] People think I'm cross-eyed.

[00:28:30] People love my eyes.

[00:28:31] People think she's cross-eyed?

[00:28:33] It's an optical illusion with her face.

[00:28:37] She talks about it a lot.

[00:28:39] So, you know, that I guess is appealing.

[00:28:43] And also, she can call in Marvin Hamlish.

[00:28:46] I think she just wanted to use him again after the way we were to give me this sweeping melodramatic old school score.

[00:28:54] It really does have one.

[00:28:58] This was like the cornerstone of her film career in the 70s was doing like the Rhino Neil comedies.

[00:29:03] You know, like the way we were is obviously huge.

[00:29:05] But she had this rumor.

[00:29:06] It was like she is a comedy star.

[00:29:08] She's really funny.

[00:29:09] She makes real relationship comedies up the sandbox.

[00:29:11] And what's the baby one called?

[00:29:13] I always forget the one that we're the poster.

[00:29:15] The Pussycat one.

[00:29:16] Yes, but there's the one where the poster is heard with the giant baby bottle tied to her back.

[00:29:20] I haven't seen that.

[00:29:21] I think it's one of the weirdest movie posters ever.

[00:29:23] Fuck.

[00:29:24] But she, but the, but her, she's so good at that comedic delivery.

[00:29:28] And it's like literally it's stand up delivery.

[00:29:30] Like it's punchline punchy comedy delivery.

[00:29:33] It's great.

[00:29:34] Yes.

[00:29:35] It's the fanny Bryce.

[00:29:36] It's the funny girl.

[00:29:37] Up at the sandbox.

[00:29:38] The same box.

[00:29:39] What's the gene hackman line?

[00:29:41] The gene hackman one is called the main event.

[00:29:45] No, that's for Randall.

[00:29:46] No, main event's the second.

[00:29:47] Ryan O'Neill.

[00:29:48] That's Ryan O'Neill.

[00:29:49] Right.

[00:29:50] The consecutive John Peters produced a man and women are fighting with each other comments.

[00:29:57] Often with kind of all night long as he is.

[00:30:00] The Hackman One. Yeah. Yes. I always wonder watching this like with her perspective on beauty and being like people think I'm ugly people think I'm beautiful how well she shoots herself is so interesting to me because it's like it's almost like she's shooting from the perspective of someone who thinks that she's beautiful so then I think about her her inner monologue of am I beautiful am I not I think she has confidence because you wouldn't shoot yourself so confidently otherwise like you're saying so many profiles it's like she must know that

[00:30:29] like that's the money that was the fight with the image on a photographer yeah because she was like I don't look right in these shots you're not using the right filter and he's like yes I am she finds out that he's lined right and fires him because she's like I know how I look good and there are scenes where there's just gorgeous light across her almost like a mask or something and you're like oh my only only them someone who really knows the way that they look the best is shooting her like we will have a folder this big like the light

[00:30:59] require yes seen where they're where they're watching baseball I don't know in some like

[00:31:03] little light little room you're like the light on her is like a theory all you look good to you but she watches baseball oh and she's

[00:31:10] like let's let's get a rally going yeah I don't understand baseball like it's

[00:31:14] ratios reds right it's bad this is a movie where the lighting is so soft that even if

[00:31:20] they were to release it in 4k it would be in standard yeah yeah you know where it's

[00:31:24] just like it is so controlled but we will get all the reviews of this movie which

[00:31:29] will be its own section at the end of this episode because people really attacked

[00:31:32] her and the cornerstone of all the reviews where they would say especially the ones

[00:31:38] from female critics were like this movie is just so obsessed with her shooting

[00:31:42] herself yeah in the way she wants it's all her saying please don't look at me

[00:31:47] I'm hideous and framing herself in the most beautiful way and there's a quote I

[00:31:50] think it's from Janet Maslin's review that says the camera cannot help but love

[00:31:55] her even when it has a gun to its head it's good but the movie I think that I

[00:32:01] read those reviews too and I was like well people were so nasty about this

[00:32:06] movie specifically because of that because of her vanity but the movie does

[00:32:11] the turn in the middle the iconic the beautiful memorable scene with you know

[00:32:16] Lauren McCall saying it was wonderful about beauty which I'm sure we'll talk

[00:32:19] about later and with the kind of which I'd forgotten about because I've only seen

[00:32:24] this like three times but I had forgotten about the turn at the end of that scene

[00:32:28] where she Barbara realizes that she has always been beautiful yes like there

[00:32:33] yes she gets to work out montage after that and then she gets sexy hair

[00:32:36] whatever and like starts addressing like in more form fitting clothes but in

[00:32:40] that scene she realizes wait I was seeing myself through the eyes of my mother

[00:32:44] child photo yeah like I was always seeing myself through the eyes my mother I've

[00:32:47] always been pretty yeah the conversation she has a recall in I believe that but

[00:32:51] the scene where she's saying was I pretty as a baby is that is Streisand

[00:32:55] that says that is a conversation she had with her mother I like word for work

[00:32:59] crazy right in the book she's like why did you never tell me I'm beautiful in

[00:33:03] her mother's like I thought I you knew or like why did I just I just I loved

[00:33:08] you the way that I could I never what I didn't know I had to say it or something

[00:33:11] like stuff like that so I don't want to hyper fixate on it but I do think it is

[00:33:15] like necessary to forefront the conversation Barbara Streisand not

[00:33:19] getting a nose job in the 1960s was basically the most transgressive act

[00:33:23] right you could possibly do in constructing careers a movie star and it

[00:33:26] continues to be the thing and I think for as much critics were just like why

[00:33:30] won't she fucking get over it everyone's loved her for 40 years get over it we

[00:33:34] all think you're pretty stop it and it's like this is an industry that is

[00:33:40] largely created by Jews where everyone is told to change their name in their

[00:33:43] face to not play Jewish right and she doesn't because of her voice yes which

[00:33:48] is hilarious because again she doesn't even like singing about much she actually

[00:33:54] really wanted to be a movie star of this entire time the singing is secondary

[00:33:58] which is wild because obviously she's a fine actress she's good find a good

[00:34:03] actress but she's an amazing singer right like that's thing she doesn't even

[00:34:06] really care about that so the idea that she is focused on her appearance from

[00:34:10] the very beginning I wonder if she wasn't also a singer which kind of got her

[00:34:13] into acting through the back door she would have gotten the nose job because

[00:34:18] it would it would have nothing to do with that she had this thing that was like

[00:34:20] negotiating leverage you can't think of any other actor who kind of refused to

[00:34:26] give into the the standards of beauty and constructing a career as a leading

[00:34:31] lady over a run of decades more than she did where you're like Jennifer Gray

[00:34:36] gets the nose job 10 years before this movie after Barbara has been a star for

[00:34:42] 25 years so Richard Lagravanas right gives her the script she's like this

[00:34:47] script needs a lot of work that's surprising that she would say that but

[00:34:51] she did do a table reading with some bringing Larry Kramer

[00:34:56] very good terms she brings does it have a read with okay Jenna Rowlands I

[00:35:01] assume would have been the mom makes a ton of songs right of all Ray Liotta I

[00:35:04] assume in the Bridges rule I don't really know definitely George Segal or

[00:35:10] it's Sam kept Terry Gar so maybe she's the many Rogers sure and Peter Bogdanovitch

[00:35:16] I don't see Pierce Brosnan sure and Carrie Fisher maybe it's the best friend of

[00:35:22] course right quite a cast for a reading but the script need a lot of work so I

[00:35:27] set it aside to focus on developing the normal heart preparing my concert at the

[00:35:30] MGM Grand going on tour and producing the you know Glenn Close movie yeah so I

[00:35:36] love how Barbara's just like I was busy to be clear she approached Roberts and

[00:35:41] Mecha's at one point to maybe direct it she was like maybe I should direct this

[00:35:45] just starring it maybe the script should be hello for me you know from boobs

[00:35:50] amicus yeah Herbert Ross she she says and then Herbert Ross makes a ton of

[00:35:56] sounds yeah and then Gary Marshall okay well she goes to Gary Marshall and he

[00:36:00] said are you gonna tell me when to put the camera and I thought this will never

[00:36:04] work yeah I said said stress she gets a new draft and she's like oh I'm I'm gonna

[00:36:10] okay now I'm gonna direct this the plastic surgery thing of course like

[00:36:15] you said that's she doesn't want to do that she wants the you know the self

[00:36:19] esteem issues to be deep from childhood something internal so you know they

[00:36:23] lift all that out also this thing of like I need to will people into finding

[00:36:27] my beauty attractive not changing what my beauty is there's also just no way

[00:36:32] this movie could have involved her getting plastic surgery without giving

[00:36:34] her a nose job that she refuses to get in real life right it's just a matter

[00:36:38] how would they even see you know she could have had like there's that we didn't

[00:36:42] have this nose technology make it go smaller at the end like I don't there's

[00:36:47] no way could you imagine this movie having 1996 era CGI nose work like a

[00:36:54] weird blur moves are face and fast things change the size I liked that this this

[00:37:00] movie is so much like the the vanity the beauty stuff is in its DNA that's

[00:37:04] clearly the story that she wants to tell but because of I guess the trend of

[00:37:08] romantic comedies at the time she's like we also have to like break down the

[00:37:13] relationship romance let's do like it let's be about two neurotic people who

[00:37:17] are hyper fixated on like romance and sex just because like that's what all

[00:37:21] the other movies were doing around that time which might feel so it's like two

[00:37:25] different totally rom-coms happening also this movies take on that is is the

[00:37:29] only person who could ever fall in love with Barbara Streisand someone who

[00:37:32] doesn't care about being sexually attracted to or having sex with that

[00:37:36] person like that's her weird I cuz her real husband is horny for her and

[00:37:41] every interviewer when they're together he's always like I'm so horny for her

[00:37:44] that's like their whole relationship yeah Jim the other man says he thinks they

[00:37:50] never quite crack the script he blames himself of course they never crack the

[00:37:54] script the movie the whole movie saying sex doesn't matter it's all about like

[00:37:58] sex doesn't matter at all and then in the end of the movie it's like sex does

[00:38:01] matter and looks are important and here's Puccini like yeah the problem with the

[00:38:05] movie is yes when it just is describing this arrangement you're like well he's

[00:38:10] wrong yes and you know that he dismantles this structure then they

[00:38:15] literally rebuild the structure and then just fall in love inside of it like

[00:38:18] that's what they're doing in this movie this but I like it right she just falls

[00:38:22] in love with his friend this movie also is there are two movies that came out

[00:38:26] in 1996 that have six acts that are about people who get married and then fall

[00:38:29] love an hour later into the movie this and Jerry McGuire like two movies where

[00:38:34] it's like right they get married and then the end of the movie is them being like

[00:38:36] I think we're in love with each other but you fucking better be together will

[00:38:41] you marry me she's like I already am married to you and it's like that is this

[00:38:44] whole movie no let's don't remember the scene in an hour and a half ago I

[00:38:49] wasn't even thinking about that but this movie coming out the same year as

[00:38:54] Jerry McGuire is really a death knell for the reason you weren't thinking that

[00:38:58] yeah is because I said to my wife as well Forky while watching this movie when

[00:39:02] do you think this came out she's like I don't know the mid 80s and I was like

[00:39:04] nope 1996 well I remember it look because I remember seeing this trailer in

[00:39:08] theaters I I knew it came out when I was you have consciousness you know I

[00:39:14] would still like Jerry McGuire is immediately going like this is what this

[00:39:19] movie looks like now here's the most modern version of this movie and in

[00:39:24] theaters I mean basically at the same time as this movie which is two stars

[00:39:28] who have been huge for 30 years doing the most bizarre like it's

[00:39:33] simultaneously a 40s movie a 60s movie and an 80s movie

[00:39:36] Jim McGuire is such a weird movie but also

[00:39:38] Jerry McGuire is a crazy movie like it's crazy movie like Jerry McGuire is a

[00:39:43] movie when described you're like well that that doesn't make any sense every

[00:39:47] Cameron Crow movie when you speak it out you're like yes no but it's that's

[00:39:51] why he got to keep making movies would be like they're gonna buy a zoo and I'm

[00:39:54] like I don't think that's a good idea it's always worked for me before it's the

[00:39:57] Amy Pascal email where she's just like we cannot keep green lighting these movies

[00:40:02] sent from my Sony Xperia whatever yeah right - - David yep I feel like you have

[00:40:10] something to tell me well let me tell you Oh boy he's ready I'm really looking

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[00:43:20] much like I really hate that people call it a man any project because like it's

[00:43:23] my script and I don't think I like got it right like I think I could have worked

[00:43:27] on it more he loves her she's from an old school she works her hard out she

[00:43:31] doesn't suffer fools she demands you're as committed as she you know he's like

[00:43:34] full of praise for like old Brooklyn babes you know yeah so John Candy of

[00:43:40] course is not the star Jeff Bridges is the star what do you think of that guy she

[00:43:45] says he has a strong masculine body in her book I mean I thought you guys

[00:43:49] would enjoy that I love that the movie has to sort of the it establishes her as

[00:43:56] like undesirable and not pretty so quickly by being like here she is but

[00:44:01] her snowballs hidden in her drawer and like she's frumpy watching baseball and

[00:44:05] she lives with her mother but it also sort of it has to make him sexy and it

[00:44:09] has to make his him sexy as on the nose as it makes her like not sexy yes because

[00:44:13] it's like he's hot it's like Indiana Jones all the students want to fuck him

[00:44:17] and also they're like is he gay he's so hot he must be gay which is a very like

[00:44:21] 19 years ago boring to be yeah he's too boring to be gay right and then it's

[00:44:25] like not only is he sexy like he loves sex and sex makes him crazy and his

[00:44:30] girlfriend's dating a model right and so like he must be hot right because he's

[00:44:34] dating models yeah elmock Fierse we know is a lottery sure is his but also when

[00:44:40] he sees elmock Fierse and he like he's like oh wait but isn't that the kind of

[00:44:45] it's like he's obsessed with sex because when he sees a hot woman he cannot

[00:44:49] think or breathe right and that's when he gives that the first scene which again

[00:44:53] never happens really again is that he's in the he's giving his little he's not

[00:44:56] a little podium and his and the shots are going crazy because he can't his

[00:45:01] brain is breaking because there's all these hot girls like whispering about

[00:45:04] yeah it's a yeah it's a heart attack he turns it to cherry Lewis yeah so that's

[00:45:09] that never comes back but I think that is mainly the main thing where obviously

[00:45:14] sex complicates things but he cannot think or be smart or do anything when

[00:45:18] there's hot women in his vicinity but it's such a weird way to characterize

[00:45:22] that to see exactly one example of this playing out which is he goes and does a

[00:45:26] reading I'll McPherson's in the audience he goes gaga from like vision right

[00:45:31] then she's like by the way we were in a committed relationship right George

[00:45:35] Segal goes whatever you do make sure I don't don't go home tonight but and then

[00:45:40] she come together right it doesn't make any sense why would he still be like

[00:45:43] blown away at the side then she's very pretty and he's then they sleep together

[00:45:47] both are like that was incredible what amazing sex we have together by the way

[00:45:51] I'm leaving why well because I'm still with the guy I left you for I'm cheating

[00:45:55] on him with you because I found out he's cheating on me with someone else

[00:45:58] she's just getting out of our system I'm leaving nice seeing you and he's like I

[00:46:03] can never ever have sex ever I know like it is funny put up like cock-end right

[00:46:07] now my balls tell and the movie at least goes with that for the rest of it

[00:46:12] because he's never horny again no like for the rest of the movie it really does

[00:46:16] seem like he's never thinking about there's a more logical version of this

[00:46:20] movie where in the first ten minutes we see like three examples of his

[00:46:25] sex obsession getting to him rather than this one thing that just feels like

[00:46:28] you still feel kind of jilted by El McPherson specific right you should be

[00:46:33] going on dates and right being weird with win what I got a date on ugly lady

[00:46:36] like it's just it's like zero to sixty yeah two second what's that movie with

[00:46:40] Josh Hartnett where he flies over the boobs 40 days and that's what this move

[00:46:44] that that is like what this movie reminded me of immediately I was like but

[00:46:49] that movie takes the premise of everything reminds you of that move I love

[00:46:52] that you speak right you fly over the cup is a 40 days and 40 nights you just

[00:46:57] see the poster like whoa can we can we dig in a different yes just speak on

[00:47:01] brilliant okay so he was asking about sure I was trying to sort of like cuz

[00:47:07] he's had so many phases in his career right and this is the bridges has many

[00:47:11] phases right and this is the last film before the big Lebowski which is our

[00:47:16] generation Jeff right that's who I think of you sort of forget how much the

[00:47:20] coins had unlocked something no one had with yes in that movie now you're kind

[00:47:25] of like yeah of course Jeff Bridges is the dude like that's what we know him as

[00:47:28] like only that but one of those weird cases I'd argue similar to Morgan Freeman

[00:47:33] winning the Oscar for million dollar baby where his true grit not true grit

[00:47:37] I'm sorry his crazy heart win is kind of them going like and here's the Oscar

[00:47:40] 20 years later for Big Lebowski it took us 20 years to totally get this and

[00:47:44] then off of the Oscar win it's like he has the second Billy Goat gruff film

[00:47:49] career playing yeah but we met but our generation did not see him as I'm sorry

[00:47:54] I'm not the person for you to say that to he earned every bit of that award for

[00:47:59] crazy heart I'm so drew mention are you

[00:48:04] Oscar's hat right oh I got it I got it the Academy real yeah yeah I've been there

[00:48:10] yet no I got the only good part of the Academy museum this had oh my god

[00:48:15] speaking of bar we didn't go to the bar we go to the Academy Museum so we can

[00:48:20] see the barber Streisand the more it's not Memorial not dead bridge which is

[00:48:24] just a bridge that goes from the museum to the theater wow and guess what

[00:48:29] it's fucking close it's they had close it for a private event there was a tug

[00:48:35] book come through there to lift it never been angrier we were so mad was a

[00:48:39] picture of me in front of this stupid bridge yeah you got to pay 50 bucks to

[00:48:43] get in this museum what we got tickets for free it's fine we just got a big

[00:48:48] first words when you walk into the first exhibit at the motion picture

[00:48:51] museum and the Academy Museum are I believe this is a direct quote motion

[00:48:55] pictures comma also known as movies and films calm and I was like I gotta get

[00:48:59] out of here yeah it wasn't for us but Bobby got this great hat which is a great

[00:49:03] hat which is a great way to wear it yeah I love it bridges I want to sorry sorry

[00:49:09] sorry sorry I'm bridges fine I was trying to bridge Jeff bridges yes yes

[00:49:13] but if you just want to say if you want if you have bridge mission statement

[00:49:18] I will let's maybe do the phases so like early bridges is like the young sort of

[00:49:23] exciting like Thunderbolt and life would show fat city well Toronto says

[00:49:28] beginning of phase two yeah King Kong is maybe the height of it where it's sort

[00:49:32] of like at that point they're like okay this guy's a movie star but he's young

[00:49:35] and he's virile and he's kind of like you know he's what's new right and he had

[00:49:40] this sort of like a glib to Oscar knobs yeah yeah a handsome doofus with a good

[00:49:46] heart kind of yeah probably I guess heavens gate is sort of the I don't know

[00:49:50] heavens gates kind of straddling those didn't it the next period because it's

[00:49:54] so poorly received his 80s are weird is Tron starman jagged edge eight million

[00:50:03] ways to die I'm trying to feel like it's a lot of like thrillers yes Tucker yeah

[00:50:09] which is really good it's the man who's dreams the couple of the movie about the

[00:50:14] inventor Preston tuck it's a good movie wonderful but it's one of those many

[00:50:18] like he does a lot of big movies that don't connect box office when does he get

[00:50:22] sexy when he's he doesn't he gets sexy okay well still odds is maybe the most

[00:50:27] handsome he ever was no movie he's very handsome and again so he's always handsome

[00:50:32] is always handsome but this is part of my thesis that he is this okay well so

[00:50:36] 80s is peak sex I think he's sex taking a handsome we're talking sex I think he's

[00:50:40] sexiest is when my mom thinks he's sexiest in her second favorite film of all

[00:50:44] time the fabulous Baker voice which is straddling periods two and three oh I

[00:50:49] love that movie incredible movie have you seen have you taken the I've arranged

[00:50:53] of course I have where he's sort of moving into slightly more mature you know

[00:50:58] 40 something bridge it's been sad haunted drunken but he's I think that's

[00:51:02] handsome I think 90s are handsome decade I think 80s are as hunk decade okay I

[00:51:08] think 70s are as cute decade yeah he's very I would argue babes finds him

[00:51:12] handsome more than sexy yeah and I think this movie too so I think that speaks

[00:51:16] to what what I was saying earlier like the movie is kind isn't quite convinced

[00:51:21] that you know that this guy is really handsome right and that's why it

[00:51:24] establishes him as like extremely handsome at the beginning because it's

[00:51:28] like it's like a little nervous about it yeah his 90s are Fisher King

[00:51:32] vanishing like a lot a lot of sort of dark sort of thriller fearless blown

[00:51:38] away white squall yes handsome me very handsome everyone in that the

[00:51:44] potty parade Arlington Road sausage handsome I'm a couple years after I cut

[00:51:48] the R. Lee can road earlier sorry can we can we put it in here yeah Bobby go

[00:51:53] what's the bit can you replicate what did I say it wasn't even a bit I was

[00:51:55] talking about Arlington Road but why I don't it was about something about

[00:51:59] conspiracy theories yeah we were talking about conspiracy theories and you said

[00:52:02] Arlington Road is a great movie and then that and I said it taught America

[00:52:07] the wrong lessons which is that you're right you're right yeah right you're

[00:52:10] crazy conspiracy theories right we can't have those movies anymore did you

[00:52:15] learn to launch Q is the question you know what put put it on somewhere on

[00:52:19] the board it did it not it did not it did not but he's up but he's also a

[00:52:24] professor in that it's like that professorial handsomeness is what he

[00:52:26] kind of leaned into in this area I just I find the season that 70s he is like

[00:52:32] such a boy right like in his 20s and teens he's playing like a nice near

[00:52:38] America yeah and then in the 90s it's like this is the ultimate man not like

[00:52:44] the ultimate man man you're like this is an adult man there's a Kurt Russell

[00:52:47] sort of arc to him to you know like yes like very child like and cutie

[00:52:52] innocent and then like scary action hunk and then just a gruff handsome man

[00:52:58] that all the hot ladies one of us you know they both have this thing they

[00:53:02] both make movies people like that don't do well that's what I was gonna say yeah

[00:53:05] it's this fascinating thing where they're both like basically former child

[00:53:08] stars right who have decades-long careers where they age perfectly and

[00:53:12] everyone loves them their cue scores always high right not Q and not yeah we

[00:53:15] have like ten years later all of these are beloved yeah but you look at their

[00:53:20] box office runs and they're like never actually rankable but in an era where

[00:53:24] enough mid to low-budget movies get made at a studio level and they're only so

[00:53:29] many Harrison Ford's it's like yeah it makes sense to put Jeff Bridges and

[00:53:32] drag it out yeah it makes sense to put him in this it makes sense to put him in

[00:53:36] like everything wait can I read you guys this so she brings him on and why she

[00:53:41] likes him so much is because she goes to hang out with his family and she loves

[00:53:43] Babs loves his family she loves his mom and she says as soon as I heard Jeff talk

[00:53:49] about his mother I knew he would be easy to direct and this is if you're going

[00:53:54] out with a man on a date your first question should be what was your

[00:53:56] relationship with your mother like so that's what I love is like so she's

[00:54:00] calling him a mama's boy she's calling mom I can manipulate him if I act

[00:54:05] basically as his mother kind of as the director but then kind of like as his

[00:54:11] girl like she's she's already like I'm gonna have the dual role of being his

[00:54:15] lover and his mother on the set of this movie which is interesting you got a

[00:54:18] love that kind of translates yeah yeah yeah you kind of has to grow up yes I

[00:54:24] have a bigger bridges thought I want to unpack but first I just want to throw

[00:54:27] a general question to the table to hit me while watching this why isn't the

[00:54:29] Academy Bridge the Jeff Bridges that's what it should be yeah that's what it

[00:54:31] should be yeah Barbara gave them so much money yeah if you could pony up the

[00:54:37] money - what if it was the Jeff Bridge directed by Barbara Streisand she'd like

[00:54:42] that - she when she did not go she's never been to the bridge 100% and in the

[00:54:46] promotion for the bridge there is a Photoshop photo of her sitting on a

[00:54:50] director's chair I saw this badly photoshopped it's hard to advise the laws of

[00:54:55] physics so she knows she's a director and she would like you didn't know it to

[00:54:59] here's my question Jeff Bridges and this is an earnest question JB the best career

[00:55:06] length okay hair in the history of oh yeah first star who has had no bad hair

[00:55:14] period I was doing a thorough Google search I was like is there a single

[00:55:18] movie where his hair looks no but no but you law recently has been it's

[00:55:24] something's going on God bless have you seen Bradley Cooper's too young

[00:55:28] but by the time Bradley Cooper's 85 we'll be having this conversation again

[00:55:31] Cooper can grow some locks yeah there's no doubt about it but no bridges has

[00:55:34] agreed bridges bridges like great hair you're like magical yet it's beautiful it

[00:55:40] takes on shapes that you cannot believe the color is beautiful when he grays it

[00:55:45] still looks great and you're like it looks good long even good sure even in

[00:55:48] crazy heart my beloved crazy heart as you know it's like it's sort of sloppy

[00:55:52] but it's still it's still beautiful like it's it's luscious he shamed it in

[00:55:56] Ironman risky looks great he looks great and the beer looks great he grew right

[00:56:01] back he grew right back that it comes back boxes scraps have to do a thing you're

[00:56:05] like what a great head of hair this guy has shapes it all off perfectly shaped

[00:56:09] dome yeah right Kurt Russell good hair but he doesn't quite style it in it in

[00:56:14] his in his elegant of a way no he usually has sort of he's got the haircut

[00:56:18] he's got good yeah he's honestly that's a reason to compare them actually they

[00:56:22] both have really I'm talking both levels though like I know genetics and also

[00:56:26] just has it ever looked bad on screen has there ever been a wrong way this is

[00:56:31] you know hair loss technology has come very far in the past 10 years sure and

[00:56:35] so this was all before that too so where they're working with genetics and

[00:56:39] that you have to be amazed by it he also he remains my favorite movie president

[00:56:43] that movie the contender is not a very good movie yeah but the whole movie any

[00:56:47] time have you seen the contender yeah anytime comes to him he's ordering a

[00:56:50] sandwich from the White House chef yes and he's like you're just like this is

[00:56:56] like the sort of Bill Clinton we want like you know like the guy who's just

[00:56:59] like hey let's get a sandwich you know like that's a bomb has also said it's

[00:57:03] favorite movie present now this is part of my Jeff really take on this one yeah

[00:57:06] Obama always says that's his favorite movie present me Jeff Bridges is kind

[00:57:12] of fundamentally wrong for this movie yes in that he is he's a good actor he's

[00:57:19] a great actor I think and I don't think he gives a bad performance in this movie

[00:57:24] he's an example of a guy where I'm like he is almost incapable of giving a bad

[00:57:28] performance he is such a consummate pro it's not a lazy performance but he can

[00:57:32] give a performance like this that is good that actually works against the film

[00:57:36] where it's not even just physical appearance aside right he is too

[00:57:42] innately charismatic compelling and has chemistry with everyone he's ever on

[00:57:48] screen with to make the basic setup of this movie work which is this guy is

[00:57:53] sort of boring right head in the cloud not be a bad teacher in the way that this

[00:57:57] guy with some animal man is him on a purely sexual way but he can't he's

[00:58:01] heads all over the place he's not connecting with his students he can't

[00:58:05] pin a woman down to him where I'm just like why would only fearsome leave him

[00:58:09] well there's no way that that she it doesn't you're right it doesn't work

[00:58:12] that he's all the women are in the classroom he's so hot but he's a bad

[00:58:16] teacher not charismatic that doesn't make sense it would have like they put

[00:58:20] that in there obviously to have the baseball thing makes sense and she's

[00:58:22] yeah she's you know she's the queen of the she's not hot but she's an amazing

[00:58:29] teacher like yeah she just right teaching him and that's kind of why he loves

[00:58:34] her so much and whatever but it's why he's impressed with her she always sells

[00:58:37] out her sets when she when she yeah they're clamoring for more whatever what

[00:58:41] does she teach literature she seems to teach like human-care literature yeah

[00:58:46] like almost because like she's talking about young gian archetypes and like

[00:58:51] princesses in castles and yeah house you know forever the bridesmaid and her

[00:58:57] boobs at one point she's talking about her boobs I got boobs you never seen

[00:59:01] boobs before I get first to ending ovation for that delivery I think what you

[00:59:04] were saying about maybe it doesn't have anything to do with his physical

[00:59:07] appearance yeah but I think it kind of does I think you're right like you we

[00:59:11] were talking about the difference between sexy jetbridge and bread jet

[00:59:14] bridges and handsome jet bridges and I think it needed to be a sexier guy like

[00:59:18] almost scummy your guy okay so here's a hot pair here's a hot pit thank you

[00:59:21] Lindsey this is my pitch does this movie work better I'm not saying it's

[00:59:25] obviously the same year is just like here's frozen as a man you're between

[00:59:29] gold night and tomorrow never done right okay so he's pretty famous at this

[00:59:32] point yeah I think she can get the missus doubt fire character she puts his

[00:59:36] name in and they say she goes I couldn't get him I want to him type and they go

[00:59:39] we should ask him and he said yes because she's Barbara like it's you watch

[00:59:42] this and you go this must be in his missus doubt fire period before he's

[00:59:45] bombed and you're like no she got him in between bonds crazy Barbara yeah the

[00:59:50] other movie he does in 1996 is Mars attacks or I would argue he's playing

[00:59:56] the type you know that he just heard trying to be yeah

[01:00:00] where he's got this crush on Sarah Jessica Parker and it's like, here's this incredibly handsome scientist who doesn't know how to relate to other human beings. I think if this movie has those two parts flipped, where bridges is playing the Brosnan and Brosnan is playing the bridges, the dynamics kind of work better. Because also, Mimi Rogers needs to be a little jealous of what Barbara ends up getting and it doesn't make sense. No. Yeah. Also, in a perfect world, at the end, they don't end up together, which I know,

[01:00:29] goes against Bab's entire thing, but she should be like F you buy. I'm like, she's a kind of... She doesn't want to deal with it anymore. What she does with Pierce Brosnan, it should've been that is the end of the movie.

[01:00:40] Pierce isn't Barbara's type. You put Jeff Bridges and James Brolin next to each other and you get it.

[01:00:45] Totally. That's true. Pierce wouldn't have brought her home to his family. He's only doing all that.

[01:00:49] But for this movie, maybe she needs to not cast her type. You know? I think it's a... It would've been a better...

[01:00:56] I love Pierce. But Pierce is capable of successfully being boring on screen when he wants to be.

[01:01:03] Right. I mean, look at James Brolin and Jeff, we're talking the same guy. Brolin can be boring.

[01:01:08] Bridges cannot be boring. Bridges has never been boring on screen. You're right.

[01:01:12] Yeah, he's not a lazy actor. Like I said, yeah. And once again, he has chemistry with everyone.

[01:01:17] He is always connected to whoever he's talking to. He has to be with Arlington Road, the fucking road, the gravel.

[01:01:22] The road is going, "Whoa!" No, but he cannot seem disinteresting and disinterested.

[01:01:29] Right. I guess so. He makes sense to me in this movie in that I'm like, "This man is insane."

[01:01:35] And Jeff Bridges can play an insane person. He can. And he's funny. And he's funny. And he's a kind of funny.

[01:01:40] Right, because he's delusional. He's really smart, really, really, really, really, really book smart, and then kind of delusional and too horny, I guess.

[01:01:47] I believe him as a professor, though, and I don't believe Barbara as a professor.

[01:01:50] So I kind of think you need someone that you don't believe as a professor to be in this character.

[01:01:54] Which like the Brosnan thing, because I also, Pierce, I think it's funny that they frame it as like, "Well, he's a man of horror numbers."

[01:02:01] And he feels like he's created the mathematical way he's crunched it.

[01:02:04] For how men and women can interact and cohabitate. Right. But then in his attitude, he's much more like a Jordan Peterson type.

[01:02:12] Right. Where he's just like, "And the rules we should be playing." Yeah.

[01:02:15] You know, and you're like, "It's not this guy who's just like, "Well, I figured it out."

[01:02:20] Who else could there be? All right. Ed Harris.

[01:02:23] Wow. I've been thinking Ed Harris ever since he said Pierce, I was like, "What could it be? He does have all cell energy."

[01:02:28] How often does Ed Harris fuck? Onscreen. Offscreen I cannot call.

[01:02:32] Onscreen? Not that often. Like usually he's not that sexy.

[01:02:38] I would say the sexiest he's been is like stepmom.

[01:02:42] Oh, he's sexy. Onscreen has Ed Harris almost drowned to death at the bottom of the ocean and texted, "I love you, wife."

[01:02:49] I think that was just the one. It's just the one. I think it was just the ones.

[01:02:53] But like the original breakup text, like Ed Harris doesn't show up in a movie and you're like, "Uh-oh, here's a real romantic rival."

[01:03:02] You're like, "No, no, this is a paid killer usually." Or something like that.

[01:03:06] And I think the thing about the guy not being Barbara's type, of course, Barbara is going to cast based on her own libido.

[01:03:14] But if you're actually thinking about what the movie demands, part of it is that they don't meet organically.

[01:03:20] He has to be like attractive enough that she's intrigued. But also it's not like they found each other in any normal way.

[01:03:27] It all happens backwards. So part of it has to be like she comes to fall for him versus--

[01:03:34] So it should be against type. It should be a little against type. I agree.

[01:03:38] But you're right. It's like he should either-- The movie doesn't know whether he's too smart to be hot or too hot to be--

[01:03:48] The movie isn't clear what he is good at and what he is bad at or something.

[01:03:52] And the movie isn't clear in a way that a movie made now would be where if their agreement is that they don't fuck while they're married,

[01:03:58] they would also discuss how they fuck extramaritally. So it's like this type of guy, he's fucking someone else all the time,

[01:04:04] and we don't get a sense of that at all. Because he can't fuck without losing his mind, and that's why they put that in there,

[01:04:10] because if they were an open relationship or whatever it was, he would be losing his mind elsewhere, and that would be against what the whole point of this is.

[01:04:18] I was rooting for that. Is he selling it? I wanted them to be in Act 3. Let's fuck other people remain in our sort of nonsense marriage.

[01:04:27] Barbara would never. She would. She does not understand.

[01:04:30] I guess that would be, you'd be like this crazy, this is a Hollywood movie.

[01:04:34] But for '96, does this movie think that this character is Ross Geller? Is that who they think they're putting on screen, right?

[01:04:41] Where it's like he sometimes somehow accidentally stumbles into relationships with Megabay.

[01:04:47] Right. This guy is a total social incompetent who's like so caught up in his own shit and his studies and all of that.

[01:04:55] But yeah, when you get to the scene where he's like, "Look, my students hate me. I need to learn how to grab their attention."

[01:05:03] They don't hate you. They don't hate you. They're all horny for you.

[01:05:06] And I had never even considered that he wasn't a good teacher, because I'm watching him rap, and I hate math.

[01:05:11] Yeah. Well...

[01:05:12] And it looks like the class is like vaguely engaged, because when he has that conversation with her like, "How do you do it?"

[01:05:18] It's like, the only difference is that she's breaking the fire code by having that many people in her auditor.

[01:05:23] Well, one guy yawns. Remember when he yawns, and that's when he said, "You guys see the game last night?"

[01:05:28] And then, "Oh, God."

[01:05:29] They love it.

[01:05:30] Oh, they learn math. All of a sudden, they learn math.

[01:05:32] Could a fastball, or sinking fast, but he's flipping through the sexy ladies or the not sexy ladies while they're taking a test?

[01:05:40] I was like, "Save it for the lounge or something. Why are you doing this?"

[01:05:43] That's so weird.

[01:05:44] That was so weird.

[01:05:45] That was so weird.

[01:05:46] There's the scene in last picture show, which he's so fucking good in, obviously.

[01:05:50] His first real movie, where he and Sible Shepherd sleep together for the first time,

[01:05:54] and they walk out of the motel, and all their friends are parked in the parking lot of plotting them.

[01:05:58] And he's doing his little strut, and she hits him, and she goes like, "Oh, stop it. You weren't good anyway."

[01:06:03] Yeah. That part was...

[01:06:05] And he looks oblivious.

[01:06:06] And I'm like, "This movie at the beginning tries to set him up as the mid-40s version of that same guy."

[01:06:12] Who's just like, "I don't know. I just kind of keep..."

[01:06:14] I don't know how I got here.

[01:06:15] Oh, he's definitely not good in bed. Like, this guy is not...

[01:06:17] She says he is? No.

[01:06:19] She says the movie.

[01:06:21] She has no idea.

[01:06:22] She says the only two things we ever had in common were sex and that we both idolized me.

[01:06:27] Which is a funny one.

[01:06:29] It is.

[01:06:30] She looks great.

[01:06:31] I mean, like, you know, shout out to Elle.

[01:06:33] It's a fun scene.

[01:06:34] It's a fun scene in movies.

[01:06:35] Yeah.

[01:06:36] She's in sirens.

[01:06:37] Batman and Robin.

[01:06:38] Yes.

[01:06:39] Fudge.

[01:06:40] Then she pops back into love, actually, for one scene.

[01:06:42] Oh, my God, right.

[01:06:43] It's right.

[01:06:44] When it's simple.

[01:06:45] Yeah.

[01:06:46] Yeah, for a couple.

[01:06:47] Who's girlfriend does she play?

[01:06:49] Joey's, maybe.

[01:06:50] Yeah, that sounds rare.

[01:06:51] Uh-huh.

[01:06:52] I know.

[01:06:53] Wasn't she Ross's girlfriend?

[01:06:54] Was she?

[01:06:55] Was that another example of Ross getting babes?

[01:06:57] Should this have been Swimmer?

[01:06:59] She's Joey's girl roommate.

[01:07:01] Okay.

[01:07:02] And then they hook up.

[01:07:03] Yeah.

[01:07:04] You can't hook up with your girl roommate.

[01:07:05] Right.

[01:07:06] You learn that on Friday.

[01:07:07] Yeah, but Joey needs a roommate and he gets a girl roommate.

[01:07:08] Yeah.

[01:07:09] It's a super boss.

[01:07:10] Right.

[01:07:11] Right, right, right.

[01:07:12] Um, let's talk about the plot a little more directly.

[01:07:16] Okay.

[01:07:17] Rose Morgan, English professor at Columbia University.

[01:07:20] Yeah, she's like cheap trick at Buda Can anytime she talks about fucking King Arthur or whatever.

[01:07:25] I need to recreate her first fit where she's teaching, where she's wearing, like, black

[01:07:29] beret hat thing, suspenders, maybe black.

[01:07:33] It's so cute.

[01:07:34] I'm kinda like wearing it.

[01:07:35] High black pants.

[01:07:36] By the way, the outfit you have, it's perfect.

[01:07:37] It's nice.

[01:07:38] I just got this.

[01:07:39] It's great.

[01:07:40] Yeah.

[01:07:41] I mean, I loved her look.

[01:07:42] I think she's so confident too.

[01:07:44] Like that's where she's like, sexiest.

[01:07:46] Yeah, when she's supposed to be dowdy.

[01:07:47] Well, they're like, "Oh, her hair.

[01:07:49] It's brown.

[01:07:50] Yeah.

[01:07:51] Thanks.

[01:07:52] Awful.

[01:07:53] Like, no makeup, I guess.

[01:07:54] How is she schlubby?

[01:07:55] I don't even know.

[01:07:56] Yeah.

[01:07:57] She's not.

[01:07:58] She's got glasses on her hair.

[01:07:59] She dresses like, gentle.

[01:08:00] She dresses like, gentle.

[01:08:01] Yeah.

[01:08:02] I was like, I think there's something.

[01:08:03] I was just telling her that the movie didn't even commit to have her wear glasses until the

[01:08:06] final act.

[01:08:07] So, Bobby, you pointed this out, like we knew what she looked like at her best at this point.

[01:08:13] Yes.

[01:08:14] So I knew what Barbara Streisand looked like as a sexy woman.

[01:08:17] So I guess I knew that- The sexy reveal is really funny.

[01:08:20] It's really funny.

[01:08:21] But I've seen that woman before.

[01:08:23] That's not like a jig-dub woman.

[01:08:25] That's just what Barbara looks like normally at her.

[01:08:28] No.

[01:08:29] But the one scene where they kind of get it right is the scene where she has Bacal, she

[01:08:34] reluctantly lets her make her over for the first Bridges day and she shows up post cab

[01:08:39] ride.

[01:08:40] Oh, with the piece of hair.

[01:08:41] Right.

[01:08:42] The failed version of the glow up works visually.

[01:08:45] And the rest of the movie you were like, she looks like Barbara.

[01:08:47] But the thing is, even in the failed version of the glow up, once she takes the weird hair

[01:08:51] out of her hair, the extra hair that Bacal added, she basically looks great.

[01:08:56] Right.

[01:08:57] Sorry.

[01:08:58] What you did say is when you see her made over, you're like, oh, now I see how fluffy

[01:09:01] she was.

[01:09:02] She's sexy.

[01:09:03] I've never seen a sexy woman.

[01:09:05] You can see her body.

[01:09:06] The sexy reveal is hilarious because it comes right after the workout montage where you

[01:09:12] are so annoyed.

[01:09:13] You're like, I cannot believe the movie is doing it.

[01:09:16] I hate that they're doing it.

[01:09:17] And then you see her and it's like vah, vah, vah, voom, like this sexy lady's here and

[01:09:21] I love her hair like this, you know, her hair looks amazing and they do her makeup.

[01:09:26] But it's also the same body.

[01:09:27] Yeah.

[01:09:28] It is the same exact body.

[01:09:30] I hate it under all that weird, gentle clothing they gave.

[01:09:33] She's wearing less sweaters.

[01:09:35] Yeah, I guess.

[01:09:36] And he's like, what did you do to your hair?

[01:09:37] And she's like, I lightened it or something.

[01:09:39] Lightened it.

[01:09:40] Yeah.

[01:09:41] It's blonder, baby.

[01:09:42] Slightly blonder.

[01:09:43] It's a little crimped.

[01:09:44] Oh, yeah.

[01:09:45] She has a little curls.

[01:09:46] Okay.

[01:09:47] So she lives at the what looks like the Frick collection with her mom, Lauren Bacal.

[01:09:51] With her mom, Lauren Bacal, who, when I was watching it, I was like, this is, this is

[01:09:55] the long lost twin sister of Lauren Bacal and birth.

[01:09:58] It's like one became the rich, uppery side, you know, but one became like the kind of

[01:10:03] more, I don't know, middle class mother, who's a little less competent, whatever.

[01:10:06] There's the third Bacal who's sweeping the sound stage in dogville.

[01:10:10] Yeah.

[01:10:11] Well, bumping into tape at the armory and it's like, yeah, it would be funny.

[01:10:15] And then there's the fourth Bacal, the real Bacal who gets punched by Christopher in the

[01:10:19] soprano.

[01:10:20] Who punches her in the sopranos?

[01:10:21] Oh my God.

[01:10:22] Oh, is it Christopher at the hotel parking?

[01:10:24] It is.

[01:10:25] Right.

[01:10:26] It's Christopher.

[01:10:27] She's in sopranos where they were like, there's an episode where Lauren Bacal gets punched

[01:10:30] and you're like, the sopranos, the one about the mobsters, not whatever you're talking about.

[01:10:34] Christopher has darkness that would not surprise me towards the end.

[01:10:37] So just to pause for a second, I think for any of our younger listeners, it is important

[01:10:43] to understand that this movie is like biggest cultural legacy is that it comes out.

[01:10:48] It's kind of savaged by critics and everyone's like, but here's Lauren Bacal's Oscar and

[01:10:53] she has this runway to like we're all going to give her the lifetime achievement of we're

[01:10:57] Oscar.

[01:10:58] She's going to get a standing ovation.

[01:10:59] It's going to be emotional.

[01:11:00] It's her first nomination.

[01:11:01] Here she is, granddame of old Hollywood and she wins every precursor and then loses the

[01:11:06] Oscar in this movie's forgotten.

[01:11:09] And she kind of deserved the Oscar.

[01:11:12] I disagree.

[01:11:13] That one scene.

[01:11:14] Get that instead.

[01:11:15] So Julia Pinoche wins for the English patient, which is an excellent performance from one

[01:11:19] of our great actors.

[01:11:20] Julia Pinoche should win and what a shame she's going to lose to Lauren Bacal because

[01:11:24] of sentimentality and then it was a case of like, holy shit, the person we all secretly

[01:11:28] wanted to win won and Lauren Bacal dies without an Oscar.

[01:11:33] Doesn't she get some sort of like she got a special honor I asked her later, which don't

[01:11:37] really count.

[01:11:38] So she got a lifetime of sheep and surfboard and the cheap choice awards.

[01:11:42] So Bacal won the Golden Cliff McCall won the Globe and won SAG.

[01:11:48] Yeah, she won most of the precursors.

[01:11:50] Obviously she didn't, I don't think she won like a lot of critics awards.

[01:11:53] I saw at least one or two she won.

[01:11:55] She lost the satellite award for best supporting actress in a comedy.

[01:11:59] And I was like, the satellite who gives a shit and also split into 15 categories, what

[01:12:03] could have beaten her.

[01:12:04] And I thought it was interesting that this was the same year.

[01:12:07] Debbie Reynolds and Mother.

[01:12:09] Oh, yeah.

[01:12:10] Who then doesn't even get nominated, but was the same kind of narrative.

[01:12:13] Right.

[01:12:14] Like similar.

[01:12:15] So much.

[01:12:16] Love Julia Benosch, the actor, she's great.

[01:12:20] I love her.

[01:12:21] Yes, the actor.

[01:12:22] She won the best.

[01:12:23] And she is good in the English patient.

[01:12:25] Yeah, that is, but that is not even one of her 10 best performances.

[01:12:28] But how many performances have come after that one?

[01:12:32] Many.

[01:12:33] I mean, she'd already done three, you know, three, kind of thinking about so what is the

[01:12:36] most in life here.

[01:12:37] It's like, oh, she would have won an Oscar eventually.

[01:12:39] It's like, but what would her career have done actually not, right?

[01:12:42] Right.

[01:12:43] Totally right.

[01:12:44] One has nominated in their, like, back half for a lifetime achievement situation where

[01:12:49] they actually put in a good performance in a movie that is otherwise not as good.

[01:12:53] Like English patients have a better movie than Mira has two faces.

[01:12:56] Yes.

[01:12:57] So, but, but somehow Lauren Bacall turns out this kind of incredible thing.

[01:13:01] Bacall's kind of awesome in this movie.

[01:13:02] Yeah.

[01:13:03] I don't disagree.

[01:13:04] She gives this movie.

[01:13:05] Price of admission.

[01:13:06] Something it really did would not have without her.

[01:13:07] I thought the first time, you know, I'll be like, oh, yeah, Bacall's fine.

[01:13:11] She comes in and she says like, I was married to Humphrey Bogart.

[01:13:15] Everyone's like, oh, she's like really important.

[01:13:17] She's like really important.

[01:13:18] She makes sense as a, as a Upper East Side Jewish mom.

[01:13:22] Like, and I'm like, I don't know that I would have thought Bacall would make sense for that.

[01:13:26] She has the ground.

[01:13:27] Betty.

[01:13:28] She grounds the movie.

[01:13:29] Like she's the, she's the realist, I think, warmest part of this movie.

[01:13:32] We all know the thing that Barbara did on set, right?

[01:13:34] Oh, yeah.

[01:13:35] We were never going to let you forget that she pulled that out of her.

[01:13:37] She tripped her.

[01:13:38] She tripped her.

[01:13:39] She tripped her.

[01:13:40] It's her, it's not her fault.

[01:13:41] That's her fault.

[01:13:42] That's her fault.

[01:13:43] She tripped her.

[01:13:44] She tripped her and she tripped her and she tripped her.

[01:13:46] She tripped her.

[01:13:47] She tripped her.

[01:13:48] She tripped her.

[01:13:49] She tripped her.

[01:13:50] She tripped her.

[01:13:51] She tripped her.

[01:13:52] She tripped her.

[01:13:53] She tripped her.

[01:13:54] She tripped her.

[01:13:55] She tripped her.

[01:13:56] She tripped her.

[01:13:57] She tripped her.

[01:13:58] She tripped her.

[01:13:59] She tripped her.

[01:14:00] She tripped her.

[01:14:01] She tripped her.

[01:14:02] She tripped her.

[01:14:03] She tripped her.

[01:14:04] She tripped her.

[01:14:05] It's like, she tripped her.

[01:14:06] She tripped her.

[01:14:07] She tripped her.

[01:14:08] She tripped her.

[01:14:09] the first choice and was busy, I think doing Unhook the Stars.

[01:14:12] -Sure. -And so, could you do it?

[01:14:14] -Her son's movie. -Oh, Oscar Play.

[01:14:16] -Yeah, yeah. -She got a SAG nomination for that.

[01:14:18] -Is it insane to say that I think Jenna would have won

[01:14:21] if she'd gotten this part? -I think it's insane, yeah.

[01:14:23] -Okay. -Because this movie was despised.

[01:14:25] -That's true. -So I think that's --

[01:14:27] The only reason Bekalza in there is just the guilt of, like,

[01:14:31] "Well, he never even nominated her."

[01:14:32] Like, "What is the matter with us?" -Yeah.

[01:14:34] -Like, she's a -- She has, like, two Tonys.

[01:14:36] -Yeah. -She's a little bit legend.

[01:14:38] -And she was married to Alfred Bogart.

[01:14:40] -No, I'm the one who I've heard about. -She doesn't say it.

[01:14:42] -The hate for this movie is just --

[01:14:43] 'Cause I know that we're, like, not even done talking

[01:14:45] about the plot, but, like, yeah, it's crazy and it's insane,

[01:14:49] but it's such a nice movie to just spend time with.

[01:14:51] -Yes, it's cold. It's cold. -It's like all of it's weird parts.

[01:14:53] -You're like, "Listen to him." -You're part to make a great whole.

[01:14:54] That's what I'm -- -It's just so --

[01:14:56] -As I was talking. -It's silly.

[01:14:57] -It's so out of place in the midnight.

[01:14:58] -Like, we're picking it apart. -But when you watch it,

[01:15:00] you're like, "This rules."

[01:15:01] -It is astonishing to read the reviews. We cannot overstate.

[01:15:08] -It's like, it's Barbara. It's because it's Barbara.

[01:15:10] -It is? No, but in much the same way that, like,

[01:15:12] "Quantomania" or "Eternals," it's like, "We've been living under

[01:15:15] "this fuckin' marvellous --" -It's in the 13 times.

[01:15:17] -Yeah. -Now it's around.

[01:15:19] -It was, like, all the -- everyone who had any problem

[01:15:21] against Barbara Streisand at any point in her 30-year dominance

[01:15:24] up until that point was, like, open-season boys.

[01:15:27] -They finally said we sat through "Yentil."

[01:15:28] We did all this stuff. -Yes.

[01:15:29] -And now you've made a movie that we can say is --

[01:15:32] we're saying it's bad. -Right.

[01:15:33] -It's bad. -Yes.

[01:15:35] -So, Lauren Bacall -- Mimi Rogers also, we should shout out.

[01:15:40] Streisand says she wanted a tall, attractive woman

[01:15:42] as a contrast to her character.

[01:15:44] -You had once been married to Tom Cruise.

[01:15:46] -I can't -- I can't -- I wish I could have known that.

[01:15:48] -I'm sorry, that's the nothing I know about Mimi Rogers.

[01:15:51] -Mimi Rogers and Lauren Bacall share the American women

[01:15:54] who I always think are secretly British.

[01:15:57] -In fact, both are secretly Jewish.

[01:15:59] -Right. -Of course, Mimi Rogers later was a Scientologist,

[01:16:02] but she has a Jewish -- -Well, you know --

[01:16:04] -Being married to Tom Cruise doesn't come about this.

[01:16:06] -I mean, he's British and Austin Powers.

[01:16:08] -Well, maybe that's part of it. -Well, maybe that's part of it.

[01:16:09] -But they also -- -We've seen one billion times.

[01:16:11] -One billion times, but I think they also have --

[01:16:14] I mean, Lauren Bacall is part of the old Hollywood system thing,

[01:16:16] but it's, like, speaking English with a very pronounced,

[01:16:20] sort of, like, transatlantic. -Right. Right. Right.

[01:16:23] -Yeah. -Duddly Moore was actually the first choice

[01:16:26] of the George Segal role. -Perfect.

[01:16:28] -That sounds nice, but he was ill, I guess.

[01:16:31] -Oh, that's the three scenes. -Fun to see him, though.

[01:16:33] -He passes away pretty shortly after this.

[01:16:34] -Yeah, but -- but Segal, right.

[01:16:35] He's just bouncing in from the "Just Shoot Me" set or whatever.

[01:16:38] -He's so good in this. -He's great. He's great.

[01:16:41] He was great on "Just Shoot Me."

[01:16:42] I think he doesn't get his roses enough for "Just Shoot Me."

[01:16:44] -He's also, I think Barbara's lost. -He's just lost.

[01:16:45] -I think Barbara's trying to make a point.

[01:16:46] -I think Barbara's been fucking old.

[01:16:48] -Yeah, he was. -If he was on the Goldbergs

[01:16:49] until the fucking end.

[01:16:51] -My God. -Yeah, well, okay.

[01:16:52] -I think Barbara's trying to make a point about a little bit,

[01:16:54] like guys who are not as attractive also can just land any girl

[01:16:58] or whatever. -Absolutely.

[01:16:59] -And I think with Segal, though I do think he's attractive,

[01:17:02] she makes that point.

[01:17:04] -George Segal really well. -Really well.

[01:17:05] -He was a romantic leading man in the '70s.

[01:17:07] -Hey, in the '70s. -Don't Segal, right, cute.

[01:17:09] -As was her ex-husband, Ellie Gould.

[01:17:12] -Right, yes. -And neither of them

[01:17:14] got the same kind of cocked eyebrow that she did.

[01:17:16] -Right, right. -Presenting herself as a romantic lead.

[01:17:18] -And she, I think, is very obsessed with that fact.

[01:17:21] -Right. -And she wants to make it

[01:17:22] and she makes it without having to really make it.

[01:17:24] -She makes it. -In the 1970s,

[01:17:26] those two guys, unconventional, hyper-Jewish,

[01:17:29] became leading men and sex symbols at the same time

[01:17:33] that the class of actors who were referred to as looking

[01:17:36] like your butcher of like De Niro and Pacino, you know,

[01:17:40] Hoffman falls into the Segal, gold category.

[01:17:43] -Yeah. -Gold category, yeah.

[01:17:44] But it's just like, right,

[01:17:45] they never stop litigating Barbara's thing.

[01:17:48] In a way that these guys, it's like,

[01:17:49] "Well, what can we say that got the riz?"

[01:17:51] -But we can't fight this. -The strike send is also

[01:17:54] the thing where she's like, "Ah, they never fucking got

[01:17:57] off my back." And I'm like, "You're right."

[01:17:58] But then also, I'm like, "But you have had unparalleled success

[01:18:02] for 60 years, Barbara. You're doing great."

[01:18:04] -And she back hot guys the entire time.

[01:18:05] -Yeah, she did. -Yes, she did.

[01:18:07] -That's how much with Love Heard was reminding her.

[01:18:10] She's always dating all guys. -Yes, yes.

[01:18:13] Probably going on.

[01:18:13] -Well, I'm repeating something I said earlier,

[01:18:15] but that's, I think, that's that that turn

[01:18:17] and that scene with Lauren Bacalthi.

[01:18:19] And she's confident.

[01:18:21] She reveals herself as confident.

[01:18:22] She's like, "Fuck this. I am beautiful.

[01:18:24] And I always have been."

[01:18:25] Like, she doesn't play the woe is me version of that character

[01:18:29] throughout the whole thing.

[01:18:30] And I think without that, the movie is a little bit worse.

[01:18:32] -She's obsessed with the critics,

[01:18:33] but she doesn't actually believe what they say.

[01:18:35] -No, exactly. -I think the thing about Barbara is that

[01:18:36] she knows what she's right.

[01:18:38] She knows that she's good and she knows what she's beautiful.

[01:18:41] But she does read it all and wants to remind you

[01:18:43] that they thought that she wasn't right or beautiful.

[01:18:45] -There's a reason the strike send effect is named after her.

[01:18:48] -Which she does talk about in the book and it's hilarious

[01:18:50] because she has no fricking idea why it's funny or relevant.

[01:18:52] She goes, "I wasn't even nah nah."

[01:18:53] She just totally negates it.

[01:18:54] It's like, "No, you don't get it."

[01:18:56] -But it's a weird case of you read all those reviews

[01:18:58] and they're like, "Barbara, why won't you fucking get over it?"

[01:19:01] And it's like, you're doing the thing that makes this

[01:19:04] in her head constantly.

[01:19:05] Like, both sides are right.

[01:19:07] Barbara, you are so successful that you still shouldn't be obsessed

[01:19:10] over this, but also, no one will stop talking about things

[01:19:13] through this prison. -Exactly.

[01:19:14] -Around her. -And like, critics, shut the fuck up.

[01:19:17] It's funny that on their wedding night,

[01:19:18] they watch Lawrence of Arabia.

[01:19:20] -Funny. -Hilarious.

[01:19:21] -That's it's long.

[01:19:22] -And she's the only, and Jeff Bridges falls asleep,

[01:19:25] and she watches the whole thing.

[01:19:26] She has a bunch of plants rolling.

[01:19:27] -Two cassettes.

[01:19:28] -Yeah, I think you see it in the back.

[01:19:29] It's two cassettes. -Okay.

[01:19:30] So someone had to get up and change the cassettes.

[01:19:32] -Yeah, she did it.

[01:19:33] -You know, Barbara's a real filmmaker too.

[01:19:36] -That she cuts to them watching the credits for the restoration.

[01:19:39] -Yeah, and the code is getting a special thanks or something.

[01:19:42] -That it's where you'll consult with Barbara.

[01:19:44] -Yes, someday Harris supervised it.

[01:19:45] -The music's going?

[01:19:46] -The music's going. -The cassettes were from her own collection.

[01:19:48] Those are so her.

[01:19:50] -Do you know who would have given Lauren Bacal the Oscar had she won?

[01:19:53] -Oh.

[01:19:54] -Kevin Spacey.

[01:19:55] -Oh, okay.

[01:19:56] -I'm watching the clip right now.

[01:19:57] -Oh boy.

[01:19:58] -Wow.

[01:19:58] -So maybe she dodged a bullet.

[01:19:59] -Maybe she dodged a bullet.

[01:20:00] -He's there in a black tux.

[01:20:03] -Help me.

[01:20:03] -I'm trying to, I'm watching it just to see what's called.

[01:20:06] -He did a press with all three action.

[01:20:08] -And Bab's goes to the Oscars, and she meets Jim.

[01:20:11] -Does she meet Jim at this terrible role?

[01:20:14] -That's the end of the chapter.

[01:20:16] -She goes.

[01:20:17] -I never go to the Oscars.

[01:20:18] It's such a to-do, but you know what?

[01:20:20] I said, I'm going to go.

[01:20:22] -For Lauren.

[01:20:23] -For Betty.

[01:20:24] -For Betty.

[01:20:25] -And Betty loses.

[01:20:26] Marvin, her beloved Marvin loses.

[01:20:28] -Lauren is a class act, by the way.

[01:20:30] -She's so pissed.

[01:20:31] Why don't I go?

[01:20:32] -She's smiling.

[01:20:33] -She's dreams.

[01:20:34] -She meets Jim.

[01:20:35] -She meets Jim.

[01:20:36] -It becomes a jam.

[01:20:37] -It becomes a rom com at the beginning.

[01:20:38] -Like it's, she walks after him and says your son's going to be Thanos.

[01:20:42] She says it to him.

[01:20:44] -Okay, friend of the podcast.

[01:20:47] -Good video.

[01:20:48] -I'm not laughing because I'm processing.

[01:20:50] -Yeah, I also heard that slow.

[01:20:52] -Binosh, who obviously was dressed like the Dark Lord Dracula, if you remember, she's

[01:20:55] got this amazing red coat with a huge collar.

[01:20:59] She looks, she is genuinely surprised.

[01:21:01] Like when her name gets red, you can tell.

[01:21:03] -That's nice.

[01:21:04] -She's like, "I can't believe this."

[01:21:05] -It's a coutier moment where you're just like, "This isn't supposed to happen."

[01:21:07] -Yeah.

[01:21:08] -What were you going to say?

[01:21:09] -Well, I was going to say the memoir, it was speaking of James Brolin.

[01:21:13] I know friend of the podcast, Richard Lawson, was like, "It's funny that Barbra Streisand

[01:21:17] has had interactions with so many interactions with Diane Lane."

[01:21:21] And then I just pulled out the Kindle and then controlled up Diane Lane.

[01:21:23] Zero results.

[01:21:24] -Wow.

[01:21:25] -What?

[01:21:26] -Zero results.

[01:21:27] No mentions a Diane in the book, which is, "Pup" is means nothing, but it also means everything.

[01:21:30] -I will say, now that you've invoked the great Richard Lawson, I kept thinking during

[01:21:34] this movie, he has quoted this on our show, but you and he having the game of trying to

[01:21:42] come up with fake James L. Brooks lines.

[01:21:44] -Oh, yeah.

[01:21:45] -And the best one you've ever had.

[01:21:46] -There's so many times.

[01:21:47] -But this movie is such a good, every line feels like it could be, you're the kind of

[01:21:51] a person who's a kind of a person.

[01:21:53] -Yes.

[01:21:54] -You're the kind of a person who's the kind of a person.

[01:21:55] -Well, I just love the little eating a salad because you like the salad dressing more.

[01:22:01] That is such a mixture of a Barbra, and also kind of a Jewish age.

[01:22:06] -And a Nora Efra Nora.

[01:22:07] -Yeah, very classic.

[01:22:08] -But when you ever see her spooning in her mouth, I wanted to see her actually.

[01:22:10] -I want her to do full, like...

[01:22:12] -And the most gnaw shit ever.

[01:22:14] -The most Nora shit ever is the perfect bite mixed with loving someone because they know

[01:22:19] your intricacies and how fucking annoying you are.

[01:22:22] When you go out to dinner and, oh, no pepper for her.

[01:22:26] She wants extra dressing.

[01:22:27] That's the most Nora rom-com shit ever.

[01:22:29] -Well, I mean, in a way, you've got mail is like an evolved version of this, like a better

[01:22:36] version of this because it's the idea of a tonic for a long time.

[01:22:38] -They need us friends first.

[01:22:39] There's no sex at all.

[01:22:42] It's a meeting of the minds because they just chat online.

[01:22:46] You've got mail, doesn't...

[01:22:47] -It's a smarter way to do it.

[01:22:48] -But you know what the perfect bite is?

[01:22:51] Lindsey, you love this.

[01:22:53] Think about it.

[01:22:54] Whenever James, not James, Jeff Bridges is sort of like, "I miss the perfect bite."

[01:22:59] I miss the perfect bite or whatever at the end.

[01:23:01] -Yeah.

[01:23:02] -Do you know what the perfect bite is?

[01:23:03] -No.

[01:23:04] -It's beauty and brains.

[01:23:05] -Oh, you're so right.

[01:23:07] You've got to have a little bit of everything in there.

[01:23:10] -Beauty and brains.

[01:23:11] -You can't just be sexy.

[01:23:12] He doesn't just want dressing.

[01:23:14] He wants dressing.

[01:23:15] -They have a good deal.

[01:23:16] -He wants icebergs.

[01:23:17] -Yes.

[01:23:18] -And to the Hooligans who, the four of them that are listening to this, the beauty and

[01:23:21] brains is Brad Pitt's not girlfriend who he actually never dated, Larry Oxman, who

[01:23:26] was a professor who people thought he dated.

[01:23:28] They never dated, but she was beauty and brains.

[01:23:30] -They couldn't believe that he gave it to me.

[01:23:32] -And it literally married.

[01:23:33] -An MIT professor.

[01:23:34] -Yeah, they said beauty and brains.

[01:23:35] -Everything to know about Brad Pitt's friends.

[01:23:37] -That perfect bite is the perfect example of like, it's an aspirational rom-com moment

[01:23:45] that people are going to remember and love and it just doesn't quite work.

[01:23:49] -Okay, so I'm going to put something out.

[01:23:53] Because I didn't realize that she met Big Jim.

[01:23:56] -Yeah, excuse me.

[01:23:57] -The chapter after the chapter about this movie is about Jim's.

[01:24:02] -For this movie, right?

[01:24:03] -And then she never directs another film and she only acts in three more movies after this.

[01:24:07] -Maybe it sounds like she got a life.

[01:24:09] -Well, I've been saying all of her films, it's a bad message.

[01:24:15] Certainly her career as a singer and interpreter of the great romantic songbook, right?

[01:24:20] And then most of her persona and her movies, especially her biggest films, and then really

[01:24:24] drilling down into when she starts directing her own films and we're lumping stars born

[01:24:29] into this is like she is really obsessed with love and whether this is a solvable thing,

[01:24:34] right?

[01:24:35] She's trying to do the Jeff Bridges Professor calculations in her head, but in emotional

[01:24:39] terms.

[01:24:40] She's doing like what actually her character is doing.

[01:24:43] It's like is the fantasy version of it unrealistic, but do we need to desire for something that

[01:24:48] is a little bit unrealistic?

[01:24:49] Where is the middle?

[01:24:50] She sleeps with many great men.

[01:24:52] She has great love affairs, but there is some like unfulfilled unresolved part of her.

[01:24:57] She finally meets Big Jim, who's like the perfect Tracy guy and then she's like, "Well,

[01:25:00] I can show up."

[01:25:01] -I'm done.

[01:25:02] -Right.

[01:25:03] -I mean, she did show up.

[01:25:04] -She really cannot do multiple things at once.

[01:25:06] I think her energy has to be.

[01:25:07] She's such a perfectionist.

[01:25:08] She's such a, everything has to be perfect in the moonsha or whatever is that I just don't

[01:25:12] think she can like be in successful relationship and be successful director and do music.

[01:25:17] She's not an every man.

[01:25:19] -Her baby are very similar.

[01:25:21] And Beatty always talks about when people are like, "Why won't you make another movie?"

[01:25:25] She's like, "Making a movie for me is like vomiting, where it's this thing in my system

[01:25:29] for so long and I really don't want it to come out.

[01:25:31] And once it's out, it feels better, but like the scariest part is going to the toilet

[01:25:35] or whatever.

[01:25:36] I'm paraphrasing here a little bit, but he does use vomit as the metaphor."

[01:25:39] And it does feel like the same thing with Barbara, which is like, "If I'm going to do

[01:25:42] this, it's going to like take over my entire body.

[01:25:44] -Ten years to write a book.

[01:25:45] - Too pleat everything for my system.

[01:25:47] I don't commit to anything lightly."

[01:25:49] -If she'd taken ten years to write like a Kendall 45 page book, right, then I'd be like,

[01:25:54] "Come on, Barbara.

[01:25:55] It's a lot better."

[01:25:56] -Also, what's there in, she took all these this time, all these years to make these other

[01:25:59] movies.

[01:26:00] She finally makes a movie in a normal time it takes to make a movie and it's hated.

[01:26:03] -Hated.

[01:26:04] -She doesn't go into the criticism.

[01:26:05] -She's looking back and she's saying, "Is it worth it?"

[01:26:08] -Is it worth it?

[01:26:09] -So I guess I need to be either making "gentle" every time or never again, because I'm not

[01:26:13] going to deal with it, I'm not going to make this movie again.

[01:26:15] -And it's not real off.

[01:26:17] It was like relatively successful, right?

[01:26:19] -It made it for a movie for moms.

[01:26:22] -But she never says, "They said it was bad and it was great," because she doesn't--

[01:26:25] -No, she never goes--

[01:26:26] -No, she doesn't.

[01:26:27] -Well, it reminded me of-- I told Lindsay this before y'all got here.

[01:26:29] It reminded me of this very funny, Zane Lowe interview she did a couple years ago when she

[01:26:34] released some one of her silly albums where it's like, "I'm going to do duets with--"

[01:26:37] -No, I'm so angry.

[01:26:38] -Dina Menzel and Daisy Ridley.

[01:26:39] -Oh, yeah, she did.

[01:26:40] -It's the craziest shit in the world.

[01:26:41] -Oh, man, you're right.

[01:26:42] -And she releases this album, she does an hour-long--

[01:26:44] -With Ann Hathaway and Daisy Ridley.

[01:26:46] -She releases--

[01:26:47] -She didn't album with Daisy Ridley?

[01:26:48] -Well, not the whole album.

[01:26:49] -It wasn't the whole album, oh, heaven.

[01:26:54] -They sang, "Let's go to the ballet with a boat and a dasie."

[01:26:55] Yeah, yeah, yeah, yeah.

[01:26:56] -Craziest, craziest album possible.

[01:26:57] So she's talking to Zane Lowe about it for an hour.

[01:26:59] And in this interview, I watched the whole thing, I think I watched it at like 1.5x.

[01:27:03] So I was like, "I got to find her funniest things."

[01:27:05] And she tells this story, I don't remember how the anecdote core movie is--

[01:27:08] -Oh, it's a partnering singer.

[01:27:09] -There you go.

[01:27:10] -Yes, obviously.

[01:27:11] -I don't remember how the anecdote comes about, but she's like, "Okay, take this, for example."

[01:27:15] She went to an auction.

[01:27:17] She sees a painting that she wants.

[01:27:19] She bids for the painting.

[01:27:20] She loses.

[01:27:21] You're assuming it's a very expensive painting, beautiful painting.

[01:27:23] And her solution to this problem, because she wanted the painting, she didn't win it.

[01:27:28] She says, "Well, I have to learn how to paint so I can paint this painting."

[01:27:31] She tells Zane Lowe's story.

[01:27:32] She learns how to paint, gets good at it, and then she goes, "Well, I don't have to paint

[01:27:38] anymore."

[01:27:39] Like, I think that it's like that is--

[01:27:41] -She perfects it.

[01:27:42] And then she says--

[01:27:43] -She gets her own judge.

[01:27:44] Once it's decided--

[01:27:45] -Yes.

[01:27:46] -Once it's out of her system, it's out of her system.

[01:27:48] And I believe it.

[01:27:49] I feel like there's a version of a person who says that and does it and wants it to be

[01:27:55] true.

[01:27:56] -Yes.

[01:27:57] -But for Barbara, it seems true.

[01:27:58] -And Lindsay, I am similarly fixated on the lazy thing that you keep on bringing up.

[01:28:00] -She said it.

[01:28:01] -And I've been bringing up other--

[01:28:02] -She said it.

[01:28:03] -The other episodes.

[01:28:04] And people are like, "That's not true."

[01:28:05] And she's like--

[01:28:06] -No, she has said it.

[01:28:07] -There's one in ten on my scale.

[01:28:08] There's nothing in between.

[01:28:09] -Right.

[01:28:10] -When she's working, she works really hard.

[01:28:11] -Right.

[01:28:12] -Or I keep to become entirely obsessive.

[01:28:13] -Yeah.

[01:28:14] -And to think about--

[01:28:15] -You work her on Howard.

[01:28:16] -She goes and does a concert.

[01:28:18] When she makes the money from the concert, she says, "I'll be at home in Malibu in my

[01:28:21] perfect times of the moment of--"

[01:28:22] -Right.

[01:28:23] She's not--

[01:28:24] -She's not a worker.

[01:28:25] -She's not a worker.

[01:28:26] -Why are you touring?

[01:28:27] And he's covered in birds.

[01:28:28] -And I think we're not--

[01:28:29] -She's a perfectionist.

[01:28:30] -We are not used to celebrities like that.

[01:28:31] -No, I agree.

[01:28:32] -Celebrities are like fetishizing being overworked and she refuses.

[01:28:36] -She's anti-mogal culture.

[01:28:37] -It's hard for her to imagine.

[01:28:39] It's hard to imagine that somebody who's of such a perfectionist is not a workaholic,

[01:28:42] but she is not.

[01:28:43] -No.

[01:28:44] -When she's working, it has to be really good.

[01:28:45] When she's not working, she's not rushing to get back to the office.

[01:28:48] What's she office?

[01:28:49] -She's saying--

[01:28:50] -It's not that she's lazy.

[01:28:51] She's saying, "I'd rather be lazy."

[01:28:52] -Yes.

[01:28:53] -Yes.

[01:28:54] -She loves a Lewis is the same way.

[01:28:55] -She are in bed watching a movie.

[01:28:56] Like, this is her life.

[01:28:57] She wants to live her life.

[01:28:58] -No.

[01:28:59] -Play on banders.

[01:29:00] -Is it her watching?

[01:29:01] -She's in the game.

[01:29:02] They're like, "He's doing a good job."

[01:29:05] -Yeah.

[01:29:06] -She loves--

[01:29:07] She's a fan of mine right?

[01:29:08] -There's something behind the eyes here.

[01:29:09] -Yeah.

[01:29:10] -Just like, when actors talk about like, "I'd rather be home," it seems very rare and I'm always

[01:29:14] charmed by it.

[01:29:15] -Okay.

[01:29:16] Is there anything about the plot?

[01:29:17] Like, we need to--

[01:29:18] -Yeah.

[01:29:19] -You know, okay.

[01:29:20] So like--

[01:29:21] -Mimi Rogers is married to Pierce Brosnan.

[01:29:22] Pierce Brosnan is someone that Barbara's character has always been in love with--

[01:29:25] -She met him always.

[01:29:26] -She met him first.

[01:29:27] -Right.

[01:29:28] She met him first, introduced him to Mimi and--

[01:29:29] -Mimi's the third marriage or something.

[01:29:31] -Right.

[01:29:32] -You put that out there.

[01:29:33] -Mimi says to be a serial--

[01:29:34] -There's some joke of Brenda Baccaro about why he introduced the two of them.

[01:29:36] I didn't think--

[01:29:37] -She was already married.

[01:29:38] -Right.

[01:29:39] -I didn't think she was a threat or whatever.

[01:29:40] -Mimi kind of low-key, very funny in this.

[01:29:44] -You and I are on the same pitch.

[01:29:45] We're always--

[01:29:46] -She's great in the bag for me.

[01:29:48] -Yeah.

[01:29:49] -Yeah.

[01:29:50] -Pierce, not getting a ton to do.

[01:29:51] -No.

[01:29:52] -It's kind of had--

[01:29:53] -Can of hairspray in this movie.

[01:29:54] -Yeah.

[01:29:55] -And the idea is that he's sort of like obsessed with Mimi Rogers, too, that he's like--

[01:30:00] "Oh sweetie, what can I do?"

[01:30:01] And she's like, "I'm already--"

[01:30:02] - Which is the least attractive thing.

[01:30:04] - Yeah, he doesn't quite work for that.

[01:30:06] - No, she always wants the thing she can't have.

[01:30:09] And the second she has it, I mean, she has that scene

[01:30:10] where she complains about, like, he's there asking,

[01:30:12] "What I want for dinner, like it's the worst thing

[01:30:15] in the world." - Right.

[01:30:16] - But you're introduced to Mimi Rogers

[01:30:18] for the first time at the wedding,

[01:30:20] where they're both criticizing Bacal

[01:30:23] for you're the bride's mother, not the opening act.

[01:30:26] Right? - Mm.

[01:30:27] - And they're talking all about appearances

[01:30:29] and Barbara sort of being the ugly, dawgling portrayal.

[01:30:31] - And they need to be always a bridesmaid, never a bride.

[01:30:33] You need to have that in there.

[01:30:34] - Yeah, right, absolutely.

[01:30:35] - So they introduce her as a bride, yeah.

[01:30:37] - They basically introduce her as a bridesmaid

[01:30:38] and not a bride.

[01:30:39] - But Rogers spends 95% of the wedding with the masseuse.

[01:30:42] - Yep.

[01:30:43] - Like she's already at the ceremony, over-pierce.

[01:30:46] - Right.

[01:30:47] - Absolutely.

[01:30:48] - She sees Jeff Bridges, who has post-el McPherson

[01:30:53] and a very bizarre phone sex scene.

[01:30:55] - Yes, Jeff Bridges has written the most boring book

[01:30:58] in the universe. - Yes.

[01:30:58] - It took him 10 years, much like Barbara.

[01:31:00] - The number, of course, of course.

[01:31:01] - Right, he, one point when he tries to describe it,

[01:31:04] I mean, I actually zoned out.

[01:31:05] - Yeah. - Like it's Mimi

[01:31:06] who had a number of her parents.

[01:31:07] - Not a part, somehow Barbara knows all the math

[01:31:08] if she gets her something, she knows math.

[01:31:10] - Right, she gets it.

[01:31:11] None of his students get it, but Barbara gets it.

[01:31:13] - Yeah, and Barbara doesn't, she's not a math teacher,

[01:31:14] she just understands the math.

[01:31:16] - He is actually, to me, a realistic depiction

[01:31:18] of a math professor, teachers and undergraduates,

[01:31:20] who, like, usually they don't fucking turn around

[01:31:22] 'cause they're like, this is some bullshit I have to do.

[01:31:25] - That part is very well observed.

[01:31:26] - Right, like, he can just, like, writing formulas

[01:31:29] on the blackboard and being like, anyway, you know,

[01:31:30] there you go. - But she's furious

[01:31:32] after having great sex with El McPherson

[01:31:34] immediately calls up a phone sex operator

[01:31:36] who's doing cats cradle.

[01:31:37] - Yes. - So funny, yes.

[01:31:39] - She's funny.

[01:31:39] That lady is drinking her diet, Pepsi which he's funny.

[01:31:42] - She's like, don't you wanna hear about my tits?

[01:31:43] And he's like, no, come on, oh, oh, oh.

[01:31:46] Like that, you know.

[01:31:47] - Right, and he's good in that scene.

[01:31:49] - He's complaining about how could anyone find love

[01:31:51] in a culture that sells us sex,

[01:31:53] and she says, why don't you make your own ad?

[01:31:56] - And he does. - So he does.

[01:31:59] In a way that's very, like, the movie skips over,

[01:32:01] he has that realization, and then the next thing we see

[01:32:04] is him looking at the resumes in class.

[01:32:07] - In class.

[01:32:08] - And then a him calling me me Rogers,

[01:32:10] who's with the masseuse, - Mm-hmm.

[01:32:12] - Who has planted, has, yeah.

[01:32:15] - She sends in Barbara's-- - She sends in Barbara's--

[01:32:17] - Barbara's name is Barbara's name.

[01:32:18] - They do that very efficiently.

[01:32:20] - Yeah, it's very fast, I'm kind of forgetting

[01:32:21] when it happened, 'cause it just happens,

[01:32:23] like, in a matter of five minutes.

[01:32:24] - And also the movie, it's one of those things

[01:32:26] that the movie is very, it never, it never allows itself

[01:32:30] to be about people, like, tricking or being dishonest

[01:32:33] and let that hang out. - I try a lot.

[01:32:34] - No, no one cares. - So like,

[01:32:35] everyone's instantly honest about everything,

[01:32:37] which avoids so many kind of annoying questions.

[01:32:39] - Right, 'cause another movie might be, like,

[01:32:41] the reveal of her having placed the thing for her cause

[01:32:44] is such a thing, and it wouldn't have been--

[01:32:45] - I thought we met her dynamically.

[01:32:46] - Yeah, no, it doesn't matter, it doesn't matter.

[01:32:48] - He tells her, and she's like, yeah, I don't care.

[01:32:49] - The thing that is smart and well observed about this movie,

[01:32:52] it's not about people lying to each other,

[01:32:54] it's about people lying to themselves,

[01:32:56] which so many rom-coms are based on lies to each other

[01:32:58] that get so annoying when they have to unravel.

[01:33:01] - You've got mail, you've got mail, how is that big lie?

[01:33:02] - Does it well?

[01:33:03] - Right, but that's what--

[01:33:04] - It's the exception to the rule.

[01:33:06] - It somehow does, like, indefensible lies

[01:33:10] so heartwarmingly-- - Right, yes.

[01:33:12] - Now, here's, I think, the greatest defense of this movie.

[01:33:15] This movie is so incomprehensibly rude

[01:33:20] to the Austin Pendleton character.

[01:33:22] When this film is set up as, ugh, Barbara, undesirable,

[01:33:26] no man will even give her. - Oh, right.

[01:33:27] - And then, basically, her introduction is her

[01:33:30] canceling the date for the eight hundred times.

[01:33:32] - Right, yeah, yeah.

[01:33:33] He's the one she doesn't wanna bury.

[01:33:35] - Just bury. - Just bury.

[01:33:36] - This guy is so boring and unexciting,

[01:33:38] I'd rather watch a baseball game.

[01:33:40] He has his joke about, like, I'm blacklisted

[01:33:43] from every restaurant in town

[01:33:44] because of all the reservations I cancel.

[01:33:46] - That's funny.

[01:33:47] - That's a good joke.

[01:33:47] He's funny, when is he not funny?

[01:33:49] - But there's no reason to have this,

[01:33:51] if she's undesirable, then why is she even,

[01:33:54] she shouldn't have a guy, you know, not look for her.

[01:33:56] - But it's her saying, it's her saying,

[01:33:59] I'm not sexually attracted to this guy.

[01:34:01] That's about the smoothing-- - Right, but I'm settling

[01:34:02] for him or whatever.

[01:34:03] - Like, it really does end with them saying,

[01:34:05] never mind sex is important and so is physical attraction.

[01:34:08] And these two people wanna fuck each other.

[01:34:10] She never wanted to fuck that guy,

[01:34:12] but she was happy that he found someone

[01:34:14] who wanted to fuck it.

[01:34:14] - Then at the end when he finds his own girl

[01:34:17] who has to be, of course, as quote unquote ugly as he is

[01:34:20] or something, but-- - Yeah, awesome.

[01:34:21] Penisane and a wig, basically.

[01:34:23] - Yeah, and an-- - A Jack and Jill version

[01:34:25] of themselves.

[01:34:26] - In that barber's way of being like,

[01:34:28] well, everybody's gotta find their equally ugly person.

[01:34:31] - For sure, yes, the answer's yes.

[01:34:33] - But that's what, this sucks, that sucks.

[01:34:36] - It sucks a little.

[01:34:37] - It sucks a little. - It's a little sucky.

[01:34:39] - It sucks.

[01:34:39] - I sympathize with her not wanting to quote unquote settle.

[01:34:43] - Not that awesome Pendleton is settled.

[01:34:45] Just did the more general concept of like,

[01:34:48] no, it should be someone I love, not someone who's around.

[01:34:51] - She was not a drab. - She was not reflected to him.

[01:34:52] - And it's okay.

[01:34:53] - But she also talks generally,

[01:34:55] this character not as if I don't wanna settle

[01:34:58] for someone I'm not crazy about.

[01:34:59] She talks as if no one is lining up to get my attention.

[01:35:03] - And you're like, what about Barry?

[01:35:04] You're Lauren McCall, you're like, what about Barry?

[01:35:06] - And she's like, well, he's not a person.

[01:35:08] - Right, I can forget.

[01:35:09] - And then Lauren McCall reveals that she settled in life.

[01:35:13] - Yes. - And despite her beauty,

[01:35:14] she settled and that's her biggest regret, settling.

[01:35:17] So she doesn't wanna-- - Bridges is a false cell

[01:35:19] and Barry is an insult. - Correct.

[01:35:21] - Okay. - Got it.

[01:35:22] - Anyway, so they do the ad, they go to dinner,

[01:35:24] she has the hair. - Bridges is just trying

[01:35:25] to save power.

[01:35:26] - He's so fucking crazy.

[01:35:28] They have, and pretty, I think two minutes

[01:35:32] into their first day, Bridges is like,

[01:35:33] do you wanna come to like a chamber music performance

[01:35:36] with me? - Yeah.

[01:35:37] - And she eats the salad dressing and says, sure.

[01:35:39] - Because they're immediately having great conversation.

[01:35:41] - And she's like, I know about prime numbers

[01:35:42] and he's, you know, bow tie is 360.

[01:35:45] - Yeah.

[01:35:46] - Love of them, you know about prime numbers.

[01:35:48] - Oh my God.

[01:35:49] - And they go to the chamber music and they walk out of it

[01:35:51] and he's like, okay, here's my pitch.

[01:35:54] No sex, committed relationship, intellectual understanding.

[01:35:59] - This is devastating.

[01:36:00] And what sucks is that he's like, I went to your lecture

[01:36:03] and you talked about this and it was great.

[01:36:05] I had to leave early, I missed the end.

[01:36:07] - Right, and she's like, I was talking about

[01:36:09] literary characters. - She was like, it's a book,

[01:36:11] you dumbass. - Right.

[01:36:12] - Also this math guy, it's like, I mean, there's,

[01:36:15] everything is wrong with their arrangement

[01:36:17] that I don't wanna say that there's anything right

[01:36:19] about their arrangement, but like everything is so particular

[01:36:23] except we'll have sex sometimes.

[01:36:25] - Yeah, and he's like, we gonna be warning.

[01:36:27] - That's something as if he was gay.

[01:36:29] If that, let's, then this kind of all makes sense

[01:36:32] in a weird way. - If this was a next best thing

[01:36:34] in a range. - Yes.

[01:36:35] - I don't want you to do this in a gilder age shit.

[01:36:37] - I'll cut that one to do this in a gilder age.

[01:36:39] - Right, right, right. - Yes, exactly.

[01:36:40] I'm just, you know.

[01:36:41] That was the thing in late '90s, rom-coms where it's like,

[01:36:43] what if you could just marry the gay guy,

[01:36:45] and yeah, and you figure it out, yeah.

[01:36:47] Object to my affection, next best thing.

[01:36:50] Mirror has two faces, no.

[01:36:51] Jeff Bridges is straight.

[01:36:53] - Too boring to be gay.

[01:36:53] - But scared of sex, he's too boring to be gay.

[01:36:57] They get close and develop a true intimate relationship,

[01:37:01] emotionally intimate.

[01:37:02] - Yeah, they kiss only after he proposes to her?

[01:37:06] - Yes.

[01:37:07] Or no, when he proposes, she's like, I haven't even,

[01:37:11] and he's like, oh!

[01:37:12] - Like, how could I marry someone I haven't even?

[01:37:15] - You know.

[01:37:16] - And then she goes like this.

[01:37:17] (laughing)

[01:37:20] But they have twin side-by-side bests.

[01:37:24] - Oh, their room is the room hilarious.

[01:37:27] - They're really, they move in together.

[01:37:28] - Like, her furniture in one corner,

[01:37:30] that's clearly from whatever you call the frick collection.

[01:37:33] - Yes, they should be called in the back.

[01:37:34] - I mean, later on, she like paints the room,

[01:37:36] but the first shot of that room is like a hospital.

[01:37:40] Like, it's doing hospital- - It's like Craigslist,

[01:37:42] it's Craigslist room for rent.

[01:37:43] - And what do they each have a double or single bed?

[01:37:45] - Each have a double, yeah.

[01:37:46] - Oh, God, like brutal, tiny TV, weird.

[01:37:50] - And her, and her drawer is filled with snowballs

[01:37:52] because she's ugly.

[01:37:53] - Every bulb is fluorescent.

[01:37:55] - Every bulb is fluorescent.

[01:37:56] - Yeah, she wanna die.

[01:37:58] Oh yeah, her drawer is filled with snowballs.

[01:38:00] Oh my God.

[01:38:01] - It is, it's, no, what are you gonna say to him?

[01:38:03] - I was just gonna send you the plot, so we'll, you know.

[01:38:05] - Yeah, not the best content.

[01:38:06] - Well, he's like, okay, so now I'm gonna go on a book tour

[01:38:08] of the Germany where my number idea is-

[01:38:10] - Okay.

[01:38:11] - For three months, they want me to come to Germany

[01:38:13] for three months.

[01:38:13] - So low, we know.

[01:38:14] - What do you got?

[01:38:16] - And can I do this?

[01:38:17] And she's like, oh, I mean, to me,

[01:38:19] I'm like, yeah, sure, we don't have sex anyway.

[01:38:20] I'll do this on the phone.

[01:38:22] But yeah, he's gonna go off.

[01:38:24] And she's like, before you go,

[01:38:25] maybe you could, you know, fucking rail me all night.

[01:38:29] (all laughing)

[01:38:30] - One time.

[01:38:31] - And he's like, I am gonna go in the bathroom and faint.

[01:38:34] - Excuse me, first what he does is spit out his coffee.

[01:38:38] - Yeah, while we wall over the place.

[01:38:40] - The most Gary Marcellian moment of the film.

[01:38:44] You almost are surprised he doesn't have a dog

[01:38:46] with its head around.

[01:38:48] - Meanwhile, he told her that if she wanted to do that,

[01:38:51] we didn't ask for it and he would do that with her.

[01:38:54] - And she's like, if I tell you in the morning

[01:38:56] he doesn't have time.

[01:38:57] - He should have given her like a lease, like a landlord.

[01:38:59] It was like 14 days notice.

[01:39:01] Send the request through the post, you know?

[01:39:04] - Yes.

[01:39:05] - Notarized.

[01:39:06] - So they have, they try to have sex

[01:39:09] and in an incredibly upsetting scene.

[01:39:11] He basically has a panic attack.

[01:39:13] - The most awful aspect.

[01:39:14] - And it's weirdly like for as silly as it is.

[01:39:17] - It's emotionally horrible.

[01:39:18] - It's very horrible.

[01:39:19] - It is a heartbreaking scene.

[01:39:20] - Because we haven't been trying to explain himself

[01:39:21] and she's crying and it's like.

[01:39:23] - 'Cause she cannot believe it.

[01:39:25] She really does.

[01:39:26] - The sister was like, any guy,

[01:39:27] just like show up with your tits out.

[01:39:29] Like it's fine.

[01:39:30] Like they'll do it.

[01:39:33] It's no problem.

[01:39:34] And then it's like, it's the worst thing.

[01:39:36] - It's also kind of like, it's not, I mean, again,

[01:39:39] the screenwriter was like, I made a lot of mistakes.

[01:39:42] But like, it's never quite clear

[01:39:44] why he doesn't wanna fuck her.

[01:39:45] - Karate, that's what I'm saying.

[01:39:47] - It doesn't really make a difference.

[01:39:48] - Within the privacy of their own home.

[01:39:50] Like who, what?

[01:39:51] - It's like, maybe there's not enough space on a bed,

[01:39:52] but like-- - There isn't.

[01:39:53] - Smush 'em together.

[01:39:54] - Well, they go in between.

[01:39:55] - But this is where I'm saying like the--

[01:39:59] - Maybe a bungee cord or--

[01:40:00] - It is absurd.

[01:40:01] - It is absurd.

[01:40:02] - Almost needs this guy's like,

[01:40:04] mathematics, scientific principles

[01:40:05] to go further into the modern day YouTuber.

[01:40:08] I've heard if you don't come for a year,

[01:40:09] you gain muscles. - Yes, yes.

[01:40:11] Or he's a-- - Or he's a--

[01:40:11] - Or there's like a, if he fucks,

[01:40:13] he like the superpower, he can hold--

[01:40:15] - It's a sign called episode, right?

[01:40:17] - Like, he's not fucking anyone else,

[01:40:19] and he's relieved, I've been like--

[01:40:21] - Yes.

[01:40:22] - I've surrendered this pesky libido.

[01:40:24] - He's like, a kid who won't eat his broccoli.

[01:40:26] Now he has a complex about the broccoli.

[01:40:28] - Yeah, and then someone gave him all--

[01:40:29] - He's like gagging.

[01:40:30] - It's like, you won't eat the broccoli here.

[01:40:32] It's a bunch of bagel bites.

[01:40:33] And he's like, mine don't want the bagel bites either.

[01:40:35] It's like, you can't win with the kid.

[01:40:37] - You're acting like people don't fuck people,

[01:40:38] they find unattractive, or like, come on.

[01:40:42] - He's mentally ill.

[01:40:43] - He's mentally ill. - He's mentally ill.

[01:40:46] - He's mentally ill. - But when you're calling out

[01:40:47] the thing of him leaving her seminar early, right?

[01:40:51] Where he was like-- - I saw him speaking.

[01:40:52] - He was speaking. - We agree.

[01:40:53] - You said that thing about Pachini,

[01:40:54] and then yeah, to go. - Right, right.

[01:40:56] - I met this girl, she's amazing.

[01:40:57] She also doesn't like emotions, right?

[01:40:59] - She also doesn't want to fuck.

[01:41:00] So, and then I, that's it, right?

[01:41:02] So, I'm gonna marry her.

[01:41:03] - But it's so key that he's like fundamentally misunderstanding

[01:41:06] what she's putting out, which is she's just calling attention

[01:41:09] to the gulf in reality between how romance is depicted

[01:41:13] in media, in art, and what it feels like in real life,

[01:41:16] which he interprets as, this is her like striking blows

[01:41:21] against this false notion of romance

[01:41:23] that doesn't exist, period.

[01:41:26] He misinterprets her entire thesis,

[01:41:27] which is she's basically doing observational comedy on.

[01:41:31] And of course, the music doesn't swell.

[01:41:33] - The guy in the mirror. - Yeah, yeah, yeah.

[01:41:34] - And he's like, this music is too manipulative,

[01:41:36] and she loves the music that's definitely ridiculous.

[01:41:38] - Right, and she's like, you're right,

[01:41:39] this is morally-- - Oh, he brings like a--

[01:41:41] What does he bring to the opera like a little meter

[01:41:43] so they can watch the music, like he's so lame?

[01:41:45] But the scene where they're watching brief encounter,

[01:41:48] and she's crying, and he's just like,

[01:41:49] wait, have you lied to me, you like this shit?

[01:41:52] And brief encounter is like one

[01:41:54] of the most somber realistic portrayals.

[01:41:57] - Yes, this is not a Pachini movie.

[01:41:58] - Of a complicated, romantic dynamic,

[01:42:01] and he seems offended.

[01:42:03] - And sexless. - Yes, yes.

[01:42:05] - Yes, unrequited, or uncomcimated.

[01:42:09] - One of the best movies ever.

[01:42:10] - A great film, a brief encounter.

[01:42:12] - It's funny that like-- - Two great movies

[01:42:14] or two great David Lean movies are watching this.

[01:42:15] - And there's not enough movies in this movie, I think.

[01:42:18] Like I think-- - Well, if it was Nora.

[01:42:20] If it was Nora, well, it's like you think about

[01:42:22] the rom-coms of the early '90s that predated this

[01:42:25] that were popular, it's like, well, a couple of them.

[01:42:27] I mean, I'm thinking of "Sleeping to Seattle"

[01:42:29] specifically, obviously.

[01:42:30] But it's like, there are so many self-referential things.

[01:42:35] Like there's so much stuff about the movies

[01:42:37] and the way romance is depicted on screen.

[01:42:39] And it's sort of like, why are you doing this kind of again

[01:42:42] and not improving it?

[01:42:43] - Right, "Sleeping to Seattle" is a better movie

[01:42:46] about how rom-coms of "Scramble or Brains" are.

[01:42:48] - And also a better movie about two people

[01:42:50] who are completely out of their minds.

[01:42:52] - We're also, who are in like--

[01:42:53] - Let's also, let's complete the pattern here.

[01:42:56] What's the third movie in this trilogy?

[01:42:58] - What?

[01:42:58] - Another movie we'd covered on this podcast, Don John.

[01:43:01] - Oh God.

[01:43:02] - Oh God.

[01:43:03] - You're not focused on the lack of ejaculation.

[01:43:07] - Yeah, but also the same thing where he's like,

[01:43:09] this girl, she's obsessed with these fucking rom-coms.

[01:43:12] I just watch porn like a normal guy.

[01:43:14] - I have my own theory.

[01:43:18] - I must admit, I've never seen Don John.

[01:43:19] - Oh, it's so obvious.

[01:43:20] - It's so good.

[01:43:22] - Why would I ever watch Don, that you should--

[01:43:24] - It's so good.

[01:43:25] - They're gonna press you on this playlist.

[01:43:27] - It's so good.

[01:43:27] - It's so funny.

[01:43:28] - I trust David.

[01:43:29] I trust David.

[01:43:30] - It's so fun.

[01:43:31] - I mean, you can watch it just slack-jawed in horror.

[01:43:34] Like that's how I--

[01:43:35] - Is it Scarlett Johansson just like New Jersey?

[01:43:37] Isn't that like what she is?

[01:43:38] - Yes.

[01:43:39] - Don John maybe should have gotten two separate

[01:43:41] best supporting actress nominations.

[01:43:42] That's my take to get you to watch it.

[01:43:44] It's so good.

[01:43:45] - I might just watch "Crazy Heart" again.

[01:43:47] Okay, I'll let that go.

[01:43:48] - Oh wow, oh God.

[01:43:49] - I hate this music.

[01:43:51] - Pour me another glass.

[01:43:54] - So he fails to fuck her.

[01:43:59] She's very upset, obviously.

[01:44:01] He starts yelling about like female manipulation

[01:44:04] and you're like, "Jeff, chill."

[01:44:05] - You don't.

[01:44:06] - Get off of Reddit.

[01:44:08] - She goes back to see Lauren Bacal.

[01:44:10] Bacal is like, "All right, this movie's all over the place.

[01:44:12] I'm gonna--"

[01:44:13] - Yes, he's got it for two minutes.

[01:44:16] - She's told me Maguire is the front of the train.

[01:44:18] - She can't really, she really does it.

[01:44:19] - And the real relationship is between

[01:44:20] mother and daughter, that's the whole movie.

[01:44:24] As Bobby has said, right, that is what changed

[01:44:27] in her brain.

[01:44:28] - It's the scene of the movie.

[01:44:28] - It's the scene of the movie.

[01:44:29] - It's the whole movie.

[01:44:30] - It's everything Olivia Newton-Johns herself

[01:44:32] and turns into the hottest live professor

[01:44:34] that ever did walk these streets, yeah.

[01:44:36] - There's the one close up shot that we've already invoked

[01:44:39] where Barbara asks, "What was it like?"

[01:44:43] - Being beautiful.

[01:44:43] - Oh God.

[01:44:44] - And you cut to this close up,

[01:44:46] this intense close up on Betty Bacal.

[01:44:47] - Long.

[01:44:48] - Betty Perski.

[01:44:49] - Yep.

[01:44:50] - Betty.

[01:44:51] - And it makes sense that it's just,

[01:44:53] this was her rolling on a rehearsal.

[01:44:55] - And you watch like--

[01:44:56] - Bacal just 60 years across her eyes.

[01:44:58] - Exactly.

[01:44:59] - It is completely metatextual.

[01:45:01] - Right.

[01:45:02] - It basically breaks the reality.

[01:45:03] - I almost heard her hardly littered with 40s headshots.

[01:45:06] - Yeah.

[01:45:07] - Lauren Bacal.

[01:45:08] - Yeah.

[01:45:09] - But it's like the equivalent of the end of Furious 7

[01:45:11] where Vin Diesel just starts reciting a poem

[01:45:13] to Paul Walker and being like,

[01:45:14] "He was a real guy, he died."

[01:45:16] Like the moment is just Bacal thinking about her career.

[01:45:20] And it is deeply effective.

[01:45:21] - How did it feel having people agree

[01:45:23] with such admiration, looking yourself in the mirror

[01:45:25] with such appreciation?

[01:45:26] How did that feel?

[01:45:27] 82nd pause, it was wonderful.

[01:45:29] - There's a moment you see her start to go into it

[01:45:31] and then it feels like she's preparing to say something,

[01:45:33] say her line and then she like stops

[01:45:35] and goes even deeper into it.

[01:45:37] - So good.

[01:45:38] It's just the only reason.

[01:45:40] I think she lost the Oscar because people thought

[01:45:42] negatively about the movie.

[01:45:43] - I agree.

[01:45:44] - And that was what did her end.

[01:45:45] And obviously people thought positively about the English

[01:45:47] patient when they loved it.

[01:45:47] - Like a film that is barely remembered.

[01:45:49] - Yeah.

[01:45:50] - Like a film that zero gen Z people have seen.

[01:45:53] - Like if I said the English patient on TikTok,

[01:45:55] there would be like, there's an Englishman in the hospital?

[01:45:57] Like what do you mean?

[01:45:59] - You can watch it in 87 parts on TikTok.

[01:46:01] - For sure.

[01:46:02] - The plane.

[01:46:03] - Yeah.

[01:46:04] - Miracles releases the English patient in 87 parts on TikTok.

[01:46:08] - The cultural legacy of that movie at the time,

[01:46:10] or let's say not the legacy,

[01:46:11] but the reputation in the moment is the Seinfeld episode.

[01:46:14] - Yeah, it's like it's boring.

[01:46:15] - It's too long.

[01:46:16] - I'd rather watch "Sack Lunch."

[01:46:17] - I dislike the English patient.

[01:46:19] Make sure a pariah in society.

[01:46:21] - Is the thing you cannot admit out loud is the bit

[01:46:23] in the same place.

[01:46:24] - But the moment that episode is about

[01:46:26] how she's speaking truth to power.

[01:46:27] - Right, they're trying to shift the narrative around it.

[01:46:30] Within that year, that movie was untouchable.

[01:46:33] - Yeah, no, I mean people don't have a first.

[01:46:35] - I remember as a 12 year old, right?

[01:46:38] No, 10 year old, it's 96.

[01:46:40] Watching those Oscars being like,

[01:46:41] why is this boring ass movie winning everything?

[01:46:43] - My parents took me to the Oscar party.

[01:46:46] I had not seen any of the nominated films.

[01:46:47] I said, what's good?

[01:46:48] It's an English patient.

[01:46:49] I went down the ballot.

[01:46:51] My dad went, well, you're gonna lose this one

[01:46:53] 'cause because of winning supporting actress.

[01:46:55] I went, why?

[01:46:56] She's an old lady and she was in a bunch of old movies.

[01:46:58] - I had to boom, you come on.

[01:46:59] - Whatever.

[01:47:00] I was like, you said people like the English patient.

[01:47:01] I was the only one who got fucking bonosh, right?

[01:47:04] - Right.

[01:47:04] - Because I just went, it's gonna win every time.

[01:47:06] - It literally--

[01:47:07] - It sounds like you got finds and--

[01:47:08] - It was this crap-free senators of a long-boring movie

[01:47:11] when we were kids.

[01:47:12] - Yeah, it was the one.

[01:47:13] - It was the one.

[01:47:13] - It was the movie that we called long-and-boring.

[01:47:15] - It's two takes. - It was the last Chicago.

[01:47:16] - Yeah, it was three times with a bandage on going--

[01:47:19] - You know what's right, pre-DVD?

[01:47:21] - It's one of the final-- - Two takes.

[01:47:22] - One of the final ubiquitous two tapers.

[01:47:24] - Yeah.

[01:47:25] That--

[01:47:26] - Sound of music.

[01:47:26] - Huge points.

[01:47:27] - Titanic.

[01:47:28] - Titanic has to be like the last--

[01:47:29] - Titanic's the last--

[01:47:31] - I think English patient is now like hugely underrated.

[01:47:34] - Yeah.

[01:47:35] - Like now it's really good.

[01:47:36] - But it's because of the stereotype when we were kids.

[01:47:38] - That's why.

[01:47:38] - 'Cause we were like, we were like, what a snooze.

[01:47:40] We gotta watch this whole thing.

[01:47:41] - I think Anthony Mingela--

[01:47:42] - Anthony Mingela.

[01:47:43] - He's the English patient.

[01:47:44] - Anthony Mingela now, everyone's like,

[01:47:45] "Oh, the man who directed the masterpiece,

[01:47:48] "The Town's Mr. Ripley."

[01:47:48] And I'm like, "That movie rocks too."

[01:47:50] But like, you know he won eight fucking Oscars

[01:47:52] for this other movie.

[01:47:53] And they're like, never heard of it.

[01:47:54] I was too busy watching the mirror.

[01:47:56] - Yeah, sorry.

[01:47:57] - Sorry.

[01:47:58] - I just, yeah, it's funny how it's now underrated.

[01:48:03] And Benosha's probably underrated.

[01:48:04] - No one Ripley was not super well white when it came out.

[01:48:08] - No, people were like, "Ah, too weird."

[01:48:09] - Certainly he has a disappointment after English patient.

[01:48:12] - Yeah, okay, so she turns into,

[01:48:15] "Yeah, living Newton-John."

[01:48:16] And she's a hottie baby.

[01:48:18] And--

[01:48:19] - My skin is showing this whole--

[01:48:20] - She's gone this whole sequence.

[01:48:21] - It's not the worst thing.

[01:48:22] - It's the worst thing.

[01:48:23] - I'm like, "I need to see."

[01:48:24] - And she's angry, this is how--

[01:48:25] - It's the worst thing.

[01:48:26] - Which she takes the plate of tomatoes

[01:48:28] and celery and carrots and sniff it lovingly.

[01:48:31] I was like, "We gotta pry a lot of beer."

[01:48:33] - Well, the worst is when she hangs out

[01:48:35] with her best friend and says,

[01:48:36] "I couldn't possibly eat a whole hamburger for lunch."

[01:48:40] - For lunch?

[01:48:41] - For lunch?

[01:48:42] - For lunch?

[01:48:42] - Friend of a car?

[01:48:43] - And friend of a car is like,

[01:48:44] "She kind of becomes an asshole."

[01:48:45] - She kind of becomes an asshole.

[01:48:46] - She's a friend of a car.

[01:48:47] Correct me if I'm wrong, but,

[01:48:49] "Babs, you look exactly the same,

[01:48:51] "you're just dressing differently."

[01:48:52] - You're just wildly wearing tight clothes.

[01:48:53] - It's right.

[01:48:54] - The difference is clear.

[01:48:55] - Right, basically that's right.

[01:48:56] - Barbara wasn't gonna gain weight

[01:48:58] then lose it for this role.

[01:48:59] - No, I'm different.

[01:49:00] - Like absolutely not.

[01:49:01] - Okay, so then I'm like,

[01:49:02] "All right, we're pulling, okay, this is crazy,

[01:49:03] "but we're landing a plane on the fifth act."

[01:49:05] And then they're like,

[01:49:06] "No, we gotta circle one more time."

[01:49:07] "Bren, Pierce Brosnan is now single."

[01:49:09] - Right, of course.

[01:49:10] - "Dumped him, so now Rose will consider whether to date

[01:49:14] " Pierce Brosnan, her original love.

[01:49:16] - This very long makeover montage is Inner Cut,

[01:49:19] "which is happening over months,

[01:49:20] "is Inner Cut with bridges in different foreign countries,

[01:49:23] "calling her and getting angry at angry at that."

[01:49:25] - Please, I'm talking to various European colleges

[01:49:28] about his number book.

[01:49:29] - Yes.

[01:49:30] - I guess that's the only in Germany.

[01:49:34] - He's like Hasselhoff.

[01:49:35] - Did the audiences shout out,

[01:49:36] "Do the primes like it's free?"

[01:49:38] - Yeah, right. - Listen, it's awesome.

[01:49:41] - You've just spent half of the movie

[01:49:43] trying to tell us that no one understands this book,

[01:49:45] and then the second half,

[01:49:46] it's like, everyone loves this book,

[01:49:47] and they can't get enough of it.

[01:49:48] - He's big in Europe, that's literally a thing.

[01:49:52] - Isn't he handsome?

[01:49:53] - Yeah.

[01:49:54] - So does she fuck Pierce?

[01:49:56] - No, she doesn't.

[01:49:57] - No, she just considers it.

[01:49:58] - No, she's just so fucking annoying.

[01:50:01] - 'Cause like, dang, she should have found him.

[01:50:02] - She's gotta fuck him.

[01:50:03] - Fuck's Keanu Reeves.

[01:50:04] - Thank you, they fuck.

[01:50:05] - Yeah, yes.

[01:50:05] - And then she's like, "Yeah, this is a little ludicrous,

[01:50:07] "but I'm not gonna date it forever."

[01:50:08] - Bar is so schlocky, it's on it.

[01:50:09] - And the day's actually kind of insane.

[01:50:11] She dicks down with it.

[01:50:12] - But she's had a crush on him this whole time.

[01:50:14] - Yeah, right, she should have a role in that.

[01:50:16] - Yeah, at that point, you just, you gotta know.

[01:50:18] - And also, it's like, she's, you know,

[01:50:20] bridges couldn't do it.

[01:50:21] Like, come on, she should get with us.

[01:50:23] - Yeah, absolutely.

[01:50:24] - Instead, he goes to her apartment.

[01:50:26] - He says the wrong thing,

[01:50:28] and when she's at the quarter yard line.

[01:50:30] - Yeah, right, right.

[01:50:30] - Quarter yard line, right?

[01:50:32] - Sure, the quarter yard line.

[01:50:34] - She's into baseball, not football.

[01:50:37] - The quarter yard.

[01:50:37] - What's the way you say this?

[01:50:38] - He ends the red zone.

[01:50:39] - He's in the red zone.

[01:50:40] - Yeah, yeah, sure.

[01:50:42] - Sure.

[01:50:43] - But yeah, he's on the one yard line.

[01:50:44] That's what I was looking for.

[01:50:46] - That's what I was looking for.

[01:50:47] - He's rounding third.

[01:50:48] - He's like, they break the yard in the quarter.

[01:50:50] I really don't know anything about that.

[01:50:51] - Wait, a bunch of college students suddenly looked up.

[01:50:53] - Yeah.

[01:50:54] - When I said he threw a face.

[01:50:57] - And he blows it.

[01:50:59] - Yes.

[01:51:01] - Because he said, "I guess I never realized

[01:51:02] "I was always in love with you."

[01:51:04] - Right.

[01:51:05] He's being mean again, he's nagging.

[01:51:07] - Yeah, unintentionally, yes.

[01:51:08] - 'Cause I always was attracted to you

[01:51:10] save for the pesky business of me not liking your face

[01:51:14] or body.

[01:51:15] - Or hair, I like it more brimmed and more like that.

[01:51:17] - Right.

[01:51:17] - I was gonna say, your face, which is the same,

[01:51:19] your body, which is the same and your hair

[01:51:20] which is slightly different.

[01:51:21] Yes, thank you.

[01:51:22] So, great.

[01:51:23] So, girly got a haircut.

[01:51:24] - Girly got a haircut.

[01:51:25] - The thesis of this movie is stop letting your mom

[01:51:27] do your hair.

[01:51:28] - Exactly.

[01:51:29] Get a fucking haircut.

[01:51:30] - Get a stylist.

[01:51:31] - Now, is it Park Avenue?

[01:51:33] Basically, Bridges comes back

[01:51:34] and in Park Avenue, cleared of traffic,

[01:51:37] they have a 20-minute conversation

[01:51:39] about how they do love each other

[01:51:41] and should get married, oh wait, they are married.

[01:51:43] - No, that comes later.

[01:51:44] 'Cause first he goes over to her.

[01:51:46] He says no.

[01:51:47] - He says no.

[01:51:48] - Oh god, yes.

[01:51:49] - 'Cause I wanna break up.

[01:51:49] - This is the moment where it really feels full Apatow

[01:51:52] because it's like the--

[01:51:53] - It's like two hours to five minutes.

[01:51:54] - And she won't let him talk.

[01:51:55] So, he's like.

[01:51:56] - She's sniffing the tomatoes.

[01:51:58] - I've been thinking about this for three months.

[01:51:59] I'm skinny now and I'm hot and I got a new haircut.

[01:52:02] I hate that scene and he's like.

[01:52:04] - And he's like, let him say something, Jesus.

[01:52:05] - Bros has this exact same thing where I'm watching it

[01:52:08] and I'm like this movie should have gotten so much more praise

[01:52:10] and it's the scene where, what's his name?

[01:52:12] - Bros?

[01:52:13] - Oh, yeah, Billy Echner.

[01:52:14] - God, I can't believe I heard him go.

[01:52:15] - What's the other guy's name?

[01:52:16] - The Hallmark guy.

[01:52:17] - The Hallmark guy.

[01:52:18] - Yeah.

[01:52:19] - Look, McFarland shows up and is like,

[01:52:20] I figured it out, I'm sorry, I overreacted

[01:52:23] and Billy Echner's like, thank you for saying all that.

[01:52:25] I need another 20 minutes to process.

[01:52:26] - Right, I'm gonna go.

[01:52:27] - And the movie does another call this at.

[01:52:29] - This movie could've been 90 minutes.

[01:52:31] - Totally, and it's the same thing where it's like,

[01:52:33] they have the scene where it's like,

[01:52:35] you can resolve this in this room.

[01:52:37] You let this whole thing play out,

[01:52:39] let her get uncomfortable by the fact

[01:52:41] that he seems more interested now,

[01:52:43] but like don't leave this room

[01:52:44] until this conversation is over.

[01:52:46] And instead they both walk off and are like,

[01:52:48] I need another 30 minutes of screaming kind of thing.

[01:52:50] - Ridiculous.

[01:52:51] - To decide whether or not I want to fuck you.

[01:52:53] - Yes.

[01:52:53] - And that's all it is.

[01:52:54] - Yes.

[01:52:55] - He also becomes non-verbal in the scene.

[01:52:58] - Well, 'cause he's like Haba Haba, he's warning again.

[01:53:00] - He can't deal with it.

[01:53:01] - And he can't speak, he can't breathe.

[01:53:04] - He's on seagulls couch rolling around,

[01:53:06] like Giamatti and leading the water at one point, right?

[01:53:10] - Yeah.

[01:53:11] - And seagulls like, oh, fight for her.

[01:53:14] I can't remember why they end that.

[01:53:16] - Every girl I've dated, I've given her a copy

[01:53:17] of Farewell of the Arms.

[01:53:18] She thinks it's a diet book.

[01:53:20] - Wow.

[01:53:22] - I mean, it is crazy 'cause so she--

[01:53:23] - And have just like shoot me team on that one.

[01:53:25] - Barbara sees Jeff Bridges dance,

[01:53:28] and she loves how he dances.

[01:53:30] And so she decides in her mind

[01:53:32] that she needs to have him dance in the film

[01:53:33] 'cause that's what he's so naturally good at.

[01:53:36] Weird.

[01:53:37] And so I think she's fixated on having that be

[01:53:38] the end of the movie, but she doesn't--

[01:53:40] - She says she specifically doesn't like dancing.

[01:53:41] - But she doesn't know how to get it in the film.

[01:53:44] So I think that's why we got 20 more minutes

[01:53:46] because then she's like,

[01:53:47] well, if they end up dancing together,

[01:53:49] that's what I want.

[01:53:51] - The other street.

[01:53:52] - The other thing about why we get the other 20 minutes

[01:53:54] is the other scene that's in the book

[01:53:56] where she says, "I didn't know how to end it."

[01:53:58] - Right, yeah.

[01:53:59] - And then she goes to the opera.

[01:54:00] - And he's peccini and blah, blah, blah, blah.

[01:54:01] - And she's peccini and she's like,

[01:54:02] "This is how I end it."

[01:54:04] - Right.

[01:54:04] - But it's like, how do you get them on the street

[01:54:07] with the man singing Puccini in the window

[01:54:09] while we need another scene?

[01:54:10] How do we get to the scene?

[01:54:11] We need a couple scenes between it.

[01:54:12] Like, it's--

[01:54:14] - But I was laughing from her intro

[01:54:15] because what if it was a guy just doing a podcast

[01:54:17] and they're hearing it out their window

[01:54:18] and they're like, "We love this podcast!"

[01:54:21] And then they're just like listening

[01:54:22] to the podcast about the big dig.

[01:54:24] - How?

[01:54:25] I just shit my pants.

[01:54:26] It's just echoing out of the window.

[01:54:29] - That's real New York.

[01:54:30] But wait, the order is,

[01:54:32] they have this scene in the apartment

[01:54:34] when he comes back and she rejects him.

[01:54:36] Then she goes to Pierce where she sort of like--

[01:54:38] - Then she goes to Pierce and he goes to Zoom.

[01:54:40] - Right, right.

[01:54:41] Then she's literally touched them out.

[01:54:43] - Yeah.

[01:54:44] - Right, and then he wears his beautiful coat.

[01:54:45] - Then they have, right, and then he's like,

[01:54:48] "Wait, but like you're hot now, so like I do love you."

[01:54:50] She goes to drinks with Mimi Rogers

[01:54:54] to talk about-- - Oh, I forgot about that scene.

[01:54:55] - Welcome to the world being pretty.

[01:54:57] - Oh, right.

[01:54:58] - And Pierce is like, "Oh, there you are.

[01:54:59] Haba Haba."

[01:55:00] - Mimi Rogers does her own baby version

[01:55:02] of the Lauren Bacal.

[01:55:03] You're gonna watch your beauty disappear.

[01:55:05] You become the last woman they look at in the room.

[01:55:07] - She's never having a Mimi Rogers.

[01:55:08] - Then Pierce sees her, then Pierce tells her

[01:55:12] that Mimi Rogers left him for the masseuse.

[01:55:15] - Mm-hmm.

[01:55:16] - Then she turns Pierce down and they meet in the street.

[01:55:19] - And they kiss and decide to get married.

[01:55:23] Remember that they already are married.

[01:55:25] - Good luck.

[01:55:26] - And then, yeah, they do this.

[01:55:27] And then the guy is singing Pachini,

[01:55:29] which is lip syncing Pachini, which is sweet.

[01:55:30] - So funny.

[01:55:31] - Oh, he's listening.

[01:55:32] - He's singing it.

[01:55:33] That's funny.

[01:55:34] - And orchestrates the moment that she says

[01:55:35] doesn't happen in her butt.

[01:55:36] - Right, and that's what's so absurd.

[01:55:38] - And that's, I think that's a Nora moment

[01:55:39] 'cause it's like only a new year.

[01:55:41] - It's a Nora moment.

[01:55:42] - But it's also a fucking John Patrick Shanley moment.

[01:55:44] - True.

[01:55:45] - She kind of did borrow from a lot of movies

[01:55:47] in the '80s and early '90s.

[01:55:49] - And she never once references them in the book.

[01:55:51] And it's like, do not tell me you haven't taken

[01:55:53] a moonstruck sleep in Seattle and when Harry Met Sally.

[01:55:56] - Right.

[01:55:57] - This is a demented the fly burn.

[01:56:00] You put all those movies into the fly transporter

[01:56:04] and it comes out with this and they're like,

[01:56:05] oh, I guess you can release this.

[01:56:07] - She's also borrowing from like 10 years of movies

[01:56:10] that got Oscar nominations and wins,

[01:56:12] were huge hits and critically beloved.

[01:56:14] - And she said she wanted to make an easy movie

[01:56:16] that people liked and so that's what she's doing.

[01:56:19] - She's making Frankenstein.

[01:56:20] - And it's an easy movie that I like.

[01:56:21] It's just ridiculous.

[01:56:23] - Yeah, no.

[01:56:23] - Much like Frankenstein's monster.

[01:56:24] - Much like Frankenstein's monster.

[01:56:25] - Yeah, no, totally.

[01:56:26] - He's like, I like him.

[01:56:27] He's one of my best friends.

[01:56:28] - Do you have the heart?

[01:56:29] - He doesn't look normal.

[01:56:30] - There's a great part in the book.

[01:56:31] So like, when we're talking about,

[01:56:32] 'cause we were like, she doesn't address the critics.

[01:56:34] So she does, do you remember this, Bobby?

[01:56:36] She says, the reviews came in, well, she says

[01:56:40] the box office was bigger than she'd ever had in her career,

[01:56:42] which is cool.

[01:56:43] The groove is good.

[01:56:43] Roger Ebert liked the movie and understood

[01:56:45] what I was trying to say.

[01:56:46] - Roger Ebert's review, we have to talk about it.

[01:56:48] - So he says it's good, and then she says,

[01:56:50] but other reviews were less than kind, that hurt.

[01:56:52] And it was amazing how some people managed

[01:56:55] to misinterpret the movie.

[01:56:56] A magazine editor in New York, well, she won't name,

[01:56:59] saw the picture and said, I don't like the message

[01:57:01] of the movie, it means you have to be beautiful to be loved.

[01:57:04] She completely missed the whole point.

[01:57:06] Rose just changed her attitude, not her face.

[01:57:09] And Gregory actually started falling in love

[01:57:10] with the old, unglamorous Rose that frightened him.

[01:57:13] And that's why he ran away.

[01:57:14] Now, he has come to terms with her new self,

[01:57:17] and the irony is that Gregory loves her

[01:57:19] in spite of the fact that she's prettier now.

[01:57:22] What?

[01:57:22] - I don't know if I buy that.

[01:57:23] - I think that is a 100% what that was seen.

[01:57:25] - That was montage, that makes more sense.

[01:57:27] - That's not it.

[01:57:28] - I think the movie's trying to do and does not do it all,

[01:57:30] 'cause the scene where he goes over to their place

[01:57:34] and sees her for the first time in a while,

[01:57:36] it feels like that's what he's trying to get out

[01:57:39] of his system, but he's also so horned up.

[01:57:41] - He's like, I missed you.

[01:57:42] - Right.

[01:57:43] - I missed you, but I missed you when you were gone.

[01:57:46] - They never let him verbalize her.

[01:57:47] - And when we tried to find her.

[01:57:48] - We didn't even have her attitude.

[01:57:49] - Her attitude never came to its number.

[01:57:51] - Her attitude is always the same.

[01:57:52] - When they were trying to fuck,

[01:57:54] the reason why he rejects her is partially

[01:57:56] because he's like, this is now it's not how it's supposed

[01:57:58] to work, and I'm so one track minded.

[01:58:00] But also, doesn't he get that weird, horny, confused thing?

[01:58:03] 'Cause I think towards the end, he's like,

[01:58:05] when they have dinner and he's kind of like,

[01:58:07] when she goes to the bathroom, he's like,

[01:58:09] falls or whatever, he's getting horny.

[01:58:11] - Yeah.

[01:58:12] - Oh my god, I didn't even put that together.

[01:58:13] It's a call back to his.

[01:58:15] - Oh god.

[01:58:16] - I'm too horny.

[01:58:17] - Too many of them are highly cut out.

[01:58:19] - If you kind of think about that,

[01:58:20] it's like he's in love with her mind,

[01:58:22] and then he comes around to the rest of her.

[01:58:24] He's the perfect, right.

[01:58:25] - It just takes him all the work.

[01:58:26] - It takes him a while that he realizes,

[01:58:28] oh, I actually do like this woman in a 360 wet

[01:58:30] and all of it.

[01:58:31] - You almost need, if you're gonna do the makeover,

[01:58:33] you almost need him at the end to say,

[01:58:35] I miss the way you used to look.

[01:58:37] - Right, take all of this off.

[01:58:39] - Right?

[01:58:41] - Straighten your hair again,

[01:58:42] or whatever you had with your hair.

[01:58:43] It's brown, make it brown.

[01:58:45] - Yeah.

[01:58:46] - There's the very Nora line that I think is so funny

[01:58:51] where he's like, you're so practical and like,

[01:58:53] and she's like, God, I sound like an airline.

[01:58:55] I think that's a really funny line.

[01:58:57] - Yeah.

[01:58:58] - Brian Adams singing over the credits,

[01:59:00] I think is a huge misfire.

[01:59:02] I know he was hot shit like in this moment,

[01:59:05] but like that song is, it doesn't fit the movie.

[01:59:09] - Songs not good, yeah.

[01:59:09] - Did you miss love theme from blank?

[01:59:12] I think that is a thing that should come back.

[01:59:14] - She hummed that, by the way.

[01:59:16] She wrote that by humming 'cause she's crazy.

[01:59:18] She can't write music, so she just hummed it.

[01:59:20] They said, we'll write this.

[01:59:21] - Yeah, sure.

[01:59:22] My other favorite line was another Lauren Bacall.

[01:59:25] I should be dead not having conversations.

[01:59:27] I wrote that that.

[01:59:28] - That's great.

[01:59:29] - She was like, she's great.

[01:59:30] - I mean, my coffee is a really good line.

[01:59:32] And then there's the bit where Mimi Rogers is like,

[01:59:34] if you keep behaving this way,

[01:59:35] I'm gonna blow your Christmas,

[01:59:36] your birth certificate into a Christmas card.

[01:59:39] And Lauren Bacall is like,

[01:59:40] I never should have encouraged you to speak.

[01:59:42] Like that shit, I'm like, this is, you know, this is juicy.

[01:59:45] - And there's enough of that that it kind of makes you

[01:59:47] lose sight of the fact that the plot is so dumb.

[01:59:51] - I feel like it's crazy we're going through this plot

[01:59:53] and it's like so absurd and we're kind of sounding like it's bad.

[01:59:55] But the line, this movie is written so nicely.