The Village with David Ehrlich

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

[00:00:09] Don't know what to say or to expect, All you need to know is that the name of the show

[00:00:17] Is Blank Check

[00:00:20] Rule 1. Let the bad color not be seen. It attracts them.

[00:00:25] Rule 2. Never enter the woods. That is where they wait.

[00:00:31] Rule 3. Here are the- heed the warning.

[00:00:37] For they are podcasting.

[00:00:40] It's not even in the movie.

[00:00:41] No, it's a poster.

[00:00:42] I know, I know.

[00:00:43] This movie doesn't have a lot of quotable lines and I've established a pattern of picking-

[00:00:48] Yeah, no, I get you.

[00:00:49] So I didn't- I gotta-

[00:00:50] That's what you went for.

[00:00:51] I used the- that's the poster.

[00:00:52] That was the teaser poster.

[00:00:53] Good job.

[00:00:54] For the film.

[00:00:55] Hi everybody, I'm Griffin.

[00:00:56] I'm David Sims.

[00:00:57] Griffin Newman.

[00:00:58] Yep.

[00:00:59] David Sims.

[00:01:00] This is Griffin and-

[00:01:01] It's not what these podcast is called.

[00:01:03] Oh boy.

[00:01:04] Someone's not sleeping well.

[00:01:06] This is the worst opening yet.

[00:01:07] And signs was terrible.

[00:01:08] Blank Check is Blank Check with Griffin and David.

[00:01:12] And colon, I'm just gonna say it.

[00:01:15] I'm not gonna throw any sort of judgment on it.

[00:01:17] I'm not gonna do a performance thing where I make it clear that I don't like the title.

[00:01:20] I'm gonna say the net- the subtitle like I like it.

[00:01:23] Pod Night Shyamacast.

[00:01:24] There you go, good job.

[00:01:26] That's our mini-series that we're on right now.

[00:01:28] We're going through the films of M. Night Shyamalan chronologically.

[00:01:33] And this is part of- a mini-series is part of the Maxi series that is the show which

[00:01:38] is investigating Blank Check project.

[00:01:41] Sure.

[00:01:42] People are given a blank check to do whatever they want however they want.

[00:01:44] We just got a picture taken of us.

[00:01:46] By our guest.

[00:01:47] I think we gotta introduce him.

[00:01:48] Yeah, instead of explaining the fucking premise of our podcast for the up-deenth time.

[00:01:52] He's- I mean, we've been trying to get on the show for a really-

[00:01:55] The premise that we can't explain in one sentence no matter how much hard we try.

[00:01:58] Yeah, but we promised we would try to explain it.

[00:01:59] Do you remember that conversation where like let's try to explain it every week?

[00:02:02] It's like when filmmakers they make a big movie and then they get to make more movies?

[00:02:06] But then they're bad maybe?

[00:02:08] And every time I try to explain to someone, not on the podcast but like in conversation

[00:02:12] they're like so wait what does it have to do with the Disney movie Blank Check?

[00:02:16] I was like no it's Blank Check projects and they're like but you're doing a Blank Check episode right?

[00:02:20] I guess we are gonna do a Blank Check.

[00:02:22] We're gonna have to do something.

[00:02:23] It doesn't apply at all but we have to do it at some point.

[00:02:25] Our guest today.

[00:02:26] Someone we've wanted to have on since before we were Blank Check when we were at Griffin Dave Present.

[00:02:30] Yeah.

[00:02:31] Fans of podcasts.

[00:02:32] But he didn't want to talk Star Wars.

[00:02:34] Doesn't like those movies.

[00:02:35] Never, never want to talk Star Wars.

[00:02:37] Also think he doesn't like this movie.

[00:02:38] I don't want to preload.

[00:02:39] It's not going to hit ourselves.

[00:02:41] He requested that we do this movie.

[00:02:43] We threw him the M.I. Shyamalan filmography.

[00:02:45] And this is the one he wanted?

[00:02:46] He picked another one originally and then he went-

[00:02:48] No, no.

[00:02:49] We picked him for another one.

[00:02:50] Oh that's right.

[00:02:51] He always wanted this one.

[00:02:52] Yeah, this is the one.

[00:02:53] We're not gonna say his name.

[00:02:54] We're not gonna say his name.

[00:02:55] We're gonna say his name.

[00:02:56] Let's let's let's credit so.

[00:02:57] Oh sure yeah yeah he's a he's a staff writer at Rolling Stone.

[00:03:01] Yeah?

[00:03:02] Is that your title?

[00:03:03] Do you have a yeah yeah yeah he's nodding.

[00:03:05] You might have read his work on Slate.

[00:03:08] Sure.

[00:03:09] Or-

[00:03:10] We can end this part of the show right now.

[00:03:12] He's a co-host of Fighting in the War Room.

[00:03:15] Let's keep going.

[00:03:16] We've got three out of four now.

[00:03:17] He used to be a trivia competitor.

[00:03:19] Yes he was.

[00:03:20] He was one of our fiercest rivals.

[00:03:22] Yeah?

[00:03:23] Those are the two main groups we're trying to establish within the universe,

[00:03:25] the blank check averse.

[00:03:26] We've gotten three out of the four Fighting in the War Room hosts.

[00:03:30] And we tried to get every member of our trivia team on.

[00:03:32] Dave's in Colorado.

[00:03:33] We're not gonna get him.

[00:03:34] We're gonna get him on something.

[00:03:35] All right.

[00:03:36] He's done-

[00:03:37] He's traveled further to do individual podcast episodes so I wouldn't put it past him.

[00:03:41] Is there any other dissing of Fighting in the War Room hosts

[00:03:44] that you want to do right at the top here?

[00:03:45] The night is young.

[00:03:46] I don't know.

[00:03:47] I prefer to sprinkle it in throughout the episode.

[00:03:49] It's David Erlich.

[00:03:50] There he is.

[00:03:51] David Erlich.

[00:03:52] Say his name.

[00:03:53] All right.

[00:03:54] There he is.

[00:03:55] Hi, David.

[00:03:56] What's up?

[00:03:57] Thanks for coming.

[00:03:58] I'm not wearing the bad color tonight on purpose.

[00:03:59] No, I suppose not.

[00:04:00] Our headphones have the bad color.

[00:04:01] They have the bad color.

[00:04:02] Yeah.

[00:04:03] I gotta hide it.

[00:04:04] I gotta put it in my back pocket.

[00:04:05] This cord.

[00:04:06] We're talking about the village.

[00:04:07] We're talking about the village.

[00:04:09] French title, Le Valage.

[00:04:10] Is that right?

[00:04:12] Yeah.

[00:04:13] My dad used to always call it Le Valage.

[00:04:15] My dad really liked making fun of...

[00:04:16] Your dad sounds real funny.

[00:04:17] My dad's a funny guy.

[00:04:18] Yeah.

[00:04:19] My dad really liked making fun of how pretentious this movie was.

[00:04:21] So I kept on being like, how is Le Valage?

[00:04:24] This is his most pretentious film.

[00:04:26] If you want to use that silly word.

[00:04:28] I think this would be almost anyone's most pretentious film.

[00:04:30] Yeah.

[00:04:31] Yeah.

[00:04:32] That's true.

[00:04:33] This qualifies for the long list of the most pretentious films.

[00:04:36] I think Godard saw this movie and was just like, oh no.

[00:04:38] Too much.

[00:04:39] Yeah.

[00:04:40] He streamlined it a little bit.

[00:04:41] Come on.

[00:04:42] Dial it back at night.

[00:04:45] This film does have a girl.

[00:04:48] They mention a gun.

[00:04:49] They don't show a gun.

[00:04:50] What a Godard is three rule, you need a girl, a gun.

[00:04:53] That's all you need.

[00:04:54] Right.

[00:04:55] Camera would help.

[00:04:56] Yeah.

[00:04:57] But...

[00:04:58] Who has a camera?

[00:04:59] Okay, so let's just dive right into it.

[00:05:01] So this is 2004, this film comes out.

[00:05:03] It's his sixth movie, but it's sort of his fourth movie.

[00:05:07] Yeah, it's the fourth reinvention of M. Night Shyamalan.

[00:05:10] What he sort of...

[00:05:11] This is the Lynch pin movie.

[00:05:12] In his career.

[00:05:13] Yes, we're at the hinge of this entire miniseries.

[00:05:15] It's the fulcrum.

[00:05:16] Yeah, if you will.

[00:05:17] This is 100%.

[00:05:18] Before then he'd forgotten Pring with Anger and Wide Awake, which I already have.

[00:05:24] I don't know if I ever remembered them.

[00:05:27] Check out Wide Awake on Netflix?

[00:05:29] It's terrible.

[00:05:30] I hear a member of your trivia team, maybe former member of your former trivia team

[00:05:35] was in one of those two movies.

[00:05:37] What?

[00:05:38] As an extra.

[00:05:39] Who?

[00:05:40] Marie.

[00:05:41] Really?

[00:05:42] Yeah.

[00:05:43] Wait, she wasn't on my team.

[00:05:44] She was on your team.

[00:05:45] She was on a rival team.

[00:05:46] Oh no, she was on our team.

[00:05:47] She was on neither of our teams.

[00:05:48] I will update the IMDB trivia page accordingly.

[00:05:50] You're saying Marie, Barty?

[00:05:51] Was she in Wide Awake?

[00:05:52] That is what I'm saying, sir.

[00:05:54] In Wide Awake?

[00:05:55] I don't know.

[00:05:56] That was the first one?

[00:05:57] No, Pring with Anger is the first one.

[00:05:59] Maybe that one.

[00:06:00] That one mostly takes place in India.

[00:06:02] Did she get her ass to India?

[00:06:05] Marie, I mean how old is she?

[00:06:07] She knew a good thing when she saw it.

[00:06:08] I think she's mine.

[00:06:09] She was like, fuck it, I'm fine to India.

[00:06:11] This NYU student, he's going places.

[00:06:14] I got a feeling about this guy.

[00:06:16] The brown face still offends, but it was a good opportunity at the time.

[00:06:19] Yeah, she was also way too young to play his mother.

[00:06:21] That was the weird part.

[00:06:22] So she's ethnically wrong for the role and age inappropriate.

[00:06:26] Shyamalan, he just talent, talent first, you know?

[00:06:29] He was in a pretty non-literal, literal, whatever.

[00:06:34] So he made his crappy movies, he makes a sixth sense big hit.

[00:06:37] Yeah.

[00:06:38] Obviously, he makes some breakable, everyone sort of shrugs their shoulders.

[00:06:40] They're a little bit dropped down.

[00:06:41] Maybe the guy was a one hit one day.

[00:06:43] He makes signs, oh, lots of money.

[00:06:45] Huge populist hit.

[00:06:46] And now he doubles down on what he did with the unbreakable.

[00:06:49] The unbreakable.

[00:06:50] You know the unbreakable?

[00:06:52] No, sixth sense made something everyone liked.

[00:06:54] Unbreakable, he went a little too artsy for mainstream America perhaps.

[00:06:57] Sure, right, right, right.

[00:06:59] And so signs he was like right down the middle.

[00:07:02] Right, I'm giving you a Hitchcock sci-fi pastiche basically with Mel Gibson,

[00:07:07] aren't you happy?

[00:07:08] And he goes, great, I won them back.

[00:07:09] Let me go as far up my own ass hole as I possibly can.

[00:07:13] I mean he would go further, he was really just beginning to splunk a pair.

[00:07:18] We had no go at this point.

[00:07:20] He would pioneer like some of the other, like he became interstellar traveler.

[00:07:25] He was wandering into the woods very tentatively in this film, you know, searching around.

[00:07:30] He still made a film with like a plot that like, you know, like progresses in a linear fashion.

[00:07:36] Yeah, but this is the point in his career where he announces his intention to become the Ernest Shackleton of Butthole Exploration.

[00:07:43] That's what he wants to be.

[00:07:45] Well apparently he had lots of ideas that he would write down and he would elaborate them on them all the time.

[00:07:50] Little pieces of it.

[00:07:52] Eventually he plucked the village.

[00:07:54] Oh what, but I could see that wall.

[00:07:56] Oh imagine all the ideas in that wall.

[00:07:58] Because this is two years after signs?

[00:08:01] Correct.

[00:08:02] So he's keeping up his like, you know, he's making films every clip.

[00:08:04] Every two years guy, yeah.

[00:08:07] The movie was highly anticipated.

[00:08:11] People were really, really pumped for this.

[00:08:13] It's gonna be called the woods.

[00:08:15] Yes.

[00:08:16] And had Joaquin Phoenix who was hot.

[00:08:18] People were really starting to love the wall.

[00:08:20] Hot of a ladder 49.

[00:08:22] Now do you know who he originally casts?

[00:08:25] I don't know it was hot in multiple senses.

[00:08:27] Do you know who he originally casts in the lead female role of Ivy Walker?

[00:08:32] Kirsten Dunst.

[00:08:33] Who's got the Spider-Man heat.

[00:08:35] Woulda crushed it.

[00:08:36] She would've been good.

[00:08:38] She's got that Spiderman heat.

[00:08:39] And she was, that's like the eternal sunshine year?

[00:08:41] Like, yeah, she would've been great.

[00:08:43] Right.

[00:08:44] And this would've come out like, just maybe a little, well, whatever.

[00:08:47] No, this would've come out like two months after Spider-Man 2 would come out.

[00:08:50] So it was like, she was like a big star and I don't know why she dropped out.

[00:08:53] I can tell you why she dropped out.

[00:08:55] Dropped out to be in Elizabeth Town.

[00:08:57] Really between a rock and a hard place there.

[00:08:59] What are you gonna do?

[00:09:00] On paper, a totally solid choice.

[00:09:03] You know, Elizabeth Town, right?

[00:09:05] And Kameracro's, he's coming off of it a little sky.

[00:09:07] Not the paper on which either of those scripts were written.

[00:09:09] On toilet paper.

[00:09:10] Because yeah.

[00:09:11] On toilet paper.

[00:09:12] Then it would've been a, maybe not so appealing.

[00:09:14] You could read them.

[00:09:16] The weird thing about Elizabeth Town is Kutcher was gonna be in it, right?

[00:09:20] Yes.

[00:09:21] They fired him for Orlando Bloom.

[00:09:22] Yeah.

[00:09:23] And now maybe you want Kutcher.

[00:09:24] Like 10 years later if you want Kutcher.

[00:09:26] Yeah.

[00:09:27] You don't want either but maybe between those two you want Kutcher.

[00:09:29] Yeah.

[00:09:30] Such a fascinating chain of what ifs.

[00:09:32] But let's just, not to go on too much of a side tangent.

[00:09:35] But imagine you have hindsight 20-20, right?

[00:09:39] You're Kirsten Dunst today knowing what we know now.

[00:09:41] Oh yeah.

[00:09:42] Do you take Elizabeth Town or the Village?

[00:09:43] Yeah.

[00:09:44] Which one's better for your career?

[00:09:45] They're both sort of colossal trainwraps.

[00:09:47] You take the Village.

[00:09:48] I would take the Village.

[00:09:49] You take the Village.

[00:09:50] I mean this movie made Bryce Howard.

[00:09:52] Like what, you know.

[00:09:54] Yeah but the manic pixie dream girl element of Elizabeth Town.

[00:09:57] And that was the movie that, you know.

[00:09:59] That solidified the term.

[00:10:00] Solidified the term.

[00:10:01] Yeah.

[00:10:02] I think Pigeon Hold.

[00:10:03] Well she has always been sort of multi-talented enough to really not go down with that particular

[00:10:08] ship but it's not something you want to be associated with.

[00:10:10] She definitely hobbled her along with other players.

[00:10:13] She had to go to Lar's, you know she and Bryce Dallas Howard work with Lars Montreer.

[00:10:18] And then they reunited to be in Spider-Man 3 together.

[00:10:21] But Bryce went right to Lars Montreer after this.

[00:10:24] Yeah.

[00:10:25] She's like working with M. Night Shyamalan not masochistic enough.

[00:10:28] What can I do?

[00:10:29] And Lars Montreer is like, I have this script about black people.

[00:10:34] Those magic words.

[00:10:36] She's like, set me up!

[00:10:37] I'm moving to Denmark!

[00:10:38] Nicole Kidman didn't want to do it.

[00:10:41] Nicole Kidman won't answer my phone calls when I sent her the script about black people.

[00:10:47] You know I grew up with Bryce Dallas Howard.

[00:10:50] We talked about this.

[00:10:51] And I saw her in ninth grade in Guys and Dolls I think it was.

[00:10:56] She was excellent.

[00:10:57] And my family and I, because they were friendly with her parents, went to go see Melancholy

[00:11:02] at the New York Film Festival.

[00:11:03] Not Melancholy, sorry.

[00:11:04] Oh, Mandorley.

[00:11:05] Mandorley.

[00:11:06] And that was a day that we met.

[00:11:09] Yeah, yeah.

[00:11:10] She got up to some stuff in Mandorley.

[00:11:12] There was no ninth grade French Country Day school Guys and Dolls, let me tell you.

[00:11:17] But you said Bryce is a very nice person.

[00:11:19] I haven't spoken to her in a very long time, but all of the hours were exceptionally nice.

[00:11:24] And she's sort of the breakout star of this movie.

[00:11:27] It is interesting.

[00:11:28] I mean it rarely happens even less so now than it did then which was 12 years ago.

[00:11:34] But it rarely happens that you have a big studio film where other than when it's

[00:11:38] a child, you know, when the lead role is like a 10-year-old, there's an adult

[00:11:43] lead character and they pin it on like a total unknown.

[00:11:46] And I think this was literally her first film ever.

[00:11:49] She's Hollywood role change.

[00:11:50] She was crushing it on stage at the time.

[00:11:52] Right, and she was like a really notable stage actress in New York.

[00:11:56] But I remember being a big deal.

[00:11:58] Like Kristen Dunst-Jones drops out.

[00:12:00] Now we have Bryce Sals Howard, daughter of Ron Howard, and apparently she's amazing.

[00:12:04] I remember that being one of the big things going into this movie.

[00:12:07] I remember everyone being interested to see who...

[00:12:09] I mean until he wrote the lead role for Mark Wahlberg and the happening,

[00:12:12] Emily Shalon had a really good eye for casting.

[00:12:14] He did.

[00:12:15] Especially in the supporting cast of this movie.

[00:12:18] Yeah, but yeah.

[00:12:20] And this morning cast of this movie, it's true that Stacked...

[00:12:23] Let's go Murray Rose-Rover.

[00:12:24] So you go Joaquin Phoenix, Bryce Dallas Howard, Adrian Brody, right off the Oscar.

[00:12:29] Right off the Oscar win.

[00:12:30] I think this is the first job he takes.

[00:12:31] I mean we have things to say about Adrian Brody's performance, I hope.

[00:12:34] I think that's the majority of this episode is talking about that character

[00:12:37] and that performance.

[00:12:38] Simple Jack is pretty much his...

[00:12:39] What he's doing here.

[00:12:41] William Hurt.

[00:12:42] Yup.

[00:12:43] Sigourney Weaver.

[00:12:44] Sigourney Weaver.

[00:12:45] You have...

[00:12:46] Brendan Gleason.

[00:12:47] Brendan Gleason.

[00:12:48] Brendan Gleason.

[00:12:49] Can I swear on this?

[00:12:50] Yes.

[00:12:51] You can swear on this.

[00:12:52] You can swear on this.

[00:12:53] Brendan fucking Gleason.

[00:12:54] One of the best living actors, I think.

[00:12:55] He's great.

[00:12:56] He's just one of those guys who just is immaculate.

[00:12:59] And he is buying in as well to this movie.

[00:13:02] No, he always buys in.

[00:13:03] He never rents.

[00:13:04] He buys.

[00:13:05] He buys and he raises the property.

[00:13:08] No, but like...

[00:13:09] Celia Weston.

[00:13:10] Celia Weston, Jerry Jones back.

[00:13:12] And then you have...

[00:13:13] Judy Greer.

[00:13:14] Jesse Eisenberg.

[00:13:15] Michael Pitt.

[00:13:16] Michael Pitt who definitely doesn't remember being in this movie.

[00:13:20] Absolutely not.

[00:13:21] Absolutely not.

[00:13:22] Michael, go to sit in that wash shower.

[00:13:24] We'll get back to you.

[00:13:26] Fran Kranz.

[00:13:27] Fran Kranz.

[00:13:28] I saw on stage and I mean obviously he's in Dollhouse.

[00:13:31] Is he in Dollhouse?

[00:13:32] Yeah, he's in Coward and the Woods.

[00:13:33] But I saw him on stage in the original production of Bachelorette.

[00:13:36] Back when it was a play.

[00:13:37] He was great man.

[00:13:38] Before it was a reality show.

[00:13:39] That was...

[00:13:40] The Bachelorette.

[00:13:41] Yeah.

[00:13:42] Before it was an indie movie starring who?

[00:13:44] Kristen Dodds.

[00:13:45] Yeah, all ties back around.

[00:13:47] But so M. Night goes like I'm gonna go artsy.

[00:13:50] I got the audience.

[00:13:51] You think that's what he's thinking?

[00:13:52] Well I think he feels like he has the audience back eating out of the palm of his hands,

[00:13:55] you know?

[00:13:56] See I think he's not going artsy.

[00:13:58] He's going artsy within a very...

[00:14:01] Within the suspense world.

[00:14:02] Particularly narrow genre.

[00:14:04] Because this is essentially, you know, it was meant to be a refinement of everything

[00:14:08] that you've been doing to that point.

[00:14:10] It was so in line with the film that he made with the Sixth Sense and with Science and with

[00:14:16] Unbreakable, it's just he bought himself the leeway to have this pretense of it being this

[00:14:21] very arch 19th century story.

[00:14:24] It's very austere.

[00:14:25] Which no one would have funded once upon a time.

[00:14:28] Absolutely not.

[00:14:29] It cost 60 mil.

[00:14:30] Okay.

[00:14:31] That was the budget on this sucker.

[00:14:32] I read 70.

[00:14:33] Okay.

[00:14:34] One.

[00:14:35] I mean we can get to this later.

[00:14:36] I don't know if we want to get to it now because I feel like we should talk about

[00:14:37] the movie before I get to this.

[00:14:38] So, we have a film where the smoking gun, which I think is not that relevant to website anymore.

[00:14:42] No, I thought you were talking about a literal smoking gun because I have no recollection of

[00:14:46] that being a website.

[00:14:47] The smoking gun was like a website where they were published.

[00:14:49] It was like a pre-tmz type website.

[00:14:51] They would get like documents from Hollywood and be like, oh here's like Motley Cruz

[00:14:55] Ryder and you could like read the whole Ryder.

[00:14:57] It was like a legal website where they would like...

[00:14:59] Right, they stole the script.

[00:15:01] Is that what you're going to say?

[00:15:03] No, what they did was they, this was the first time this had ever happened.

[00:15:06] They got their hands on the entire budget breakdown of the film and they broke down every

[00:15:10] single expense on the film.

[00:15:11] So usually like those numbers are pretty hidden and there's a lot of video spin and how

[00:15:14] much things cost.

[00:15:15] But I want to get to that because I think it's fascinating but let's talk about the

[00:15:17] movie a little first before we get onto how much everyone was paid.

[00:15:21] No, come on.

[00:15:23] So he goes like, yes so I'm making this quote-unquote period film.

[00:15:27] Period suspense thriller.

[00:15:29] Right.

[00:15:30] But it's also a romance.

[00:15:31] He made that clear to his producers.

[00:15:33] I'm making a romance for the first time.

[00:15:35] So when the trailers come out there-

[00:15:37] I saw the making of and his producer is-

[00:15:39] You guys can't see the hand gestures that Dave is making every time he says the word romance

[00:15:43] but it's like angel wings coming out of his shoulders.

[00:15:46] I think there's an important thing to note here though but he's got two producers on

[00:15:49] this movie, right?

[00:15:50] Sam Mercer who produced all his previous films.

[00:15:52] Right, that's his guy.

[00:15:53] His first movie was Six Sense, I think Six Sense and Rushmore in the same year

[00:15:57] and he had this thing where he was Amnites guy and Wes Anderson's guy.

[00:16:00] So he came out of the gate strong.

[00:16:02] Sure.

[00:16:03] He's two big emerging American otors.

[00:16:06] So generational directors, yeah.

[00:16:08] Right and he was by their side for these two guys for their first like six, seven movies.

[00:16:13] Scott Rudin also comes on board on this movie.

[00:16:16] And Scott Rudin has this reputation for like after someone's made the movie that really pops

[00:16:20] Rudin comes in and he's like I now dain you worthy of Scott Rudin's-

[00:16:24] Sure maybe I can get you an Oscar or whatever.

[00:16:26] Umbrella I can get you an Oscar, I can protect you from the studio,

[00:16:28] I can get you whatever you want.

[00:16:30] You're in the Rudin family now.

[00:16:31] It's like joining the mafia.

[00:16:32] And so Rudin comes in on this one and this feels like a movie where Rudin like fought a lot for him to be like,

[00:16:37] you know it's going to be all violin music.

[00:16:39] He's like I don't know, Amnites said all violin music, you know?

[00:16:42] The premise of this film is that there is a town, a village.

[00:16:47] Covington.

[00:16:48] Covington.

[00:16:49] A small village.

[00:16:50] I think we probably should call it a village.

[00:16:52] Let's call the village.

[00:16:53] There's a hamlet.

[00:16:55] Hamlet would have been a great title.

[00:17:00] There's a social collective in the woods.

[00:17:02] The unincorporated census designated place.

[00:17:05] The Lovallage at the center of the film.

[00:17:08] Very arch.

[00:17:11] Yeah it's this sort of like, it's kind of like an old timey New England town

[00:17:16] but they talk in like a lingo that doesn't have any particular grounding in reality.

[00:17:20] They speak like I don't know a bunch of people in 1975 got together and were like

[00:17:24] what did people speak like 100 years ago?

[00:17:26] We don't really know but we'll wing it.

[00:17:27] Yeah it's like a renfair.

[00:17:29] An everlasting renaissance fair.

[00:17:31] Yeah.

[00:17:32] And in this small sheltered village they talk about the town outside that they're scared of.

[00:17:37] The towns.

[00:17:38] The world, the towns.

[00:17:39] The towns are evil.

[00:17:40] Wicked.

[00:17:41] Wicked towns and they have a couple rules.

[00:17:42] One is the color red is bad news.

[00:17:44] We don't say red on this podcast.

[00:17:47] The bad color.

[00:17:48] The bad color.

[00:17:49] But much like in the sixth sense where whenever you see the bad color

[00:17:52] it is a little high tip to the fact that a ghost is coming.

[00:17:56] And this film is saying like I don't even want to give you the hint of the color.

[00:17:59] This town feels the way that you feel about the color watching my movies.

[00:18:03] Rule two there are these creatures.

[00:18:05] Yeah those we don't speak of.

[00:18:07] Yeah they live outside the village.

[00:18:09] They live in the woods.

[00:18:10] But they have a sort of agreement.

[00:18:13] We don't go into their area, they don't go into ours.

[00:18:15] Right right so you can't leave them.

[00:18:17] Apparently these creatures are capable of complex interactions and like embargoes.

[00:18:21] Negotiations.

[00:18:22] Right yeah.

[00:18:23] A truce was at some point struck.

[00:18:26] And I guess those are the two.

[00:18:29] That's the whole movie for 45 minutes.

[00:18:31] Just stay in the village.

[00:18:32] We get that out, William Hurt says that right away.

[00:18:35] Like don't you know truce, bad color.

[00:18:38] And then it's just a bunch of village shit.

[00:18:40] You know a bunch of activity.

[00:18:42] Oh Judy Greer did we not even mention Judy Greer?

[00:18:44] No I think we might have we she got cut off in the chatter but Judy Greer of course.

[00:18:48] So here are the social dynamics.

[00:18:49] Clayne Bryce's Howard, Bryce's sister for the first time.

[00:18:52] Oh, J World.

[00:18:56] Okay so central social dynamics in this film.

[00:18:59] William Hurt is essentially the leader of the town right?

[00:19:02] Sure.

[00:19:03] His two daughters are Bryce's Howard.

[00:19:05] Or do we need to draw family trees and shit?

[00:19:08] You guys have a website where we can post this?

[00:19:11] Is there a Wiki?

[00:19:12] Is there a Billage Wiki?

[00:19:13] I will say because like CovingtonWiki.com

[00:19:15] Fucking 40% of the women in this movie have read wigs.

[00:19:18] It took me a while on the second viewing.

[00:19:20] I hadn't seen since it came out in theaters.

[00:19:22] But it took me a while on the second viewing to figure out who everyone was related to.

[00:19:25] Just because like...

[00:19:26] Right, it hurts daughters are Greer and Howard.

[00:19:30] But Sigourney Weaver has the exact same wig.

[00:19:33] They don't wear the same dress.

[00:19:34] This definitely was a valuable use of your energy because it's ever really at all

[00:19:38] relevant to anything that's happening in the movie.

[00:19:40] But to the extent where it looked like when Bryce Dolls Howard wrapped on a scene

[00:19:43] they were like Bryce we gotta get the wig over Sigourney.

[00:19:45] We're about to shoot her.

[00:19:46] Even literally the same wig.

[00:19:48] Even she was rocking a wig because that's her hair color.

[00:19:50] No, no, Bryce is not rocking a wig.

[00:19:52] That's her hair.

[00:19:53] Everyone else has like Bryce's color.

[00:19:54] I think they made everyone a red head because they cast her.

[00:19:56] And it's also the bad color.

[00:19:57] It is the bad color.

[00:19:58] They don't mention that.

[00:19:59] She sticks out.

[00:20:00] It's a little more orange than the bad color.

[00:20:02] It's a cherry red is what they really don't like.

[00:20:05] But um, yeah.

[00:20:06] So these two daughters both are in love with Joaquin Phoenix.

[00:20:09] Yeah, who's Sigourney Weaver's only son.

[00:20:12] Right.

[00:20:13] And then there's also Celia Weston has Adrian Brody and I guess there are other

[00:20:17] siblings maybe as well in that family.

[00:20:19] I don't know.

[00:20:20] I don't know.

[00:20:21] So let's talk about Adrian Brody's character.

[00:20:23] I'm getting it all right, right?

[00:20:24] Yeah, yeah, yeah.

[00:20:25] Those are the central dynamics.

[00:20:26] What's his character's name?

[00:20:27] Noah.

[00:20:28] Noah.

[00:20:29] Noah Percy.

[00:20:30] Noah Percy.

[00:20:31] Yeah, so you've got right.

[00:20:32] So you've got and their intro is pretty slowly like Bryce doesn't come in for

[00:20:35] like 20 minutes of this movie.

[00:20:37] You got Joaquin is this guy Lucius who's like a stoic.

[00:20:42] He's such a Shyamalan.

[00:20:43] They're all the same.

[00:20:44] He doesn't talk.

[00:20:45] Yeah.

[00:20:46] His thing is he doesn't talk.

[00:20:47] Just like Bruce Willis, just like Mel Gibson.

[00:20:50] He goes before the board of elders at the beginning of the movie and he's like,

[00:20:53] I think it'd be valuable for us to have.

[00:20:54] Yeah, he reads like a Luca Brazi like I would like if I could go out into the

[00:20:58] woods like you know.

[00:20:59] I want to see we might be able to help our community and they're like,

[00:21:03] no get the fuck out of it.

[00:21:04] Well, he's so affected by the fear that they perpetuate that they are using to

[00:21:08] manipulate everyone in the village that you can see it sort of shaking.

[00:21:12] And Brendan Gleason just lost a child.

[00:21:14] That's like the first thing we see in the movie is the funeral.

[00:21:17] So it's like, you know, they have a concept of like,

[00:21:19] if only we had some medicine in this, up in this village.

[00:21:24] Can't get away from grief.

[00:21:26] Follows you everywhere.

[00:21:27] There's no Hamlet in the world where it won't follow.

[00:21:30] No trees will protect you.

[00:21:32] Exactly.

[00:21:33] No ring of trees.

[00:21:34] And then early in this film, you know, he wants to go out.

[00:21:37] He wants to get mass and suddenly the creatures start to like show up

[00:21:41] again.

[00:21:42] They start to be present.

[00:21:43] They're starting to be like, they see the red.

[00:21:46] Well, they're dropping off like skinned animals around town,

[00:21:49] which is getting everyone all into tizzy.

[00:21:52] And there's just sort of a general fear.

[00:21:54] And then there's this like set piece, I guess, like 30 minutes in where

[00:21:58] they like they bring the bell.

[00:22:00] Michael Pitt and Frank Kranz stay up in a watch tower in yellow robes with

[00:22:05] hoods and they look for the creatures and they ring the bell if

[00:22:08] something happens and everyone's screaming.

[00:22:10] Oh, it's a great jump scare.

[00:22:11] The creature runs under the tower.

[00:22:14] It's a great jump scare.

[00:22:15] That's M. Night's essentially like his one move is you're like

[00:22:17] waiting for something to pop out really quickly and instead the

[00:22:19] thing just casually walks by.

[00:22:20] M. Night has one other move in this film, which I think is

[00:22:24] very effective, which is how he uses depth of field.

[00:22:27] There are a number of shots where you mean you really also

[00:22:30] he takes advantage of the fact that they had this entire

[00:22:32] location to work with.

[00:22:34] They cleared out like 600 acres.

[00:22:36] And so you have a sense of activity and life and vibrancy

[00:22:39] happening in his village.

[00:22:40] You see people walking in the background when they're

[00:22:42] and you can see like, oh, there's the schoolhouse.

[00:22:44] Like, you know, a good sense of geography as well.

[00:22:46] I mean, this is when he was a competent filmmaker.

[00:22:48] I mean, there's certain inherent logic to the way that he

[00:22:51] constructs scenes.

[00:22:52] He had a bit of a blank check.

[00:22:55] He had a bit of a blank check.

[00:22:56] He had a bit of a blank check.

[00:22:57] No, but we've as we've been going through all these

[00:22:59] movies in such quick succession, the big thing we've

[00:23:01] like hit upon is this guy's real skill is location.

[00:23:04] You know, he's able to really like design a good space,

[00:23:07] shoot it well, establish a really clear visual

[00:23:10] geography.

[00:23:11] And he never has to leave Pennsylvania to do it.

[00:23:13] Yeah.

[00:23:14] He stays within Philly, but he shoots it very differently.

[00:23:16] You know, whether he's creating a set or it's a

[00:23:18] building or it's a whatever.

[00:23:20] That's the thing he does well.

[00:23:22] He also has this movie has some long ass takes.

[00:23:24] He went for some.

[00:23:25] Yeah.

[00:23:26] He does like there's that one scene where William

[00:23:28] Hertz talking to the kids and he shoots the entire

[00:23:30] thing behind William Hertz head, which just kind of

[00:23:32] feels like him trying to be oblique on purpose.

[00:23:35] Yeah.

[00:23:36] But the shot in which I mean how he sort of withholds

[00:23:38] introducing Ivy and the shot in which he does

[00:23:41] introduce her, it's very effective and how it plays

[00:23:44] with her inability to see.

[00:23:45] I mean, it's all handled very well.

[00:23:47] The first 30 minutes are kind of intriguing.

[00:23:49] By the way, I really like this movie.

[00:23:51] I think I'm probably the strongest.

[00:23:52] This is my Shyamalan movie.

[00:23:53] It's really the only one of his that I genuinely like.

[00:23:55] I think this is his most frustrating movie.

[00:23:57] Only because it has the most squandered potential.

[00:24:00] I agree with that.

[00:24:01] I was watching the first three minutes and I was

[00:24:03] like, is this secretly a masterpiece?

[00:24:05] Because you've always kind of argued that.

[00:24:07] It'd be in my top 10 for 2004.

[00:24:09] You know what?

[00:24:10] I mean, when I saw this, I was like 15.

[00:24:12] You know, it was within the context of where he was

[00:24:14] in his career.

[00:24:15] Step back.

[00:24:16] Am I going to realize that this is a masterpiece

[00:24:17] and there are some masterpieces.

[00:24:18] Remember Ebert like shat all over it?

[00:24:20] Can I read the first paragraph of his review here?

[00:24:22] He was such a crank at that.

[00:24:23] I love Roger Ebert.

[00:24:24] Can I read this just because this is an incredible

[00:24:25] piece of writing?

[00:24:26] Because this really was like...

[00:24:28] Griffin, hold your thumb down.

[00:24:30] God, watching you try to unlock your phone just now

[00:24:33] was an ordeal.

[00:24:34] He was like, I'm going to hold my thumb down,

[00:24:36] but not quickly enough.

[00:24:37] Lift it. Lift it.

[00:24:38] I don't want that phone to think it's better than me.

[00:24:40] Go ahead.

[00:24:41] Read Ebert's.

[00:24:42] It's got to know who's boss.

[00:24:43] Go on.

[00:24:44] This is the first paragraph, okay?

[00:24:45] And I think this is important because this is how

[00:24:47] the public responded when the movie came out.

[00:24:48] This was basically the sentiment.

[00:24:50] Maybe they didn't all word it as well as Ebert,

[00:24:52] but this is kind of what everyone was saying

[00:24:53] walking out of the movie.

[00:24:54] First sentence of the review.

[00:24:56] The village is a colossal miscalculation.

[00:24:58] A movie based on a premise that cannot support it,

[00:25:01] a premise so transparent that it would be laughable

[00:25:03] where the movie not so deadly saw them.

[00:25:05] It's a flimsy excuse for a plot with characters

[00:25:07] who move below the one-dimensional and enter flatland.

[00:25:10] M. Night Shyamalan, the writer-director.

[00:25:12] Flatland is two dimensions.

[00:25:13] I'm sorry.

[00:25:14] I know.

[00:25:15] The reference isn't great.

[00:25:16] It has been successful in evoking horror from minimalist

[00:25:18] stories as in science, which if you think about it

[00:25:20] rationally is absurd.

[00:25:21] But you get too involved to think rationally.

[00:25:23] He's a director of considerable skill who evokes

[00:25:26] stories out of moods, but this time, alas, he took the day off.

[00:25:29] Well, I mean, to speak to the crankiness of Lady Ebert

[00:25:34] and certainly of this review,

[00:25:36] he's throwing the baby out with a bathwater.

[00:25:38] I don't disagree necessarily with any of the words

[00:25:42] that he uses in that lead,

[00:25:44] but I think that he's very dismissive

[00:25:46] of what the movie is trying to do,

[00:25:48] how it could have done it better.

[00:25:49] Right.

[00:25:50] And he's a little too pissed off about the twist

[00:25:51] and the ending and the premise.

[00:25:53] Which if you see the movie on a Thursday night

[00:25:55] while it three hours later, I can understand.

[00:25:57] But this was the movie.

[00:25:59] I mean, this was peak twist Shyamalan, I would argue.

[00:26:01] And I would also say...

[00:26:02] Well, that, right.

[00:26:03] I mean, this is the twist that did him in.

[00:26:05] Right.

[00:26:06] And he stops doing twists after this.

[00:26:07] This is his full...

[00:26:09] His whole career has been a twist after this.

[00:26:11] A series of twists.

[00:26:12] It became a meta-twist.

[00:26:13] His life took a twist.

[00:26:14] But this was the last film that had like a big ending twist.

[00:26:17] I would also argue this film essentially has three twists.

[00:26:20] Yeah, I think it has two.

[00:26:22] What's the third?

[00:26:23] Well, we'll get to it.

[00:26:24] Zero.

[00:26:25] Yeah, it should have had zero.

[00:26:26] It should have had no twist.

[00:26:27] I think the movie in which the final twist of this film

[00:26:29] is known to the audience from the very beginning

[00:26:31] is a better film.

[00:26:32] Is a much better film.

[00:26:33] Is a much better film.

[00:26:34] Me and Earl were talking about that off, Mike.

[00:26:36] And I think I agree.

[00:26:37] It feels a little abusive.

[00:26:38] Now, I remember the first time when I saw it together...

[00:26:40] Musive!

[00:26:41] Now, now, Griffin, come on.

[00:26:42] Oh, it feels a little mean.

[00:26:43] It feels mean, David.

[00:26:44] Show us where this movie touched you.

[00:26:45] In the butthole.

[00:26:46] In the butthole.

[00:26:47] And then it climbed up in there.

[00:26:48] It was a very chase...

[00:26:49] It was a very chase movie except for when

[00:26:52] Richard J. Brody softly penetrates

[00:26:54] Joaquin Phoenix about halfway.

[00:26:56] But oh, so tenderly.

[00:26:57] Very tenderly.

[00:26:58] It's a good scene.

[00:26:59] And also the part where I'm like,

[00:27:00] apart from everything Richard J. Brody's doing.

[00:27:02] There's also the part where I'm like,

[00:27:03] Shyamalan creeped into the theater

[00:27:04] and touched my butthole.

[00:27:05] That part is not so true.

[00:27:06] All right, all right.

[00:27:07] That was my theory.

[00:27:08] Your fault for seeing the movie in Philadelphia.

[00:27:10] I did it.

[00:27:11] I saw it in his living room.

[00:27:13] He wanted me to watch a screen.

[00:27:15] How old did you open in 2004, Griffin?

[00:27:17] 15.

[00:27:18] I was right about to go to college.

[00:27:19] I remember.

[00:27:20] I was real ripe.

[00:27:21] I was real ripe, David.

[00:27:22] I had a haircut that my friends described

[00:27:25] as making me look like a lesbian

[00:27:27] and I wore undersized t-shirts.

[00:27:29] Sounds like you had some nice friends.

[00:27:30] I had some very nice friends.

[00:27:32] I don't talk to any of them anymore.

[00:27:34] The...what were we talking about?

[00:27:36] Oh, so watching it the first time

[00:27:38] when it was in theaters

[00:27:39] and they really sold this as like,

[00:27:40] there's gonna be a big twist.

[00:27:41] There's gonna be a big twist.

[00:27:42] I remember the two things being like,

[00:27:43] M. Night's back.

[00:27:44] This is gonna be his twistiest movie yet

[00:27:46] and Joaquin is stepping up to the spotlight.

[00:27:48] He's gonna be the star.

[00:27:49] Meanwhile, Rod Serling is just making like

[00:27:51] a jerk-off motion in heaven.

[00:27:53] It's like, whatever.

[00:27:55] To Joaquin Phoenix.

[00:27:57] To Joaquin Phoenix.

[00:27:58] I don't know, go ahead.

[00:27:59] To River Phoenix.

[00:28:00] He's jerking off River Phoenix's ghost stick.

[00:28:02] Finish whatever your fucking point is.

[00:28:04] I'm doing good work.

[00:28:05] Which is you saw the movie, I guess.

[00:28:07] No, no, no, this is my point.

[00:28:09] This is my point.

[00:28:10] This is my point.

[00:28:11] Entertain Weekly Cover is just

[00:28:13] a close-up of Joaquin Phoenix's face.

[00:28:15] Okay.

[00:28:16] And it's like, Joaquin Phoenix becomes a star

[00:28:18] and the secrets of the village.

[00:28:20] It was like, that's the thing.

[00:28:21] So the first three minutes I'm watching this movie

[00:28:23] and I'm going, where's the twist gonna be?

[00:28:25] Where's the twist going?

[00:28:26] It's not gonna be in the first 30 minutes, my guess.

[00:28:28] Sure, but I was already in the first 30 minutes.

[00:28:30] You're just trying to find the right one.

[00:28:33] Are they dead?

[00:28:34] Is this heaven?

[00:28:35] What's going on?

[00:28:36] There actually is a big clue

[00:28:38] once you know what to look for.

[00:28:39] I can't remember exactly what it is,

[00:28:40] but someone says something that is so eye-rolling.

[00:28:43] You're just like, okay.

[00:28:45] I don't get there are a couple

[00:28:46] and I even think the first time I saw it,

[00:28:48] I heard one of those lines that triggered for me

[00:28:50] and I was like, but that wouldn't be the twist, right?

[00:28:52] Well, I mean, the other thing is

[00:28:53] he's not gonna do that, right?

[00:28:54] The Sixth Sense and Unbreakable

[00:28:56] telegraph their twists too,

[00:28:57] but are set in the real world.

[00:29:00] This is set in a weird pretend village place

[00:29:03] where there are monsters on the outskirts

[00:29:05] and everyone has a locked box of secrets in their mouth.

[00:29:08] That's what's interesting about the twist

[00:29:10] of this movie, if anything,

[00:29:11] which is that it's a man-made twist.

[00:29:13] It's engineered by fallible people

[00:29:15] and not by an omnipotent force within the story.

[00:29:17] Which is what I like about the story.

[00:29:20] Right, and why when all the reviews

[00:29:22] that are complaining about how absurdly arched the dialogue is

[00:29:25] are sort of missing the point.

[00:29:27] Because these are people who...

[00:29:29] I mean, I suppose he was supposed to be

[00:29:31] an English professor and maybe would be...

[00:29:33] His history professor?

[00:29:34] Even in his old history.

[00:29:35] That's why he knew he had research.

[00:29:37] Yeah, but still it was a guy

[00:29:39] who was doing the best he could.

[00:29:41] This was not someone who was a time traveler.

[00:29:44] Exactly, and also I do feel like

[00:29:46] Shyamalan is a bad writer of dialogue.

[00:29:48] Yeah, but he plays his strengths.

[00:29:50] Exactly, he found a good way

[00:29:52] to loophole through that because

[00:29:54] his dialogue is shitty.

[00:29:56] These are people who are trying too hard

[00:29:58] to speak in a way that sounds a certain way.

[00:30:00] He can't write good dialogue.

[00:30:02] Haven't seen it since it came out, right?

[00:30:04] So the first time I saw it I was, I think, impatient.

[00:30:06] You were just annoyed about the twist and...

[00:30:08] No, no, I'm saying when I was watching

[00:30:10] before it got to the twist I was like impatient.

[00:30:12] I was going, this tone is so odd.

[00:30:14] Re-watching the first half of this movie,

[00:30:16] now knowing how it ends, you know, fully.

[00:30:18] I was like, I like this first half a lot more

[00:30:20] when I know the characters are arched for a reason.

[00:30:22] Sure.

[00:30:23] Yeah, and what's amazing is that

[00:30:25] when they get to the twist,

[00:30:27] it's almost as if the movie doesn't even give a shit.

[00:30:29] Yeah.

[00:30:30] It's like in comparing it to

[00:30:32] how they reveal the twist

[00:30:34] in his previous movies.

[00:30:36] Which is very...

[00:30:37] Yeah, it's so nonchalant here.

[00:30:39] It's like William Hurt is just sitting on the ground

[00:30:41] outside of a house and he's like, oh yeah, I guess.

[00:30:43] It's just a farce!

[00:30:45] It's farce!

[00:30:46] It's farce!

[00:30:47] And it's saying a word that most Americans don't know

[00:30:49] the definition of.

[00:30:50] Right.

[00:30:51] And he's just like, you know, particularly nowadays

[00:30:53] and he's just like, yeah, it's a farce.

[00:30:55] You know, no big deal.

[00:30:57] Let's go through these.

[00:30:58] He's like, let me understand.

[00:30:59] Let me help you understand.

[00:31:00] There's no bromp.

[00:31:01] Like, you know, there's no verbal kint

[00:31:03] dropping his mug.

[00:31:04] It's very...

[00:31:05] And it's a long, like two shot.

[00:31:07] Like as you said, it's like a long take.

[00:31:09] And it's like, you know, you can do like coverage of it.

[00:31:11] Oh, with her reaching out and touching the costume.

[00:31:13] No, I think the conversation where he explains it to her

[00:31:15] is just one long two shot.

[00:31:16] Oh, Ed and I don't do coverage.

[00:31:17] Come on.

[00:31:18] Yeah, I don't do coverage.

[00:31:19] He fucking...

[00:31:20] Especially this one.

[00:31:21] He likes reflections and backs of heads and stuff.

[00:31:23] Like he doesn't care if you see both people's faces

[00:31:25] all the time.

[00:31:26] Here's the village cover, by the way.

[00:31:27] Yeah, so what's the line?

[00:31:28] Written by someone I guarantee had not seen the movie.

[00:31:30] Oh, no question.

[00:31:31] I wonder who wrote it.

[00:31:32] Now I'm interested.

[00:31:33] But anyway, what were you seeing?

[00:31:34] Okay, so Walkie and Sprezen is the star, right?

[00:31:36] I wonder what the greatest movie lines of all time are.

[00:31:38] And that's the other big article.

[00:31:39] Let's just spend the rest of this podcast reading

[00:31:41] that issue of Entertainment Weekly on a toilet from 2004.

[00:31:44] I mean, I'll say, I had that issue with me at summer camp,

[00:31:46] but I probably read it seven times in summer.

[00:31:48] I had that with the Saving Private Ryan issue

[00:31:50] where they reviewed that.

[00:31:51] I fucking read that shit once a day.

[00:31:52] I'm like, when can I go home

[00:31:53] and watch Saving Private Ryan for the love of God?

[00:31:55] Yeah, that was my poop mag for two months

[00:31:57] was that village issue of EW.

[00:31:58] Dude, we had less...

[00:31:59] I was in Britain, so I was an Empire magazine guy.

[00:32:02] That's a B-Fair magazine.

[00:32:03] It's a B-Fair one.

[00:32:04] I don't want to hear about your ritzy British childhood, please.

[00:32:07] Oh, yeah.

[00:32:08] Sorry, Mr. I Knew Bryce Hour.

[00:32:12] Mr. Lord Sims of the Manor.

[00:32:15] Anyway, no, Lord.

[00:32:16] Lord Sims, your Empire magazine has arrived for application writing.

[00:32:20] I was a subscriber!

[00:32:22] Go on, go on.

[00:32:24] Central, the love triangle that's up at the very beginning

[00:32:27] of the film is disregarded very quickly.

[00:32:29] Is Judy Greer wants to marry Walkie and Sprezen?

[00:32:31] Well, she just walks up to Millie and Merton.

[00:32:33] She's like, I'm in love.

[00:32:34] I'm going to propose to him.

[00:32:35] Walkie and Sprezen, he's my boy.

[00:32:37] And then there's a scene of her crying horribly.

[00:32:39] Right, he's just not that into you.

[00:32:41] He's just not that into her.

[00:32:42] But I like that we don't even see him stare blankly at her.

[00:32:45] I mean, I guess we do for a second, but they're...

[00:32:47] But then it cuts away before he responds.

[00:32:48] Yeah, she kind of says like, oh, and then yeah.

[00:32:51] Another way for Anne Shaman not to have to write that dial.

[00:32:54] Or direct actors through emotion.

[00:32:57] Other than the emotion of, you are scared right now.

[00:33:00] You are a blind person and you are in woods.

[00:33:02] Yeah.

[00:33:03] But anyway, yeah.

[00:33:05] And it's only then that Ivy comes down to the scene.

[00:33:08] Her introduction is consoling Judy Greer, her sister.

[00:33:11] And Ivy is blind.

[00:33:13] She's played by Brice House Howard.

[00:33:15] What I think is a very good performance.

[00:33:16] Excellent.

[00:33:17] Now I realize sound to, especially to those who don't know me, biased.

[00:33:22] But I think we can all agree that Brice House Howard

[00:33:25] gives what might be the best performance in an M. Night Shyamalan film.

[00:33:28] I was going to say, you know...

[00:33:29] Yeah.

[00:33:30] Well, I mean, you know, I like Tony Colette in the sixth sense a lot.

[00:33:33] Things like that.

[00:33:34] But no, I agree.

[00:33:35] And it's a star making performance.

[00:33:37] Like it's that rare...

[00:33:38] Charming is all get out.

[00:33:39] Extremely charming.

[00:33:40] And in a movie where you...

[00:33:42] A little bit of like a magical disability thing going on.

[00:33:45] But like...

[00:33:46] She makes it work.

[00:33:47] She's had such an odd career since then of ups and downs.

[00:33:51] That like when she keeps on booking these big things,

[00:33:54] I always kind of go like, oh, it's weird that Brice House Howard

[00:33:56] still works this much.

[00:33:57] Not because she's not good, but just because like...

[00:34:00] It doesn't feel like she's ever fully established what her place is.

[00:34:04] And I don't know if she's popular with audiences,

[00:34:06] but she's also not like a critical favorite.

[00:34:08] Like she's a good actress who seems to never get the right role

[00:34:11] in the right project.

[00:34:12] Dude, I mean, just a little breeze through her credits.

[00:34:15] Yeah.

[00:34:16] Does Manderley and...

[00:34:17] We'll get the lady in the water next week.

[00:34:18] Right.

[00:34:19] And then, you know, like Spider-Man 3,

[00:34:20] like a supporting role with nothing to do,

[00:34:22] Terminator, Salvation.

[00:34:23] She's basically in the background of that movie.

[00:34:25] That's not a real movie.

[00:34:26] Yeah, exactly.

[00:34:27] That movie doesn't exist.

[00:34:28] That's a fun fact that movie doesn't exist.

[00:34:29] She's in one of the Twilight movies.

[00:34:31] I think the third one Eclipse.

[00:34:33] I don't think I do that.

[00:34:34] Replacing.

[00:34:35] Replacing the redhead from the first Twilight.

[00:34:37] Terminator, Salvation is the same thing she replaces

[00:34:39] Kate Ecclert-Daines who had red hair in the movie.

[00:34:42] Like she becomes...

[00:34:43] No, she had red hair.

[00:34:44] She had blonde hair.

[00:34:45] Maybe she had blonde hair.

[00:34:46] No, she had red hair.

[00:34:47] My point is...

[00:34:48] And then she's in the help, but she's a villain

[00:34:49] and she's poop pie.

[00:34:50] Right.

[00:34:51] And it starts to become that's like her type is to play

[00:34:52] like really unlikable, shrill, like...

[00:34:54] She's in 50-50?

[00:34:55] I don't remember her in that.

[00:34:56] She plays the shrill-ex-well.

[00:34:57] She plays the unlikable ex-over now.

[00:34:59] Yeah, she's like...

[00:35:00] She's really good at playing really unlikable characters.

[00:35:02] And then in Jurassic World she's supposed to play

[00:35:04] an unlikable character.

[00:35:05] Yeah.

[00:35:06] She's really underserved by that movie.

[00:35:07] And I see her in these movies and I go like

[00:35:09] she's really good but she's not doing herself any favors

[00:35:11] by playing these over and over again.

[00:35:12] Like 50-50, I thought she was excellent in.

[00:35:14] The help I think she's really good in.

[00:35:16] But it's like...

[00:35:17] And literally she eats a poop pie.

[00:35:18] That's all I remember about the help.

[00:35:19] I think she's very good at...

[00:35:20] We all ate a poop pie.

[00:35:22] Yes we did.

[00:35:23] America ate a poop pie that day.

[00:35:25] I think she's very good in that movie but

[00:35:27] by doing her job successfully every time...

[00:35:29] I think Taylor will ever be the subject of Blank checks.

[00:35:32] No, go ahead please.

[00:35:33] He's doing a Hitchcockian thriller next.

[00:35:35] I know, I'm aware.

[00:35:36] With a recent Blanky Award nominee, Rebecca Ferguson

[00:35:41] and Emily Blunt.

[00:35:42] They're on the train.

[00:35:43] Yeah.

[00:35:44] But you watch this performance and you go like

[00:35:46] oh that's why Bryce Dallas Howard,

[00:35:48] like there was so much promise of potential

[00:35:50] on this thing that people are going to still

[00:35:52] keep trying to figure out the way to use her

[00:35:54] because there clearly is some way where she becomes

[00:35:56] a great movie star and a great actress.

[00:35:58] Good stuff happened.

[00:35:59] She's just really effortless in this film

[00:36:01] and really engaging.

[00:36:03] And she plays the blind thing really well for...

[00:36:06] I mean her first on-screen performance ever.

[00:36:08] So many actors have overdone the blind thing

[00:36:10] to such a ridiculous degree.

[00:36:11] And she just plays someone who like

[00:36:12] happens to be blind, isn't too tiki about it, you know?

[00:36:15] Sure.

[00:36:16] Her disability is magical but that's in the scripting of it

[00:36:18] I think rather than the performance.

[00:36:19] Yeah, and you know it's as simple as it is

[00:36:21] and sort of facile that like she can see

[00:36:23] all these things the other characters can.

[00:36:25] I think that does add a nicely charming element

[00:36:29] to her relationship with Joaquin Phoenix's character

[00:36:31] because he's trembling and refusing to acknowledge

[00:36:34] their feelings for one another.

[00:36:35] She has the immortal M. Night Shyamalan line

[00:36:39] like what will we dance to at our...

[00:36:41] Will you dance with me at our wedding?

[00:36:43] And he's like what?

[00:36:45] Yeah, he's like why must you say everything?

[00:36:47] And then as they kiss for the first time

[00:36:50] M. Night Shyamalan pans to a chair

[00:36:52] that's empty in the corner.

[00:36:54] He does the taxi driver move with Robert De Niro on the payphone

[00:36:57] where it's like this is too painful to watch.

[00:36:59] That's what Scrooge says he says

[00:37:00] that like the idea behind that shot was like

[00:37:02] it was too embarrassing to watch

[00:37:03] and it feels like M. Night Shyamalan's like

[00:37:05] they're kissing, this is embarrassing.

[00:37:06] People don't want to watch this.

[00:37:07] Kissing's gross.

[00:37:08] I should do him a favor and pan over to a chair.

[00:37:10] I also like the idea that she navigates

[00:37:13] the village with like total plumb

[00:37:16] because like it's such a small contained

[00:37:18] and then once she's in the woods obviously

[00:37:20] she's lost and she's grasping at the air

[00:37:22] and sort of like, you know, I like that she's not

[00:37:25] like that until...

[00:37:27] So there's like 30-40 minutes of just like

[00:37:29] setting up the village and the town and everything.

[00:37:31] Yeah, and it's not even like connected.

[00:37:33] Like there's just weird little vignette stuff.

[00:37:35] There's that one sequence of Jesse Isaburck

[00:37:37] standing on the stump with his back turned to the woods

[00:37:39] and they're like counting down

[00:37:41] to see how long he can stay up there.

[00:37:43] And they're wearing little bowler hats.

[00:37:44] No, I know. I don't care about it.

[00:37:45] Our movies, they're like a Stanley Milgram experiment.

[00:37:47] You know, you're just like jacking up the electricity

[00:37:50] a little bit, bit by bit with a little bit of relief

[00:37:52] and then that's all you really need as far as momentum

[00:37:54] is concerned to stay in whatever's happening in this story.

[00:37:57] The other thing I like is that the village itself

[00:37:59] is not like a creepy Amish place where like

[00:38:02] people are whipping themselves behind closed doors.

[00:38:04] It's pretty nice.

[00:38:06] Yeah, the movie...

[00:38:07] What the movie is trying to do as far as its central themes

[00:38:09] would not make a lick of sense that everyone was miserable.

[00:38:11] If everyone was being repressed.

[00:38:13] It's like a nice place.

[00:38:15] So there's this porch conversation

[00:38:18] that's beautifully shot...

[00:38:19] This one was shot by Roger Deakins.

[00:38:20] Shot by Deak.

[00:38:21] I was just talking to her about that too.

[00:38:23] It's got that Deak look.

[00:38:24] So at this point M Knight's done

[00:38:26] two top Fudging Moto movies.

[00:38:29] Eduardo Cera, this is Deakins

[00:38:31] and the next one's Christopher Doyle,

[00:38:33] one of his rare American films.

[00:38:35] And then he gets Peter Sucinski, the Cronenbergs guy

[00:38:38] for I think The Happening.

[00:38:40] No, After Earth maybe?

[00:38:41] He's had a lot of really good DPs.

[00:38:43] Who is not just going to give me side-eye for every idea

[00:38:45] that I come up with for that fucking movie.

[00:38:47] And you can see why DPs would want to work with him.

[00:38:50] Because it's probably a really fun experiment.

[00:38:52] He gives them a lot of latitude

[00:38:53] and he fights for them to get their set up.

[00:38:55] I was talking to Sims before

[00:38:57] and I had a long talk once with Christopher Doyle.

[00:39:01] Interesting.

[00:39:02] An unreliable narrator.

[00:39:04] Frequently clashes with Wong Kar-Wai, right?

[00:39:07] Yeah, he does, but he has the utmost respect

[00:39:09] for Wong Kar-Wai.

[00:39:11] He thinks that he would shit on M. Night Shyamalan

[00:39:16] literally if given the chance.

[00:39:18] He may have tried.

[00:39:20] It's interesting that all these guys only work with him once.

[00:39:23] He made it sound like Shyamalan was a real dictator

[00:39:25] in a way that he didn't find productive in the slightest.

[00:39:28] I mean, asking if he really assenine things

[00:39:30] that didn't really give him any sort of flexibility

[00:39:32] and was...

[00:39:33] And that is Lain in the Water,

[00:39:34] which is the height of his ego maybe.

[00:39:36] Yeah, I mean, I think that if there was any reason

[00:39:39] my cinematographers would be attracted to work with him

[00:39:41] other than the fact that he seemed like a rising star

[00:39:43] and as soon as he was successful at the time

[00:39:45] is that his shots were very painterly and composed.

[00:39:49] He gave cinematographers room to work.

[00:39:51] His shot lengths were not restricted to fractions of seconds.

[00:39:56] He was given cinematographers' chance to show off their work,

[00:39:59] add to their reels.

[00:40:00] Apparently, he storyboarded the entire movie with deacons

[00:40:02] before they even started shooting.

[00:40:04] They took it all very seriously.

[00:40:07] And he's like, hey, we're going to have an entire movie

[00:40:09] that is lit by candlelight and shit.

[00:40:13] It'll be your Barry Lyndon deacon.

[00:40:15] It's deliberate and he's not doing coverage.

[00:40:17] So it means this scene, that's this big emotional scene.

[00:40:19] What's supposed to be a big emotional scene,

[00:40:21] this porch love confession,

[00:40:23] is like we're just getting it from one angle.

[00:40:25] So we just make the shot look as good as we want.

[00:40:27] There's this beautiful rolling fog behind them

[00:40:29] and off in the distance and everything.

[00:40:31] It's like a great shot.

[00:40:33] The more emotional scene that works even better is

[00:40:36] when the, what do they fucking call it?

[00:40:38] They who must not be named, whatever their called.

[00:40:40] The creature's attack.

[00:40:41] And then there's that shot of her at the door

[00:40:43] holding her hand out.

[00:40:44] That's like that.

[00:40:45] I mean, that's what Ebert was saying.

[00:40:47] I mean, that scene makes not a lick of sense

[00:40:49] if you sort of slow it down.

[00:40:50] Right, if you slow it down and think about it.

[00:40:51] But it is also one of the alchemic,

[00:40:55] whatever's happening in that movie,

[00:40:57] in that sequence rather,

[00:40:58] there's a certain magic to it that just works.

[00:41:00] And I think you recognize that.

[00:41:02] The music, and the music in this movie,

[00:41:04] Hillary Han playing the violin and whatnot,

[00:41:06] it's perfect.

[00:41:07] That scene comes together really well

[00:41:09] and I think hits that tone that he's trying to achieve

[00:41:11] and failing to achieve for so much of the rest of the movie

[00:41:13] and his life.

[00:41:14] I think he mostly shoots in this movie,

[00:41:16] not so much in his life.

[00:41:18] Now that scene is before or after the love confession.

[00:41:20] I believe it's before.

[00:41:22] Before.

[00:41:23] I think it's sort of like what Galvanized really is.

[00:41:25] It's kind of what Galvanized was.

[00:41:26] They ring the bell, they see the creature.

[00:41:28] There are a bunch of skinned animals all around the place.

[00:41:30] Even the elders seem a little confused by that.

[00:41:32] There are a few scenes where you see them meeting in private away from the kid.

[00:41:35] Because one of them is doing it independently.

[00:41:37] Right, and they're like, what's going on?

[00:41:39] Then the creature comes out, everyone's running.

[00:41:42] And Braystas Howard doesn't seem scared.

[00:41:44] She's sort of like,

[00:41:45] Joaquin Fenix is trying to prove that he's scared.

[00:41:47] When he gives the speech to the elders at the beginning,

[00:41:49] he's like, I'm pure of heart and I think they can sense it.

[00:41:51] I have no threat to them and they'll let me get through the woods.

[00:41:53] There's this whole component that's not fully explored,

[00:41:55] where the creatures have an emotional capability.

[00:41:57] Yeah, and I think that this comes from the fact that the faulty mythology

[00:42:00] that they've established, they're like...

[00:42:02] Which makes sense.

[00:42:03] Exactly, the elders just kind of...

[00:42:05] We only thought this through for so far.

[00:42:07] They have no wiki to look at.

[00:42:09] That's the thing with the magic rocks near the end of the movie

[00:42:12] where they're like, I don't know, magic rocks.

[00:42:14] Just take these magic rocks, they're magic.

[00:42:16] I say to M. Night's credit it makes as much sense.

[00:42:18] And everyone's like, why did nobody talk about it?

[00:42:20] It's sort of like how America is run.

[00:42:23] I mean, this movie...

[00:42:24] And hey, you know, kudos to M. Night.

[00:42:27] It's only continuing to pay off in that respect.

[00:42:30] I'd say, yeah, the logic of the creatures makes as much sense

[00:42:34] as like Santa Claus seeing you when you're sleeping

[00:42:36] and knowing if you're good or bad.

[00:42:38] It's the kind of thing where like, when you grow up a little bit

[00:42:40] and you start to ask your parents if the thing falls apart.

[00:42:42] I don't know, I'm Jewish, they never fall for that shit.

[00:42:44] Come on.

[00:42:45] We're all Jews, this is an all-jew podcast.

[00:42:47] My family was big into Christmas.

[00:42:49] Yeah, my mom would fucking kill me

[00:42:52] if I ever Christmas treat my house.

[00:42:54] Really?

[00:42:55] Which I probably will, oops.

[00:42:57] So yeah, there's the scene where he goes out,

[00:42:59] she goes out to sort of try to follow him,

[00:43:01] Judy Greer's in like a trap door and a floor.

[00:43:03] Yeah, she's...

[00:43:04] Come on, come on, get in the trap.

[00:43:05] And you see Bryce Dahlert's hand holding out

[00:43:08] and then you see like the claw of the creature,

[00:43:10] the snout of the creature.

[00:43:11] Then when you see the creature advancing

[00:43:13] and then Joaquin grabs her hand and brings her inside.

[00:43:16] But you gotta roll it back and be like,

[00:43:18] whatever elder is in that color that must be named,

[00:43:22] has gotta be like,

[00:43:23] I gotta walk slow enough that I don't actually get there

[00:43:26] because that would be disastrous.

[00:43:28] And it's never quite explained like what atrocities

[00:43:31] did these creatures commit and obviously nothing.

[00:43:34] But yeah, what's the grounding for the fear?

[00:43:37] They are essentially proxies from Night Shyamalan

[00:43:39] trying to scare these villagers in the same way that he is.

[00:43:41] Just trying to scare the autos.

[00:43:42] Trying to scare us.

[00:43:43] And they have to have that same sort of dynamic

[00:43:45] with viewers and people in town like,

[00:43:47] we always have to be a threat

[00:43:49] but can never actually cause any harm.

[00:43:52] Right, and you know they originally,

[00:43:53] the design of them,

[00:43:54] they were supposed to look really different

[00:43:56] and they shot footage with them in these other costumes

[00:43:59] that are awful.

[00:44:00] You've seen the pictures of the other costumes?

[00:44:02] I watched the making of...

[00:44:03] Guys, I watched the making of documentaries on.

[00:44:05] And they're like big rock monster things

[00:44:08] with covered in fur.

[00:44:09] They suck.

[00:44:10] Interesting.

[00:44:11] The animal skull head is there

[00:44:13] but apart from that they're pretty much...

[00:44:15] And then they...

[00:44:16] Unfortunately, the...

[00:44:17] among the group of professors

[00:44:19] that decided to abscond to this village

[00:44:21] was an Oscar-winning production designer.

[00:44:23] Seriously.

[00:44:24] So they were like, oh great!

[00:44:25] We can have these kick-ass costume.

[00:44:27] Gorgeous costume.

[00:44:28] I do like the characters.

[00:44:29] I've got ideas.

[00:44:31] Animal bone.

[00:44:32] That's a...

[00:44:33] I love the way the creatures look

[00:44:34] but I also like,

[00:44:35] did they have a long meeting with Colleen at one point?

[00:44:37] That's a really good time guys.

[00:44:39] What would they do if they do this?

[00:44:41] I don't know where they're getting all this money

[00:44:44] from the whatever institute

[00:44:46] that they can buy a no-fly zone.

[00:44:48] Dude, didn't you hear his father

[00:44:50] could take $1 and turn it into $5 within a week?

[00:44:53] Within a week?

[00:44:54] One to five?

[00:44:55] I love what he says.

[00:44:56] You're just like, alright, well, you know, what's no...

[00:44:59] He could put a down payment on an apartment.

[00:45:02] Every week he'd get $5.

[00:45:04] That's pretty slow.

[00:45:05] He should figure out how to turn $100 into $500 or more.

[00:45:07] I mean, like Gawker would have been on this shit so fast

[00:45:09] or like a vice episode of like

[00:45:11] There's a village in Pennsylvania.

[00:45:14] He's in Pennsylvania.

[00:45:15] I went into the village and I had sex with everyone.

[00:45:18] Here's my story.

[00:45:22] But yeah, but you know,

[00:45:23] then they changed it to the red robes is what I...

[00:45:25] They changed the design and it's a cool design.

[00:45:27] We talked about...

[00:45:28] Don't see him much.

[00:45:29] No.

[00:45:30] We talked about a lot.

[00:45:31] We had your podcast co-host, Katie Rich.

[00:45:33] Fuck her.

[00:45:34] Hey, come on.

[00:45:35] Alright, sorry.

[00:45:36] I was encouraged to put down my...

[00:45:38] Talk to her.

[00:45:39] Baby, she's a friend of the show.

[00:45:41] She's gonna be a mother.

[00:45:42] Yeah.

[00:45:43] How dare you?

[00:45:44] How dare you, sir?

[00:45:45] And that baby is a friend of the show.

[00:45:46] Alright, Griffin.

[00:45:48] I was gonna say...

[00:45:49] No, never mind.

[00:45:50] Well, I do think, you know, the visibility,

[00:45:52] the fact that they are so often out of frame

[00:45:54] and when they are in frame or out of focus...

[00:45:55] Uses it well.

[00:45:56] Yeah, I mean, he's always excelled at

[00:45:58] sort of milking the power of the unseen.

[00:46:00] I mean, this is Harkins back, you know,

[00:46:02] Steven Spielberg is a very recent example

[00:46:05] of the effect of doing this.

[00:46:06] But that's, I feel, where I'm not child alone,

[00:46:08] learned everything that you know.

[00:46:09] Absolutely.

[00:46:10] The man's a spillbill.

[00:46:11] And that's something that modern horror...

[00:46:13] You know, now when you make a horror movie

[00:46:15] that preys on what you don't see,

[00:46:17] it is sort of cast off as like pretentious

[00:46:19] and artsy.

[00:46:20] I combine those into one word.

[00:46:22] Pretentious...

[00:46:23] Brett Easton Ellis doesn't have a tongue, sir.

[00:46:24] No, Brett Easton Ellis is like,

[00:46:25] fuck this, also there's a woman in it,

[00:46:27] so I'm not interested.

[00:46:28] Yeah, but it's written off as like

[00:46:30] The Witch or it follows the Babadook,

[00:46:32] you know, and it's like, oh no,

[00:46:34] the movies actually have some sort of craft.

[00:46:36] Oh yeah, you mean like the good horror movies

[00:46:38] in the last couple years.

[00:46:39] Yeah, mainstream horror doesn't really

[00:46:40] have much craft to it anymore.

[00:46:41] No, no.

[00:46:43] Well, that's a whole other conversation.

[00:46:44] But we talked about with

[00:46:46] friend of the show, Kitty Rich,

[00:46:48] how well he uses movie logic in the sixth sense,

[00:46:51] where there are a lot of scenes

[00:46:52] that you can re-watch and be like,

[00:46:53] okay, he's cheating,

[00:46:54] but he does it well enough.

[00:46:55] It's fun to watch him.

[00:46:56] And it's minor enough, like, you know,

[00:46:58] infraction that I'll forgive it.

[00:46:59] I feel much better now.

[00:47:00] Yeah, that's Erlich's favorite line

[00:47:02] in this movie.

[00:47:03] You want to see where my dad keeps his guns?

[00:47:05] You got really close to being cast

[00:47:07] in both of those roles, right?

[00:47:08] Yeah.

[00:47:09] I could have been Haley Joel Osmond.

[00:47:10] My life could have been so different.

[00:47:11] Yeah.

[00:47:12] Oh well.

[00:47:13] We gotta get him on the show.

[00:47:14] Haley Joel?

[00:47:15] He'd do it.

[00:47:16] He'd do it.

[00:47:17] Just be like, hey, it's on Khrush too.

[00:47:18] Yeah, he does comedy now.

[00:47:19] He does Kevin Smith movies now.

[00:47:20] Yeah, and you were almost in on Khrush, right?

[00:47:22] Should we cut that?

[00:47:23] His part.

[00:47:24] Yeah, yeah, wait, was it his part?

[00:47:25] I thought it was Kid Cudi's part.

[00:47:27] Both of those parts.

[00:47:28] Yeah, interesting.

[00:47:29] Yeah, one part came after

[00:47:30] that I didn't get the first part.

[00:47:31] Yeah, there's a period in time where I looked like

[00:47:33] I might become Hollywood's premier intern.

[00:47:35] And then Hollywood decided they didn't get the first part.

[00:47:38] How many times are you and Kid Cudi

[00:47:39] going to be up for the same role?

[00:47:40] I think that's the one.

[00:47:41] I love it if it happened more often.

[00:47:43] Guy has a good career now.

[00:47:44] He's really good in James White.

[00:47:46] Yeah, he is good in James White.

[00:47:47] Really good in that.

[00:47:48] Yeah, I wish we were going up for the same part.

[00:47:52] But what was I saying here?

[00:47:55] Katie Rich, movie law dude.

[00:47:57] Yeah, he just works it here,

[00:47:58] but he does create a really good visual language

[00:47:59] of how you see the creatures when you use them.

[00:48:01] The other thing I like is we talked a lot about

[00:48:03] on our signs episode how the fact that those creatures are CGI

[00:48:08] I think really hurts the movie.

[00:48:09] Oh yeah.

[00:48:10] The moment you see the alien,

[00:48:11] the whole thing falls apart.

[00:48:12] Of course, it's a disaster and you have to assume

[00:48:13] he thought the same.

[00:48:14] And it's super practical in this movie.

[00:48:16] Like they look like guys in suits.

[00:48:18] And even before you know

[00:48:19] that they are just guys in suits,

[00:48:21] there's something charming to the fact

[00:48:22] that they are that sort of like rustic

[00:48:24] and artisanal looking.

[00:48:25] They're artisanal like hand-made movie monsters,

[00:48:28] you know?

[00:48:29] Yeah really.

[00:48:30] They're like real...

[00:48:31] This is 19th century, this is like Amish level craft work.

[00:48:33] These are like free range movie monsters,

[00:48:35] you know?

[00:48:36] Like Farm to Table movie monsters.

[00:48:37] All right, all right, that's not funny.

[00:48:39] Okay, so...

[00:48:40] Farm to Table Wi-Fi.

[00:48:41] So...

[00:48:42] The worst joke in Zoolander 2.

[00:48:44] That jokes in Zoolander 2?

[00:48:46] There's a lot of competition.

[00:48:47] Have you not seen Zoolander 2?

[00:48:49] No, because you guys told me not to see it.

[00:48:51] It's not great.

[00:48:52] Not a good film.

[00:48:53] Yeah, I don't want to get hurt.

[00:48:54] Yeah, yeah, yeah anyway.

[00:48:55] You guys saw it together.

[00:48:56] We did.

[00:48:57] You were laid back to me all the things that both of you said.

[00:48:59] Oh yeah, sure.

[00:49:00] And then I just didn't want to see it.

[00:49:02] I didn't want to be sad.

[00:49:03] Anyway, love triangle, walking thanks confesses love to Bryce Dawes Howard.

[00:49:08] They decide they're going to get married.

[00:49:10] So let's bring Adrian Brody into the conversation.

[00:49:12] That's what I'm trying to...

[00:49:13] Brody, how do we even talk about this?

[00:49:14] How do we even talk about this?

[00:49:15] Silly and simple jack and going full retard.

[00:49:17] I mean like...

[00:49:18] It's a major component in the simple jack conversation.

[00:49:21] This is maybe the fullest retard performance I've ever seen.

[00:49:24] This is retard full throttle.

[00:49:26] This is just one and ask.

[00:49:27] This is his direct follow up to the penis.

[00:49:30] So this is really the time where you should have the least incentive to go full retard.

[00:49:34] Exactly, the last thing you need to do.

[00:49:36] The last thing you need to do.

[00:49:37] And this role isn't like Rain Man where it's like, ooh the guy is mentally handicapped

[00:49:41] but he's also a math genius.

[00:49:43] This role is just...

[00:49:44] There's no upside.

[00:49:45] Well, the role is just this guy doesn't think right.

[00:49:47] Well, and also yeah, and it's like it's vague in the worst possible ways.

[00:49:51] Oh, he's special.

[00:49:53] He's simple, he's different.

[00:49:54] He's child-like.

[00:49:55] Yeah, right.

[00:49:56] He's like a forest gump type.

[00:49:58] Like low IQ, non-diagnosed, non-specific.

[00:50:01] But like friendly.

[00:50:02] Like giggles and everyone kind of you know sort of piles around with him.

[00:50:07] They give him like an emo haircut.

[00:50:09] You know I'll say in the description of the...

[00:50:12] I will quote the show's rhetoric and say retarded but in our 2016 parlance,

[00:50:17] the...

[00:50:18] I don't know what we say...

[00:50:19] Mentally handicapped.

[00:50:20] Mentally handicapped.

[00:50:21] Yeah, whatever.

[00:50:22] But they're mentally disabled.

[00:50:23] Sure.

[00:50:24] They're like, you know, the retarded don't rule the night.

[00:50:29] Nobody does.

[00:50:30] But they come at you all fist and elbows with the strength of an ape.

[00:50:33] You know, that's what they're going for here.

[00:50:36] It's basically like, oh he's sweet but yeah.

[00:50:39] Keep your eye on him.

[00:50:41] Don't break his heart.

[00:50:42] Don't you break his heart.

[00:50:43] You can't reason with them which makes him scary.

[00:50:45] They all want cake.

[00:50:46] The other problem with him is they always want cake.

[00:50:49] He is a plot mechanic.

[00:50:51] And his illness is used as...

[00:50:54] It's like, oh well this is happening because...

[00:50:57] Because Adrian Brody does weird stuff.

[00:50:58] He exists to make Bryce Dallas Howard's character look like an angel.

[00:51:02] Sure.

[00:51:03] And then he exists to...

[00:51:04] Yeah.

[00:51:05] To mentor.

[00:51:06] To drive her out of the village to go on this.

[00:51:08] He's...

[00:51:09] And Brody plays it all wrong.

[00:51:11] It's a horrible performance.

[00:51:12] Even with the bad writing he plays it all wrong.

[00:51:15] He does this kind of thing where he kind of like will say something

[00:51:17] and he'll kind of like laugh to himself and sort of look off screen and...

[00:51:20] There's a scene where he's like running through a field giving like a prairie dog grin.

[00:51:24] Yeah.

[00:51:25] You tweeted that picture.

[00:51:26] I had to share this with the Warhol.

[00:51:28] And then after he stabs Joaquin Phoenix he's got the blood all over his hands.

[00:51:33] He's like, the bad color.

[00:51:35] The bad color.

[00:51:36] But it's a lot of fingers griggling.

[00:51:38] Like he does a lot of weird finger war.

[00:51:40] But then other than that...

[00:51:41] It's a little...

[00:51:42] How do you see an I am Sam at the time?

[00:51:44] Probably.

[00:51:45] Well, same year after.

[00:51:46] I'm Sam till 2001.

[00:51:47] Oh no it's a one.

[00:51:48] It's a one.

[00:51:49] Yeah, so he definitely saw it.

[00:51:51] But this doesn't feel very committed as a performance.

[00:51:54] No.

[00:51:55] Well also because it's such a nonspecific thing.

[00:51:57] What is this guy?

[00:51:58] But I also never buy that he's actually mentally handicapped.

[00:52:00] Like it feels like it has all the specificity of an improv scene

[00:52:03] where your improv partner pimps you out to play a mentally handicapped person.

[00:52:08] They're like, oh well Percy over here.

[00:52:10] He's mentally handicapped and then you have to on the fly come up with something to do.

[00:52:13] It's like someone in the film was like M. Night.

[00:52:16] What particular handicap does he have?

[00:52:18] And he was like, you're fucking fired.

[00:52:20] I felt my sad because it doesn't work for my script.

[00:52:23] He has what the scene needs him to have.

[00:52:25] God damn it.

[00:52:26] Yeah, he has all of it.

[00:52:27] Just the most of it.

[00:52:28] He is so fucking mentally handicapped in this movie.

[00:52:32] Like a gross amount of mental handicap.

[00:52:36] And yeah, he's very childlike.

[00:52:38] Bressos Howard's very nurturing to him.

[00:52:41] And so when...

[00:52:42] It's somewhat of a career ruining performance for Adrian Brody.

[00:52:45] I don't think he ever fully recovers from this.

[00:52:47] Outside of the West Anderson films, I don't think he ever really recovers from this.

[00:52:50] Because this was the follow up and everyone's looking to it.

[00:52:52] And I remember part of the campaign was like Adrian Brody is playing a mystery role.

[00:52:56] Like I think before it came out people didn't even know that his character was handicapped.

[00:53:00] I think they were just kind of like Adrian Brody a mystery role

[00:53:03] and they showed like a picture I remember.

[00:53:05] I think in the Entertainment Weekly article that was him looking over his shoulder like slyly with the haircut.

[00:53:10] And I was like, oh he's the villain. He looks like a really smart, like conniving kind of guy.

[00:53:15] Which might have been interesting.

[00:53:18] It might have been really interesting.

[00:53:19] Yeah if he's like a sort of rogue agent in that way.

[00:53:22] Or even if he was childlike, if he was like sort of undeveloped but wasn't like...

[00:53:27] Childlike is never great.

[00:53:29] But he's almost non-verbal in this movie.

[00:53:31] The problem is that there's no...

[00:53:32] We were talking earlier about how it wouldn't really make sense for the pretense of the movie

[00:53:36] for them to be miserable in this town, this village.

[00:53:39] However, they've been there for a long enough time to have raised kids there.

[00:53:43] And there's no iniquity in this place whatsoever.

[00:53:46] I mean like they are all very recloistered but there are humans there

[00:53:50] and humans will do things that are on tour.

[00:53:52] And with Adrian Brody's stab somebody in this movie it's like the first bad thing that's ever happened in this town.

[00:53:57] The infertoid is like an accident.

[00:53:59] And it's like someone's molesting someone.

[00:54:01] Like someone is...

[00:54:02] Why you gotta just have such a poor opinion of humanity man?

[00:54:05] Trust me.

[00:54:06] There's a town, there's someone molesting someone.

[00:54:09] What if you were the rogue age...

[00:54:11] Have you never seen...

[00:54:12] If you walk in and you're like someone's up to no good, you start a witch hunt.

[00:54:15] Have you never seen like a BBC crime drama?

[00:54:18] Like every town, every idyllic British hamlet, there's someone molesting someone.

[00:54:23] There's something happening here but there isn't.

[00:54:26] I mean it's all swept under the rug.

[00:54:27] Well that's the big thing that happens at 45 minutes into this movie, Adrian Brody.

[00:54:31] Walking Thanks goes over to apologize I guess to Adrian Brody is the idea because he knows...

[00:54:35] Adrian Brody comes to walking.

[00:54:36] No it's mirroring the scene where Judy Greer is very gracious in accepting that the guy she loves,

[00:54:42] loves his sister and then we are getting the boy version of that immediately afterwards

[00:54:47] and we expect it to sort of be kind of a comic scene.

[00:54:50] You know he's just like having the same conversation we just saw but gender swapped.

[00:54:54] And they start very quickly going into it's the two guys making direct eye contact with the lens.

[00:54:59] So it feels unnerving when the conversation starts.

[00:55:02] And he uses screen space well here because you don't know how close they are to each other

[00:55:06] because you're looking at them.

[00:55:07] Yeah there's that shot of Phoenix looking right into the king.

[00:55:09] Right and he's not saying anything, you wonder what's going on and it cuts down to a lower angle knife in the chest.

[00:55:15] And Adrian Brody starts crying, then takes the knife out and stabs him like six more times.

[00:55:20] And then they find the body...

[00:55:21] It takes his time though, he laughs again, looks to the side and then he's like...

[00:55:26] They find him on the porch, he's got the bad colors crying, they go from house to house to try to find it.

[00:55:30] And then the movie immediately has a feeling.

[00:55:33] I know, the movie sort of shoves you to a halt for 15 minutes.

[00:55:35] They've been engaged for 12 hours.

[00:55:37] Well she can't see his color.

[00:55:39] David she can't see his color that's what she says.

[00:55:41] She can see his color.

[00:55:42] Now Joaquin Phoenix who was first building the movie was the cover of the Entertainment Weekly.

[00:55:46] Then he is out of the movie.

[00:55:48] Bye Joaquin!

[00:55:49] Now I want to throw this out so this was Smoking Gun got this budget breakdown right?

[00:55:53] Alright.

[00:55:54] How much do you think Joaquin collected for this one?

[00:55:57] Well I can see that it's loading on your screen right now.

[00:56:00] I fucking had it.

[00:56:01] I know the number off hand, it's the other ones I want to pull up.

[00:56:04] I have four.

[00:56:05] Oh, yes.

[00:56:06] He's got one Oscar nomination at this point.

[00:56:09] He's got Gladiator.

[00:56:10] You know he'd been in Signs, he'd been in Letter.

[00:56:13] I'm going to go with 5.95.

[00:56:18] Okay so for the previous film...

[00:56:19] Falseness without going over?

[00:56:20] For the previous film for Signs, Mel Gibson got $25 million to be in Signs.

[00:56:25] Sure.

[00:56:26] Which is I think the most any actor had gotten at that point in time.

[00:56:29] He got $1 million for Signs, I guess that's right after Gladiator.

[00:56:34] For this film he gets $7 million.

[00:56:37] He is top build.

[00:56:38] He is top build, okay?

[00:56:39] It's only in 40 minutes of the movie.

[00:56:41] But he is top build.

[00:56:42] And that's how that shit gets broken down.

[00:56:44] Brice Hall's Howard, it's her first film.

[00:56:45] What is she like, $200 grand?

[00:56:46] $150,000.

[00:56:48] Okay so this is what I find fascinating.

[00:56:50] In the budget breakdown they had like allotted.

[00:56:53] Phoenix and Brice Hall's Howard had been cast.

[00:56:55] They said here are the other key roles.

[00:56:57] It's Adrian Brody's character, you know, William Hertz's character,

[00:57:00] Squany Weaver's character and they listed Brennan Gleason's character who I guess

[00:57:03] maybe originally had a little more to do it seemed like with the budget they

[00:57:06] allotted to him but they said essentially it's like $3 million for the guy playing

[00:57:10] Percy, no Percy what's his name?

[00:57:12] Yeah, no, for Adrian Brody's character.

[00:57:14] Right and then it was like $1.5 for each of the elders.

[00:57:17] They had $3 million allotted, Adrian Brody wins the Oscar, they pay him $1.7.

[00:57:23] They paid him less than they had allotted.

[00:57:25] So you're Adrian Brody, you just won the Oscar, you agreed $1.7 million to play

[00:57:29] Simple Jack whose job is just to be like a despicable man.

[00:57:33] I take one.

[00:57:34] The elders got, I mean these are well established actors but nobody,

[00:57:37] Cherry Jones is never commanding like a $7 million salary.

[00:57:40] No because everyone else is a theater actor.

[00:57:42] They all got these crazy payouts.

[00:57:44] Squany Weaver got $2 million, William Herk got $1.5 and I don't know

[00:57:47] what the rest of them got but they probably...

[00:57:48] Disrespectful to William Herk.

[00:57:49] Yeah, he was being disrespected by Hollywood at that time.

[00:57:52] He got an Oscar.

[00:57:53] I'm aware of that.

[00:57:54] I know, I know you know.

[00:57:55] David, I know you know.

[00:57:56] I'm here with the two Davids.

[00:57:58] Next year he...

[00:57:59] No this year William Herk in 2004 he gets an Oscar nomination for...

[00:58:03] No it's the next year for our history of violence.

[00:58:05] Yeah and that's his big comeback that he then fails to capitalize on in any way.

[00:58:08] Completely squandered or whatever.

[00:58:09] So love you William Herk.

[00:58:10] His best friend.

[00:58:11] Boston Space.

[00:58:12] The Big Hurt.

[00:58:13] Sigourney Weaver the Big Hurt.

[00:58:15] Yeah okay so Brody stabs him.

[00:58:18] Joaquin Phoenix is like a hospitalized...

[00:58:21] He needs medicine.

[00:58:22] The movie shudders to a halt here for like 10, 15 minutes where it's like we know she's

[00:58:26] gonna go into the fucking woods just put her in that yellow clan costume.

[00:58:31] So finally the Big Hurt's like fine.

[00:58:34] Like without talking to the rest of the people.

[00:58:37] He's like...

[00:58:38] Finally Chicago White Sucks First Basement Frank Thomas is like let's get Bryce.

[00:58:43] Well he lives to the veil.

[00:58:45] Right so he leads her into a shed and he goes, well you're about to see here

[00:58:48] I need you not to...

[00:58:49] There's like 18 secret places in this fucking village.

[00:58:52] No one thinks to break a lock.

[00:58:55] He does like 15 minutes...

[00:58:57] Shyamalan does like 15 minutes of the movie.

[00:58:59] Well that's the beauty of making your own village is that you get when you own rules

[00:59:02] you can be like there's a shack there you must never go up there.

[00:59:05] Literally zero.

[00:59:07] And people take that like the word of God and they're like you know I can't go there.

[00:59:10] Yeah can't go there.

[00:59:11] That's the place we don't go to.

[00:59:13] There's a 15 minute stretch of this movie maybe 10 right?

[00:59:17] Where Shyamalan's cross cutting between three different conversations

[00:59:20] long conversations that are happening at different points in time.

[00:59:23] So the central one is William Hurt is explaining to Bryce what is going on.

[00:59:28] Then there's the one where he's talking to the other elders after the fact

[00:59:31] about the fact that he's already had the conversation with her

[00:59:34] and then there's one where I think he's talking to one of the elders

[00:59:36] about the fact that he wants to have the conversation.

[00:59:39] Yeah yeah.

[00:59:40] And he's just like he's making it like uptoos for no reason.

[00:59:44] But the bigger hurt essentially tells Bryce Siles Howard hey this is the shed

[00:59:48] this is the costume it's a farce.

[00:59:50] Do your very best not to scream or whatever.

[00:59:52] Yeah right it's a farce here's the creature we pretend to do this why

[00:59:55] because we're scared of the outside world we don't want people to know.

[00:59:58] Wait but does he tell her?

[00:59:59] He doesn't tell her.

[01:00:01] He doesn't tell her that it's a farce he just says like.

[01:00:03] He says the word farce.

[01:00:04] It's a her?

[01:00:05] Yeah.

[01:00:06] Yeah.

[01:00:07] Because if she knows that it's just a guy in his suit why is she so scared

[01:00:09] when she goes wandering at the door?

[01:00:10] Because he says we based it and Shyamalan drops this fucking vocal cue in again

[01:00:15] in case we forgot.

[01:00:16] This is what I would argue was twist two of the movie.

[01:00:19] Oh where he says like it's based we do based on original tales of creatures

[01:00:23] in the woods.

[01:00:24] The creatures don't exist well legend whatever you know.

[01:00:26] And that's Shyamalan being like well you know maybe there are monsters out.

[01:00:30] Why do you do that?

[01:00:31] He's like listen your fiance of 12 hours is fucking dying.

[01:00:35] I'm gonna tell you the secret that is all that binds this village together.

[01:00:39] It's the only thing that makes all this shit work.

[01:00:42] But maybe they're really evil monsters?

[01:00:45] It makes no sense.

[01:00:47] Well I think it's design no I don't it doesn't make sense.

[01:00:50] I mean the other thing that doesn't make sense is like you've got a shack

[01:00:53] with some costumes in it put some penicillin in that shack.

[01:00:56] Why is it fucking...

[01:00:57] You know just in case.

[01:00:58] Why does it fucking...

[01:00:59] Yeah you can make a new label for it.

[01:01:01] Why does it hurt?

[01:01:02] Just be like alright so this is kind of serious.

[01:01:05] I understand that we don't like to make exceptions.

[01:01:07] Yeah that's a bad precedent.

[01:01:09] Maybe...

[01:01:10] And then all the night I'll walk through the fucking 50 feet of trees.

[01:01:14] And I'll go to a CVS and I'll be like hey you got some Advil.

[01:01:18] Alright cool.

[01:01:19] Well the whole idea what's revealed in this movie is like the village was formed

[01:01:23] because these people were like I hate death.

[01:01:25] No more death.

[01:01:26] They don't like sad things.

[01:01:28] They all had a sad thing happen to them and they say it's like

[01:01:32] They all had sad deaths.

[01:01:33] Well it's like oh my sister was raped.

[01:01:35] Oh my father was shot.

[01:01:37] Yeah but he was murdered all of them.

[01:01:38] It's really like I don't want to live in a world where 9-11 happened.

[01:01:41] That's the movie is very broadly a 9-11 slash Iraq war whatever

[01:01:45] Aligurie where it's like yeah let's just shelter ourselves away from

[01:01:49] like the bad things.

[01:01:50] From the hurt and the pain.

[01:01:51] Not from the big hurt but from hurting.

[01:01:54] But he doesn't do a serviceable job of connecting that to like intimate grief

[01:01:58] of being like this is why I'm retreating from it.

[01:02:00] It's a broader sort of abstract fear of the world which I think

[01:02:05] you know I can relate to but I think that you know

[01:02:08] it's very abstract and it does not at all connect to the circumstances

[01:02:14] of you need to save your fiance.

[01:02:16] And it brushes out you know like that first shot of Brendan Gleason

[01:02:19] like cradling the coffin.

[01:02:21] What a fine act.

[01:02:22] And you know there's moments like when they open the

[01:02:25] Sigourney even opens her little black box and looks at the photographs.

[01:02:28] Excuse me David I believe you mean Sigourney Weaver.

[01:02:30] Sigourney Weaver opens her black but you know like there are moments

[01:02:34] that brush up against what you're talking about.

[01:02:36] But you know obviously it's too and at that point

[01:02:39] Shumlin's too worried about like explaining the mechanics of his world

[01:02:42] to the audience.

[01:02:43] And also trying to make it like one fifth of a love story.

[01:02:46] And then there's even that thing.

[01:02:47] It's a romance.

[01:02:48] But they never do the there's the part where Bryce Sells Howard's

[01:02:50] talking about how she senses everything and that she senses

[01:02:52] that like William Hurt and Sigourney Weaver that there's a thing there.

[01:02:56] And then there's like one moment where Sigourney won't fucking hold her hand.

[01:03:00] She's like.

[01:03:01] And it's never picked up on like ever again it's just a weird dangling thread

[01:03:05] for no purpose.

[01:03:07] So he explains it to her and he goes you have to walk in the village

[01:03:10] you know here's a pocket watch.

[01:03:13] It's worth money go down the road do this do that

[01:03:16] and then here's the list I wrote it down give it to someone

[01:03:20] they'll give you the medicine you need.

[01:03:21] Yeah his plan is flawed.

[01:03:22] Literally.

[01:03:23] Super flawed.

[01:03:24] No one would ever know if you just left one night.

[01:03:26] He must he should just go.

[01:03:27] No but his plan is no no but how about the blind girl

[01:03:30] she'll just walk until she hits the road a dirt road

[01:03:34] when she'll easily discern.

[01:03:35] The idea is oh she won't see so I mean I know of course that's like yeah

[01:03:39] but one it's just another.

[01:03:40] Did you get that?

[01:03:41] I didn't totally pick that up.

[01:03:43] See this is the thing my only the only logic I could figure out

[01:03:47] for why he wouldn't want to go himself is they don't want to

[01:03:50] make a contact with the outside world because then people will know

[01:03:52] and the whole thing will be blown but it'll be blown as easily

[01:03:55] by a blind girl.

[01:03:56] Oh yeah no the blind girl who doesn't know that there's this

[01:04:00] outside world.

[01:04:01] You can't even pretend to act like it's 2004.

[01:04:03] It would be really easy for someone to be like who are you

[01:04:05] you know what I'm gonna do call the police.

[01:04:08] It's interesting that they must have been in the village

[01:04:11] for however many years.

[01:04:12] Twenty at least.

[01:04:13] Young children there which means that they are at

[01:04:17] the grandchildren stage.

[01:04:18] They're getting to the grandchildren.

[01:04:19] They are likely I mean I don't know if someone is cheating

[01:04:22] and like looking at their pre iPhone like sneaking it out

[01:04:25] and being taken out there.

[01:04:27] Yeah like a one-saturday.

[01:04:28] Exactly.

[01:04:30] I just really want to keep up with the black ox.

[01:04:32] Yeah he's got his palm pilot.

[01:04:34] I don't blame him but you have to like the 9-11

[01:04:38] sort of validates their decisions.

[01:04:41] Yeah what if someone like bought a paper and like

[01:04:43] just it just happened to be on that and they were like oh shit.

[01:04:47] There's that scene where M. Night Shyamalan's character

[01:04:51] is reading a newspaper and it's like I pause there are like

[01:04:55] five stories and they're all like murder death.

[01:04:58] They're all terrible stories.

[01:04:59] And then he flips to the next page and seven more murder things.

[01:05:02] It's so heavy handed.

[01:05:03] What's he reading?

[01:05:04] Like yeah.

[01:05:05] But Bryce goes into the woods.

[01:05:06] There's like 30 minutes of the film where it's sort of

[01:05:07] just like a sparse thriller that's just

[01:05:10] blind girl in the woods.

[01:05:11] Yeah and it happens to a blind girl in the woods.

[01:05:13] It is 80% of the trailer.

[01:05:15] The trailer was all this action.

[01:05:17] The trailer was mostly a blind girl in the woods.

[01:05:19] Yeah in the woods.

[01:05:20] And you don't know she doesn't know what's going on.

[01:05:22] And her only adversary is Adrian Brody

[01:05:24] in a red costume chasing after her.

[01:05:28] You don't know it's Adrian Brody.

[01:05:29] No wait yeah I know that.

[01:05:30] So when it's introduced you think okay twist two.

[01:05:32] They're real.

[01:05:33] What the fuck is he doing out there?

[01:05:34] I mean he's hiding you know.

[01:05:36] No it's a stretch.

[01:05:37] There's a term I use when we discuss.

[01:05:40] He pride open the floorboards.

[01:05:42] He got the costume.

[01:05:43] He's somehow like wriggled out of a window in that bulky.

[01:05:45] That's you know their bones on that costume.

[01:05:47] How'd he get out there?

[01:05:48] Well it's got the strength of an ape so.

[01:05:50] And they always want cake.

[01:05:52] There's a term I use when we discussed

[01:05:55] David Dopkin's The Judge.

[01:05:56] I don't know if you've seen The Judge.

[01:05:57] I have not seen The Judge.

[01:05:59] You are a lucky man because you too will someday die.

[01:06:02] I know that there is a lot of bony there in that movie.

[01:06:05] Yeah.

[01:06:06] The soundtrack was sung to me for 10 consecutive days

[01:06:09] at the Toronto Film Festival.

[01:06:10] There's also a lot of bully shit in that movie.

[01:06:13] That's the best joke I'll ever make.

[01:06:15] Yep.

[01:06:16] Congratulations.

[01:06:17] We're in the UCB studio.

[01:06:19] Is there like an alarm that goes off?

[01:06:21] Oh yeah.

[01:06:22] Ten comedy points.

[01:06:23] Yeah, ten comedy points.

[01:06:24] By the way David I give you seven comedy points for Pompilot.

[01:06:26] Oh thank you.

[01:06:27] Yeah I know reference based humor isn't usually what we're going for.

[01:06:30] How many do you need for Judd Apatow to acknowledge your existence?

[01:06:32] Well Judd Apatow just optioned that joke though.

[01:06:34] He optioned that joke.

[01:06:35] Is it like a carnival or if you got like 1500 points

[01:06:38] you get like the Judd Apatow can't.

[01:06:40] Yeah you take your tickets to the booth and he's like you got an Netflix series.

[01:06:42] Like it sounds like ten points that's a big score

[01:06:44] but much like at the carnival if you want anything that's better than an eraser

[01:06:47] you need like 15,000 points.

[01:06:49] You gotta be putting in the time every day for years.

[01:06:51] That's the thing and you reset every day.

[01:06:53] Much like at the carnival you're going to lose your points once you go home so yeah.

[01:06:58] Adrian Brody they sort of present...

[01:07:00] Oh no this is what I was going to say.

[01:07:01] David Dopkin's The Judge right?

[01:07:03] There is a character in that film who is a young brother

[01:07:06] who when we discussed the film I referred to as a cinematic device

[01:07:10] that I refer to as convenient retardation

[01:07:12] where a character is like just mentally handicapped enough

[01:07:16] to help the movie in the ways it needs to.

[01:07:18] So they're super functional.

[01:07:19] So like blur something out at the wrong moment.

[01:07:21] Like bro I'm singing Beatles cover songs

[01:07:23] but like can't raise a child.

[01:07:25] Exactly.

[01:07:26] Right.

[01:07:27] Bingo.

[01:07:28] That's a perfect example.

[01:07:30] In The Judges shoots every moment of the fucking family's history

[01:07:34] on a super eight camera and then inadvertently projects old memories

[01:07:37] onto the wall at times that are dramatic.

[01:07:39] Do you know this, Erlich?

[01:07:40] I may have been told.

[01:07:41] All I really remember about what I've been told in another movie

[01:07:43] is like the climactic conversation between judge and judge son

[01:07:47] takes place in the middle of a tornado.

[01:07:48] His name's Judge Junior.

[01:07:49] That is correct.

[01:07:50] Judge Junior.

[01:07:51] That was the same year as Man of Steel too right?

[01:07:54] That was one of his big year of tornado father son.

[01:07:56] Can we get off the judge or what is your point?

[01:07:59] No Adrian Brody has the same thing in this where it's like

[01:08:01] he can barely walk and then in other scenes off camera

[01:08:05] he does think like in order for us to accept what's happened.

[01:08:07] He dons elaborate costumes.

[01:08:09] And like pull up the floorboards which is like

[01:08:11] I'm not arguing he doesn't have the strength to do it

[01:08:13] but why would he think to do that?

[01:08:15] No go on, I was going to say something but

[01:08:17] Were you going to play devil's advocate?

[01:08:19] No.

[01:08:20] I was going to say that like it could be the only way out of this mess

[01:08:23] for M Night would have to go so dumb

[01:08:26] that he like came out the other side

[01:08:28] like make Adrian Brody a verbal kin situation.

[01:08:32] I know he's faking it.

[01:08:34] But the problem is that the villains

[01:08:35] that's already with the monsters are doing the fact.

[01:08:37] They're already serving that purpose

[01:08:39] but if he could be sort of like a visible agent of chaos

[01:08:42] and like you know a disrupting factor in the village

[01:08:45] that whenever he in his mental state

[01:08:48] saw someone testing the boundaries of what they were doing

[01:08:51] he could go over and sort of course correct

[01:08:53] and use like oh I'm retarded like

[01:08:55] right they've like raised him as an agent since birth

[01:08:58] basically.

[01:08:59] I would prefer that only because it would explain

[01:09:02] why his performance is so bad.

[01:09:04] Yeah but you would need another scene of William Hurt

[01:09:06] like you know like a real fact.

[01:09:08] It's like what you were referencing earlier.

[01:09:09] It's very Truman Show.

[01:09:10] Yeah I mean I was talking about how in the Truman Show

[01:09:12] it should just be explained to that

[01:09:14] Truman was taught in school that it rains in a column

[01:09:17] and then he doesn't worry about that

[01:09:19] but obviously that breaks you can't break the reality

[01:09:22] too many times people will stop enjoying it.

[01:09:24] The audience have a fun time.

[01:09:25] Well I know but the audience you know what I was saying to you

[01:09:27] is like the audience within the Truman Show world

[01:09:28] the people watching that television show.

[01:09:29] They want it to recognize.

[01:09:31] Oh yeah I mean you can't just have like a running commentary

[01:09:34] being like remember an episode like nine years ago

[01:09:37] and rain into the column that one time.

[01:09:40] So that's why it's happening now.

[01:09:42] Don't worry about it.

[01:09:43] Oh weird would it be to be like

[01:09:44] Truman Show better movie than The Village.

[01:09:45] No question.

[01:09:46] How weird would it be to be like ten years old

[01:09:48] and you're like watching the Truman Show

[01:09:50] and you start watching like when you were born

[01:09:51] so you've been like big on like years like 28 to 32

[01:09:54] and your parents have to constantly explain to you

[01:09:56] like oh yeah so when Truman was four

[01:09:58] do you know what I'm saying?

[01:09:59] Yeah of course.

[01:10:00] Like he's such a burden to jump into that show late.

[01:10:02] But we'd watch that show.

[01:10:03] I mean it wouldn't really be any different

[01:10:05] than meeting a new person in your life

[01:10:06] and being like oh well I haven't been there

[01:10:08] for the years one through 30.

[01:10:09] Right I don't do that for that exact reason.

[01:10:11] Okay I have it.

[01:10:12] I find it very stressful.

[01:10:13] There are risks involved.

[01:10:14] Yeah if a person's backstory isn't

[01:10:16] easily bingeable in a weekend

[01:10:17] I don't make friends with them.

[01:10:19] I've known both of you since preschool.

[01:10:21] So so Blank Check Babies

[01:10:24] that's been off on pitching to

[01:10:26] Joe Dapital once I get enough tickets.

[01:10:28] Comedy points.

[01:10:29] Twist one it's a farce.

[01:10:32] Twist two maybe the creatures are real.

[01:10:34] Twist three she trips the thing

[01:10:36] it falls into a pit it's Adrian Brody.

[01:10:38] Yeah he's dead.

[01:10:39] Right now he's dead.

[01:10:40] Okay bye Adrian Brody.

[01:10:42] Bad death scene.

[01:10:43] Yeah he does the yeah but anyway.

[01:10:45] End of twist I guess she just makes it

[01:10:47] out of the woods and goes to Ye Olde Medicine Shop.

[01:10:49] No but you already know.

[01:10:50] At this point it's pretty obvious.

[01:10:52] Yeah and we've had over the course of movie

[01:10:54] these scenes where they mention their

[01:10:56] relatives who have died and Cherry Jones

[01:10:57] says like you know it reminds me of my

[01:10:59] daughter my sister would have been her

[01:11:01] age why didn't she come to the village

[01:11:02] at 23.

[01:11:03] She was shot in her sleep and

[01:11:05] you're like that's right.

[01:11:06] No that's his father was shot in his sleep.

[01:11:08] Right and Cherry Jones as she was

[01:11:09] raped and murdered.

[01:11:10] Yeah but she doesn't say that to Bryce.

[01:11:11] But she says an ally.

[01:11:12] That's the giveaway.

[01:11:13] Yes that's the giveaway.

[01:11:14] Because there are no allies in this

[01:11:15] whole village.

[01:11:16] There's really no need for that.

[01:11:18] I watched I was like red flag.

[01:11:19] Ow sorry the color the bad color flag.

[01:11:22] Yeah please.

[01:11:24] Thank you for respecting me.

[01:11:26] Some of our listeners out there might be

[01:11:28] from the village.

[01:11:29] From the village?

[01:11:31] Yeah from the walker.

[01:11:33] Okay let's let's wrap this plot up here.

[01:11:35] It makes out of the woods and there.

[01:11:37] She climbs a wall.

[01:11:39] Good job Lee I don't know how she does that.

[01:11:41] Now as she's about to climb over the wall

[01:11:43] William Hurt just drumming out

[01:11:45] just dramatically walks to a box right.

[01:11:48] It is not provoked by anything and he's with

[01:11:50] who's the woman is.

[01:11:51] He's with the woman over.

[01:11:52] I think it's a different one whatever.

[01:11:54] One of the other elders he's with one of the other

[01:11:56] elders and he dramatically walks to a box

[01:11:58] in silence and the two of them unlock it,

[01:12:00] open it up and there are newspaper

[01:12:02] clippings.

[01:12:03] Yeah you know.

[01:12:04] Much like the newspaper clippings from

[01:12:05] Unbreakable and much like the way he plays

[01:12:07] out the twist in Sixth Sense Unbreakable

[01:12:09] and also the non-twist in Signs

[01:12:11] where like at the moment where the thing

[01:12:13] has to click he replays like seven lines

[01:12:15] of dialogue over it so that no one can

[01:12:18] not understand what's going on.

[01:12:20] They called me Mr. Glass.

[01:12:22] They called me Mr. Tips.

[01:12:23] But that's four movies in a row where

[01:12:24] he does that exact move right?

[01:12:26] Yeah totally cool.

[01:12:27] He was, I don't know if you remember

[01:12:28] he was kind of known for his signature

[01:12:31] twist.

[01:12:32] Sonny he was on brand.

[01:12:34] Well and he always delivers the twist

[01:12:36] the exact same way.

[01:12:37] It's like you're gonna hear the

[01:12:38] repetition of dialogue?

[01:12:39] I mean come on let's get to

[01:12:41] this cameo.

[01:12:42] They were people in the 70s and they

[01:12:44] decided.

[01:12:45] Oh yeah well right we get the

[01:12:46] all their family died.

[01:12:47] They met in a grief counseling group.

[01:12:49] What's funny is that like now

[01:12:51] back then everyone was and I thought

[01:12:53] sort of unfairly was just sort of like

[01:12:55] oh it's vanity moved to put himself

[01:12:56] into some movies.

[01:12:57] Right.

[01:12:58] Now in 2016 people you know maybe

[01:13:00] more rightly would be like oh it's

[01:13:02] the only way to get an Indian guy

[01:13:03] in a movie in my major role.

[01:13:05] It's like you know oh diversity.

[01:13:07] Oh hey M-Nite.

[01:13:09] Now we just talk about across these

[01:13:11] what the where on film 6 now

[01:13:13] is that right?

[01:13:14] You have he is the lead

[01:13:16] in Praying with Anger his first

[01:13:17] film which takes place in India.

[01:13:19] But then you're saying it's a bunch of white guys.

[01:13:20] Is it Mel Jackson?

[01:13:21] I mean are there any other real people

[01:13:22] of color in the first six movies?

[01:13:24] Not in signs apart from M-Nite.

[01:13:26] Not in sixth sense.

[01:13:28] No.

[01:13:29] Other than M-Nite.

[01:13:30] Very Lily White cast.

[01:13:32] Well yeah.

[01:13:33] It's too bad the village couldn't be a racial utopia as well

[01:13:36] because it was the 70s guys.

[01:13:38] They were unbound to any sort of history.

[01:13:41] Sure.

[01:13:42] But M-Nite is not.

[01:13:44] You got to remember M-Nite is unfortunately

[01:13:46] not and like then we'd be like wait

[01:13:48] wait there are black people living here

[01:13:50] when is this?

[01:13:51] Then we'd be asking questions.

[01:13:53] That's a very fair point.

[01:13:54] That would be a bad color flag I think

[01:13:55] to the audience.

[01:13:56] But yeah it's like.

[01:13:59] I know that you were making the bad

[01:14:01] color flag joke again but it sounds

[01:14:03] worse right when we were like well they

[01:14:05] can't have black people.

[01:14:06] That's a bad color.

[01:14:07] That's a bad color.

[01:14:08] A bad flag.

[01:14:09] Yeah okay I should use it.

[01:14:10] Now I'm thinking it would have been

[01:14:11] interesting had the Ranger like the

[01:14:12] nice Ranger she means been black.

[01:14:14] Sure.

[01:14:15] Yeah.

[01:14:16] It was like that or any other.

[01:14:17] Anything.

[01:14:18] He's just another confused white guy.

[01:14:20] And Bracelle Tower when I sense a color

[01:14:22] coming from you black is that?

[01:14:24] Myness 10 comedy points.

[01:14:27] Oh god Judd I'm coming for you.

[01:14:29] She runs into a cop or a security

[01:14:32] guard he's not a cop.

[01:14:34] And so in the newspaper clip.

[01:14:36] She runs into the Paul Blart.

[01:14:37] Yes.

[01:14:38] She says skinny Bart.

[01:14:39] William Hurter earlier said the

[01:14:40] thing about like you know your

[01:14:41] grandfather he could take one

[01:14:42] dollar make it into five.

[01:14:43] No because I think this is important.

[01:14:44] There's in the newspaper clipping

[01:14:45] there's the thing of like billionaire

[01:14:47] John Walker.

[01:14:48] Yeah.

[01:14:49] Shot by former co-worker and he

[01:14:50] says that in the thing it was

[01:14:51] like money dispute.

[01:14:52] Money dispute.

[01:14:53] Right.

[01:14:54] I wonder if they're supposed to

[01:14:55] be the fucking Foxcatcher family.

[01:14:58] Oh did you pounce?

[01:14:59] Yeah.

[01:15:00] Yeah maybe.

[01:15:01] Oh god that'd be cool.

[01:15:02] Because it's a Pennsylvania.

[01:15:03] Yeah.

[01:15:04] I bet it was.

[01:15:05] And so they have this reserve.

[01:15:06] I'm adding it to the IMDb trivia

[01:15:07] patient.

[01:15:08] Literally no one can stop me.

[01:15:09] The first thing you see is when

[01:15:11] she jumps over the first thing

[01:15:13] we see when she jumps over the

[01:15:15] fence is the signage on the

[01:15:18] Walker Wildlife Reserve and he

[01:15:20] walks out and it's like okay so

[01:15:21] that's why no one ever bothered

[01:15:22] them because it's a big land.

[01:15:24] It's his family he knew no one

[01:15:25] would ever come in.

[01:15:26] But then everyone's like but

[01:15:27] what about the planes?

[01:15:28] I need someone to explain the

[01:15:30] plane situation to me.

[01:15:31] Everyone was asking so.

[01:15:32] So it's a kind-eyed young

[01:15:34] ranger security guy played by

[01:15:36] Abe from Mad Men.

[01:15:37] Elizabeth Moss is an ex-fiancée

[01:15:40] and they have this conversation

[01:15:43] that goes on for way too long.

[01:15:45] He's like wait you lived in the

[01:15:47] woods?

[01:15:48] And she's like yeah but you

[01:15:49] lived there?

[01:15:50] She's like yeah and he's

[01:15:51] like but where did you grow

[01:15:52] up?

[01:15:53] The woods?

[01:15:54] Like he repeats the same

[01:15:55] question six times and she

[01:15:56] keeps going like sir I'm

[01:15:57] just from the woods I don't

[01:15:58] know what you're saying.

[01:15:59] Sir I mustn't, I mustn't,

[01:16:00] he'd be so kind, I sense

[01:16:01] kindness in your voice.

[01:16:02] I want to get to the God

[01:16:03] named cameo.

[01:16:04] Can I just point out one thing?

[01:16:05] No!

[01:16:06] The moment with the clippings

[01:16:07] in the box?

[01:16:08] The logic, no because I find

[01:16:10] this really funny.

[01:16:11] The logic we're supposed to buy

[01:16:12] into is William Hertz just

[01:16:13] sitting in like his living

[01:16:14] room waiting for Bryce

[01:16:16] Dahlshauer to come back and

[01:16:17] then without saying anything

[01:16:18] he goes like,

[01:16:19] Why would I look at that box?

[01:16:20] Let me remind myself why

[01:16:21] I'm here.

[01:16:22] Let me just stand.

[01:16:23] Hey it's on his mind.

[01:16:24] He just stands a fucking

[01:16:25] girl.

[01:16:26] But they do it so

[01:16:27] dramatically.

[01:16:28] There's that great line

[01:16:30] reading from Brandon Gleason

[01:16:31] where he says like,

[01:16:32] Look, you know, maybe it'll

[01:16:33] work, maybe it won't.

[01:16:34] Maybe this is it.

[01:16:35] Like we tried, right?

[01:16:36] We can't stop everything.

[01:16:38] Bad from happening.

[01:16:40] He says it better than I just said.

[01:16:43] Yeah, look guys.

[01:16:45] Come on, come on.

[01:16:46] We're going to build a wall.

[01:16:47] We had a good run.

[01:16:48] It's going to be huge.

[01:16:49] We're going to get the fucking

[01:16:50] Walker Foundation to pay for it.

[01:16:52] She convinced him he could

[01:16:54] play Trump.

[01:16:55] Gleason, he's got the build

[01:16:57] for Trump.

[01:16:58] God, he's such a good

[01:16:59] guy.

[01:17:00] He is

[01:17:02] is charmed by Bryce Dallas Howard?

[01:17:04] Enough to go to the ranger station

[01:17:06] and like sneak some medicine

[01:17:08] cabinet, some medicine from the

[01:17:10] cabinet while M. Night Shyamalan is

[01:17:11] like, you see the thing is

[01:17:13] the Walker family, they pay for

[01:17:15] no planes.

[01:17:16] But they have all of the

[01:17:17] penicillin.

[01:17:18] Like just in a thing.

[01:17:19] 80 stars of penicillin.

[01:17:21] So in a rage that says like

[01:17:22] penicillin do not take it.

[01:17:24] Clearly at some point one of

[01:17:25] the elders was like,

[01:17:26] just in case of emergency

[01:17:28] have a fucking

[01:17:30] Comstock load of penicillin

[01:17:31] right here.

[01:17:32] We're never going to come out

[01:17:33] and get it.

[01:17:34] Here's something though.

[01:17:35] Here's something.

[01:17:36] You need electricity.

[01:17:37] They don't have any electricity.

[01:17:38] Maybe that's the problem.

[01:17:39] Because you'd need like a generator

[01:17:40] rumbling away.

[01:17:41] What are you going to say?

[01:17:42] Like, that's the machine.

[01:17:43] That's the

[01:17:44] Noisemaker you can.

[01:17:45] Yeah, that makes sense.

[01:17:46] I don't know.

[01:17:47] Maybe you have a fridge in

[01:17:48] the woods though.

[01:17:49] I mean, come on, there are

[01:17:50] workarounds.

[01:17:51] Dude, just fucking something.

[01:17:52] I don't know.

[01:17:53] Or you have an ice box.

[01:17:54] Yeah, assholes.

[01:17:55] Right, just ice.

[01:17:56] Just, I don't know.

[01:17:57] Just one igloo cooler

[01:17:58] stashed away properly, you know?

[01:18:00] You know, but all these questions

[01:18:02] I think when we were talking

[01:18:03] about the unsustainability of

[01:18:05] this village,

[01:18:06] are sort of getting,

[01:18:07] they're playing into M. Night's

[01:18:08] Hands a little bit because

[01:18:09] this is a movie that's sort of

[01:18:10] about the fundamental

[01:18:11] unsustainability of utopia.

[01:18:12] Absolutely.

[01:18:13] Every work that's ever been

[01:18:14] written about utopia,

[01:18:15] Thomas More on forward

[01:18:16] is sort of exploring

[01:18:17] the same idea.

[01:18:18] And it's meant to poke holes.

[01:18:20] It's meant to think

[01:18:21] when these kids grow up

[01:18:22] and Jesse Eisenberg comes

[01:18:23] a little bit less of a pussy

[01:18:24] like how is he big out of this

[01:18:26] village?

[01:18:27] He's going to be like,

[01:18:28] oh, maybe we'll just

[01:18:29] like try confronting one of

[01:18:30] these things.

[01:18:31] We've got a bunch of us together.

[01:18:32] Yeah, let's just club it.

[01:18:33] We'll get the shit out of it,

[01:18:34] you know?

[01:18:35] Something's going to go wrong.

[01:18:36] Something's going to go wrong.

[01:18:37] And I agree, of course,

[01:18:38] just poking at the logic

[01:18:39] of the movie should not

[01:18:40] be enough to defeat the movie.

[01:18:41] The movie does this.

[01:18:42] Yeah.

[01:18:43] It's meant to encourage us

[01:18:44] to do that.

[01:18:45] That's part of the idea

[01:18:46] of the tax of the film

[01:18:47] is to quote the immortal

[01:18:48] Nancy Meier,

[01:18:49] something's got to give.

[01:18:50] Eventually, something's

[01:18:51] got to give.

[01:18:52] You know, it's complicated.

[01:18:53] Enough.

[01:18:54] The intern.

[01:18:55] Yeah, the parent trap.

[01:18:58] I just want to give you guys,

[01:18:59] if you guys ever do a podcast

[01:19:00] in the intern, I want in.

[01:19:01] I have suggested Nancy Meier

[01:19:02] as possible.

[01:19:03] I think Nancy Meier is going to

[01:19:04] be interesting.

[01:19:05] Yeah, my sister would ask

[01:19:06] to be guest on every episode.

[01:19:07] I would think that

[01:19:08] your favorite living film

[01:19:09] would be.

[01:19:10] You would want as many women

[01:19:11] involved in that as possible.

[01:19:12] Yeah, you want to be the intern.

[01:19:13] I enjoyed your writing

[01:19:15] about the intern.

[01:19:16] Fuck the intern.

[01:19:17] In the,

[01:19:18] I kind of like the intern.

[01:19:19] I didn't see it.

[01:19:20] I know it's been bad.

[01:19:21] I was angry that he cast me.

[01:19:22] Yeah, sure.

[01:19:23] That's actually where the interns

[01:19:25] in that movie.

[01:19:26] I know, and they cast some douchebags.

[01:19:27] Can I tell a quick,

[01:19:28] there's some fucking douchebags

[01:19:29] in the intern.

[01:19:30] Let's be honest.

[01:19:31] I'm not going to name who they are.

[01:19:32] But can I just tell a quick side story?

[01:19:34] All right, you go for it.

[01:19:35] Yeah, I will.

[01:19:36] I auditioned for the intern

[01:19:37] like four times.

[01:19:38] Yeah.

[01:19:39] They kept on every time I went in,

[01:19:40] they were like,

[01:19:41] here are three different roles

[01:19:42] we want you to read

[01:19:43] because they're like

[01:19:44] a lot of young men in that movie.

[01:19:45] The Adam divine character.

[01:19:46] And that wolf's character.

[01:19:47] The Zach Perlman's character.

[01:19:48] The guy who replaced me

[01:19:49] on the thing I was fired from.

[01:19:50] Like it was like all,

[01:19:51] all the every young guy in that movie

[01:19:53] I auditioned for at least once, right?

[01:19:55] And so I'd go in,

[01:19:56] they'd be like, read these three.

[01:19:57] And I come in the next week

[01:19:58] and they go like, read these three.

[01:19:59] And then the fourth audition,

[01:20:00] I think the third was with Nancy Meyers.

[01:20:03] Oh, cool.

[01:20:04] And I was like waiting outside

[01:20:05] and the sign-in sheet was like,

[01:20:06] I got there.

[01:20:07] Again.

[01:20:08] The sign-in sheet was

[01:20:09] six current cast members of SNL.

[01:20:10] Right, it was like Colin Joest.

[01:20:12] Yes.

[01:20:13] You know, Eddie Bryant.

[01:20:14] Yeah, right, right.

[01:20:15] I think Pete Davidson wasn't on

[01:20:16] at that point.

[01:20:17] Taryn Keltmeade was like,

[01:20:18] They make these people sign in.

[01:20:19] This is what was crazy, right?

[01:20:20] So I was like,

[01:20:21] she's making all these people audition.

[01:20:23] And like they fucking, she,

[01:20:24] they're on every week.

[01:20:26] She knows whether she wants them or not.

[01:20:28] You know, whatever.

[01:20:29] Like, but it was like a huge cattle call

[01:20:31] and it was all like these big ass people.

[01:20:33] And so I am like waiting there.

[01:20:37] Okay, whatever.

[01:20:38] Getting a little intimidated by my competition.

[01:20:39] But it's also like,

[01:20:40] well, I know all of us are auditioning

[01:20:41] for eight different characters.

[01:20:42] So whatever.

[01:20:43] And the casting guy comes in

[01:20:46] and he's like,

[01:20:47] Hey Griffin, you ready?

[01:20:48] I was like, yeah.

[01:20:49] How are you?

[01:20:50] And then he's standing on the side of the door, right?

[01:20:52] About to open it up and goes great, great.

[01:20:54] Really excited.

[01:20:55] Just so you know, Nancy doesn't like shaking.

[01:20:57] And he opens the door and I make eye contact with her

[01:21:00] and I totally lose my mind.

[01:21:02] I blew the audition because I immediately was like,

[01:21:06] What do I do?

[01:21:07] What do I do?

[01:21:08] A slapper in the face.

[01:21:09] And it's one of those things.

[01:21:10] Yeah.

[01:21:11] I honestly, like, I don't know.

[01:21:12] I would have tried to.

[01:21:13] I was like rubbing my hands on my thighs

[01:21:16] like really aggressively.

[01:21:17] It looked like a nervous tick

[01:21:18] because I was like, don't move your hands at all.

[01:21:20] You didn't interpret that as like she loves big hugs.

[01:21:22] You would have looked like really bonny.

[01:21:24] Nancy, come here.

[01:21:25] She wants a European kiss on each cheek.

[01:21:27] Right.

[01:21:28] Yeah.

[01:21:29] The handshake is not far enough for her.

[01:21:30] She wants a deep human feel.

[01:21:31] I think even the way he word it was,

[01:21:32] she's not a handshaker.

[01:21:34] That's a great story.

[01:21:35] Let's wrap up the movie.

[01:21:36] So M. Night, it's this long thing.

[01:21:38] You can't tell me, I'm sorry, Griffin.

[01:21:40] You can't tell me that anyone listening to this podcast,

[01:21:42] like hour three of talking about the goddamn village

[01:21:44] wasn't interested in hearing.

[01:21:45] It's a great story.

[01:21:46] It's a great story.

[01:21:47] That's a great story.

[01:21:48] That's a good story.

[01:21:49] No, I know.

[01:21:50] Gotta give him a little flavor.

[01:21:51] I'm here to keep things on track.

[01:21:52] I know.

[01:21:53] Just like Katie Rich.

[01:21:54] I'm not going to read it,

[01:21:55] but we got an email about that today.

[01:21:57] Really?

[01:21:58] Yeah, you know what?

[01:21:59] You got an email about it?

[01:22:00] I want to address this quickly.

[01:22:01] I'm not going to get into it in a big way.

[01:22:02] Please don't.

[01:22:03] But we got an email from a guy who previously

[01:22:04] emailed in some mini series suggestions

[01:22:06] of filmmakers to cover.

[01:22:07] John Adler, bro.

[01:22:08] And he said like, hey, thanks for mentioning my email.

[01:22:10] You know, I hope you keep the things in mind.

[01:22:12] Also, if I could give one note,

[01:22:14] David stopped being so hard on Griffin.

[01:22:16] I just want to publicly say, we're best friends.

[01:22:19] There's no problem here.

[01:22:21] We know the roles we fit into.

[01:22:23] I like provoking David.

[01:22:25] He's trying to get my girls.

[01:22:27] I try to get his goat.

[01:22:28] And when David says like, shut up.

[01:22:29] I hate you.

[01:22:30] He doesn't actually hate me.

[01:22:31] I just don't want any of our listeners

[01:22:32] to actually feel uncomfortable about it.

[01:22:34] Sometimes we got to get fucking moving.

[01:22:36] Like that's literally, yeah.

[01:22:37] Gotta go.

[01:22:38] 100%.

[01:22:39] You guys are going to go?

[01:22:40] That's the dynamic.

[01:22:41] Of course.

[01:22:42] Yeah.

[01:22:43] We're busy New Yorkers.

[01:22:44] It's not a play.

[01:22:45] We're like Nancy Meyers characters.

[01:22:46] We're Nancy Meyers characters.

[01:22:47] You know, we've got kitchen series for a wish.

[01:22:48] We're so busy that we can only talk about the village

[01:22:50] for three hours on a Thursday night.

[01:22:51] Yeah.

[01:22:52] And we can't shake hands.

[01:22:53] I don't know.

[01:22:54] Okay.

[01:22:55] So M Night, reading the newspaper.

[01:22:56] Death, death, death, murder, rape.

[01:22:57] Right.

[01:22:58] And then he's just like, yeah, a lot of crazy things.

[01:23:00] Hey, Jim, whatever you do, do me a favor.

[01:23:02] Don't be difficult.

[01:23:03] I hate difficult things.

[01:23:05] Like that one time the Walker family said

[01:23:07] that no planes could fly over.

[01:23:08] It took months of organizing that.

[01:23:10] It was real difficult.

[01:23:11] You had to call the FAA.

[01:23:12] Yeah.

[01:23:13] You had to call Congress.

[01:23:14] Yeah.

[01:23:15] And of course, he gives himself the signs alien treatment

[01:23:17] by only showing his face in the reflection.

[01:23:19] In the reflection.

[01:23:20] In the reflection.

[01:23:21] And he's just like, dude, this whole thing would be

[01:23:23] so much less distracting if you were like, yes,

[01:23:25] I am the director.

[01:23:26] You know who I am.

[01:23:27] It's a real miscalculation because the audiences

[01:23:30] at that point are going, fuck this movie already.

[01:23:32] And then he shows up with this.

[01:23:34] He shows up right post-wis.

[01:23:35] And also M Night at this point is so well known

[01:23:38] that this one makes $50 million opening weekend.

[01:23:41] Yeah, well I want like six the next week.

[01:23:43] I want to briefly talk about it's box-up or sports.

[01:23:46] But that was like $50 million off of his name.

[01:23:49] This is him making a film without Mel Gibson,

[01:23:51] without Bruce Willis.

[01:23:52] The advertising was very vague, you know?

[01:23:56] Of course, the poster is like with the list.

[01:23:58] Jovi is at the list.

[01:23:59] Jovain was top billed but he wasn't above the title.

[01:24:02] M Night Shyamalan is above the title.

[01:24:04] That's it.

[01:24:05] And so everyone knows who he is

[01:24:06] and I just remember seeing this opening weekend

[01:24:08] and when you saw the corner of his face

[01:24:11] from behind the audience went, oh.

[01:24:13] Oh, here we go.

[01:24:14] Everyone in the theater knew it was him.

[01:24:15] Like he was physically recognizable at this point.

[01:24:17] It was something like teenagers,

[01:24:19] my teenage friends who didn't like movies would talk about it.

[01:24:21] Maybe again because there would never be another indie

[01:24:24] in this film.

[01:24:25] But everyone immediately knew from a sliver of his face

[01:24:28] and the voice that it was like,

[01:24:30] fuck here he is doing a victory lap

[01:24:31] when I want to punch him in the nuts.

[01:24:33] Def Patel, oh no, Slumdog's not out for four years.

[01:24:36] It wasn't six year old Def Patel.

[01:24:38] But that's it.

[01:24:39] Yeah, that's the movie.

[01:24:41] I want to talk about the box-ups briefly

[01:24:43] but is there anything else?

[01:24:44] That's the penicillin gives him back.

[01:24:45] She gets back to town very quickly.

[01:24:47] Yeah, she just gets on a segway back to town.

[01:24:49] Yeah because William Herkos,

[01:24:50] it's going to be half a day's journey

[01:24:52] and she seemingly gets back in like five minutes.

[01:24:54] You know whatever.

[01:24:55] Well she can run at superhuman speed.

[01:24:57] Yeah, it's kind of amazing that Jovi doesn't bleed out

[01:24:59] or like gets sepsis.

[01:25:00] It's crazy.

[01:25:01] Whatever.

[01:25:02] I mean, it's just annoying.

[01:25:03] We don't know if he lives, right?

[01:25:05] I suppose we don't.

[01:25:06] I suppose that's fair.

[01:25:07] There is a shot.

[01:25:08] There is a hopeful sort of liar.

[01:25:10] I mean they're all going to stay there

[01:25:11] for at least a little while longer

[01:25:12] until something else happens.

[01:25:13] And there's that shot of Celia Weston

[01:25:15] breaking down because they like realize

[01:25:17] it's Noah is dead.

[01:25:18] Yeah.

[01:25:19] And so yeah, that shot of Joaquin Phoenix

[01:25:22] is like hospital bed I guess.

[01:25:23] It's the elder standing around the body

[01:25:25] waiting for her to come back saying

[01:25:26] she's returned, she has the medicine.

[01:25:27] And she killed a monster.

[01:25:28] And they're like, yeah, it's Noah.

[01:25:30] Right.

[01:25:31] And they go, but she's given us a gift

[01:25:33] and opportunity to keep this town going.

[01:25:34] Now, Smoking Gun got the script out early

[01:25:37] and it leaked and people leaked the twist.

[01:25:38] And how much is the Smoking Gun paying you?

[01:25:40] Like for these links.

[01:25:41] This is a different website.

[01:25:42] I just bought the Smoking Gun from my house.

[01:25:44] Smoking Gun is the website that had

[01:25:46] the Bill O'Reilly, Lufo, Transvix.

[01:25:48] Oh, I will always be in debt to them.

[01:25:49] Yeah.

[01:25:50] That's what they're most famous for.

[01:25:51] But apparently like stuff leaked out

[01:25:53] and then they were like, no, no, no,

[01:25:54] that's not accurate because we reshot.

[01:25:56] And apparently it was the ending

[01:25:57] that's in the movie,

[01:25:58] but they added the scene at the end for reshoots

[01:26:00] like six months later with the elders standing around

[01:26:02] and they go, like, we'll keep it up.

[01:26:03] And the movie ends on kind of an up note

[01:26:05] that takes attention away from the twist a little bit.

[01:26:08] Yeah, but like David said, it's kind of a,

[01:26:11] yeah, it's a quasi up note.

[01:26:13] They're going to stay there.

[01:26:14] Like can this charade continue?

[01:26:16] But unfortunately all the focus on the twist

[01:26:18] and how it sort of, you know,

[01:26:19] the movie sort of hinges on it

[01:26:21] completely takes away from any of the ideas

[01:26:24] that the movie potentially been about

[01:26:26] and it's all sort of about that tension being released.

[01:26:28] And then all these things that you were left half thinking

[01:26:32] about in the final shot are things that could have been

[01:26:34] explored from the get-go and explored,

[01:26:36] you know, in a much greater capacity and depth

[01:26:39] and much further up in my Shyamalan's asshole than...

[01:26:43] Oh yeah.

[01:26:44] Yeah.

[01:26:45] And we're just going to keep on going.

[01:26:46] We're just tunneling new ground up that asshole.

[01:26:48] The moment I kind of like is there's the last shot

[01:26:51] of the wilderness guard in his car

[01:26:53] with the ladder propped up on the side of it

[01:26:55] after he's clearly like let her back up over the wall.

[01:26:57] Just going like, what the fuck was that?

[01:26:59] Like you think about that guy going home that night

[01:27:01] and like sitting across the table from his wife or mom

[01:27:04] whatever.

[01:27:05] Like did I do the right thing?

[01:27:07] His mom is like, you will not believe

[01:27:09] what happened at work today.

[01:27:10] She was wearing like this period gown.

[01:27:13] It was like a blind renfair girl

[01:27:15] came out from a wilderness reserve.

[01:27:18] She had a pocket watch.

[01:27:19] I have it.

[01:27:20] She peed me in a gold watch

[01:27:22] and then I just let her...

[01:27:24] I propped up a ladder and let her back over.

[01:27:25] Did I handle that situation correctly?

[01:27:27] I was told not to be difficult.

[01:27:29] I gave her a bunch of penicillin

[01:27:31] and then let her on her way to go back into the forest

[01:27:34] where my job is just make sure no one goes into that forest.

[01:27:37] The most boring job.

[01:27:38] Yeah.

[01:27:39] I mean, literally he does one thing ever in his career.

[01:27:43] He has to work every day for years.

[01:27:45] And M Night's really patriot.

[01:27:47] It's an easy gig.

[01:27:48] Come on.

[01:27:49] Well that's job two.

[01:27:50] Job one is gloran circles.

[01:27:51] Job two is don't be difficult.

[01:27:53] Yeah, and handle M Night.

[01:27:55] Don't be difficult.

[01:27:56] Okay, so...

[01:27:57] I want to talk just from...

[01:27:58] That's in the movie.

[01:27:59] Box office opening weekend 56 million?

[01:28:00] No, just 50 million.

[01:28:02] Let's play the game again.

[01:28:03] Can you do the top five?

[01:28:04] July 30th, 2004.

[01:28:06] You're not going to get anything.

[01:28:07] Okay, I'm not going to try to get order.

[01:28:09] Is Anchorman in the top five?

[01:28:11] No, it's number nine.

[01:28:13] Interesting.

[01:28:14] Spider-Man 2 still in the top five?

[01:28:15] Yes, number five.

[01:28:16] Okay, 2004...

[01:28:17] Alex Proyas movies in there.

[01:28:19] Irobot had come out the week earlier.

[01:28:21] Irubbit.

[01:28:22] Irobit.

[01:28:23] Erlick, you had a guess?

[01:28:24] No, no, no.

[01:28:25] I was just going to say the words Irobot.

[01:28:27] Just to say them.

[01:28:29] Also, Gods of Egypt in theaters.

[01:28:30] Yeah, I'm going to go see it in a second.

[01:28:32] Are you really?

[01:28:33] Yeah.

[01:28:34] Okay, so Irobit...

[01:28:36] A quasi-good remake from a great director.

[01:28:40] Manaturing candidate.

[01:28:42] Manaturing candidate.

[01:28:44] Irobit, The Village, Spider-Man 2.

[01:28:47] Yeah, and it's just another big action movie.

[01:28:49] Like, it's a good one.

[01:28:51] 2004?

[01:28:52] It wasn't Born Supremacy?

[01:28:54] Yeah, Born Supremacy.

[01:28:55] Okay.

[01:28:56] And then you've got Catwoman's in there.

[01:28:58] Where is it number eight?

[01:28:59] Number six.

[01:29:00] Wow.

[01:29:01] I've collected 29 million in its two weeks.

[01:29:03] Cinderella Story is in there.

[01:29:05] Hillary Duck.

[01:29:06] By Bryce's dad.

[01:29:07] No, oh yeah, no, that right.

[01:29:09] Cinderella Story, not Cinderella Man.

[01:29:11] Sorry.

[01:29:12] Fahrenheit 9-11's in there.

[01:29:14] Doc Buster.

[01:29:16] Thunderbirds debuts at number 11.

[01:29:18] Jonathan Frakes' Thunderbirds.

[01:29:20] Star... do you guys remember who starred in Thunderbirds?

[01:29:22] No.

[01:29:23] Brady Corbett.

[01:29:24] Wow.

[01:29:25] Is the young lead of Thunderbirds.

[01:29:26] How his faith has changed?

[01:29:27] And Garden State opens in nine theaters to $200,000, number 30.

[01:29:33] Hey, David, watch this movie.

[01:29:35] I'll change your life.

[01:29:36] Oh boy.

[01:29:37] And then yeah, the next week it drops 68%.

[01:29:40] I gave to that $200,000.

[01:29:43] I think I gave to both of these totals.

[01:29:45] I saw Garden State at the AMC 25 on opening weekend.

[01:29:48] Boom.

[01:29:49] Yeah.

[01:29:50] And definitely.

[01:29:51] I saw it at the Odeon Western.

[01:29:52] Well 2004, I was in college.

[01:29:54] Jesus Christ.

[01:29:55] I was about to enter college.

[01:29:56] Yeah.

[01:29:57] I was entering my sophomore year.

[01:29:59] But so in the discussion of Shyamalan and we're wrapping up but like you know this

[01:30:03] is it for him.

[01:30:05] This is everything goes down the ladder.

[01:30:06] Critics are angry.

[01:30:07] Yeah.

[01:30:08] Anger than they need be.

[01:30:09] Audiences are I right?

[01:30:10] Audiences are angry.

[01:30:11] Basic rule of thumb is like your movie usually does.

[01:30:14] I mean it's gotten a little lower now.

[01:30:15] Now it's maybe like 2.5 but your movie usually does like three times your opening weekend.

[01:30:19] Right.

[01:30:20] Right.

[01:30:21] And if you're really successful you do more than that.

[01:30:22] Like Sixth Sense did like 20 times its opening weekend.

[01:30:25] You know and Signs also did like more than four times its opening weekend.

[01:30:29] This like doubles its opening weekend.

[01:30:31] It ends with 114.

[01:30:33] Yeah.

[01:30:34] Which is not bad.

[01:30:35] But it doubles, it's more than doubles.

[01:30:37] It's domestic take internationally.

[01:30:39] Does really well overseas.

[01:30:40] Everyone's happy.

[01:30:41] Yeah.

[01:30:42] And everyone who didn't have to watch the movie.

[01:30:44] Yeah.

[01:30:45] It was involved in making.

[01:30:46] M Night got over $10 million for doing it.

[01:30:48] I don't know what the math behind this is but he was paid like 7.5 for the rights to the

[01:30:53] story.

[01:30:54] Like was paid 7.5 for the pitch.

[01:30:56] Was only paid $300,000 for the script and worked as a director for scale also for

[01:31:01] only $300,000 but got 3 million as a producer.

[01:31:04] You really studied that.

[01:31:05] He didn't have points for the back end because like that if I were M Night.

[01:31:09] Yeah.

[01:31:10] That would be where.

[01:31:11] He had a production company at this point.

[01:31:13] Yeah.

[01:31:14] I'm sure he, if he did I'm sure he cleared like upwards of 20.

[01:31:18] Oh yeah.

[01:31:19] This is his fourth movie with Disney in a row.

[01:31:21] Yes.

[01:31:22] It just felt like a weird like is that a tax thing where it's like I'm going to get

[01:31:25] a lot of money for the pitch and for the producing within the two things I really do

[01:31:29] right or director on working scale.

[01:31:30] Who knows?

[01:31:31] I don't know interesting.

[01:31:32] We'll dig into that in future episodes.

[01:31:34] No we won't.

[01:31:35] This is the last point and this is the last time he tries to make a twist movie.

[01:31:38] Everyone's angry they go fuck you in your twist.

[01:31:40] I mean last year.

[01:31:42] Well the visit is a twist.

[01:31:43] The visit is definitely a twist.

[01:31:45] Does that have a twist?

[01:31:46] Oh yeah but we're not going to talk about it.

[01:31:48] Okay.

[01:31:49] I haven't seen it yet.

[01:31:50] I'm really excited.

[01:31:51] That's the one I'm saving.

[01:31:52] The happening is not a twist movie per se but I guess there's an unusual explanation

[01:31:56] for what's going on.

[01:31:57] Guys end this please.

[01:31:59] Shut up Ben.

[01:32:00] Ladies and gentlemen that's Ben Hasek, producer Ben IK, the Ben Dooser.

[01:32:04] Did you like the movie Ben?

[01:32:05] That was alarming to me.

[01:32:07] I've never had anyone speak into headphones before.

[01:32:10] I was like God.

[01:32:11] Ben did you watch the movie?

[01:32:13] Yes I watched the movie.

[01:32:14] You didn't like it?

[01:32:15] I hated it.

[01:32:16] Oh wow.

[01:32:17] Right?

[01:32:18] It's fucking stupid.

[01:32:19] It's a bunch of people larking.

[01:32:20] This is our first late night recording.

[01:32:22] Yeah I think that's why I've been guiding us to go home time guys.

[01:32:26] It's 4am right now.

[01:32:28] And you gotta make a 5am screening of God's Abyss.

[01:32:31] I'm gonna go see God's Abyss.

[01:32:32] I hear it's at least like stupid.

[01:32:34] Like I'm excited.

[01:32:35] You know like funny stupid.

[01:32:36] Well I think that there's no doubt that it's stupid.

[01:32:39] I was worried it would be like pretentious and boring and like you know self serious.

[01:32:43] I hear it's not.

[01:32:44] I did hear it has some twists in it.

[01:32:46] They were apparently making a critic sign non disclosure agreement.

[01:32:49] Well they wouldn't let me bring a plus one to the screening so I'm just fucking seeing

[01:32:52] it Thursday night after talking to you guys.

[01:32:54] Spoiler alert, I heard there's a spaceship in it.

[01:32:57] Okay I'm excited.

[01:32:58] Yeah I'll go see it for that reason alone.

[01:32:59] You wanna come now?

[01:33:00] No I'm not gonna see that one.

[01:33:01] I'm like semi tempted but I also...

[01:33:04] You're literally just gonna go to a public screening.

[01:33:05] I do this sometimes.

[01:33:06] If I can't be bothered to go to the critic screening I'll just see it Thursday night.

[01:33:09] I'm not surprised that you were deigning to see a movie with the public.

[01:33:12] No it's because I have to review it.

[01:33:13] I mean otherwise I'd go see it some other time.

[01:33:15] And also my brother works late so he'll come join me and we catch a 10 p.m. screening.

[01:33:20] It's fun.

[01:33:21] Joey Sims.

[01:33:22] Yeah once...

[01:33:23] I told you about In The Heart of the Sea right?

[01:33:24] Yeah.

[01:33:25] When we went to see it at the Regal RPX in Court Street you know where you could

[01:33:28] choose your seats.

[01:33:29] He had already bought his ticket.

[01:33:31] He had like bought a ticket.

[01:33:32] That comes up one seat is filled in.

[01:33:35] I take the one next to him.

[01:33:37] We get to the theater and it's an empty theater and we're like okay.

[01:33:41] Okay.

[01:33:42] We walk to our assigned seats.

[01:33:44] No one else enters the theater.

[01:33:46] Halfway through the movie a homeless man has been sleeping in the back.

[01:33:49] Gets up and runs out.

[01:33:51] It was the most exciting part of the movie.

[01:33:53] David?

[01:33:54] He's the one that homeless man ran out.

[01:33:55] David?

[01:33:56] Yeah.

[01:33:57] I give you 50 comedy points for going to your assigned seat.

[01:34:00] You had an anti-myer story.

[01:34:01] I had my In The Heart of the Sea story.

[01:34:03] Erlich do you want to grab back story?

[01:34:04] You got one grab bag story?

[01:34:06] Jesus.

[01:34:07] No.

[01:34:08] I don't think so.

[01:34:10] I do want to hear about whatever you got fired from and all the people

[01:34:14] you hate from the intern but we can do that off it.

[01:34:16] Oh we'll talk about that now.

[01:34:17] We'll talk about that.

[01:34:18] Let's say this.

[01:34:19] I want all the listeners to know especially the ones that were

[01:34:22] potentially interested in hearing those things.

[01:34:24] Yeah.

[01:34:25] That we did talk about them afterwards and they didn't get to hear it.

[01:34:27] It's the best thing about podcasts when people are like we'll discuss that

[01:34:29] off Mike.

[01:34:30] Yeah.

[01:34:31] And you're like, man.

[01:34:32] BOTUS CONTENT.

[01:34:33] What's your favorite Shumlin movie, Erlich?

[01:34:34] Favorite?

[01:34:35] Yeah.

[01:34:36] I mean...

[01:34:37] I know you.

[01:34:38] You think favorite and best are the same thing.

[01:34:39] I do.

[01:34:40] And I...

[01:34:41] I didn't mean like favorite stressing away from best but just

[01:34:43] that I was so hard pressed to like one of them enough to single it out

[01:34:47] but you know probably Unbreakable and the first half of The Village.

[01:34:51] Yeah.

[01:34:52] The movie The Village could have been.

[01:34:53] Sure.

[01:34:54] And Unbreakable but I don't really need any of these movies in my life.

[01:34:58] I think the direction in Unbreakable is very smart.

[01:35:01] Yeah.

[01:35:02] I agree.

[01:35:03] It's my favorite one.

[01:35:04] Is this your favorite, David?

[01:35:05] Definitely.

[01:35:06] Wow.

[01:35:07] Wow.

[01:35:08] And it's all...

[01:35:09] And I haven't even seen all the ones we're going to do.

[01:35:10] Yeah.

[01:35:11] My favorite M Night Shumlin project is the episode of Entourage

[01:35:14] where his script gets stolen and Ari's freaking out.

[01:35:17] It's a good episode.

[01:35:18] M Night's really good.

[01:35:19] Oh God.

[01:35:20] Entourage was so good at jerking off its guest stars

[01:35:22] where it's just like M Night Shumlin everybody please.

[01:35:24] Let's take a look at it.

[01:35:25] The biggest director in Hollywood.

[01:35:26] God.

[01:35:27] And when they acted like...

[01:35:28] Emily Rodikowski.

[01:35:29] I love Anna Faris but Entourage had a whole season about Anna Faris' career decision.

[01:35:34] Those are the only like five or six episodes I've watched in their entirety

[01:35:38] because at that point in time I was an Anna Faris completeist.

[01:35:40] You were a big Anna Faris fan.

[01:35:41] I wanted to have seen every work she had done.

[01:35:43] I've seen most of them.

[01:35:44] I don't watch Mom.

[01:35:46] Mom's actually...

[01:35:47] Okay.

[01:35:48] Ladies and gentlemen, thank you for listening to this podcast.

[01:35:51] David Orlik, thank you for coming and being our guest.

[01:35:53] Thank you for being a guest.

[01:35:54] This is surreal pleasure.

[01:35:55] Aw.

[01:35:56] As always, please rate, review, subscribe our podcast

[01:36:01] but also our cousin sister brother podcast on the UCB comedy network.

[01:36:05] Yeah.

[01:36:06] Which now it has some new thing on iTunes.

[01:36:08] I don't know.

[01:36:09] Yeah, no, it's exciting.

[01:36:10] Yeah, Ben.

[01:36:11] What's up?

[01:36:12] Ben we forgot to mention the buried secret.

[01:36:14] We're going to talk about the buried secret.

[01:36:15] Don't worry.

[01:36:16] We'll talk about the buried secret.

[01:36:18] M Night Shumlin at the time of this film commissioned a documentary filmmaker

[01:36:23] at the Academy Award nominated documentary filmmaker to make a film called

[01:36:27] The Buried Secret of M Night Shumlin.

[01:36:28] And you heard on like the sci-fi channel or something?

[01:36:29] Yes, and it was supposed to be an unauthorized, probing look into M Night Shumlin

[01:36:33] asking the question is he himself supernatural?

[01:36:35] Right, but it was all just scripted nonsense.

[01:36:37] Have you heard of this thing, Orlik?

[01:36:39] I remember it at the time.

[01:36:40] Here comes the twist.

[01:36:41] They leaked things to page six to be like

[01:36:43] M Night was suing...

[01:36:44] Tell them the twist!

[01:36:45] The twist is the buried secret of M Night Shumlin

[01:36:50] is the first ever screen credit of one Griffin Newman.

[01:36:54] Wow!

[01:36:56] I have never seen this.

[01:36:58] Did you play M Night Shumlin?

[01:36:59] I played a kid who loves M Night Shumlin.

[01:37:02] Wait, so this is ostensibly a documentary.

[01:37:06] It's a mockumentary.

[01:37:08] It's presenting itself as a documentary.

[01:37:10] I'd sound like 80 pages and non-disclosure stuff

[01:37:12] because they were like we're going to leak this out

[01:37:13] and we're going to pretend he's going to pretend to sue us

[01:37:15] that he doesn't want it released.

[01:37:16] It's all part of the Village Market Camping.

[01:37:17] It's like tongue in cheek.

[01:37:18] Okay.

[01:37:19] But it was like...

[01:37:20] They took it seriously because he took everything about himself.

[01:37:22] Was this the same project that was like we were going to explode

[01:37:24] like the secret childhood of M Night Shumlin?

[01:37:28] Yes, all of this.

[01:37:30] We're going to do a bonus episode about this.

[01:37:32] We're going to do a bonus episode about it.

[01:37:33] I have never seen it.

[01:37:34] I believe my role was largely...

[01:37:36] They told me at the time it was cut out

[01:37:38] and then I saw someone else on IdaB credited

[01:37:40] as what I was ostensibly playing in the movie.

[01:37:42] Okay, so maybe you're not in the movie.

[01:37:43] No, I'm credited as like teenage fan number four.

[01:37:45] Okay.

[01:37:46] I believe I don't speak and appear somewhere

[01:37:47] in the background riding a bicycle.

[01:37:48] But I got to miss Ida School to do it.

[01:37:50] Cool.

[01:37:51] I got paid a couple hundred dollars

[01:37:53] and I got stories to tell.

[01:37:55] Launched me on this horrible, horrible career.

[01:37:57] You get a sad curve?

[01:37:58] Yeah, I think that...

[01:37:59] No, I got it later after that.

[01:38:01] Okay.

[01:38:02] Yeah.

[01:38:03] But we'll talk about that.

[01:38:04] We'll do a bonus episode about that.

[01:38:05] But...

[01:38:06] And there's also a book that he had commissioned

[01:38:07] about the making of Lady in the Water.

[01:38:09] Well, we'll talk about that later.

[01:38:10] Yeah, but those are going to be bonus content.

[01:38:11] We got some bonus episodes planned.

[01:38:13] Maybe one big bonus episode.

[01:38:14] Yeah, just one.

[01:38:15] Erlich, thank you for being here.

[01:38:16] Anything you want to plug in particular?

[01:38:18] Uh, where?

[01:38:20] Where to begin?

[01:38:21] I don't know.

[01:38:22] Follow me on Twitter.

[01:38:24] He's funny on Twitter.

[01:38:25] Really funny on Twitter.

[01:38:26] And a bit of a rebel rouser.

[01:38:28] Sometimes, sometimes.

[01:38:29] Sometimes.

[01:38:30] Sometimes.

[01:38:31] Sometimes.

[01:38:32] Sometimes.

[01:38:33] Sometimes.

[01:38:34] Sometimes.

[01:38:35] Sometimes.

[01:38:36] Sometimes.

[01:38:37] Sometimes.

[01:38:38] Sometimes.

[01:38:39] Sometimes.

[01:38:40] Sometimes.

[01:38:41] Sometimes.

[01:38:42] Sometimes.

[01:38:43] Sometimes.

[01:38:44] Sometimes.

[01:38:45] Sometimes.

[01:38:46] Sometimes.

[01:38:47] Sometimes.

[01:38:48] Sometimes.

[01:38:49] Sometimes.

[01:38:50] Sometimes.

[01:38:51] Sometimes.

[01:38:52] Sometimes.

[01:38:53] Sometimes.

[01:38:54] I don't think I can...

[01:38:55] I'm doing the earlier part of the video.

[01:38:56] Yeah, but we're going to be done by all three episodes from now on,

[01:38:59] so please bring them up when you have time.

[01:39:01] So, if you have one.

[01:39:02] So, the first episode is on the way to the finnish season.

[01:39:06] For the big money over there in the Dong and Dong Quo topic,

[01:39:09] Fast and Furious made. I don't know whatever. I'm gonna get cast in Fast and Furious

[01:39:12] I'm committed to it more than I'm very excited for you great

[01:39:16] Thank you for listening. Yeah, please subscribe rate and as always just oh wait. I'm sorry

[01:39:22] I I should you know after all the shit that I've given Katie rich on the show twist

[01:39:27] What a twist I should plug my podcast

[01:39:32] Movies it's called fighting in the war room great podcast on iTunes friends of the show friends of the show

[01:39:37] You know you I'm free years my guests. I would never listen to the show

[01:39:41] But I'm guessing that there are people who have been on it in previous weeks who have plugged. Oh, yeah the same podcast

[01:39:46] Yeah, so collect them all yeah, like them all fighting in the war. That's a word trying to bring in the war room

[01:39:51] It's great. David. Thank you for that late-breaking twist. Yep, and as always

[01:39:56] Don't be

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