Tokyo Godfathers with Reece Feldman

[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

[00:00:13] All you need to know is that the neighborhood's shy with Blank Check

[00:00:19] Being able to speak freely is the lifeblood of podcasting.

[00:00:24] Maybe I'm naive.

[00:00:26] Sounds like you're getting a Patreon.

[00:00:28] Sounds like I'm getting a Patreon?

[00:00:30] Just the idea, like I'm starting a podcast so I can speak freely.

[00:00:34] I don't want to intimate anything but I'm going to be speaking pretty freely on this new podcast of mine.

[00:00:40] Should we, should we as a marketing strategy try to frame our Patreon?

[00:00:46] Pretend that we're like saying really, really nasty stuff on our Patreon.

[00:00:50] Oh, we're, yeah, we're definitely pushing boundaries.

[00:00:54] Michelangelo is a party dude. Come at me, cancel me if you want but I can say it because I'm behind a paywall.

[00:01:02] I subscribe to the Patreon so I can attest to that.

[00:01:04] We're doing Ninja Turtles on Patreon. That will be happening by the time this comes out.

[00:01:08] I'm getting a little worried about the Turtles Patreon by the way.

[00:01:12] Saminess?

[00:01:14] No, just us, I think we're not maybe cowabunga built enough by some of these movies.

[00:01:20] People got so mad that I rated that awful animated movie poorly on Letterboxd.

[00:01:24] And I was like, you guys aren't 12 anymore, rewatch it.

[00:01:28] That's exactly what I'm going to say.

[00:01:30] This is where, not where we should be.

[00:01:32] I'm so sorry, I'm so sorry and we can cut it out or we can move on.

[00:01:36] One of the least essential animated films of the 2000s, TMNT, does not need to be discussed on an episode about an animated masterpiece.

[00:01:46] Well, it's the next thing posting on our Patreon so at least I kind of nailed the timing there.

[00:01:48] It's relevant, but I'm saying today we're talking about one of the great animated films of its decade.

[00:01:54] I mean, you're right.

[00:01:56] For a man who basically made three of the best animated films of the decade?

[00:01:58] Perfect Blue excluded simply because it was not of its decade.

[00:02:02] It was of a prior decade.

[00:02:04] Right, but I'm like all three of his 2000 releases I think have to go on to any at least top 20 list.

[00:02:10] He was a bangers only person.

[00:02:12] Here's the take I'm going to come in with.

[00:02:14] And there isn't a direct one-to-one here.

[00:02:16] And our guest, by the way, feel free to, I know you've already introduced it.

[00:02:18] We'll introduce you in a second.

[00:02:20] I was hoping I just needed to get a single word before the introduction because too often I hear people waiting.

[00:02:24] Don't worry, I'll take 45 minutes until we get to the introduction.

[00:02:26] Perfect.

[00:02:28] But is Satoshi Kon kind of like the John Cazale?

[00:02:32] Of animated films?

[00:02:34] Of filmmakers.

[00:02:36] I'm just trying to think of someone else who has such a limited body of work that is just straight bangers, all culturally important,

[00:02:42] all have aged into becoming more important than they even were in their moment.

[00:02:46] Like there's just no minor work in his career.

[00:02:50] We are about to cover I would say his most minor work and it's still a fairly major work.

[00:02:54] That's my favorite of his.

[00:02:56] This is my take.

[00:02:58] If this is the most minor work you have in your career, I bought the three books, which I'm going to make my way through.

[00:03:02] His three books that he published.

[00:03:04] Different medium.

[00:03:06] I'll file that as its own thing.

[00:03:08] We're doing Paranoia Agent on Patreon.

[00:03:10] Consensus is everything he ever made where he was the primary artist is good to great.

[00:03:16] This guy doesn't have anything that's like, well, that was him getting his sea legs or that one's a minor.

[00:03:22] Right?

[00:03:24] Like if this is the worst, I'm not going to say worst.

[00:03:26] If this is the most minor work you have in relation.

[00:03:30] I'm currently making a top animated movies of the 2000s list just to sort of.

[00:03:34] Where you would slot these in?

[00:03:36] Yeah, see where I would slot these in.

[00:03:38] Your number one of the 2000s would be Ponyo?

[00:03:40] Possibly.

[00:03:42] No, Spirited Away.

[00:03:44] Oh, you're right. They're both in there.

[00:03:46] But some Satoshi Kon movies would be pretty high.

[00:03:48] TNT obviously.

[00:03:50] Have you seen that film?

[00:03:52] No.

[00:03:54] You're younger than us.

[00:03:56] Yes, but maybe too young for that.

[00:03:58] There were some movies that you guys have covered that like you had Treasure Planet.

[00:04:00] Yeah.

[00:04:02] And I know that you guys were a bit confounded by it.

[00:04:04] And I like that was a movie for me that growing up was huge.

[00:04:08] I wouldn't say I was confounded by it.

[00:04:10] I'd say it's a movie I want to unabashedly love and like a lot.

[00:04:12] You were closer in age to Emma though, who was our guest on that episode and was more planet-pilled.

[00:04:18] I love that movie.

[00:04:20] And I think you're around the same age as my sister.

[00:04:22] I'm 25 right now.

[00:04:24] Oh yes, yes. So you're basically the exact same age.

[00:04:26] I took her to see that and she was confounded.

[00:04:30] But it is interesting.

[00:04:32] I think it's funny because there are things that we're just like TNT is a movie.

[00:04:34] Why are we still talking about it?

[00:04:36] That I would just feel so confident being like no one feels strongly about that.

[00:04:40] Because even if you're a Ninja Turtles kid of that era, you would have latched on to one of the other things more than that movie.

[00:04:48] Yeah, that was not for me.

[00:04:50] Now, would Osmosis Jones make a top 25 of the 2000s animated list?

[00:04:54] Me? Yes.

[00:04:56] Because I'm fucking sick and twisted and out of control.

[00:04:58] It's just the planet could have been a treasure box.

[00:05:00] This is Ben's take.

[00:05:02] I do get what you're saying.

[00:05:04] It should have been Alien 3, like a wood planet.

[00:05:06] Yeah.

[00:05:08] That would have been, I do get that.

[00:05:10] Very good reference to my favorite version of Alien 3 that was never made.

[00:05:12] Which is what it should have been.

[00:05:14] Planet is wood.

[00:05:16] And you're saying planet is wood with sort of like gold straps around it and a lock.

[00:05:18] With a hatch.

[00:05:20] Doubloons.

[00:05:22] One day enough sickos will run Hollywood that someone will rise to the top of Fox and be like,

[00:05:26] can we do a wood planet movie finally?

[00:05:28] I mean, right before we started recording,

[00:05:30] you were reading the synopsis of Alien Romulus.

[00:05:32] A lot of the information had just come out.

[00:05:34] Romulus!

[00:05:36] Could you imagine if they announced Alien colon wood planet?

[00:05:38] Alien wood planet.

[00:05:40] And they were like, this one actually doesn't have any xenomorphs in it.

[00:05:42] It's just about the local economy of a wood planet.

[00:05:44] The makings of, yeah.

[00:05:46] What happens when it rains?

[00:05:48] Is it porous?

[00:05:50] Yes.

[00:05:52] That's a great question.

[00:05:54] Is this an absorbent wood?

[00:05:56] I mean, I'm not sure.

[00:05:58] Have we stained it?

[00:06:00] We've already in these first couple of minutes brought back up a lot of movies from the storied history of Blank Check with Griffin and David.

[00:06:06] But we're barely acknowledging the movie we're here to talk about today.

[00:06:10] Satoshi Kon, the filmmaker, in question on this podcast, which is called Blank Check with Griffin and David.

[00:06:14] I'm Griffin.

[00:06:16] I'm David.

[00:06:18] It's a podcast about filmographies.

[00:06:20] Directors who have massive success early on in their careers,

[00:06:22] given a series of blank checks to make whatever crazy passion projects they want.

[00:06:24] Sometimes those checks clear.

[00:06:26] Sometimes they bounce baby.

[00:06:28] Do you have Monsters, Inc. over Finding Nemo or not?

[00:06:30] It's a really tough.

[00:06:32] That is very much an on the day.

[00:06:34] Like, what side of the bed did I wake up on this morning?

[00:06:38] Changes the ranking of those two.

[00:06:40] Understood.

[00:06:42] I mean, I imagine you put Incredibles and Ratatouille highest of all the Pixar's.

[00:06:48] You imagine correct.

[00:06:50] I'd probably.

[00:06:52] I think Finding Nemo over Monsters, Inc.

[00:06:56] Today, I agree with you.

[00:06:58] Yeah, that's where I had it.

[00:07:00] But I put WALL-E above those two.

[00:07:02] Me too.

[00:07:04] I do as well.

[00:07:06] WALL-E is the highest.

[00:07:08] Non-Bird.

[00:07:10] Non-Bird Pixar to me.

[00:07:12] Although, you know, there's a Toy Story conversation to be had.

[00:07:14] Yeah.

[00:07:16] We've had it before.

[00:07:18] We'll have it again.

[00:07:20] I have a question.

[00:07:22] I'm curious on the films of Satoshi Kon.

[00:07:24] Someone who made a bunch of crazy passion projects.

[00:07:26] And I would say all of them cleared.

[00:07:28] Pretty much.

[00:07:30] And then he died tragically young.

[00:07:32] Sadly.

[00:07:34] I just in watching these.

[00:07:36] It's the reason I throw this John Cazale question.

[00:07:38] Because it is that thing of like, holy shit.

[00:07:40] This guy didn't miss and then he died suddenly.

[00:07:42] And it's this incredible what if.

[00:07:44] But on the other hand, you look at it and you're like, perfect career.

[00:07:46] Right.

[00:07:48] It's like, if the man had gotten to live.

[00:07:50] And enjoy life.

[00:07:52] It is astonishing.

[00:07:54] It's one of those things where it's like.

[00:07:56] Also how prolific he was in such a short period of time.

[00:08:00] Right?

[00:08:02] That he's like animating and he's like.

[00:08:04] In comics and he's in.

[00:08:06] You know, film and TV and whatever.

[00:08:08] Then he finally gets to make his first feature film.

[00:08:10] And he makes three.

[00:08:12] He makes four feature films within.

[00:08:14] Seven years? Eight years?

[00:08:16] It's like ten years basically.

[00:08:18] It's 97 to like.

[00:08:20] 2006.

[00:08:22] So it's nine years when animation often takes three years.

[00:08:24] Per film at minimum.

[00:08:26] And a TV show in there.

[00:08:28] Yes and a full TV show.

[00:08:30] Which is, yeah.

[00:08:32] Like his turnaround time was kind of astonishing in a way that feels like.

[00:08:34] Like the fucking Hamilton thing.

[00:08:36] Like he was writing like he knew he was running out of time.

[00:08:38] That's a good line.

[00:08:40] Today we're talking about his penultimate film.

[00:08:42] Yep.

[00:08:44] Paranoia agent comes after this.

[00:08:46] And then paprika after that.

[00:08:48] Correct?

[00:08:50] I think this was 03.

[00:08:52] Yes.

[00:08:54] And then.

[00:08:56] And paprika is 06.

[00:08:58] Yep.

[00:09:00] So that's how it goes.

[00:09:02] Today we're talking about Tokyo Godfathers.

[00:09:04] A loose remake of Three Godfathers.

[00:09:06] Loose though.

[00:09:08] I've never seen.

[00:09:10] I haven't either.

[00:09:12] I've never seen Three Godfathers playing simultaneously on three screens.

[00:09:14] Right.

[00:09:16] The way Coppola always intended.

[00:09:18] No it's a John Ford movie.

[00:09:20] Yes.

[00:09:22] With John Wayne.

[00:09:24] Starring Mr. John Wayne who you guys might have heard of.

[00:09:26] And it has a vague sort of.

[00:09:28] It's like Three Cowboys and a Baby.

[00:09:30] It's Three Cowboys and a Baby.

[00:09:32] It's got this kind of biblical like oh.

[00:09:34] It's like three wise men with Jesus except we're a bunch of you know dopes.

[00:09:36] And we don't know what we're doing.

[00:09:38] But they're cowboys in Three Godfathers.

[00:09:40] And in this they are you know unhoused Tokyo residents.

[00:09:42] It's very very loose.

[00:09:44] Yes.

[00:09:46] It's a film inspired by the notion of.

[00:09:48] Our guest today is a major fan of this film.

[00:09:50] Someone we've been talking about trying to get on the podcast for a long time.

[00:09:52] It's been a back and forth conversation.

[00:09:54] We're trying to book these episodes.

[00:09:56] I go on to Letterboxd.

[00:09:58] And your review of this film.

[00:10:00] Yeah.

[00:10:02] Let me quote it directly.

[00:10:04] Oh jeez.

[00:10:06] But I saw it and I was like well we shouldn't think this.

[00:10:08] I'm a very like I understand people love Perfect Blue and Paprika.

[00:10:10] Yeah.

[00:10:12] But this is the one that for me I just.

[00:10:14] It's it's so perfect.

[00:10:16] I think it is the sweetest film and I smile when I watch it.

[00:10:18] The entire time I'm just smiling.

[00:10:20] Your review is animation is an art form not a genre.

[00:10:22] I hope America eventually learns this.

[00:10:24] Oh yeah.

[00:10:26] No that was a good one.

[00:10:28] When I was talking to my girlfriend about this movie.

[00:10:30] Yeah.

[00:10:32] Humble brag.

[00:10:34] Humble brag.

[00:10:36] And she was like wait this is an animated film right.

[00:10:38] Because I was telling her the plot and I was like yes it's an animated film.

[00:10:40] And she's like so what's the like not what's the catch but like oh this sounds like it could be.

[00:10:42] Why would you do this in animation.

[00:10:44] Yeah I was like that's the beauty of it.

[00:10:46] It's shot like it's a like it's with real people and like the performances are not exaggerated.

[00:10:48] Like a lot of American animation.

[00:10:50] And I it's perfect.

[00:10:52] And this is one of those movies that makes me think about that.

[00:10:54] Even like Millennium Actress which is more grounded.

[00:10:56] But it's also like a lot of American animation.

[00:10:58] And I it's it's perfect.

[00:11:00] And this is one of those movies that makes me think about that.

[00:11:02] Even like Millennium Actress which is more grounded.

[00:11:04] But features excerpts from genre films that are easier to depict on a scale in animation.

[00:11:06] But also plays with time and space and memory in these ways where it becomes more impressionistic

[00:11:08] and animation to benefit.

[00:11:10] This is a movie that's like very generally conventionally told.

[00:11:12] That takes place entirely in a pretty grounded reality.

[00:11:14] Yeah so there are flashbacks and so on.

[00:11:16] But that's not that unusual for a movie.

[00:11:18] No.

[00:11:20] It's a little less of the reality being blurred.

[00:11:22] And besides that I think it's a really good movie.

[00:11:24] I mean it's a good movie.

[00:11:26] I mean it's a good movie.

[00:11:28] I mean it's a good movie.

[00:11:30] I mean it's a good movie.

[00:11:32] It's a little less of the reality being blurred.

[00:11:34] And besides like the one wind like lifting up Hannah at the end.

[00:11:36] Everything could be shot so practically.

[00:11:38] There would be no need for any VFX anything like that.

[00:11:40] But that's why your review stuck out to me.

[00:11:42] This feels like the movie of Satoshi Kon trying to make that argument.

[00:11:44] Yeah.

[00:11:46] Right?

[00:11:48] Like it feels like sort of the great reason for this film existing is for him to just like point to it and go like you could tell any story in animation.

[00:11:50] Yeah.

[00:11:52] Right?

[00:11:54] Like it feels like sort of the great reason for this film existing is for him to just like point to it and go like you could tell any story in animation.

[00:11:56] Yeah.

[00:11:58] Right?

[00:12:00] Like it feels like sort of the great reason for this film existing is for him to just like point to it and go like you could tell any story in animation.

[00:12:02] Let's break out of some of our ways of thinking about what this medium is.

[00:12:04] Reese Feldman is our guest today on the podcast.

[00:12:06] Hello.

[00:12:08] Welcome Reese.

[00:12:10] David was getting stressed out thinking I forgot to say it.

[00:12:12] I was never getting stressed.

[00:12:14] How dare you?

[00:12:16] I've never been stressed in my life.

[00:12:18] I have Tokyo Godfathers basically among the 10 to 15 best animated films of the 2000s.

[00:12:20] Paprika and Millennium Actress also in there.

[00:12:22] Do you have it over Tokyo Godfathers?

[00:12:24] Do I have what like those two over?

[00:12:26] Yeah.

[00:12:28] I do.

[00:12:30] Okay.

[00:12:32] Personally.

[00:12:34] Personally.

[00:12:36] Yeah.

[00:12:38] But I respect all opinions of course especially the ones on our Patreon which are a little different than normal opinion.

[00:12:40] No, I'm joking.

[00:12:42] But you know I have the two Brad Bird movies up there.

[00:12:44] I do have Wally up there.

[00:12:46] I have Spirited Away and Ponyo up there.

[00:12:48] And Howls.

[00:12:50] Okay.

[00:12:52] Would make my 15-ish.

[00:12:54] Okay.

[00:12:56] I have Coraline up there.

[00:12:58] Oh.

[00:13:00] A masterpiece.

[00:13:02] I have the two Linklater animated films up there.

[00:13:04] Waking Life and The Scanner Darkly.

[00:13:06] Those are two films I love a lot.

[00:13:08] I have you know Nearer the Bottom but still these are movies I respect a lot.

[00:13:10] Emperor's New Groove.

[00:13:12] Lilo.

[00:13:14] Lilo and Monsters.

[00:13:16] And then Triplets of Belleville, Chicken Run.

[00:13:18] There's a lot of good animated movies.

[00:13:20] Chicken Run sounds a little low my friend.

[00:13:22] I've got to rewatch Chicken Run.

[00:13:26] Yeah you do.

[00:13:28] It's been 24 years since I've seen Chicken Run.

[00:13:30] You haven't seen it since?

[00:13:32] Oh my friend.

[00:13:34] You got to go for a run.

[00:13:36] You got to go for a run.

[00:13:38] Would my kid like it?

[00:13:40] Yeah I think so.

[00:13:42] Maybe I should try her on like a Wallace and Gromit.

[00:13:44] Sure.

[00:13:46] See what she thinks of that.

[00:13:48] And then maybe take her on a run.

[00:13:50] Cat Returns like I was telling you.

[00:13:52] Have you ever seen the Cat Returns?

[00:13:54] I would be like how you doing?

[00:13:56] You okay?

[00:13:58] It's a weird thing to spin off.

[00:14:00] Because we covered Whisper of the Heart.

[00:14:02] When we did our Miyazaki series.

[00:14:04] And I was like wait this is the cat who returns?

[00:14:06] They spun off the cat she thinks about sometimes.

[00:14:08] She's got a little statue.

[00:14:10] And there's one dream sequence

[00:14:12] where the statue comes to life.

[00:14:14] And they made a whole movie of like

[00:14:16] what if he came back and was just doing shit the whole time.

[00:14:18] Right but guess what my daughter saw on the HBO carousel.

[00:14:20] Cat.

[00:14:22] Bingo.

[00:14:24] Nailed it.

[00:14:26] I want cat.

[00:14:28] And I was like fine let's put it on and then it was like 75 minutes long.

[00:14:30] And I was like I love it.

[00:14:32] There's cats in this.

[00:14:34] There are cats in this.

[00:14:36] This movie she would not like.

[00:14:38] No I don't think so.

[00:14:40] This is a firmly not intended children movie.

[00:14:42] Start with Ice Age and then go to this.

[00:14:44] I can't watch Ice Age.

[00:14:46] I mean I can but like

[00:14:48] the thing is like I'd happily watch Ice Age.

[00:14:50] I'm not going to watch a movie to my kid.

[00:14:52] No it's just like I'm going to have to watch Ice Age 25 times.

[00:14:54] Do I want to do that?

[00:14:56] Is that too much Ice Age for me?

[00:14:58] My belief is Ice Age 25 times

[00:15:00] would not be a punishment

[00:15:02] even if it weren't a joy.

[00:15:04] The sequels would be.

[00:15:06] If she sees that there are six of them in the carousel.

[00:15:08] Yeah once you get to meltdown.

[00:15:10] I've never

[00:15:12] melted down personally.

[00:15:14] I mean I've melted down mentally

[00:15:16] but not with the Ice Age boys.

[00:15:18] I'm tapping a stack of

[00:15:20] papers here on my desk

[00:15:22] and consulting my notes.

[00:15:24] Reese Feldman they call you the king of TikTok.

[00:15:26] Is this right?

[00:15:28] The kids are calling him

[00:15:30] the king of TikTok.

[00:15:32] What is this channel thrive?

[00:15:34] That's what I'm doing.

[00:15:36] Are you going to ask do you know where our children are

[00:15:38] or whatever? Like what's going on?

[00:15:40] No I'm like how do I introduce you

[00:15:42] and then I was like running through lines in my head

[00:15:44] and I was like there is nothing I can say that won't

[00:15:46] make me sound like a 65

[00:15:48] year old news anchor.

[00:15:50] It's very odd talking about it.

[00:15:52] Is there something you're actually quoting?

[00:15:54] Back in my day we went to the movie theaters but these days

[00:15:56] kids are learning about movies from TikTok.

[00:15:58] They call him the king of TikTok.

[00:16:00] There's always those YouTube

[00:16:02] compilations of like

[00:16:04] news in the 80s like covering the internet

[00:16:06] where they're like yeah you know.

[00:16:08] We're going to like a video game arcade and it's like this

[00:16:10] right you know oh people now

[00:16:12] are using something called email

[00:16:14] like you know like that kind of usually

[00:16:16] we set up traps to catch mice

[00:16:18] but what if I were to tell you there's a

[00:16:20] mice you want to grab with

[00:16:22] your hand.

[00:16:24] They call him the king of TikTok.

[00:16:26] I just missed that type of language

[00:16:30] but Reese you are

[00:16:32] the king of TikTok.

[00:16:34] They do call you the king of TikTok.

[00:16:36] Is there an actual article

[00:16:38] or something that says that or is this just

[00:16:40] from you? I really hope it's not.

[00:16:42] I'd be really...

[00:16:44] I'm wondering if I have ever actually read

[00:16:46] anyone call you that or if I just say

[00:16:48] that to distract you.

[00:16:50] I might be quoting

[00:16:52] myself saying it earnestly.

[00:16:54] It's a really

[00:16:56] quite a title one.

[00:16:58] If you came up with it.

[00:17:00] I'll say the Hollywood reporter

[00:17:02] did you call you Hollywood's

[00:17:04] Gen Z whisperer. Okay!

[00:17:06] That's even scarier.

[00:17:08] Hollywood's Gen Z whisperer.

[00:17:10] You were a film student.

[00:17:12] I actually common misconception.

[00:17:14] Okay. No. I know you dropped out of college

[00:17:16] but you were in film school. Oh no I graduated too.

[00:17:18] Really? Look at all these lies.

[00:17:20] They call me

[00:17:22] the liar.

[00:17:24] I have my facts right. Now if you want

[00:17:26] more lies check out our Patreon.

[00:17:28] I studied

[00:17:30] film at school. I did not go to film

[00:17:32] school. What school? I went to Tulane

[00:17:34] New Orleans.

[00:17:36] And then you were PAing.

[00:17:38] Then I was after I graduated. Go Greenway.

[00:17:40] What's that?

[00:17:42] Go Greenway. The sports team is the Greenway.

[00:17:44] Terrible. Really bad.

[00:17:46] Yeah. Graduate.

[00:17:48] Really horrendous. I just like doing that.

[00:17:50] Yeah. Graduated May 2020 and then

[00:17:52] started PAing. You were on

[00:17:54] Maisel? Was that the first one?

[00:17:56] My first big one was The Real Housewives of New Jersey

[00:17:58] for several months.

[00:18:00] Yeah. Then?

[00:18:02] Really fun show. They're on their state flag now right?

[00:18:04] No front porches.

[00:18:06] Nothing for them. Are you ready for my

[00:18:08] the kind of thing I usually reserve

[00:18:10] for the Patreon? Yes.

[00:18:12] Real Housewives of New Jersey. Yeah. That's my

[00:18:14] favorite scripted TV show.

[00:18:16] What? How dare

[00:18:18] you? Come on

[00:18:20] now. Wow. The flag of New Jersey

[00:18:22] is like a weird kind of piss yellow.

[00:18:24] How dare you?

[00:18:26] You can't deny it. Look at this.

[00:18:28] Okay. Yeah. It's a little pissy.

[00:18:30] It's a little pissy? It didn't start out that way.

[00:18:32] I'm just saying.

[00:18:34] Oh it is. Yeah. This is a weird color

[00:18:36] Left at the side of the road.

[00:18:38] Yeah you started making videos as a PA

[00:18:40] On set.

[00:18:42] Fully what they tell you not to do.

[00:18:44] Right. You probably signed legal documents

[00:18:46] Legal documents. Yeah with repercussions

[00:18:48] if I were to do that. And then you've had this

[00:18:50] insane ascension. I feel like

[00:18:52] pretty quick. Although I know in real time

[00:18:54] you've been working towards things gradually.

[00:18:56] It's not like something was handed to you overnight.

[00:18:58] All of the stuff has been like

[00:19:00] step by step but you have become

[00:19:02] I'm checking my notes here

[00:19:04] Gen Z Whisperer.

[00:19:06] What do they call him though?

[00:19:08] The King? Yeah no when I get on set

[00:19:10] that's on the call sheet is Whisperer

[00:19:12] You've basically

[00:19:14] and correct me if you feel I'm

[00:19:16] defining this wrong but you have

[00:19:18] become this guy that now like

[00:19:20] not just like the studios

[00:19:22] but like a lot of our top filmmakers

[00:19:24] are looking to as

[00:19:26] this guy has the ability

[00:19:28] to communicate to a new generation

[00:19:30] the importance of movies

[00:19:32] to try to make sure that film culture

[00:19:34] survives. That is the part of it

[00:19:36] that I really like. Yeah.

[00:19:38] The non-whispering of it all but yeah

[00:19:40] that has been really cool and like one thing that

[00:19:42] I was really nervous about was

[00:19:44] I was on the Reddit. I know you guys don't

[00:19:46] check the Reddit. Oh yeah no I've never checked

[00:19:48] the Reddit about six times today.

[00:19:50] This is our narrative now. We never look at it.

[00:19:52] I'm not looking!

[00:19:54] I saw a video of mine on there and I was like

[00:19:56] oh god like am I going to get torn to shreds

[00:19:58] like this is and everyone in it

[00:20:00] was like really nice being like

[00:20:02] I'm not on TikTok but this is actually

[00:20:04] a really cool thing and I'd

[00:20:06] like to see like Christopher. Was it you

[00:20:08] with Nolan? Yeah and people were really kind

[00:20:10] and were like wow this is actually digestible

[00:20:12] and I get what this is supposed to be

[00:20:14] which was a very big relief

[00:20:16] for me. People were just rooting

[00:20:18] for that right then too. Yes.

[00:20:20] They were like we really need something like Oppenheimer

[00:20:22] to translate and to do

[00:20:24] well. Yes. It was such a

[00:20:26] good moment.

[00:20:28] It was. I was talking about

[00:20:30] this with a friend of the show Patrick Willems

[00:20:32] the other night and we were both kind of like

[00:20:34] in hushed tones leaning in

[00:20:36] and I was like is it crazy? I feel like really optimistic

[00:20:38] about the future of film right now. Yeah.

[00:20:40] In every way where I was like I feel good

[00:20:42] about it as a business artistically

[00:20:44] and the sort of culture around it

[00:20:46] and I was like this is the first time in 20

[00:20:48] years I have not felt we are

[00:20:50] undeniably on a decline. Like circling

[00:20:52] the drain. The younger generation is like actually

[00:20:54] like not letting

[00:20:56] studios off easy

[00:20:58] in a good way. In a very good way.

[00:21:00] But also it's like engaged. Like gives a shit.

[00:21:02] Yes. And you've, so I

[00:21:04] I'm not on TikTok because I'm 87

[00:21:06] years old and I'm a news anchor for a local

[00:21:08] station. Do you lurk or do you?

[00:21:10] I lurk. Okay. Okay. Yeah. I'm trying to like

[00:21:12] I don't need more things in my life.

[00:21:14] That's fair. You don't. This emoji blitz already takes up 18

[00:21:16] hours a day. There was a Star Wars event

[00:21:18] going on. Although you do know Draft Day is very

[00:21:20] big on TikTok. God damn it isn't. It is.

[00:21:22] Really? Any like

[00:21:24] movie like Draft Day is big

[00:21:26] on TikTok. Like a certain like nice reliable

[00:21:28] movie about people talking to each other.

[00:21:30] Avanti Mac. They doing Avanti Mac? No matter

[00:21:32] what. You were, you were regularly posting

[00:21:34] very nice things about the show. Insane.

[00:21:36] Yes. Who is this guy with

[00:21:38] 8 trillion followers? They call

[00:21:40] him the king of TikTok.

[00:21:42] They call him the king of TikTok.

[00:21:45] There was like some correspondence going on.

[00:21:47] You meet up with Marie. You get coffee

[00:21:49] with Marie. You and I get coffee.

[00:21:51] You had just met Nolan.

[00:21:53] Yeah. You got Marie and I

[00:21:55] in to see Oppenheimer early which is very

[00:21:57] helpful in terms of getting our episode done.

[00:21:59] Yes. That was a really big

[00:22:01] win for me because when I heard the episode

[00:22:03] that you guys released on Oppenheimer, I was like

[00:22:05] I had like a real like little

[00:22:07] nod to myself. You know who

[00:22:09] it was a big win for? Us?

[00:22:11] Yeah. It was like

[00:22:13] the IMAX before like

[00:22:15] it was. Yes. Huge win.

[00:22:17] Because that was sold out for cheap.

[00:22:19] But you had just done your

[00:22:21] video with him where he

[00:22:23] was it the AMC Lincoln Square? No.

[00:22:25] It was at the Studio City

[00:22:27] like Universal City Walk. Yes.

[00:22:29] The guy, I was there at 10am

[00:22:31] when they told me to get there. It was very like

[00:22:33] secret and like

[00:22:35] he just walks in like people

[00:22:37] are just cleaning as he's walking by and he's like

[00:22:39] oh hello. I'm like

[00:22:41] Mr. Nolan. He's like. I was about to ask

[00:22:43] what do you call him? Mr. Nolan.

[00:22:45] You lead with Mr. Nolan. I lead

[00:22:47] with Mr. Nolan just because. Yeah of course.

[00:22:49] He's my elder.

[00:22:51] Yeah. But did he say

[00:22:53] oh please call me Big C. Call me

[00:22:55] C-Dog.

[00:22:57] So call me Big C and by the way

[00:22:59] I hear they call you the king of tick tock.

[00:23:01] The king of tick tock. Yeah.

[00:23:03] The king of kick cock.

[00:23:05] No what did you?

[00:23:07] I called Mr. Nolan and he was very nice

[00:23:09] and so is Emma Thomas who's

[00:23:11] they're just really cool. She's a G.

[00:23:13] Yeah she's awesome. Couple of poles.

[00:23:15] Yeah. Just

[00:23:17] really cool. We did it at Universal City Walk.

[00:23:19] He's very

[00:23:21] very chill. Not at all

[00:23:23] but and like this is what we were talking off

[00:23:25] Mike is that yeah he's

[00:23:27] like I feel like he always wears suits

[00:23:29] so people view him in one way but he's

[00:23:31] a really sweet guy that loves

[00:23:33] all movies not just

[00:23:35] what people assume he would like. Also I hope

[00:23:37] I'm not betraying anything by saying this

[00:23:39] but the way you recounted to me when you

[00:23:41] had just done this interview with him you had seen the movie

[00:23:43] I had not seen the movie yet it was right when it was

[00:23:45] to come out and I was like what was that

[00:23:47] like because this guy famously doesn't like

[00:23:49] have a smartphone

[00:23:51] doesn't check his email like all this

[00:23:53] shit right and you're like is

[00:23:55] this going to be like oh you have to talk

[00:23:57] to someone for tick tock you have to do social media

[00:23:59] videos like is this going to be inscrutable

[00:24:01] to this guy and you said that he was like

[00:24:03] excited. He was

[00:24:05] one of those like scenarios and it's

[00:24:07] like him there was

[00:24:09] a few other people just

[00:24:11] for the sake of this to help if anyone

[00:24:13] who's listening doesn't have tech talk or anything

[00:24:15] understand it's just like him Luca

[00:24:17] Guardino James Cameron like there's

[00:24:19] a lot of people of like an older ilk

[00:24:21] of filmmaking who are so

[00:24:23] interested by tick tock just

[00:24:25] by the sake of medium and communication

[00:24:27] tool I understand film

[00:24:29] I don't understand this

[00:24:31] but I am told that you do understand

[00:24:33] this and I've seen yours and I understand that you

[00:24:35] get it so I can trust you in

[00:24:37] that sense but also that specific video

[00:24:39] you did with him was you went to the projection

[00:24:41] booth for the IMAX screen at the City

[00:24:43] Walk Theater and he like took

[00:24:45] apart showed you the film

[00:24:47] like it was very much about like this

[00:24:49] physical medium this machinery

[00:24:51] and you said that he was

[00:24:53] like it's important that I show this to

[00:24:55] your audience so that people understand

[00:24:57] like why I am

[00:24:59] putting an importance on this as the

[00:25:01] form to see the movie which obviously

[00:25:03] fucking worked it worked. Yeah no which was

[00:25:05] the best thing. The idea was communicated

[00:25:07] Oppenheimer and IMAX became the hottest ticket

[00:25:09] in the world for months

[00:25:11] but it was like it was very cool to see

[00:25:13] yeah it was it's really cool and it's

[00:25:15] he's just it's for him it's just another

[00:25:17] useful tool to explain to people

[00:25:19] and like yes there's the irony of it being

[00:25:21] shot vertically and

[00:25:23] on like the smallest screen imaginable

[00:25:25] yeah but it is just a means

[00:25:27] to an end which is for him

[00:25:29] to like get

[00:25:31] the youth to like IMAX and to like

[00:25:33] the big screen experience. Well now I'm

[00:25:35] wondering. Has anyone ever used a smart phone

[00:25:37] in a Nolan film?

[00:25:39] That's a really good question. Does Tennant have

[00:25:41] zero smart phones? Oh Tennant. That's the one

[00:25:43] that maybe would. I don't know though

[00:25:45] I don't know though. Cause I feel like

[00:25:47] the Dark Knight trilogy they're using flip phones

[00:25:49] Yeah there's some cell phones in it right? Tennant

[00:25:51] I imagine cause like there's just like the scenes of him

[00:25:53] like in the car calling

[00:25:55] to Becky like. Is it on a smart phone?

[00:25:57] That's the question.

[00:25:59] We don't know and we'll never know those

[00:26:01] films are not viewable. No

[00:26:03] I don't know. Don't exist. But this

[00:26:05] is a favorite movie of yours. Yes

[00:26:07] We've been looking for a while for the right thing to get

[00:26:09] you on for and when I saw that you felt

[00:26:11] so strongly about it and once again not that

[00:26:13] this is a minor film but his other

[00:26:15] three films loom so large

[00:26:17] this one tends to get a little forgotten

[00:26:19] This is the one that is overlooked. Yeah. This is his most

[00:26:21] overlooked film. And we even we talked about in the last

[00:26:23] episode but this insane thing where

[00:26:25] Millennium Actress came out a couple years later

[00:26:27] in the states

[00:26:29] but Tokyo Godfathers basically came out

[00:26:31] right at the same time

[00:26:33] that came out in Japan which meant that these two movies

[00:26:35] came out within a month of each other

[00:26:37] in the states. They were like competing

[00:26:39] with each other in a bizarre

[00:26:41] way and they both

[00:26:43] end up getting snubbed for the Oscar because they had to

[00:26:45] compete against each other and the category was

[00:26:47] a little weird still at that point in time

[00:26:49] Yeah they had to make room for

[00:26:51] Surf's Up or what was it?

[00:26:53] That year it was Brother Bear

[00:26:55] Brother Bear that's the one. The other two are

[00:26:57] bigger movies. It was

[00:26:59] Nemo, Brother Bear. Oh Nemo

[00:27:01] That makes sense. And Belleville

[00:27:03] Which was kind of like back when they

[00:27:05] only had three. There would be one slot

[00:27:07] for an art or euro

[00:27:09] animated film. We were talking

[00:27:11] about this last week that even

[00:27:13] did kick in a little later because the first

[00:27:15] year 01 they were like well the three nominees

[00:27:17] are obviously going to be Shrek, Monsters

[00:27:19] Inc., The Two Big Dogs of 2001

[00:27:21] and Waking Life. Everyone was like

[00:27:23] they'll put in the Arty one and then

[00:27:25] Jimmy Neutron got Waking Life's

[00:27:27] slot. Yeah well you know how he did that?

[00:27:29] Big old noggin. Boy genius

[00:27:32] I think when Spirited Away won

[00:27:34] the second year it was like okay so this

[00:27:36] isn't just going to be an American category

[00:27:38] Belleville getting in

[00:27:40] you know the G Kids ascension of

[00:27:42] oh here are movies you maybe

[00:27:44] haven't heard of until the nominations come out

[00:27:46] That's much more recent. That starts

[00:27:48] You're right. 08, 09?

[00:27:50] Yeah it's in 2007

[00:27:52] you have Persepolis which we mentioned on a different episode

[00:27:54] and Hal gets in

[00:27:56] 2009. Ponyo doesn't

[00:27:58] Yes well the Ponyo snub is rude

[00:28:00] but in 2009 when they expand to

[00:28:02] five which then they sort of

[00:28:04] basically stay at five. That's when G Kids

[00:28:06] strike. When Secret of Kells got

[00:28:08] in that felt like big big

[00:28:10] big deal. Secret of Kells

[00:28:12] you got your Chico and Rita

[00:28:14] your Ernest and Celestine

[00:28:16] your Songs of

[00:28:18] the Sea

[00:28:20] your Tales of Kaguya

[00:28:22] One of the greats

[00:28:24] What is your I mean we're talking about

[00:28:26] you being a generation

[00:28:28] or so younger than us

[00:28:30] what is your relationship to animation

[00:28:32] growing up

[00:28:34] For me it was very much like

[00:28:36] a lot of the movies

[00:28:38] we were just saying Treasure Planet

[00:28:40] that was one of the big ones for me

[00:28:42] my sister who's a few years older

[00:28:44] all the Disney princess films

[00:28:46] the ones I especially liked were Hercules

[00:28:48] Hercules was a huge one

[00:28:50] for me but it was all

[00:28:52] mostly the American

[00:28:54] animated films so it was

[00:28:56] very much I was like

[00:28:58] raised with the idea that

[00:29:00] animated films are for kids and that's that

[00:29:02] yeah it was

[00:29:04] pretty much only what you saw in a theater

[00:29:06] my first movie I saw in a theater

[00:29:08] sure any

[00:29:10] especially like an animated movie

[00:29:12] did you see Brother Bear in a theater? Yes

[00:29:14] Wow I saw Brother Bear

[00:29:16] I definitely saw Finding Nemo

[00:29:18] I feel like the first. You saw Finding Nemo that's our third

[00:29:20] you wouldn't have seen Shrek or Monsters Inc

[00:29:22] I probably was too young at that point

[00:29:24] if you're 25. We were dragging Romley

[00:29:26] Romley was seeing like fucking movies two months

[00:29:28] after she came out

[00:29:30] I mean you can take a baby to a theater

[00:29:32] we didn't really watch

[00:29:34] what about Chicken Little? Chicken Little

[00:29:36] yes which I re-watched a couple years ago

[00:29:38] and is near unwatchable

[00:29:40] it is a really

[00:29:42] I loved that movie as a kid

[00:29:44] this is the thing we fall into this

[00:29:46] where we know the opinions of people

[00:29:48] the consensus on these movies and which ones matter

[00:29:50] and then now we're becoming old

[00:29:52] fuddy-duddies who call people the king of TikTok

[00:29:54] and we throw fucking side swipes

[00:29:56] you're the one doing that

[00:29:58] we take strays at fucking movies like Chicken Little

[00:30:00] where we're like obviously no one gives a shit about this

[00:30:02] and then we get essays that are people saying

[00:30:04] I do find it

[00:30:06] reassuring to hear someone

[00:30:08] who saw Chicken Little at the right age

[00:30:10] agree that perhaps that movie

[00:30:12] is dare I say it undercooked

[00:30:14] yes very much so

[00:30:16] I loved it as a kid. That makes me bacon

[00:30:18] me and my friends were all like oh this was so fun

[00:30:20] as a kid and then we were about

[00:30:22] I don't even know if it's an hour and a half

[00:30:24] I don't even know if it hits 90 minutes

[00:30:26] Chicken Little? Yeah. Let's find out

[00:30:28] It's like a sloppy ass 82 minutes with credits

[00:30:30] yeah that one is 81 minutes

[00:30:32] I think we made it 70 minutes

[00:30:34] and turned it off

[00:30:36] like we didn't stay, yeah

[00:30:38] Italians?

[00:30:40] That is the hook to that movie is Chicken Little says

[00:30:42] the sky is falling everyone says Chicken Little

[00:30:44] you always lie and it turns out

[00:30:46] the reason the sky is falling is because the sky

[00:30:48] is constructed of

[00:30:50] holographic tiles

[00:30:52] that project the image

[00:30:54] of the sky but are actually the bottom of a spaceship

[00:30:56] yes cool

[00:30:58] but yes that was what I grew up watching

[00:31:00] when did you feel like

[00:31:02] you had that realization about

[00:31:04] animation as a

[00:31:06] medium not a genre

[00:31:08] I guess probably high school

[00:31:10] when I started watching things that were not just made in America

[00:31:12] sure

[00:31:14] animation slowly followed suit after that

[00:31:16] are you an anime boy in general?

[00:31:18] I do like animation a lot

[00:31:20] no anime

[00:31:22] it's not like

[00:31:24] you're watching tons and tons of that

[00:31:26] no that is one of the art forms

[00:31:28] I have yet to get into

[00:31:30] and I've tried like people have told me like oh start

[00:31:32] with Death Note or Attack on Titan

[00:31:34] and it's just not, it just has not

[00:31:36] it's very daunting to me too

[00:31:38] once you get past like episode 580

[00:31:40] and I'm like I can't do that

[00:31:42] One Piece is like the longest running show

[00:31:44] in history

[00:31:46] One Piece seems pretty fun for you though

[00:31:48] I agree but then I'm like where do I start

[00:31:50] and they're like look you're gonna have to like work your way

[00:31:52] through the first 8 seasons

[00:31:54] and then like 9 to 27 are incredible

[00:31:56] yeah which is why

[00:31:58] it's been tough for me to find my in

[00:32:00] I still haven't finished this fucking Simpsons

[00:32:02] Griffin you don't need to finish the Simpsons

[00:32:04] I have to do it

[00:32:06] how much do you have left?

[00:32:08] like 9 years

[00:32:10] I cannot wait to watch the Simpsons

[00:32:12] with my kid that's something I'm really thinking about

[00:32:14] now it's still a few years off

[00:32:16] and just wait until you get to season 34

[00:32:18] it's the funniest it's ever been

[00:32:22] okay Griffin shut up for a second because I need to tell you

[00:32:24] about a special thing that only

[00:32:26] I know about

[00:32:28] now you know this, this episode is brought to you by Mubi

[00:32:30] a curated streaming service

[00:32:32] dedicated to elevating great cinema

[00:32:34] from around the globe

[00:32:36] from iconic directors to emerging auteurs

[00:32:38] there's something new to discover on Mubi

[00:32:40] we don't get hand selected

[00:32:42] streaming choices on Mubi

[00:32:44] all the time we talk about it all the time

[00:32:46] we love the good folks at Mubi

[00:32:48] but this month on Mubi

[00:32:50] US you can catch

[00:32:52] Gasoline Rainbow which is the new

[00:32:54] film from the Ross brothers

[00:32:56] Bill Ross IV and Turner Ross

[00:32:58] which is in US theaters from May 10th

[00:33:00] and it's streaming on Mubi from May 31st

[00:33:02] so these guys are the directors of

[00:33:04] Bloody Nose Empty Pockets was their last movie

[00:33:06] and they mostly work

[00:33:08] in documentary this is their first fiction film

[00:33:10] but it's got kind of a hybrid

[00:33:12] realism

[00:33:14] to it it's about this group

[00:33:16] of teenagers five kids

[00:33:18] in inland Oregon who are trying

[00:33:20] to drive in a van across

[00:33:22] the state to the coast

[00:33:24] you know in this kind of ramshackle

[00:33:26] situation they're just having fun

[00:33:28] and it is a very sort of experiential

[00:33:30] cool vibey

[00:33:32] movie about teens

[00:33:34] you know partying and having one last

[00:33:36] rahts very chill it's very fun

[00:33:38] it's very

[00:33:40] sort of atmospheric

[00:33:42] it was at South by Southwest it was at Venice

[00:33:44] it's an expansive portrait of this new

[00:33:46] generation told in their own words

[00:33:48] New York Magazine loved it IndieWire

[00:33:50] loved it it opens in US

[00:33:52] theaters on May 10th streaming on Mubi

[00:33:54] from May 31st you've also got

[00:33:56] Do Not Expect Too Much From The End Of The World

[00:33:58] the Radojud movie Romanian

[00:34:00] great very cool Romanian filmmaker

[00:34:02] that's streaming on Mubi US from May

[00:34:04] 3rd very wild and provocative

[00:34:06] and interesting dark comic

[00:34:08] vulgar film won the special

[00:34:10] jury award at Locarno last year

[00:34:12] it's got Nina Haas it's got Uwe

[00:34:14] Ball it's got all kinds of stuff

[00:34:16] anyway check all that out because for

[00:34:18] a limited time you can try Mubi free for 30

[00:34:20] days at Mubi.com slash blank check

[00:34:22] that's M-U-B-I.com slash blank

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[00:34:26] bye bye

[00:34:30] how'd you get into movies? You just always

[00:34:32] like movies. Yeah it's not

[00:34:34] it's not a very exciting yeah I always liked movies

[00:34:36] that was I feel like for so

[00:34:38] many it was just always my thing and

[00:34:40] then I just knew I wanted to work in it

[00:34:42] to some capacity and I

[00:34:44] didn't realize until I was like

[00:34:46] in high school that I did not just have

[00:34:48] to be a director or an actor

[00:34:50] sure there are many jobs

[00:34:52] and yeah so that

[00:34:54] was that was pretty much it

[00:34:56] do you remember when you saw Tokyo Godfathers

[00:34:58] for the first time? What's your cone story?

[00:35:00] Fairly recently. Okay

[00:35:02] it was I think it was around like a

[00:35:04] couple years ago when people started making

[00:35:06] like the comparisons between

[00:35:08] Paprika and Inception

[00:35:10] and they're always doing that

[00:35:12] people be doing that people

[00:35:14] yeah and the same thing with like Black Swan

[00:35:16] mm-hmm where I was like that one's a little more fair

[00:35:18] yeah where I was like

[00:35:20] regardless of my thoughts and I was just

[00:35:22] like this is interesting

[00:35:24] right just for the sake of like wanting to

[00:35:26] like wanting to watch and then two years

[00:35:28] ago it was Christmas time and I wanted

[00:35:30] to watch some non Christmas

[00:35:32] Christmas movies okay like Christmas adjacent

[00:35:34] just sorry had you did you watch

[00:35:36] those two movies in response or did it just

[00:35:38] put them on your radar? Put them on my radar

[00:35:40] and then I was like okay it's in my

[00:35:42] in my head and then finally I was like

[00:35:44] okay I'm gonna get through some like adjacent

[00:35:46] Christmas movies like Black Christmas do all those

[00:35:48] off the beaten path yes and then

[00:35:50] Tokyo Godfathers came up and I was like

[00:35:52] oh oh it's the same guy that did this

[00:35:54] watched it. So this was the first one of his you saw? Yes

[00:35:56] interesting yeah I loved it

[00:35:58] that's why you fell in love with this one in particular

[00:36:00] as well it was your way in

[00:36:02] yeah but even watching the

[00:36:04] like Paprika Perfect Blue

[00:36:06] and then watching this again I still

[00:36:08] it's the one for me that I just

[00:36:10] I just cling to. I think that's

[00:36:12] that's good

[00:36:14] I think it's good and smart. I embarrassingly

[00:36:16] had not seen this this was my blind spot

[00:36:18] in his filmography. My blind spot too yeah. Despite being

[00:36:20] a dumb animation nerd

[00:36:22] as David has so kindly put it in the path

[00:36:24] you are less of a you know Japanese animation

[00:36:26] I was but you talking about

[00:36:28] describing it to your girlfriend and having her be

[00:36:30] like wait it's animated? I thought you were saying

[00:36:32] this is animated. I remember reading

[00:36:34] the New York Times review of this movie when it came out

[00:36:36] like a pretentious little film dork

[00:36:38] and going like wait did I misread this?

[00:36:40] This is a cartoon? Right

[00:36:42] nothing else they're saying sounds like it's

[00:36:44] describing a cartoon. It kind of interested

[00:36:46] me I remember playing it at the Sunshine I meant to go see

[00:36:48] it I never did and then

[00:36:50] just hung out there for a while. I get into Satoshi Kon

[00:36:52] later I love his movies

[00:36:54] and I just never had gotten around

[00:36:56] to this one but this does feel

[00:36:58] like I have seen few animated

[00:37:00] movies ever like this

[00:37:02] Okay I agree

[00:37:04] in terms of just being such a sort of

[00:37:06] like small focused human

[00:37:08] story and I think there

[00:37:10] are things even like only yesterday you

[00:37:12] know or like right like

[00:37:14] You've seen Only Yesterday?

[00:37:16] Which one? The Grave of the Fireflies my friend. I'm sorry

[00:37:18] Have you seen Only Yesterday? No

[00:37:20] Check it out my friend

[00:37:22] It's the best

[00:37:24] animated movie. Takahata film

[00:37:26] But even those films that are more

[00:37:28] grounded and emotionally

[00:37:30] mature you're like their stories with

[00:37:32] children they're sort of like memory

[00:37:34] plays in a certain way

[00:37:36] they're using animation to evoke a sort of

[00:37:38] like wistful sadness you know

[00:37:40] for this to be a movie that's

[00:37:42] like largely about sad adults

[00:37:44] in tough circumstances

[00:37:46] In a city like in

[00:37:48] relatively mundane locations

[00:37:50] I mean obviously there's excitement

[00:37:52] in this movie but it's not

[00:37:54] a lot of browns and grays

[00:37:56] and it's yeah like you know

[00:37:58] wrinkly little faces

[00:38:00] There's a reason for this to be an animated movie

[00:38:02] I'm not saying like neither of us are saying

[00:38:04] that it's weird that it is one

[00:38:06] but you're right that usually

[00:38:08] you know someone would try to do something more

[00:38:10] fanciful if they're working in that medium

[00:38:12] It is such a good animation

[00:38:14] as a medium argument movie where it's

[00:38:16] like why is this movie animated because

[00:38:18] Satoshi Kon had a sense of how he wanted to animate it

[00:38:20] He was not doing the math of this is

[00:38:22] the kind of story you could only tell in animation

[00:38:24] which is the kind of trap

[00:38:26] of how many people get

[00:38:28] caught thinking about animation

[00:38:30] I'm opening the dossier Do it

[00:38:32] You like that? Yeah blow the dust off

[00:38:34] Tokyo Godfathers

[00:38:36] Listen Satoshi Kon

[00:38:38] made Perfect Blue. He made Millennium

[00:38:40] Actress. Perfect Blue more like Perfect Movie

[00:38:42] Millennium Actress more like Millennium

[00:38:44] Masterpiece. What are you gonna do

[00:38:46] now? Huh? You big jerk

[00:38:48] That's what his producer said to him. He yelled at him

[00:38:50] What's the matter with you?

[00:38:52] What are you gonna do make another movie? You fucking idiot

[00:38:54] Satoshi Kon says

[00:38:56] These are two movies. Perfect Blue and Millennium Actress

[00:38:58] Dreams and reality are being

[00:39:00] blended and if you

[00:39:02] make things the same way you always had

[00:39:04] things can get redundant so I decided

[00:39:06] to make a different kind of story

[00:39:08] He wanted to make something simpler

[00:39:10] He wanted to say make something

[00:39:12] that's more character focused

[00:39:14] more about digging into characters

[00:39:16] He wanted to make Paprika earlier. It makes sense for him

[00:39:18] not to choose to go straight into Paprika

[00:39:20] now when as you

[00:39:22] just put it if he made that it's like oh we get who

[00:39:24] this guy is. Yeah it's the fantasy reality guy

[00:39:26] Right exactly so

[00:39:28] Millennium Actress obviously that's inspired by

[00:39:30] like Japanese cinema and

[00:39:32] the history of Japan

[00:39:34] and things like that. This film

[00:39:36] is inspired by Satoshi Kon

[00:39:38] walking around

[00:39:40] He walks down he says when I walk

[00:39:42] down the street I see homeless people

[00:39:44] and I start to wonder why they don't show up in movies

[00:39:46] It seemed like an obvious topic

[00:39:48] I think I don't know much

[00:39:50] about like Japanese

[00:39:52] socioeconomics. I'm gonna

[00:39:54] reveal myself as not a huge expert

[00:39:56] This is you speaking personally David Simms

[00:39:58] Obviously I know Japan was Japan is in the middle

[00:40:00] of like a famous recession

[00:40:02] at this you know sort of late 90s early

[00:40:04] 2000s but like I think homelessness was becoming

[00:40:06] more prevalent at the time

[00:40:08] after maybe like

[00:40:10] that not being a huge societal issue

[00:40:12] for a while like I think maybe

[00:40:14] there was a film he wanted to

[00:40:16] his initial idea for a movie was called

[00:40:18] Tokyo Ghost and it was

[00:40:20] gonna be about interactions between a homeless person

[00:40:22] and a spirit but then

[00:40:24] he decides to instead

[00:40:26] be inspired by

[00:40:28] The John Ford film from 1948

[00:40:30] where

[00:40:32] three distinct homeless characters stumble

[00:40:34] upon an abandoned

[00:40:36] child

[00:40:38] That movie I believe was also a remake

[00:40:40] The Ford one is the second version

[00:40:42] of that story. Actually?

[00:40:44] I believe so. I know it's based on a

[00:40:46] book. Yes. Yeah

[00:40:48] Warner Archive just announced that they're finally putting

[00:40:50] the Ford movie out on Blu-ray and I believe

[00:40:52] it's like a double feature disc with another version

[00:40:54] of the same. It had been adapted

[00:40:56] Okay. In 1919

[00:40:58] Who? Early

[00:41:00] As a silent film. Yeah. By this

[00:41:02] hack shithead director

[00:41:04] called John Ford. He'd already

[00:41:06] done it once. Wow. Back

[00:41:08] then, you know, guys like that would be like

[00:41:10] yeah I did it as a silent picture. Now I do it as

[00:41:12] a talkie picture. Yeah. And imagine

[00:41:14] someone had said to John Ford one day

[00:41:16] a Japanese animator will

[00:41:18] make a film inspired by this. This is what I'm saying. It was already

[00:41:20] a story that had been like told

[00:41:22] a couple times. Right. Yes

[00:41:24] Now Gunn says like obviously

[00:41:26] I am inspired by that movie. I took the title

[00:41:28] from that film but it's pretty loose

[00:41:30] obviously and

[00:41:32] I was you know much more

[00:41:34] moved by the increase in like

[00:41:36] unhoused people in Tokyo and I want to

[00:41:38] focus on them as the main character. Like that's

[00:41:40] in Three Godfathers they're just like cowboys

[00:41:42] breathing through town. Right. Breezing

[00:41:44] right? He's sort of riffing on like

[00:41:46] the three great dramatic archetypes

[00:41:48] in this movie. The Gutenberg, the Danson

[00:41:50] Go on

[00:41:52] and the Selick. There you go

[00:41:54] Took me a second. Is Selick kind of

[00:41:56] the alpha in Three Men and a Baby? Yeah

[00:41:58] I have seen those movies. Are you a Three Men and a Baby

[00:42:00] guy? Am I?

[00:42:02] No. I mean I've seen it

[00:42:04] I've seen it. I don't know if you like comedies from the 80's

[00:42:06] No it's an interesting question. It is an interesting

[00:42:08] question. You're not a gootster really

[00:42:10] Gutenberg's never been

[00:42:12] for you? You don't really go for the good roll

[00:42:14] No I guess not

[00:42:16] Cause you're not even a Police Academy guy

[00:42:18] Yeah. Are you not? I like the guy

[00:42:20] who makes the sound effects. We all

[00:42:22] like him

[00:42:24] He's... They call him

[00:42:26] the king of sound effects

[00:42:28] We like his solo work

[00:42:30] I watch the Police Academy

[00:42:32] movies. I go what's this other nonsense going

[00:42:34] on around him? Put this guy up on stage

[00:42:36] What's The Simpsons like? Why do you think

[00:42:38] I took you to all those Police Academy movies?

[00:42:40] I didn't see anybody laughing

[00:42:44] It was yelling apart

[00:42:46] But yeah that movie

[00:42:48] is not like one that looms large

[00:42:50] for me. I just

[00:42:52] David, you were already mentioning

[00:42:54] how you can't wait until your daughter is old enough

[00:42:56] to watch The Simpsons. I'm just imagining

[00:42:58] a couple years you getting to like season

[00:43:00] 5 and her going what does that mean? You're going

[00:43:02] 40 years ago

[00:43:04] Police Academy. There were 9 movies

[00:43:06] It's true

[00:43:08] But I feel like shows have been going on for so long

[00:43:10] I watch The Simpsons

[00:43:12] The reference tweets are nonsense now

[00:43:14] I watched The Simpsons

[00:43:16] at these same episodes

[00:43:18] and I probably didn't understand half the references

[00:43:20] Sure. Right? Like I would

[00:43:22] just... It was that thing when you were a kid where you were like well

[00:43:24] I'll just let that one sail by. Whatever that joke

[00:43:26] was. Right? Yeah but that's also when I watch I Love Lucy

[00:43:28] I felt that way and I was like well this was made

[00:43:30] in the times of black and white. I understand

[00:43:32] I won't understand all these things they're talking

[00:43:34] about. It's weird to consider your daughter

[00:43:36] will watch it and it will still be a present

[00:43:38] currently running show

[00:43:40] making topical references

[00:43:42] to things like that. They have to wrap it up soon don't they?

[00:43:44] I mean... Isn't like Harry

[00:43:46] Sherer being operated like you know like

[00:43:48] a bellows at this point

[00:43:50] Yeah Mary

[00:43:52] They're just kind of getting like

[00:43:54] squeezing his chest and he's like

[00:43:56] Mr. Burns like you know like

[00:43:58] Susan A

[00:44:00] I like this quote from Stojanko

[00:44:02] The important thing wasn't just to present the homeless problem

[00:44:04] in the script but to focus on the mindset

[00:44:06] surrounding things we discard

[00:44:08] These are people who have been discarded

[00:44:10] from society

[00:44:12] and I wanted to examine how someone separated

[00:44:14] from mainstream society could once again

[00:44:16] rejuvenate society

[00:44:18] and obviously one of these

[00:44:20] three characters is kind of your

[00:44:22] classic bum. Jin is

[00:44:24] you know... A drunk. He's a drunk! He's an older

[00:44:26] guy. He's clearly

[00:44:28] Retractable, unshaven, grouchy, wrinkly

[00:44:30] Yeah

[00:44:32] And then you have the runaway

[00:44:34] girl and then you have

[00:44:36] Miyuki, a trans woman

[00:44:38] Yeah, like Miyuki's the runaway girl

[00:44:40] Hana is the

[00:44:42] is the drag

[00:44:44] performer essentially. But you have

[00:44:46] this interesting little trifecta

[00:44:48] of a man who

[00:44:50] abandoned his wife and daughter out of shame

[00:44:52] Yes. You have

[00:44:54] a trans woman who is

[00:44:56] very much burdened

[00:44:58] with the feeling of not being seen

[00:45:00] by society the way that she

[00:45:02] sees herself. Yeah, wants to be a mother. Her own identity

[00:45:04] and wants to be a mother, the thing she knows biologically

[00:45:06] she cannot have. And then

[00:45:08] a young girl who ran away from

[00:45:10] home because of a feeling of betrayal from

[00:45:12] her father. So you have these three people who all

[00:45:14] have complicated relationships with the idea

[00:45:16] of parenting and

[00:45:18] childhood. Satoshi Kon apparently came

[00:45:20] to New York City and was

[00:45:22] also like, there's a lot of homeless

[00:45:24] people here too. He's just, for whatever reason, this

[00:45:26] is really on his mind

[00:45:28] Now the Christmas thing

[00:45:30] right? In Japan

[00:45:32] Kon says like the last week of December, the beginning

[00:45:34] of January, it's a cross-culture of religions

[00:45:36] We've got Christmas. On December

[00:45:38] 31st, Japanese people will listen to

[00:45:40] end of the year gongs, that's sort of Buddhism

[00:45:42] January 1st is a Shinto holiday

[00:45:44] I wanted to express the cross

[00:45:46] religious culture in my movie and

[00:45:48] how Japanese people look at this

[00:45:50] This is a Christmas movie. It's a very

[00:45:52] good Christmas movie. It's got all the themes of

[00:45:54] a great Christmas movie, which is like

[00:45:56] people hanging on and like

[00:45:58] being thrown together and makeshift

[00:46:00] family and like stuff like that that I love in

[00:46:02] Christmas movies. Yes. I mean

[00:46:04] my favorite kind of Christmas movie. Now I'll save it for the

[00:46:06] Patreon. It's an action film

[00:46:08] starring Bruce Willis. Like I don't want

[00:46:10] to reveal anything more

[00:46:12] That's the kind of stuff you gotta pay for. You wanna hear some

[00:46:14] hard truths, Ponio $5 a month

[00:46:16] Logan's a western

[00:46:18] That's a little, that's just a very

[00:46:20] quick free sample of the kind of shit

[00:46:22] Logan's a western

[00:46:24] Okay so he co-wrote this screenplay with a new

[00:46:26] collaborator, Keiko Nobumoto

[00:46:28] a drinking friend he said, had worked

[00:46:30] on Cowboy Bebop, which is

[00:46:32] obviously a beloved series

[00:46:34] and her character

[00:46:36] centric perspective would be integral

[00:46:38] to the thought for more character focused

[00:46:40] storytelling

[00:46:42] then he basically was like

[00:46:44] we're gonna design these characters

[00:46:46] first with a shape

[00:46:48] so Jin, the

[00:46:50] classic bum, I keep calling him a classic

[00:46:52] bum. The drunkard. The drunkard

[00:46:54] An alcoholic man. Is a triangle. Yes

[00:46:56] Miyuki the little girl is a circle

[00:46:58] and Hana is a square

[00:47:00] like he was like I want three different

[00:47:02] face shapes. The classic like silhouette

[00:47:04] sort of

[00:47:06] philosophy in animation that you want

[00:47:08] characters who are so

[00:47:10] easily defined physically that they

[00:47:12] read in silhouette from any angle

[00:47:14] as indistinguishable from each other

[00:47:16] or distinguishable

[00:47:18] from each other. Apparently

[00:47:20] at the time of the film's release, Kohn is referring

[00:47:22] to Hana quote unquote as a drag queen

[00:47:24] not so much as a trans woman

[00:47:26] this is a 20 year old movie

[00:47:28] it seems

[00:47:30] like, it's interesting because

[00:47:32] he's obviously like I want to represent

[00:47:34] a community I don't understand very well

[00:47:36] right? Yes. But you know

[00:47:38] some of these like

[00:47:40] quotes are

[00:47:42] a little dated. Yeah but not in a bad

[00:47:44] way or anything just sort of like we don't talk about

[00:47:46] this in the same way anymore. GKids remastered

[00:47:48] this and did a new American dub of it

[00:47:50] with a trans actress. Yes. Oh really?

[00:47:52] It is Shikina Nafak

[00:47:54] so I was like flipping back and forth

[00:47:56] between the two when I was watching because

[00:47:58] for the Japanese dub you have a Japanese

[00:48:00] man voicing Hana

[00:48:02] in like a deep

[00:48:04] manly register.

[00:48:06] It feels like that was sort of the notion of

[00:48:08] the time. It definitely plays a lot differently

[00:48:10] when the role is being played by a trans woman.

[00:48:12] Yeah I listened to the dub for this

[00:48:14] exact reason. Yeah. This is a

[00:48:16] quote from Nafak, it was a fairy tale thing

[00:48:18] going from nothing to landing this role

[00:48:20] freedom comes from living up in the largest

[00:48:22] of this animated characters, got so much heart and charisma

[00:48:24] I really got to explode behind the microphone in a way

[00:48:26] you don't get to do on camera

[00:48:28] Miyuki the little girl she's

[00:48:30] 16 year old or whatever right like the

[00:48:32] runaway girl he's

[00:48:34] saying like you know she's

[00:48:36] this kind of like idolized character to him

[00:48:38] like this fantasy of running away from home

[00:48:40] how it would go wrong

[00:48:42] well you have these three people who represent these

[00:48:44] kind of archetypes of the type

[00:48:46] of people and these circumstances that

[00:48:48] lead to people ending up in the margins

[00:48:50] of society right the people

[00:48:52] I mean this feels like the whole movie stems out of

[00:48:54] like these people we walk past

[00:48:56] and do not really consider

[00:48:58] what their lives are how they got

[00:49:00] here who they are just their

[00:49:02] problems to it. Yeah no and I really like

[00:49:04] how the movie does a very good job of like

[00:49:06] even the not even like characters

[00:49:08] but the tiny I guess looks

[00:49:10] they get or when they're in the uh like the

[00:49:12] the convenience store and the guy is just kind

[00:49:14] of covering his nose

[00:49:16] kind of like shuffling away where it's just

[00:49:18] I've seen the convenience store where like the dead

[00:49:20] drunk guy is like embarrassing

[00:49:22] himself in public he's

[00:49:24] like a mess and he's slurring

[00:49:26] his words and like tripping over himself

[00:49:28] to mock

[00:49:30] the three of them. Yeah right like even on the

[00:49:32] subway or metro wherever it is

[00:49:34] there. This guy's a drunk as well

[00:49:36] the difference is that he's wearing a suit

[00:49:38] and in theory he has a job and a home to go back to

[00:49:40] and he feels like that gives him the capital

[00:49:42] to be able to look down on them

[00:49:44] I mean this is my dumb Griffin metatextual

[00:49:46] take and it doesn't seem like there's anything in the

[00:49:48] dossier that supports this was

[00:49:50] a strategic thought on Satoshi Kohn's

[00:49:52] part but it does feel like

[00:49:54] this movie is him sort of trying to

[00:49:56] apply the same level of thinking to animation

[00:49:58] as an art form

[00:50:00] of like here's this thing that people kind

[00:50:02] of walk past and like

[00:50:04] file away in a very convenient place in their mind

[00:50:06] and in the same way this movie

[00:50:08] is like stopping and making you spend time

[00:50:10] with these characters and really invest in them

[00:50:12] as people, characters who usually

[00:50:14] are like just punchlines in other films

[00:50:16] he's like I'm gonna like hold

[00:50:18] you and make you think about different things

[00:50:20] that animation can do and not

[00:50:22] let you file this away into just a box

[00:50:24] for like kid stuff

[00:50:26] Tokyo Godfather is also produced by

[00:50:28] Madhouse much like the last two movies

[00:50:30] but here's the interesting quote from Madhouse

[00:50:32] president Masao Maruyama

[00:50:34] we're gonna let him

[00:50:36] keep doing what he wants and I think audiences

[00:50:38] will come to him

[00:50:40] now is he getting a blank

[00:50:42] check? No, he's getting a fairly

[00:50:44] small budget about three million dollars

[00:50:46] this time, a hundred million yen

[00:50:48] but it's about double the budget

[00:50:50] he got for the last movie

[00:50:52] I'm sorry, Miley Manxter cost less than a million

[00:50:54] yes, so it's definitely

[00:50:56] them being like we're gonna give you more room

[00:50:58] and yes maybe your movies are not

[00:51:00] blockbusters yet but we think

[00:51:02] safe bet, reliable bet, you got your thing

[00:51:04] we're thinking long term

[00:51:06] encouraging, so let's talk about Tokyo

[00:51:08] Godfathers

[00:51:10] they call them

[00:51:12] the Godfathers of Tokyo

[00:51:14] they're calling them Gokyo

[00:51:16] Todd Fathers

[00:51:18] we've already introduced our three

[00:51:20] characters and we

[00:51:22] meet them

[00:51:24] it drops you right into it, they're rummaging

[00:51:26] through the food line

[00:51:28] yes

[00:51:30] they're looking for presents basically

[00:51:32] they're rummaging through the garbage when they find the baby

[00:51:34] yeah, I just love this movie doesn't

[00:51:36] really give you traditional

[00:51:38] character set ups, you kind of just start

[00:51:40] mid-action and you know exactly

[00:51:42] who everyone is just from the first

[00:51:44] few lines they all have

[00:51:46] you're just like, you get what the types are

[00:51:48] the movie of course is gonna like

[00:51:50] hold you to it and force you

[00:51:52] to dig deeper into who they are but you get

[00:51:54] the easy kind of handles on all three of them

[00:51:56] they find the baby within like three minutes

[00:51:58] right?

[00:52:00] I don't read this film as presenting it as

[00:52:02] well these three are a trio who do everything

[00:52:04] together all the time

[00:52:06] it's this sort of notion of like

[00:52:08] well like at

[00:52:10] homeless centers or soup kitchens or whatever

[00:52:12] people like run into each other and they split up

[00:52:14] and they find each other again you cross paths

[00:52:16] with certain people over and over again

[00:52:18] yeah and like they have like associations with each other

[00:52:20] like my movie runs into other people

[00:52:22] who are like oh you're Jin's girl like we can't mess

[00:52:24] with you. We're not watching

[00:52:26] them meet for the first time but I also don't

[00:52:28] think they are functioning

[00:52:30] as like an

[00:52:32] unconventional family unit at this point

[00:52:34] I think this discovery brings them all together

[00:52:36] that was the almost

[00:52:38] thing I almost did for the opening

[00:52:40] instead because we talked about

[00:52:42] how um

[00:52:44] I thought you were going to do one of the haikus

[00:52:46] which one do you have one in mind?

[00:52:48] the snow falling one

[00:52:50] that was the most beautiful thing and you having to stick

[00:52:52] podcasts in there would be really fun

[00:52:54] like the most beautiful eloquent delivery

[00:52:56] disrupting

[00:52:58] the best thing and make it as bad as possible

[00:53:00] he was critical of the millennium actress

[00:53:02] poster where he felt like

[00:53:04] it misrepresented the movie

[00:53:06] the Tokyo Codfather's poster like very straightforward

[00:53:08] it's the three of them

[00:53:10] beautiful character designs

[00:53:12] but the tagline on it is

[00:53:14] meet the ultimate dysfunctional

[00:53:16] family

[00:53:18] they call them the ultimate dysfunctional

[00:53:20] family and I'm like

[00:53:22] the font on the tagline is so small

[00:53:24] that otherwise the poster just looks classy

[00:53:26] but it's like that's

[00:53:28] but the Japanese poster

[00:53:30] is very cool

[00:53:32] where the skyscrapers are all

[00:53:34] askew and they're like atop them

[00:53:36] it's very interesting

[00:53:38] yeah like sort of the end credits

[00:53:40] yeah the other one the American one looks like a DVD

[00:53:42] cover not so much a poster

[00:53:44] right

[00:53:46] they're rummaging through the trash

[00:53:48] they find this baby

[00:53:50] with a note and a key

[00:53:52] and then you go to open credits

[00:53:54] that's the cold open of the movie

[00:53:56] what are they going to do with this baby

[00:53:58] they now

[00:54:00] are ostensibly responsible

[00:54:02] I mean

[00:54:04] they could I suppose just like

[00:54:06] take the baby off but

[00:54:08] they want to go find the parents

[00:54:10] and all three of them want to

[00:54:12] make sure this baby is taken care of

[00:54:14] in the meantime

[00:54:16] I love Hana and how she's

[00:54:18] concerned of this child's

[00:54:20] experience of Christmas

[00:54:22] yeah that's such a nice

[00:54:24] whimsical way

[00:54:26] of justifying it

[00:54:28] and also yeah like Mayuki and Jin

[00:54:30] don't want like they want to return

[00:54:32] the baby immediately and kind of like

[00:54:34] step back when she's like they're going to ruin

[00:54:36] like this will ruin Christmas for this child forever

[00:54:38] and they're like ah fuck she's like

[00:54:40] she kind of has a point

[00:54:42] she feels this almost cosmic thing of like Christmas is important

[00:54:44] and if you have

[00:54:46] your first bad Christmas

[00:54:48] you never recover from that even if you're too young

[00:54:50] to remember it

[00:54:52] and the movie starts with like Christmas caroling

[00:54:54] right like the movie starts with Silent Night

[00:54:56] being sung and three of them yeah

[00:54:58] watching in the park

[00:55:00] right the name is obviously right yeah I mean

[00:55:02] it does seem a little different Hana's like holding

[00:55:04] like her hand like she's like wrapped with attention

[00:55:06] this means a lot to her at the same time that Jin's

[00:55:08] nodding off

[00:55:10] look this movie is brilliant yeah it rules

[00:55:12] the whole thing is you don't need

[00:55:14] to know why they all

[00:55:16] separately kind of have the emotion

[00:55:18] of like no we have to

[00:55:20] do right by this baby

[00:55:22] you're going to learn

[00:55:24] the three sort of different reasons

[00:55:26] and their back stories

[00:55:28] you're going to learn more about them

[00:55:30] and they're just motivated

[00:55:32] to sort of do something right

[00:55:34] and like to you know sort of

[00:55:36] fix mistakes they felt like they've made

[00:55:38] and all that it's a perfect setup because you're like

[00:55:40] what a funny trio to be taking

[00:55:42] care of this baby right what an odd combination

[00:55:44] but immediately the fact that all three of them

[00:55:46] step up and are like we got to get this done makes

[00:55:48] you like them obviously an odder

[00:55:50] combination would be like three men

[00:55:52] yes and

[00:55:54] a baby I mean what you're describing right now sounds

[00:55:56] like the ultimate dysfunctional family

[00:55:58] and then of course

[00:56:00] one day there might be a little lady on their hand

[00:56:02] sure or even just a ghost

[00:56:04] hanging out behind the

[00:56:06] window yeah curtains wherever it is

[00:56:08] you know how proven a baby is when watching it

[00:56:10] that was the thing that surprised me most was that

[00:56:12] there hasn't been a really

[00:56:14] shitty live action American remake

[00:56:16] of Joker Godfather yes

[00:56:18] I said the same thing about Millennium Actress

[00:56:20] it's yeah paprika

[00:56:22] and perfect blue you understand why

[00:56:24] perhaps filmmakers took elements

[00:56:26] from them rather than remaking them

[00:56:28] these two feel like ready made

[00:56:30] yeah for sure like

[00:56:32] honestly if someone

[00:56:34] tomorrow announced that I would kind of be like

[00:56:36] great idea bro like if a good

[00:56:38] filmmaker tomorrow was like I'm going to do like

[00:56:40] kind of a Tokyo Godfather's thing

[00:56:42] Chicago Godfathers

[00:56:44] right yeah and you were like

[00:56:46] Nick Nolte Laverne Cox and Jenna Ortega

[00:56:48] are set fuck wait a

[00:56:50] second oh

[00:56:52] shit yeah

[00:56:54] that sounds good ding ding ding three cherries

[00:56:56] in a row

[00:56:58] Nolte is gin that would be great

[00:57:00] I'm a Tokyo

[00:57:02] Godfather I play the horses

[00:57:04] I got a baby

[00:57:06] dammit

[00:57:08] is he being crushed by a car

[00:57:10] oh there is someone crushed by a car

[00:57:12] I rescued a Yakuza boss

[00:57:14] from a American car

[00:57:16] yeah but that he has to go on a bicycle

[00:57:18] at some point in the film

[00:57:20] I'm on a bicycle built for two but I'm only

[00:57:22] one Nick Nolte

[00:57:24] right now riding a bicycle

[00:57:26] might be the premise of a movie

[00:57:28] enough for you know that's all I need

[00:57:30] if they could get Nick Nolte to ride a bicycle it would be more

[00:57:32] impressive as a special effect than like Kermit

[00:57:34] riding a bicycle

[00:57:36] how do they get him to stay upright

[00:57:38] what do you have planned

[00:57:40] for the summer and Sony's like

[00:57:42] you know Nick Nolte I'm like sure

[00:57:44] yeah well he's

[00:57:46] going to ride a bicycle I'm like I don't

[00:57:48] even say anything else I don't even know how to know

[00:57:50] I got little streamers coming

[00:57:52] under the handles listen to my

[00:57:54] little bicycle bell it's fixed

[00:57:56] wheel

[00:57:58] gear fuck

[00:58:00] I keep the training wheels on because I don't want to topple

[00:58:02] over you know how when you have

[00:58:04] training wheels you're not really

[00:58:06] you just kind of doot doot

[00:58:08] like leaning left and right yeah Ben does

[00:58:10] look at me I got a little red wagon

[00:58:12] a radio flyer

[00:58:14] I put all my stuffed animals on it

[00:58:16] this is my pitch Nick Nolte plays a little

[00:58:18] kid

[00:58:20] but like from like Victorian times

[00:58:22] or he's like a little cap with

[00:58:24] a spinner on it

[00:58:26] here's my pitch Sony

[00:58:28] hear me out

[00:58:30] listen up Sony Nick Nolte is

[00:58:32] little lord Fauntleroy

[00:58:34] it's too long since we've had

[00:58:36] little lord Fauntleroy up on the big

[00:58:38] screen it is too long someone hand

[00:58:40] me a lolly

[00:58:42] I want to skip down the street

[00:58:44] with my little ringlets is little lord

[00:58:46] Fauntleroy the greatest character

[00:58:48] ever created yeah

[00:58:50] are we rooting for him I know

[00:58:52] that he became yeah

[00:58:54] like people refer to like a

[00:58:56] spoiled kid

[00:58:58] but like when you watch little lord Fauntleroy

[00:59:00] are you on his side this is why he's a

[00:59:02] journalist

[00:59:09] asking the hard

[00:59:11] question Ben is pointing at David so

[00:59:13] intense he was Ben was like looking at me

[00:59:15] like he was about to say like

[00:59:17] and that yeah and then he did

[00:59:19] they call him

[00:59:21] lord Fauntleroy

[00:59:23] fiddle lord Launtler right I

[00:59:25] think we love to hate him I think

[00:59:27] that was the audience's relationship I think

[00:59:29] a little lord Fauntleroy was the wolf

[00:59:31] of Wall Street of his time

[00:59:33] he like looks at the cameras like

[00:59:35] was any of this legal fucking

[00:59:37] imagine what fucking

[00:59:40] Adam McKay could do with a little

[00:59:42] Jesus Christ

[00:59:44] honestly

[00:59:46] was I supposed to take one lolly

[00:59:48] sure but I didn't stop there

[00:59:50] David

[00:59:55] yes ants

[00:59:57] aunts

[00:59:59] aunts

[01:00:01] I hate getting cornered by him

[01:00:03] we all do I knew that was going to be a

[01:00:05] relatable conversation starter

[01:00:07] why aren't you getting married what's

[01:00:09] going on with that promotion why haven't you

[01:00:11] moved out of mom and dad's basement Griffin

[01:00:13] oh those were directed at me

[01:00:15] now I feel attacked

[01:00:17] get out of the basement Griffin

[01:00:19] I

[01:00:21] listen she just judges

[01:00:23] judges you're getting together with

[01:00:25] your family you might have to be in

[01:00:27] a barrage for these kinds of questions but

[01:00:29] in there and grin and bear it don't want

[01:00:31] you feeling that way when you talk to your doctor

[01:00:33] about like a weird rash

[01:00:35] or that you eat pizza

[01:00:37] when too many times a week or something else

[01:00:39] unfortunately we have read for

[01:00:41] filth by this head copy right now

[01:00:43] unfortunately the twist to this riddle

[01:00:45] is that the doctor is my aunt

[01:00:47] oh no but other people

[01:00:49] might have another I can't treat this patient

[01:00:51] he's my nephew yeah

[01:00:53] enter ZocDoc the place where you can find and

[01:00:55] book doctors who make you feel comfortable and actually

[01:00:57] listen to you that's what I'm talking

[01:00:59] about tens of thousands of doctors all with verified

[01:01:01] patient reviews so you can make sure the vibes

[01:01:03] are vibing before you ever meet

[01:01:05] IRL people they think

[01:01:07] well what are the valuable attributes

[01:01:09] in a doctor sure big brain

[01:01:11] steady hand

[01:01:13] sharp eye

[01:01:15] sure quietly

[01:01:17] I have an eagle hand of a

[01:01:19] hawk it's about the ear

[01:01:21] yeah yeah absolutely

[01:01:23] the ear and the heart the doctor who can listen

[01:01:25] and understand yeah look

[01:01:27] the whole thing with ZocDoc yeah

[01:01:29] well there's lots of good things with ZocDoc many good things

[01:01:31] you know it helps you see if a doctor has

[01:01:33] insurance it helps you book appointments

[01:01:35] like often you can do like within

[01:01:37] like 24 or 48 hours yeah

[01:01:39] you could do a Nolte Murray you could do

[01:01:41] a second Nolte Murray but

[01:01:43] you really can also

[01:01:45] try to see if a doctor will make you feel comfortable

[01:01:47] or prioritize your health you can search by

[01:01:49] location you can search by

[01:01:51] availability you can search by insurance

[01:01:53] there's no compromises here because

[01:01:55] with ZocDoc you got more options

[01:01:57] than you know

[01:01:59] and they're not gonna judge you

[01:02:01] well maybe the pizza thing will come up

[01:02:03] but the basement living probably won't

[01:02:05] ZocDoc is a free app and website

[01:02:07] where you can search and compare highly rated

[01:02:09] in-network doctors near you and

[01:02:11] book appointments with them online

[01:02:13] but immediately you don't have to wait on hold

[01:02:15] with the receptionist and they've all got verified reviews

[01:02:17] from real actual patients

[01:02:19] thank god because you know

[01:02:21] the unfortunate thing is the receptionist

[01:02:23] my other aunt

[01:02:25] sheesh yeah when I go to

[01:02:27] doctor's office I get an earful

[01:02:29] are you calling from a basement

[01:02:31] ZocDoc okay

[01:02:33] yep I use this

[01:02:35] and you should too

[01:02:37] go to ZocDoc.com slash check

[01:02:39] download the ZocDoc app for free

[01:02:41] then find and book a top rated

[01:02:43] doctor today

[01:02:45] that's Z-O-C-D-O-C

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[01:02:53] or in the middle 48 hours

[01:02:55] in Old T. Murphy which I accidentally said is

[01:02:57] Old T. Murray twice

[01:03:00] Tokyo Gakuen so they find this kid

[01:03:02] very quickly we're into the right

[01:03:04] the Yakuza boss trapped under a car right

[01:03:06] the first thing they're dealing with right

[01:03:08] yeah the letter basically

[01:03:10] they have the name of the mother they have a photo

[01:03:12] of the couple oh and a club

[01:03:14] and the name of the club

[01:03:16] right then they run into

[01:03:18] the Yakuza boss who's trapped under a car

[01:03:20] very funny yes

[01:03:22] his daughter is getting married

[01:03:24] also named Kyoko

[01:03:26] yes that's right the names keep repeating

[01:03:28] in this it's sort of a

[01:03:30] kind of the godfather situation

[01:03:32] in that a mobster's

[01:03:34] daughter is getting married

[01:03:36] and you know supposedly

[01:03:38] you know

[01:03:40] I've heard of Tokyo Godfather but the godfather

[01:03:42] in Tokyo his daughter

[01:03:44] perchance is getting married to

[01:03:46] the son of the owner of

[01:03:48] the club the very club that's written on the note

[01:03:50] correct and the man or the owner

[01:03:52] knows money too yes exactly

[01:03:54] right and basically

[01:03:56] it's here that

[01:03:58] they find out that the

[01:04:00] baby's mother is a bar girl

[01:04:02] yes Sachiko

[01:04:04] and

[01:04:06] like that's the next clue and then

[01:04:08] a bunch of shit happens a guy shows

[01:04:10] sorry an assassin shows up

[01:04:12] a Spanish assassin shows up dressed as

[01:04:14] a waiter right and shoots

[01:04:16] at both the man under the

[01:04:18] car and the owner

[01:04:20] of the club yeah who does he kill

[01:04:22] he so he doesn't kill anyone

[01:04:24] the owner of the club jumps

[01:04:26] in front of the dad

[01:04:28] the mobster yeah the mobster takes the three

[01:04:30] bullets right yes but we find out

[01:04:32] throughout the movie like they just keep giving us

[01:04:34] updates that he's still alive that's another

[01:04:36] running theme of the movie is

[01:04:38] people assume the worst thing has happened

[01:04:40] and it's like oh no no no run away from the problem

[01:04:42] and only find out later if you had stayed

[01:04:44] you would see that yeah this was

[01:04:46] things resolve themselves right

[01:04:48] but there's a lot of people

[01:04:50] just running away from I mean even like

[01:04:52] jumping ahead but when you get to Hannah at the club

[01:04:54] and they're like oh it was fine we just

[01:04:56] paid the guy off right same way

[01:04:58] ran away her relationship

[01:05:00] she loses her partner

[01:05:02] she falls into homelessness

[01:05:04] and they're like why didn't you come here and tell us

[01:05:06] you had trouble she was like I assumed I was

[01:05:08] banned it was like self-inflicted like she

[01:05:10] was like I have a lot of people just casting

[01:05:12] themselves out same with the teenager right

[01:05:14] yes like it's a misunderstanding

[01:05:16] and she did stab her dad and Jin as well like he thinks

[01:05:18] he thinks he killed him any father

[01:05:20] should be prepared to be stabbed by

[01:05:22] his daughter a little bit it's a

[01:05:24] combination of pride and shame yes

[01:05:26] that I think speaks to like right yes

[01:05:28] very complicated social situation of how

[01:05:30] people end up in these positions

[01:05:32] right hit man

[01:05:34] tends to kill the Yakuza

[01:05:36] takes myuki hostage

[01:05:38] correct and the baby and the baby

[01:05:40] because Mikey has the baby

[01:05:42] and brings them home

[01:05:44] to a fairly chill situation

[01:05:46] yeah I would say it was really sweet

[01:05:48] yes to his

[01:05:50] wife who is breastfeeding two babies

[01:05:52] at the same time yes

[01:05:54] and Miyuki's

[01:05:56] response is like wow big boobs

[01:05:58] remember that they have

[01:06:00] they form this like interesting kind of

[01:06:02] nice emotional relationship even though they can't

[01:06:04] speak the same language they like they understand

[01:06:06] like English father yes

[01:06:08] they get and they're showing pictures of each other

[01:06:10] right he finally opens up

[01:06:12] it's really sweet it is but it's like

[01:06:14] it's it's a real showcase

[01:06:16] for like animation performance

[01:06:18] which is this is a movie that's very invested

[01:06:20] in like animation acting

[01:06:22] faces yeah and

[01:06:24] shogun was always working

[01:06:26] with a far more limited budget than a lot

[01:06:28] of his major contemporaries and it's really

[01:06:30] interesting to see because movies look

[01:06:32] beautiful but you see that

[01:06:34] money deployed very strategically

[01:06:36] where you will have like

[01:06:38] long panning shots over backgrounds where

[01:06:40] nothing is animated yeah where he's just

[01:06:42] really letting you take in the graphic

[01:06:44] of this was beautifully rendered

[01:06:46] but also I'm getting away with

[01:06:48] 10 seconds without animation I'm saving

[01:06:50] a little frame is like static

[01:06:52] everyone's moving in it but nothing else

[01:06:54] or like only one character is moving

[01:06:56] or only one part of a character is moving

[01:06:58] so that the moments you have where characters become

[01:07:00] incredibly animated are

[01:07:02] so effective but so often he's

[01:07:04] getting away with I shouldn't

[01:07:06] say getting away with but it's like

[01:07:08] very very expressive

[01:07:10] kind of key framing of as you said

[01:07:12] David like huge evocative

[01:07:14] expressions yeah he uses it

[01:07:16] so like the my favorite scene in the whole movie

[01:07:18] is when jinn fives finds the

[01:07:20] older man and brings him

[01:07:22] basically to die in peace and just like

[01:07:24] how subtly it's

[01:07:26] animated and just his eyes

[01:07:28] staying open and the fans

[01:07:30] starting to turn again because he's no longer dead

[01:07:32] for six seconds it's really

[01:07:34] yeah I think especially in

[01:07:36] 2D animation

[01:07:38] it is very hard to convey

[01:07:40] stillness without feeling

[01:07:42] like nothing is happening

[01:07:44] because painting right because then at that

[01:07:46] moment you're looking at just a static

[01:07:48] drawing the screen there is inherently

[01:07:50] no

[01:07:52] why am I forgetting the term but there's

[01:07:54] like this term in animation of basically

[01:07:56] if you want a character standing still

[01:07:58] you basically try to manually

[01:08:00] copy the same

[01:08:02] frame three times because

[01:08:04] whatever microscopic differences

[01:08:06] will exist and you tracing the same image

[01:08:08] give it the slightest bit of like it just gives it a

[01:08:10] little judder it gives it like a little

[01:08:12] pulse but but he can

[01:08:14] get away with like a character actually standing

[01:08:16] absolutely completely still

[01:08:18] and not making you worried like oh is my

[01:08:20] DVD skipping yes

[01:08:22] right is something freezing

[01:08:24] yeah for sure the stuff of the

[01:08:26] old man cracks me up

[01:08:28] it's it's a very interesting

[01:08:30] this movie has an interesting

[01:08:32] sense of humor because that's

[01:08:34] little gallows humor it's playful

[01:08:36] upsetting and he's like but it is upsetting

[01:08:38] it's an interesting balance

[01:08:40] I wanted to die in a huge

[01:08:42] house and drunk and he's like I've done half

[01:08:44] of those things and it's like oh geez

[01:08:46] that's really upsetting but then him just

[01:08:48] like dying with a

[01:08:50] smile on his face is like I can't

[01:08:52] help but be somewhat

[01:08:54] I don't know it makes me

[01:08:56] feel okay it has empathy for the

[01:08:58] has a lot of empathy and it's not all

[01:09:00] these jokes are not at

[01:09:02] the expense of the characters like I was really

[01:09:04] excited to see and it's like

[01:09:06] the same thing like you guys talked about on your

[01:09:08] big trouble little China episode that like there

[01:09:10] is some apprehension rewatching

[01:09:12] being like is this going to age terribly

[01:09:14] and like when with a character like Hannah

[01:09:16] the first time I watched it I was like oh

[01:09:18] shit like I'm not I do

[01:09:20] not want to see this person made fun of

[01:09:22] I mean basically the opening joke in the

[01:09:24] movie the first thing anyone says to

[01:09:26] her is like a joke about her

[01:09:28] genitals yeah right

[01:09:30] like it starts on this note not a way

[01:09:32] where you're like okay movie you're on probation

[01:09:34] but like Crocodile Dundee 2's territory

[01:09:36] it does not it feels like a character

[01:09:38] in the movie is saying something

[01:09:40] rather than the movie

[01:09:42] making a joke in the movie is pretty

[01:09:44] clear that she feels comfortable

[01:09:46] but that's the thing like in that moment

[01:09:48] defines it when her response is like

[01:09:50] I know who I am yeah and the characters are

[01:09:52] a little messed up like where Jin is like

[01:09:54] not in any way a perfect person

[01:09:56] and when he's making these jokes you could see

[01:09:58] when he feels bad and you could see the

[01:10:00] remorse as opposed to the movie making fun

[01:10:02] of it's a movie about characters

[01:10:04] that most films would ignore

[01:10:06] or put at the absolute margins

[01:10:08] and if they include them so

[01:10:10] often the tendency is either to set

[01:10:12] them up purely to be the butt of the joke

[01:10:14] right these are characters that can be

[01:10:16] comedic archetypes for easy

[01:10:18] punchlines for whoever the hero of the movie

[01:10:20] is right to like score shots

[01:10:22] off of or they become

[01:10:24] like too saintly especially

[01:10:26] in a Christmas movie where it's like the magical

[01:10:28] hobo with the kind

[01:10:30] smile and the infinite depth

[01:10:32] of humanity right and this movie is

[01:10:34] like doing both without

[01:10:36] ever letting them get to

[01:10:38] the side of extreme

[01:10:40] in either direction

[01:10:42] you know like it is it is building

[01:10:44] humor around them

[01:10:46] and uncomfortable humor at times but it's never

[01:10:48] making jokes at their expense and it's

[01:10:50] also really interrogating their humanity but it's

[01:10:52] also not sanctifying them

[01:10:54] they're flawed characters

[01:10:56] for sure like you said they're almost

[01:10:58] frustrating in that

[01:11:00] as you learn more about their lives you're

[01:11:02] like well

[01:11:04] this is fixable like why didn't you do this

[01:11:06] or that but it's sort of like go home

[01:11:08] right that's part of the point right

[01:11:10] it's a little often times

[01:11:12] which for me is like the emotional peak

[01:11:14] of the movie yeah right but like this

[01:11:16] is not people situations

[01:11:18] are not going to make total sense

[01:11:20] to you right and it's not just gonna be

[01:11:22] something of like oh yeah you know they ran out

[01:11:24] of money because they did this bad thing and

[01:11:26] that's why they ended up like

[01:11:28] this anyone who ends up in this

[01:11:30] type of situation it's an incredibly complicated

[01:11:32] series of events that leads them there and I

[01:11:34] remember as like a child growing up in New York

[01:11:36] City where you see unhoused people all the time

[01:11:38] being confused of like

[01:11:40] well why isn't there a family member who brings this person

[01:11:42] in and in all those cases there's

[01:11:44] like a complicated backstory where it's

[01:11:46] like well they lost their family or there was

[01:11:48] a fight or there was a fight that they

[01:11:50] perceived in their mind you know I mean

[01:11:52] all these things that so often

[01:11:54] you're like how could the chain of events get so

[01:11:56] bad that someone ends up in this situation

[01:11:58] it's a very complicated path

[01:12:00] which

[01:12:02] is good but like a

[01:12:04] well it's not good it's good that it happened

[01:12:06] to them and I'm happy for them no it's good

[01:12:08] let's clarify for the sake of the movie but that's

[01:12:10] why I'd be scared about

[01:12:12] a remake or a live action remake

[01:12:14] just because I feel like they would be

[01:12:16] the characters would be too

[01:12:18] angelic they would be too good

[01:12:20] and also I think they'd shy away from any of the

[01:12:22] things that push at the buttons

[01:12:24] a little much but Nick Nolte

[01:12:26] as Miyuki would be great yeah

[01:12:28] or is Jin or is all three or yeah

[01:12:30] oh Eddie Murphy style

[01:12:32] that could be fun

[01:12:34] and the baby

[01:12:36] I'm playing a trans woman

[01:12:38] Nick!

[01:12:40] you can't do that

[01:12:42] I'm a little baby

[01:12:44] bring me back to my mommy

[01:12:46] here's a key

[01:12:48] I think it's one mommy

[01:12:50] but it's the other

[01:12:52] I got Goku

[01:12:54] okay so

[01:12:56] we learn about Miyuki's situation

[01:12:58] as well right that she stabbed her father who is

[01:13:00] kind of a jerk

[01:13:02] a sort of controlling figure

[01:13:04] stole the cat or didn't

[01:13:06] the cat went missing and she thinks he got rid of it

[01:13:08] but she is

[01:13:10] wrong

[01:13:12] and she should be punished

[01:13:14] the cat feels like perhaps an extension

[01:13:16] of a dynamic

[01:13:18] exactly that's the exact same thing where you're like that's not the full

[01:13:20] story right and it's like it's fine it can be

[01:13:22] a million versions of whatever the full

[01:13:24] you just more understand like there's a

[01:13:26] busted dynamic here and it came to a head

[01:13:28] yeah right Hana was

[01:13:30] a performer at this club physically

[01:13:32] attacked an audience member

[01:13:34] who insulted her from the crowd

[01:13:36] as she should but then

[01:13:38] like was basically ran off

[01:13:40] in the shame of I'm never going to be allowed back

[01:13:42] in there

[01:13:44] charges are going to be pressed against me whatever

[01:13:46] and her partner who

[01:13:48] she lived with died

[01:13:50] that scene where she goes back to the club

[01:13:52] and says that he died and the bartender

[01:13:54] says like very quietly AIDS

[01:13:56] which is a thing you know

[01:13:58] you don't expect to see in animated films

[01:14:00] no that's true yeah and then she sort of

[01:14:02] just says like no he like slipped on a bar

[01:14:04] soap in a bathtub like with this note of

[01:14:06] like it's so

[01:14:08] ridiculous that it was something

[01:14:10] that meaningless

[01:14:12] and then there are like

[01:14:14] you know there are these weird interludes

[01:14:16] where suddenly it's like why is Jin taking

[01:14:18] care of this old man

[01:14:20] who's like on the street and you're like it doesn't matter

[01:14:22] like this is part of the story this kind of fairy

[01:14:24] tale of Tokyo story guys this was

[01:14:26] something I was actually curious because it's something

[01:14:28] and I'm going to break out the blank check

[01:14:30] knowledge but like when you talked about

[01:14:32] hotel Transylvania

[01:14:34] great yeah great I really

[01:14:36] love how you guys discuss

[01:14:38] that things are not happening

[01:14:40] by chance that like when

[01:14:42] the guy comes to the hotel

[01:14:44] it is because Dracula

[01:14:46] has set the town on fire right it is

[01:14:48] very causal so I was curious

[01:14:50] to know if you guys are okay

[01:14:52] with a lot of the

[01:14:54] the kind of happenings

[01:14:56] that you know like it's totally fine

[01:14:58] yeah I'm okay with it that's what I'm saying

[01:15:00] I'm okay with it too but I was just

[01:15:02] yeah I think because this is basically

[01:15:04] structured as like a picker

[01:15:06] s journey right and in a way it's like

[01:15:08] three you have an overriding

[01:15:10] task there is a goal that unifies

[01:15:12] the three of them of we have to solve

[01:15:14] where to bring the baby to

[01:15:16] and anything else that happens at that

[01:15:18] point isn't truly by chance

[01:15:20] because they are continuing on

[01:15:22] that path yeah okay you know it's like

[01:15:24] these are the interferences

[01:15:26] but yes they keep on kind of splitting up and

[01:15:28] then reconvening in different portions and the gin

[01:15:30] thing you can view is like what is this weird

[01:15:32] interlude that the movie is going off into

[01:15:34] but it's also him basically

[01:15:36] coming face to face with like a ghost of Christmas

[01:15:38] future his own future his own potential

[01:15:40] right like here's this guy who's like so

[01:15:42] self castigating about like I fucked

[01:15:44] it up my family hates me I can never go back

[01:15:46] I'm a criminal he lies

[01:15:48] about it yes which I love

[01:15:50] that like I forgot

[01:15:52] on the rewatch I was like oh wait no

[01:15:54] isn't she alive at the end yes

[01:15:56] but yeah he just lies for the sake of empathy

[01:15:58] and just it's an easier

[01:16:00] story to him yes right like

[01:16:02] no this is why like and that's

[01:16:04] yeah well it's like they're dead to me because I

[01:16:06] assume I'm dead to them because I brought

[01:16:08] shame to them like he's tying himself into such

[01:16:10] knots and here he is seeing

[01:16:12] this guy who's like this is probably me

[01:16:14] in 10 to 15 years and when I'm in

[01:16:16] this position does anyone sit by

[01:16:18] my side as I'm dying I have

[01:16:20] to do this he would never be able

[01:16:22] to express that ever

[01:16:24] in his life but it's clearly

[01:16:26] what is compelling him and like some bad teens

[01:16:28] show up some sneaky

[01:16:30] boys some SBs yeah

[01:16:32] like they're and they are the lack of empathy

[01:16:34] that they're usually gonna be facing

[01:16:36] also want to mention the angel

[01:16:38] uh that comes to save him

[01:16:40] cracks me up where she's like yeah

[01:16:42] do you want to come to heaven or call a hospital

[01:16:44] uh call an ambulance and he's like

[01:16:46] ambulance he gives he gives gin the bag

[01:16:48] the the elderly

[01:16:50] man before he dies right

[01:16:52] but also when when the kids come and beat

[01:16:54] him up and they take the bag right

[01:16:56] um

[01:16:58] they beat up his corpse

[01:17:00] as well yeah which is

[01:17:02] such a brutal moment but it doesn't

[01:17:04] feel like uh shocking

[01:17:06] for effect right I

[01:17:08] don't know I mean it's just like a deeply sad

[01:17:10] thing like this man doesn't even

[01:17:12] get respect in death

[01:17:14] even that one of them is on the

[01:17:16] phone while it's like

[01:17:18] it's like a yes

[01:17:20] missive

[01:17:22] so the next thing is

[01:17:24] hon is old club right like

[01:17:26] uh angel tower yeah

[01:17:28] um where yes

[01:17:30] the story there

[01:17:32] is that hana had like lost

[01:17:34] it at a rude customer

[01:17:36] years ago and that was

[01:17:38] like you said why she just

[01:17:40] fled which look if she existed in the time

[01:17:42] of tiktok she would have gotten famous off of that I mean

[01:17:44] these days people all they want is to own a

[01:17:46] heckler all we want to do is like throw

[01:17:48] a poland spring bottle at someone's head

[01:17:50] while the camera is rolling

[01:17:52] would have been the queen of tiktok

[01:17:54] we would have rolled together they call her

[01:17:56] what what's happening

[01:17:58] next come on what else well they find

[01:18:00] while gin is in um

[01:18:02] the older man uh yeah he gets

[01:18:04] separated from them right he sees the building

[01:18:06] and it gives him oh I know where her house

[01:18:08] is yes right because he recognizes

[01:18:10] from the photo from the background of the photo

[01:18:12] this is where we have to go right they basically

[01:18:14] all three reconvene at this point

[01:18:16] they've all had their sort of separate yeah

[01:18:18] flashbacks with some filling in

[01:18:20] taxi cab really funny sequence

[01:18:22] yes just shouting uh

[01:18:24] and is in the window yeah

[01:18:26] I thought that she's just basically like an auntie mame

[01:18:28] character yeah

[01:18:30] um but the house has been torn down

[01:18:32] and so

[01:18:34] they basically just have to

[01:18:36] figure out what happened to this person

[01:18:38] and I guess that's when they find out

[01:18:40] that the mother of the baby

[01:18:42] right that the mother of the baby's

[01:18:44] husband is a gambling

[01:18:46] alcoholic and so gin response

[01:18:48] to this it's just so

[01:18:50] funny that all of the

[01:18:52] women of the town just could

[01:18:54] like one after another

[01:18:56] inviting yeah exactly

[01:18:58] been talking about them they're just gossiping

[01:19:00] about other things yeah really fun

[01:19:02] yeah I'm just trying to remember what

[01:19:04] happened before we're at the hospital like what else

[01:19:06] am I forgetting let me see let me

[01:19:08] scrub yeah let's go well from

[01:19:10] there they go they are

[01:19:12] looking in the house they find

[01:19:14] stuff in the rubble

[01:19:16] yes right right yeah

[01:19:18] but what leads them to the hospital it's

[01:19:20] the hana like collapses they have to go to the

[01:19:22] hospital they go to the hospital because of her

[01:19:24] and that's where gin finds

[01:19:26] his estranged daughter yes who's working as

[01:19:28] a nurse yeah also named kyoko

[01:19:30] and they still

[01:19:32] got the baby but han like flips

[01:19:34] out at this sort of

[01:19:36] hana flips out at this like

[01:19:38] revelation that his backstory is something

[01:19:40] of a lie and

[01:19:42] sort of says like your daughter shouldn't ever

[01:19:44] forgive you like totally castigates him

[01:19:46] pretty rude in front of her

[01:19:48] in what is like I would argue the sequence

[01:19:50] of the most expressive full

[01:19:52] fluid animation in the entire movie

[01:19:54] like there's there's more

[01:19:56] kind of like classical cartoon

[01:19:58] performance as she gets more and more wound

[01:20:00] up in her telling him

[01:20:02] off and then he sort of like

[01:20:04] runs away and self-discussed

[01:20:06] and my

[01:20:08] yuki has the conversation which is like why the fuck

[01:20:10] did you do that like why did yeah like

[01:20:12] basically like no

[01:20:14] it was a little hard and she relays

[01:20:16] the story of this like legend she

[01:20:18] loved of the blue demon and the red demon

[01:20:20] and basically that like

[01:20:22] the blue demon has to

[01:20:24] work up the

[01:20:26] of the red demon in

[01:20:28] order to get him to express the things

[01:20:30] he cannot that like there is the extroverted

[01:20:32] and the introverted and sometimes

[01:20:34] in order to get the introvert

[01:20:36] to be able to actually

[01:20:38] come to terms with their own emotions you have to

[01:20:40] like punish them yes you had to be the bad guy

[01:20:42] yeah I you know what I kept thinking about

[01:20:44] I've been thinking about this a lot lately for some random

[01:20:46] reason catfish

[01:20:48] sure which is

[01:20:50] now a verb right because of the

[01:20:52] entry in the series and it's like oh to

[01:20:54] catfish someone is to present

[01:20:56] a fake version of yourself online and trick them

[01:20:58] into some kind of guy handsome

[01:21:00] and I love you when I live

[01:21:02] at 123 fake lane

[01:21:04] are you single guy you sound kind of

[01:21:06] appealing Ben I went to find an encouraging

[01:21:08] lead here

[01:21:10] uh-huh handsome 123 that's

[01:21:12] a Tony address

[01:21:14] oh nice part of town no

[01:21:16] what about catfish the reason

[01:21:18] that movie is called catfish spoilers

[01:21:20] for catfish I think that we now all know

[01:21:22] how it ends because of a becoming

[01:21:24] shorthand is the woman's

[01:21:26] father or I'm sorry the woman's husband

[01:21:28] who's been creating this fake

[01:21:30] online persona that like drew the filmmakers

[01:21:32] in gives the speech about

[01:21:34] how in like shipping fish

[01:21:36] that if cod are placed into

[01:21:38] barrels with other cod

[01:21:40] and they are inactive

[01:21:42] in a contained space while they're like brought

[01:21:44] over on a boat they die right

[01:21:46] that cod needs stimulation

[01:21:48] so you put a catfish in there

[01:21:50] to like make them fight

[01:21:52] like they need the irritation

[01:21:54] and the aggression in their life otherwise they

[01:21:56] just like collapse

[01:21:58] and that's basically what Hana's arguing

[01:22:00] she is right like she's

[01:22:02] like everyone thinks I'm dramatic

[01:22:04] and overblown

[01:22:06] and histrionic and what have

[01:22:08] you but it's like no I'm the person

[01:22:10] who pulls emotions out of people

[01:22:12] that they cannot express themselves

[01:22:14] I make people angry

[01:22:16] in order to get the thing out of their system

[01:22:18] right like that's I'm

[01:22:20] taking this burden on

[01:22:22] yes exactly right like I

[01:22:24] accept the way society views me

[01:22:26] not only just because of like my identity

[01:22:28] but also because of my behavior

[01:22:30] but I feel like I am playing a

[01:22:32] role in like the

[01:22:34] great human drama right yeah

[01:22:36] right if I can't perform on the stage

[01:22:38] I can at least sort of perform here

[01:22:40] yeah and like in the

[01:22:42] way that as a performer you know especially

[01:22:44] if you're like doing a sort of cabaret act

[01:22:46] like her it's like you get on the stage and through song

[01:22:48] convey the emotions that otherwise cannot

[01:22:50] be said she's like I have

[01:22:52] there's a straight line for me

[01:22:54] there's nothing difficult about me saying

[01:22:56] what I'm thinking and feeling

[01:22:58] but maybe I have to pull that out of other people

[01:23:00] let me tell you a little bit about the animation

[01:23:02] that's going on here so a big

[01:23:04] influence on this movie apparently is

[01:23:06] a guy called Shinji Otsuka

[01:23:08] a Ghibli legend

[01:23:10] who had worked a little bit on Millennium

[01:23:12] but is much more present on this movie

[01:23:14] would key animate about a tenth

[01:23:16] of the movie. Cone is basically like

[01:23:18] the movie wouldn't work without this person participating

[01:23:20] like and his

[01:23:22] key influence was he would let characters

[01:23:24] drift off model and demote

[01:23:26] to the point of distortion

[01:23:28] and people started copying what he was

[01:23:30] doing the other animators. Hospital scene's

[01:23:32] a perfect example of that. So you've got, that's why I thought

[01:23:34] of it, you've got this straightforwardly realistic

[01:23:36] story so it's kind of like in

[01:23:38] the character animation there's kind of more

[01:23:40] squashing and stretching and there's

[01:23:42] more like weird like

[01:23:44] you said, sort of unreal expression

[01:23:46] in people's faces

[01:23:48] which is cool

[01:23:50] and apparently all the animators started getting really

[01:23:52] wacky and expressive

[01:23:54] and surreal with

[01:23:56] that because they, you know, the colors

[01:23:58] are muted like you said, Reese, like

[01:24:00] the detail is a lot less

[01:24:02] you know, hyper

[01:24:04] around. Yeah, the setting is really realistic

[01:24:06] like that's never

[01:24:08] super out there. No, no, you have very

[01:24:10] realistic sort of like painted backdrops

[01:24:12] Yeah, even the rooms that they're in it, they're

[01:24:14] so messy like they have the one

[01:24:16] guy who's I think he's a hoarder

[01:24:18] at the end where he's just living in squalor

[01:24:20] Here's another

[01:24:22] great quote from Satoshi

[01:24:24] Kohn, garbage is an important

[01:24:26] subject in Tokyo Godfathers. It must

[01:24:28] be depicted beautifully. It seems that

[01:24:30] beautiful garbage is a bit of a contradiction but the

[01:24:32] garbage must make an impression. I

[01:24:34] this movie has tons of garbage in it. I would say

[01:24:36] Garbage? Yes, exactly. Yeah

[01:24:38] And like the whole kind of like

[01:24:40] beautiful garbage thing of like the snow falling

[01:24:42] right? Like the setting is kind of

[01:24:44] tranquil and nice at times but then they're in

[01:24:46] these conditions like

[01:24:48] squalor or something. It's just interesting

[01:24:50] That's all. Okay. I

[01:24:52] agree. Okay, so

[01:24:54] a hospital, they kind of storm out of the

[01:24:56] hospital, right? Yeah. Hana

[01:24:58] and Miyuki. Go to the bridge

[01:25:00] Go to the bridge. Miyuki

[01:25:02] still got the baby and they

[01:25:04] find Sachiko, the

[01:25:06] supposed mother of this baby

[01:25:08] about to

[01:25:10] jump off a bridge. She says

[01:25:12] the husband got rid of the baby

[01:25:14] without telling her. Yes

[01:25:16] exactly. So they're like great problem

[01:25:18] solved. Here's the baby. See you

[01:25:20] later. Not before Hana slaps her

[01:25:22] really hard. Well,

[01:25:24] it's a bit of a live wire

[01:25:26] Hana feeling

[01:25:28] the

[01:25:30] her desire to be a

[01:25:32] mother is so deep

[01:25:34] that she has

[01:25:36] such an interesting combination of

[01:25:38] contempt for anyone who would be derelict in

[01:25:40] that duty and responsibility but also

[01:25:42] this innate belief of like

[01:25:44] if you are a parent to a child, you

[01:25:46] must feel something. There must be a thing

[01:25:48] in you that can be conjured

[01:25:50] up to care. It's also her experience

[01:25:52] Yes. Yeah, because she was

[01:25:54] abandoned. Yeah, she's I think

[01:25:56] trying to allow

[01:25:58] for this baby to have

[01:26:00] in the way that she didn't get to have

[01:26:02] she says that she mostly grew up in the foster

[01:26:04] system. She didn't know her own mother.

[01:26:06] Yes, right. But

[01:26:08] she has a weird for

[01:26:10] that being her reality. She has a

[01:26:12] belief in if

[01:26:14] you actually confront a parent to their

[01:26:16] face with the reality of their child. There's no

[01:26:18] way they could reject camera away. Yeah, yes

[01:26:20] they find out that Sachiko

[01:26:22] is not the mother of the baby

[01:26:24] by finding her

[01:26:26] husband. I think Jen is fine. That's

[01:26:28] yeah, I was watching TV

[01:26:30] sees that there's an APB out

[01:26:32] for the baby goes

[01:26:34] to the guy's house

[01:26:36] trips over him. Yeah. Yes,

[01:26:38] right, right.

[01:26:40] This is the garbage apartment. This is a garbage apartment.

[01:26:42] Yeah. And so it has to be figured

[01:26:44] out. The baby

[01:26:46] has to be retrieved and

[01:26:48] Sachiko is basically on top

[01:26:50] of the building. I'm pretty stressed out at this point. I

[01:26:52] will say I don't like babies in peril anymore.

[01:26:54] Sure. Oh, and this is also the craziest it gets

[01:26:56] is the craziest hijacking the truck

[01:26:58] him becoming which is

[01:27:00] I really like it. Just him becoming the bicycle

[01:27:02] the cyclist which

[01:27:04] he lied about now. He finally gets that which is very

[01:27:06] sweet and Reese you need to understand

[01:27:08] just because I know you only met David today for the first

[01:27:10] time. He doesn't like babies in peril

[01:27:12] now because of course he is a father of a daughter.

[01:27:14] Yeah, this guy used to love

[01:27:16] babies in peril. He's favorite

[01:27:18] thing. I go. Are you a Michael Jackson

[01:27:20] fan? You go only if the time he held

[01:27:22] the kid out the window

[01:27:24] I don't like any of his music that

[01:27:26] is crazy

[01:27:28] that that happened. Yeah, it's

[01:27:30] one of the craziest obviously when it happened

[01:27:32] people were like this is completely

[01:27:34] crazy. Like it's not like people reacted

[01:27:36] that with like, oh MJ always up to something

[01:27:38] like no, but people reacted appropriately

[01:27:40] at the time, but in retrospect

[01:27:42] you're like forgot about that

[01:27:44] international news

[01:27:46] everywhere in the world. I thought that was fake

[01:27:48] as a kid. I just thought there was a thing

[01:27:50] that was guaranteed because I was almost

[01:27:52] fake. It feels like a scary movie

[01:27:54] so yeah, I thought that was like oh ha ha ha

[01:27:56] and then only later it was like oh these pictures

[01:27:58] were real real. Yeah real and

[01:28:00] with with the cloth over

[01:28:02] the blanket over everything about like the

[01:28:04] baby's name blanket. There's a blanket over the head

[01:28:06] is being held out a window

[01:28:08] and you're right like no one

[01:28:10] was like cool normal. No

[01:28:12] people were but the reporting was like

[01:28:14] but they also were like you won't believe

[01:28:16] what MJ's done this time. Well, there

[01:28:18] was a little bit of that to my

[01:28:20] coverage. I suppose people were up in arms

[01:28:22] about it. So like we

[01:28:24] could have all just collectively stopped

[01:28:26] taking a moment deep breath

[01:28:28] and gone like this is actually a big problem.

[01:28:30] That's what we should have done. We should have all done that

[01:28:32] that's what people should do

[01:28:34] stop and collectively take a moment calmer

[01:28:36] heads will prevail. I

[01:28:40] am anxious that the baby is very uncomfortable

[01:28:42] as I am. I find

[01:28:44] just right in anything I watch these

[01:28:46] days. I'm Shogun Jesus. I'm loving

[01:28:48] Shogun

[01:28:50] in peril mother blankie worked

[01:28:52] on it. Obviously Emily. I'm so excited

[01:28:54] to it's so good, but it begins with like

[01:28:56] the first episode a really terrible thing

[01:28:58] happens to a baby and my

[01:29:00] wife and I were kind of like we might have to like peace out

[01:29:02] of this right away like it was tough

[01:29:04] stuff. Yeah, it's I mean it's not like it's done

[01:29:06] casually. It's

[01:29:08] insensitive part of the story like but

[01:29:10] it's tough. Yeah, but in

[01:29:12] this movie I kind of like I know the baby's going

[01:29:14] to be fine because there is this kind of magical

[01:29:16] like it's Christmas. There's just

[01:29:18] things are working out. There's weird kids

[01:29:20] hair of magical realism, but you're right.

[01:29:22] It's it's in an interesting way where it's mostly

[01:29:24] just through this woman is

[01:29:26] obviously, you know, she's

[01:29:28] miserable and depressed because she

[01:29:30] lost a baby and she kidnapped

[01:29:32] a baby and response to that

[01:29:34] and you know, that's what's prompted

[01:29:36] all this second time in

[01:29:38] 10 minutes. We're watching this

[01:29:40] woman attempt suicide. Yeah,

[01:29:42] and like it's similar

[01:29:44] to their stories in that it's like

[01:29:46] this tragic misunderstand

[01:29:48] right? Like it's different in every

[01:29:50] other way, but like, you know, like and

[01:29:52] you know, you get this crazy thing where

[01:29:54] she jumps. They

[01:29:56] catch her. She drops the baby

[01:29:58] Hana catches the baby. That's

[01:30:00] another moment. Very expressive animation

[01:30:02] and sort of complicated camera shot

[01:30:04] of her sliding down the side of the building, right?

[01:30:06] And then it goes into almost like hyperkinetic

[01:30:08] Dragon Ball Z movement. This wind

[01:30:10] just kind of slows them down

[01:30:12] and they're okay like it like it

[01:30:14] it fish on is holding on to the

[01:30:16] whatever it is banner

[01:30:18] thing and it just kind of like

[01:30:20] it's all fine. Here's

[01:30:22] another thing I'll say I like about this film.

[01:30:24] This is like a real baby,

[01:30:26] especially in the world of animation

[01:30:28] where babies do a lot of baby cries

[01:30:30] they make babies just a little person.

[01:30:32] You know what I'm saying? It's pretty cute when

[01:30:34] they're little people. I'm not saying it isn't

[01:30:36] but like compared to Ice Age

[01:30:38] Like if they have a day out. Well

[01:30:40] don't get me started that actually costs

[01:30:42] a lot of money to the city.

[01:30:44] What happens in Ice Age? There is a baby. I was

[01:30:46] saying it's three godfathers again. I don't even want

[01:30:48] to tell you because you'll be watching it 25 times

[01:30:50] any day now. No, that

[01:30:52] movie is is three

[01:30:54] prehistoric creatures and a baby

[01:30:56] right? And the three of them got a human baby.

[01:30:58] Yeah, I guess Jin would be

[01:31:00] a woolly mammoth. Fun. Yeah.

[01:31:02] Jin is Ray Romano. Yeah, right.

[01:31:04] Hana is Dennis Leary. Diego.

[01:31:06] Oh, I was going to say Hana might be

[01:31:08] Zid. No, I think

[01:31:10] Hana is Dennis Leary because there's more of like a bitter

[01:31:12] edge and Leguizamo

[01:31:14] is the kid. Well, Zid is the one

[01:31:16] that always wants to keep the child.

[01:31:18] That's the thing. Zid is the most motherly.

[01:31:20] Zid is Leguizamo?

[01:31:22] No, Zid is Leguizamo. Yes.

[01:31:24] I'm sorry. Diego is Leary.

[01:31:26] Yeah. Zid is the most motherly

[01:31:28] but also the most...

[01:31:30] Zid is a sloth. A three-toed sloth, my friend.

[01:31:32] A sloth.

[01:31:34] Manny the mammoth. Also, Zid abandoned

[01:31:36] by his family. This is true. For being too

[01:31:38] annoying? I think that, yeah, they leave him behind.

[01:31:40] So I don't want to make that comparison.

[01:31:42] And then Manny

[01:31:44] has lost his family, kind of similar to Jin.

[01:31:46] Yeah. Yeah. Although,

[01:31:48] I mean, with Jin it's a... Look, my point is

[01:31:50] Do you have one

[01:31:52] or are you sure? That movie's got a little kid

[01:31:54] and he's supposed to be a little baby, right?

[01:31:56] He's a little bundle kid. I remember the kid's in a little

[01:31:58] bundle. That's what I'm saying. The kid gets out of the bundle

[01:32:00] he jumps around. The kid has agencies.

[01:32:02] He's tugging on tusks and shit.

[01:32:04] Right, right, right.

[01:32:06] He's tugging on tusks.

[01:32:08] This is crazy. This movie,

[01:32:10] the baby's in a bundle the whole time.

[01:32:12] And just cries. This is a very young baby.

[01:32:14] They don't animate it doing

[01:32:16] anything beyond the

[01:32:18] expressiveness of a real baby.

[01:32:20] You know? Yeah. They don't put the baby

[01:32:22] into hijinks. It's like the baby is

[01:32:24] an object.

[01:32:26] You gotta feed it and you gotta change it, which they do

[01:32:28] in this movie. Yeah. Which is all you have

[01:32:30] to do with a little baby. Yeah. Which is hard

[01:32:32] to be clear, but that's really

[01:32:34] all you do. The baby's okay.

[01:32:36] Everyone's

[01:32:38] okay. They

[01:32:40] find the real parents.

[01:32:42] The real parents want them to be godparents.

[01:32:44] There's that moment where the authorities

[01:32:46] are like, but these are like

[01:32:48] homeless people. And they're like, we don't care.

[01:32:50] Like, that's fine. Another great just

[01:32:52] little added extra thing that I really

[01:32:54] like is that people are still pissed about them

[01:32:56] being homeless. Yeah. I mean, this

[01:32:58] movie doesn't try to present easy

[01:33:00] solves for anything. Yeah.

[01:33:02] Well, there is the lottery ticket.

[01:33:04] I guess a pretty easy solve. And then

[01:33:06] Miyuki does like find her dad.

[01:33:08] He's like one of the policemen. Okay. So maybe this movie

[01:33:10] actually fixes a lot of things. There is a bit of a fairy tale

[01:33:12] Christmas thing happening at the end

[01:33:14] here. I would say it doesn't feel like

[01:33:16] everything in their lives are resolved though

[01:33:18] simultaneously. But I guess

[01:33:20] there are some magical. No! But there's hope.

[01:33:22] There's hope. Right, Benny? Yeah.

[01:33:24] There's a lot of hope. I was very moved.

[01:33:26] This feels like a Quietly Very

[01:33:28] Ben film. The kind of film that hits you. Yeah, because it's

[01:33:30] got a little bit of rough

[01:33:32] and tumble. It's underdogs in the city

[01:33:34] trying to make it work. And they're dirty.

[01:33:36] And they're dirty. Yeah.

[01:33:38] Well, but I think I don't want to

[01:33:40] boil them down to just being

[01:33:42] dirty. You love movies

[01:33:44] about people who

[01:33:46] society doubts. Yeah.

[01:33:48] Or ignores or disrespects.

[01:33:50] For sure. And especially when those people

[01:33:52] like, I don't know,

[01:33:54] show acts of kindness towards

[01:33:56] each other. And rise to the occasion

[01:33:58] and do these big

[01:34:00] acts of

[01:34:02] bravery. Yeah. Did you cry

[01:34:04] watching it? Yeah!

[01:34:06] Choked up. What scene do you cry at?

[01:34:08] When the wind... Yeah.

[01:34:10] Nice!

[01:34:12] It's majestic. And it's also

[01:34:14] it's

[01:34:16] like a relief. Like, okay.

[01:34:18] You got it. You know, because it's stressful

[01:34:20] that final act, you know.

[01:34:22] For sure. At this point you're like,

[01:34:24] the best is gotta figure it out. We gotta figure

[01:34:26] this out. And the movie's dark enough

[01:34:28] that you're not entirely sure it's gonna work out.

[01:34:30] Yeah. I had the reassurance

[01:34:32] that I thought it was gonna be, the baby was gonna be

[01:34:34] okay. But there's a sense of

[01:34:36] risk. There's a chance that one

[01:34:38] of the three godfathers does not live.

[01:34:40] When you talk about adult animation

[01:34:42] and the reason that animation is viewed as

[01:34:44] a medium by and large, or

[01:34:46] I'm sorry, as a genre, as

[01:34:48] family film, shorthand,

[01:34:50] it's because when they're

[01:34:52] in the rare cases, especially in

[01:34:54] American animation, that there is

[01:34:56] quote unquote adult animation.

[01:34:58] It is usually shit like Sausage Party.

[01:35:00] Which is, yeah. Where you're like, well

[01:35:02] the whole hook is that this is for grownups

[01:35:04] and wouldn't it be silly for a kid to

[01:35:06] watch this? Right? Or things

[01:35:08] are so hyper-violent. To see

[01:35:10] a movie like this where you're like, oh no, this is animation

[01:35:12] for grownups because it just has... Adult

[01:35:14] themes. An adult

[01:35:16] psychology. Right?

[01:35:18] A messy sort of

[01:35:20] emotional landscape.

[01:35:22] It does mean that you don't feel the

[01:35:24] obvious assurance of like, in

[01:35:26] fucking Ice Age everyone's going to turn out okay.

[01:35:28] Do they turn out okay?

[01:35:30] Yeah, well they have to survive for like five more movies.

[01:35:32] What about the meltdown?

[01:35:34] Would you believe that in fact it is

[01:35:36] somehow... But then dinosaurs

[01:35:38] come into play at some point. Right.

[01:35:40] Every movie they present the

[01:35:42] threat. Like every Ice Age movie ends

[01:35:44] with like, I think this is the one that finally does

[01:35:46] us in and then somehow it's like rolled back

[01:35:48] in the last five minutes of the movie.

[01:35:50] Ice Age there's a meltdown and they're like,

[01:35:52] oh thank god we found more ice.

[01:35:54] Yeah but they never... I don't think they've ever brought back the baby.

[01:35:56] No, the baby's only in the first one. There's at least

[01:35:58] a little purity to the baby. Right.

[01:36:00] They resolve the baby situation at the end of Ice Age.

[01:36:02] That's why I'm wondering if there's a way to frame this to your daughter

[01:36:04] where she only had... Like it just... There's

[01:36:06] one Ice Age movie. It's about a baby.

[01:36:08] I have total control over what... I mean

[01:36:10] I say that. You say that. Tell my friend

[01:36:12] the arrogance. You will be hoisted

[01:36:14] by that. I don't. But like

[01:36:16] she will still point to things and I'll be like,

[01:36:18] no not that. Like you know... You know how those streaming

[01:36:20] apps have like parental control filters? They do.

[01:36:22] That like don't show me anything that's rated

[01:36:24] PG-13 or above? They should also

[01:36:26] be able to just make like taste filters.

[01:36:28] Don't show me shit that's annoying.

[01:36:30] Like the problem... The HBO

[01:36:32] Max filter is a little too loose.

[01:36:34] Interesting. That one's kind of just like

[01:36:36] yeah if it's a cartoon like

[01:36:38] that's in the kids section. The Disney

[01:36:40] Plus filter is... You fucking wake up your daughter's

[01:36:42] watching the Brack show? Shorty's

[01:36:47] watching shorties.

[01:36:49] Keep referencing it.

[01:36:51] I'm gonna keep referencing it.

[01:36:53] No. The Disney Plus

[01:36:55] one is like yeah Moana's not in the kids one.

[01:36:57] Are you crazy? You're gonna show that to a kid? And I'm just like...

[01:36:59] She's got attitude. I gotta navigate out to

[01:37:01] my profile to fucking watch

[01:37:03] Moana? What is the point of this?

[01:37:05] Anything that's rated PG is not available.

[01:37:07] It's only G. And most Disney animated

[01:37:09] movies are rated PG these days. Nothing is rated

[01:37:11] G anymore. No. Like what was the last

[01:37:13] God? I guess Paw Patrol.

[01:37:15] was rated G.

[01:37:17] Paw Patrol's not Disney. No.

[01:37:19] And I am not letting you watch Paw Patrol. There were some

[01:37:21] stat I read recently of what the last

[01:37:23] G rated movie to make a hundred million dollars

[01:37:25] was and it was interesting.

[01:37:27] Because it's been a while.

[01:37:29] Even the major animation studios

[01:37:31] rarely release a G movie.

[01:37:33] I do believe the Toy Stories

[01:37:35] are all G. Yes.

[01:37:37] Which is crazy. Is Toy Story 3

[01:37:39] G? Yeah like you know

[01:37:41] I know there's no like violence in those movies.

[01:37:43] There's an incinerator.

[01:37:45] There's emotions. I don't know whatever.

[01:37:47] All this is bullshit.

[01:37:49] Tokyo Godfathers. I'm gonna tell you about the release of this film

[01:37:51] Griffin while you're looking up G rated movies.

[01:37:53] You know what I was doing. Yes I know what you're doing.

[01:37:55] So his last two films as you alluded

[01:37:57] Perfect Blue and Millennium Actress

[01:37:59] both had long roll outs.

[01:38:01] They would premiere at a

[01:38:03] animated film festival. The next year

[01:38:05] they would come out in Japan. The year after that

[01:38:07] they would come out in America. That's how it worked

[01:38:09] for both of them. Tokyo Godfathers

[01:38:11] premiered at an animation festival Big Apple Anime

[01:38:13] in August 2003

[01:38:15] was released in Japan in December 2003

[01:38:17] and was rushed by

[01:38:19] Samuel Goldwyn Films and Sony into an

[01:38:21] awards qualifying run at the end of December

[01:38:23] in America as well.

[01:38:25] Barely after Millennium Actress had come out. It means

[01:38:27] that it was competing against Millennium Actress

[01:38:29] for the Oscar.

[01:38:31] Neither was nominated. Finding Nemo, Triplets

[01:38:33] of Belleville and they call him

[01:38:35] Brother Bear.

[01:38:37] It did outgross Millennium

[01:38:39] Actress at the American box office.

[01:38:41] 129,000 to

[01:38:43] 37,000. Oh wow.

[01:38:45] I mean these films were niche.

[01:38:47] But it got a

[01:38:49] critics pick from A.O.

[01:38:51] Tony Scott himself of the New York Times

[01:38:53] who called it a near realist

[01:38:55] cartoon and urban

[01:38:57] heartfelt urban fable about human decency among

[01:38:59] the down and out. Ebert

[01:39:01] liked it gave it three stars.

[01:39:03] Satoshi Kon says

[01:39:05] look everything I've

[01:39:07] made has been significant important to me. I can't say

[01:39:09] that one is my favorite but to create Paranoia

[01:39:11] Agent which is the next thing he does. Tokyo Godfather

[01:39:13] is necessary for Tokyo Godfather

[01:39:15] to be born there needs to be a Millennium Actress.

[01:39:17] I don't take my work as separate pieces but I value

[01:39:19] how they've evolved. However

[01:39:21] Tokyo Godfather has achieved the highest

[01:39:23] level in terms of picture quality and

[01:39:25] in that sense I like it the most out of the group.

[01:39:27] He's talking just purely visually? So he agrees with you.

[01:39:29] You know this is a translated

[01:39:31] Oh sure. I don't know

[01:39:33] but it does feel like one of those things where he's

[01:39:35] like I like everything and I would never say which is best

[01:39:37] but Tokyo Godfather

[01:39:39] is the best. Interesting.

[01:39:41] I don't know. This is before Paprika

[01:39:43] Oh true yeah.

[01:39:45] I think Paprika is the nicest looking.

[01:39:47] Paprika looks unbelievable.

[01:39:49] Much bigger budget right? Yes

[01:39:51] 100 gazillion dollars.

[01:39:53] I think so.

[01:39:55] Yes. Toy Story 4

[01:39:57] all four Toy Stories are G. Toy Story

[01:39:59] 4 is the last G rated movie.

[01:40:01] Wow. To make over 100 billion dollars.

[01:40:03] Forky's in it. I'm aware

[01:40:05] Before you made her an honest woman.

[01:40:07] Yeah it was Cars 3 before that

[01:40:09] All the Pixar movies post Toy Story 4

[01:40:11] have also not been G rated.

[01:40:13] I believe. No because they tend to have

[01:40:15] whatever some slightly

[01:40:17] intense thing happens. Right they have unsavory

[01:40:19] things like puberty and jazz music

[01:40:21] You fed that one to me on a plate

[01:40:25] that's very good. Thank you.

[01:40:27] Let's play the box office game. Okay.

[01:40:29] January 16

[01:40:31] 2004

[01:40:33] is what I have

[01:40:35] so I'm like I don't know why

[01:40:37] this is what the numbers is giving me

[01:40:39] but that's what the numbers is giving me. Okay.

[01:40:41] It must have had a miniscule

[01:40:43] release before then because it's not

[01:40:45] even on. I'm guessing they did the sort of like

[01:40:47] unadvertised one week qualifying run

[01:40:49] Yes but this is a good weekend first anyway because

[01:40:51] I don't think we've ever done it. Great here's

[01:40:53] a thing I will say at the beginning

[01:40:55] of this year 2004 I'm a

[01:40:57] freshman in high school and I said you know

[01:40:59] what I'm going to make it my

[01:41:01] job to go see every

[01:41:03] wide release film released this calendar

[01:41:05] year and I embarked

[01:41:07] on this as a challenge to myself

[01:41:09] at the start of the year and I think I gave up by

[01:41:11] mid February but it means I

[01:41:13] may have an astonishingly

[01:41:15] strong recall of the dump you are

[01:41:17] a movies of 2004 because

[01:41:19] I think I saw most of them. Okay well what's number one

[01:41:21] of the box office then bitch

[01:41:23] Chasing Liberty? No! Fuck is it

[01:41:25] in there? It's number 11

[01:41:27] Chasing Liberty's number 11

[01:41:29] in its second week. Jesus

[01:41:31] Christ! Opened at number 7

[01:41:33] So you missed Chasing Liberty

[01:41:35] in the top 10 by just a week. Okay

[01:41:37] but I did see that in theaters. Number

[01:41:39] one would not be My Baby's Daddy?

[01:41:41] That's number 8 also in its

[01:41:43] second week. You are one week off

[01:41:45] Okay I'm close though. Number one

[01:41:47] is more of a big comedy

[01:41:49] with a big movie

[01:41:51] stars with two big

[01:41:53] movie stars. Two big movie stars. And

[01:41:55] one of your favorite actors in a supporting

[01:41:57] role. It's got two big

[01:41:59] movie stars and one of my favorite actors

[01:42:01] in a supporting role. Yeah I mean

[01:42:03] I don't want to insult the female lead

[01:42:05] she's a movie star. She's

[01:42:07] well now I'm curious

[01:42:09] she maybe isn't as big a movie star

[01:42:11] as everyone

[01:42:13] else but she's big. She's big

[01:42:15] She's maybe not as big a movie star as everyone else. She's famous for TV

[01:42:17] as well and like she had a real movie

[01:42:19] career but you know maybe never

[01:42:21] quite became someone who could open a movie

[01:42:23] on her own. Huh

[01:42:25] Oh it's a Lankan policy

[01:42:27] I'm talking about Jennifer Aniston

[01:42:29] She is a movie star. She is

[01:42:31] She was in movies like Along

[01:42:33] Came Polly. Yes. She was in

[01:42:35] The Breakup. But this we have

[01:42:37] discussed this before it's very interesting

[01:42:39] Those movies made money. A huge star on TV

[01:42:41] then they tried to position her for

[01:42:43] Julia Roberts. She was one of the friends which was one of these

[01:42:45] TV shows. Oh I'm not. I know you know what that is

[01:42:47] I just found out she was in Leprechaun

[01:42:49] That's her first film. I did not know that

[01:42:51] Yeah she has

[01:42:53] 600 million grocers at

[01:42:55] the domestic boss office. Griffin what are they?

[01:42:57] I think I can do them all. I just want to

[01:42:59] say as the lead up to this

[01:43:01] Along Came Polly isn't one of them. Off front

[01:43:03] I know but it got close. It was high 80s

[01:43:05] Yeah ended up at 88

[01:43:07] Yeah

[01:43:09] One of Philip Snow Hoffman's best performances

[01:43:11] He's very funny. In a movie that is

[01:43:13] aggressively okay. Is that the one where he's playing basketball?

[01:43:15] Yes. I love that. Rain Man

[01:43:17] Rain Dance I should say

[01:43:19] They were like positioning her for Julia Roberts

[01:43:21] career like Picture Perfect and

[01:43:23] stuff and it didn't hit and then she very strategically

[01:43:25] was like I will play

[01:43:27] the second lead, the love interest

[01:43:29] to every major

[01:43:31] A-list comedy star and she went through them all

[01:43:33] So if I'm trying to count the 600 million dollar

[01:43:35] grocers. The 600 million

[01:43:37] dollar grocers. I'm going to reverse engineer this

[01:43:39] from her leading man. Go ahead. The Breakup

[01:43:41] That's one. Good spot

[01:43:43] I'm not going to go in order here. No that's fine. Marley and Me

[01:43:45] Marley and Me that's two. Owen Wilson

[01:43:47] A Horrible Boss is one. Horrible Boss

[01:43:49] is one is three. That's well you know

[01:43:51] everyone who's in that one. Bruce Almighty

[01:43:53] Bruce Almighty with Jim Carrey her number one

[01:43:55] grossing film of all time. Right. She did

[01:43:57] four Bateman movies I think

[01:43:59] Yeah Horrible Boss is not like a

[01:44:01] Bateman, Aniston vehicle but I believe she did

[01:44:03] four films with him. Well we'll get to that

[01:44:05] in a second you have to name the other 200 million grocers

[01:44:07] Okay the other. And Reese please weigh in. I was going to say

[01:44:09] one of them I definitely know

[01:44:11] What's the one you know? I'm thinking of Just Go With It

[01:44:13] Just Go With It. Of course

[01:44:15] 103 it snuck over the line. Sandler

[01:44:17] Of course. Who she's worked with several times

[01:44:19] Yes. They've solved a couple murders

[01:44:21] Two by my count

[01:44:23] Okay so wait. Is that a couple? So

[01:44:25] Vaughn

[01:44:27] Vaughn, Carrey, Bateman, Stiller

[01:44:29] Wilson, Stiller

[01:44:31] Sandler

[01:44:33] She never did a feral

[01:44:35] No. She never went feral. Did she do Ryan Reynolds?

[01:44:39] Was she in one of those? That's kind of like

[01:44:41] that's when the moment is changing. Yeah. You know

[01:44:43] it was like that generation of

[01:44:45] the sort of what they called the frat pack

[01:44:47] They called them

[01:44:49] all the Jimmy Miller client guys

[01:44:51] They don't seem to have ever

[01:44:53] worked together. They are part of

[01:44:55] supposedly Sandra Bullock's inner circle

[01:44:57] of support according to the Daily Mail

[01:44:59] Is the sixth one fall into the same category I'm thinking?

[01:45:01] It's a comedy. It's a little more of an ensemble

[01:45:03] It is with another comedy

[01:45:05] actor. Okay. People forget

[01:45:07] that this movie was a huge hit. Nope

[01:45:09] Does that not count? 93

[01:45:11] mil. Oh

[01:45:13] I didn't make it. People forget this movie

[01:45:15] This movie made

[01:45:17] $150 million

[01:45:19] I auditioned

[01:45:23] for this movie. It made $150 million

[01:45:25] It's more of an ensemble

[01:45:27] and you know that I auditioned

[01:45:29] for it. I do

[01:45:31] Let me give you a hint. The character you

[01:45:33] were going to play on the poster

[01:45:35] an arrow points to his head saying

[01:45:37] Virgin. Weird. Doesn't

[01:45:41] sound like the kind of part I would audition

[01:45:43] for. In 2013?

[01:45:45] The movie is called We're the Millers

[01:45:47] Oh wow. Sudeikis

[01:45:49] Who never became as much of a movie star

[01:45:51] but was following the same pattern of what she

[01:45:53] was doing. And he, you know, he made

[01:45:55] movies that made money

[01:45:57] He just seemingly

[01:45:59] kind of pulled himself out of the running and pivoted

[01:46:01] and went to TV. But those are her six

[01:46:03] So like is she a movie star?

[01:46:05] Yes. Certainly

[01:46:07] But in all of the movies we just listed

[01:46:09] she is the second build person and the top person

[01:46:11] is the main draw and her value add

[01:46:13] is like she's really good at like the

[01:46:15] back and forth with these guys. Right

[01:46:17] And now she's like, right, I feel like in

[01:46:19] Morning Show it's like oh she's actually going to

[01:46:21] carry the thing. That's why everyone is excited about the

[01:46:23] Morning Show. The world's most, checking my notes here

[01:46:25] normal TV show? I'm told everything

[01:46:27] I'm told about that movie. They're calling it

[01:46:29] So normal. Do you watch the Morning

[01:46:31] Show? I do not. Do you watch a lot of TV?

[01:46:33] I have. You're a movie guy. I'm a movie

[01:46:35] Yeah, I have now just because

[01:46:37] like it is annoying

[01:46:39] then things are only like eight episodes

[01:46:41] but it makes it a lot easier

[01:46:43] to watch. Although I do

[01:46:45] wish things went on for

[01:46:47] more than eight episodes and I did not have to wait

[01:46:49] four years. I got great news for you. There are

[01:46:51] 36 seasons of The Simpsons

[01:46:53] Number two at the box office. Burning up Disney+.

[01:46:55] We've covered it on this podcast

[01:46:57] We've covered it on this podcast

[01:46:59] January, was it a proper 24

[01:47:01] release or delayed? It's a Big Fish

[01:47:03] There we go

[01:47:05] He figured it out all by himself. I keep waiting to hear the ding

[01:47:07] and I'm realizing that's post. That's a post

[01:47:09] We'll be doing that later. Yeah

[01:47:11] Big Fish is number two, which means

[01:47:13] is Return of the King number

[01:47:15] three? That's right. Okay. All

[01:47:17] I had to say was um

[01:47:19] and you got... No, because I remember it was

[01:47:21] a squeaker. It was a photo finish between

[01:47:23] Big Fish's first wide release

[01:47:25] and Return of the

[01:47:27] King's fourth or fifth. Sure

[01:47:29] Yeah, well, which I believe was

[01:47:31] last week was when

[01:47:33] Big Fish expanded

[01:47:35] And apparently bodied Chasing

[01:47:37] Liberty and My Baby's Daddy. It did

[01:47:39] put those two movies to shame

[01:47:41] but it's right behind

[01:47:43] right ahead of Lord of the Rings right now. Okay

[01:47:45] So those are the top

[01:47:47] three. Number four is new this

[01:47:49] week and this is a little more of a

[01:47:51] movie you dump in January

[01:47:53] It's a little bit more. They're calling

[01:47:55] it a little bit more. It's an action film

[01:47:57] It's an action film

[01:47:59] that is being dumped in January

[01:48:01] I swear Paul

[01:48:03] Tell me about the story of this picture

[01:48:05] Oh, oh

[01:48:07] Okay, I'll do my best

[01:48:09] He's a person

[01:48:11] Okay, that does now work down a little

[01:48:13] By all accounts he exists and is real

[01:48:15] and is not some sort of AI

[01:48:17] generated nobody which is what he seems

[01:48:19] like. That rules out some other people. I'm really

[01:48:21] sorry to this person if he listens to our podcast

[01:48:23] which I'm sure he doesn't so you never know

[01:48:25] He's a New Zealand actor

[01:48:27] of course

[01:48:29] You know he

[01:48:31] Oh, oh it's Tork

[01:48:33] Who's the actor?

[01:48:37] Martin Henderson

[01:48:39] I feel like best known then for being

[01:48:41] the guy in the ring, right?

[01:48:43] He's the guy

[01:48:45] who's like, fuck

[01:48:47] this video is fucked up. I feel like the

[01:48:49] fact that I got it off of those clues

[01:48:51] is almost more mean than you providing

[01:48:53] those as clues. I really hope he listens

[01:48:55] The fact that that was all you had to say and I went oh

[01:48:57] Because like of course you say

[01:48:59] tell me about the star of Tork. I could talk to you about

[01:49:01] Ice Cube. Who's not the star but he's on the poster

[01:49:03] Or Adam Scott or J. Hernandez

[01:49:05] And we all remember the name Tork

[01:49:07] But most people could not tell you who

[01:49:09] played Tork. Who's actually

[01:49:11] the star? Technically Martin Henderson

[01:49:13] It's the titular role. That's back when

[01:49:15] studios truly were too afraid to

[01:49:17] have a movie have a black person as the lead

[01:49:19] They were like, yeah but can

[01:49:21] Martin Henderson just be in it as well

[01:49:23] just in case. Ice Cube

[01:49:25] Proven movie star. Basically 10 years

[01:49:27] of success is under his belt. It's what Paul

[01:49:29] Walker is in Fast and Furious. I know that

[01:49:31] that movie was originally going to be you know

[01:49:33] Timothy Olyphant and Robert Duvall or whatever

[01:49:35] I live my life a quarter

[01:49:41] mile at a time. I'm gonna tune him out

[01:49:43] Number 5 in the box office

[01:49:45] is a huge hit

[01:49:47] comedy. A huge hit comedy

[01:49:49] Yes. And it's also an 03 carryover

[01:49:51] Yes. I'd imagine it's Cheaper by the Dozen

[01:49:53] You imagine sadly

[01:49:55] correct. You've seen Cheaper by the Dozen?

[01:49:57] I have. Too many kids! That was a

[01:49:59] movie that had a

[01:50:01] when I was a child

[01:50:03] we did not have a TV

[01:50:05] in the car like the

[01:50:07] rich kid cars had TVs in the back

[01:50:09] so we had one that we brought in

[01:50:11] and that was the TV

[01:50:13] movie

[01:50:15] It was like, oh no no

[01:50:17] you know those fold up DVDs?

[01:50:19] Yes, exactly

[01:50:21] Oh yeah I had one of those

[01:50:23] It was that and Yours, Mine and Ours. Another

[01:50:25] Too Many Kids. For a second of course

[01:50:27] Well there's Cheaper by the Dozen, Yours, Mine and Ours

[01:50:29] and Cheaper by the Dozen 2

[01:50:31] This feeding frenzy in Hollywood

[01:50:33] on Too Many Kids. There's the one poster

[01:50:35] where the door is being held

[01:50:37] This is what I'm going to talk about. There's the one poster

[01:50:39] where it's like Martin is holding the family

[01:50:41] album and it's like a

[01:50:43] Dwayne Reed receipt. A man has a wallet

[01:50:45] and inside it are photos of his family

[01:50:47] but what if he had too many family members

[01:50:49] to fit into your classic fold out? But that one's kind of a cute

[01:50:51] poster and then there's the other poster that you're referring to

[01:50:53] where he and Bonnie Hunt are holding

[01:50:55] the door because, and I'm like

[01:50:57] this didn't sneak up on me

[01:50:59] It's not like

[01:51:01] when you were 9 kids in you were like

[01:51:03] Oh shit there's more! You kept having

[01:51:05] children. Right. Bonnie Hunt and Steve Martin

[01:51:07] are reacting to that poster as if

[01:51:09] the gremlins are breaking down

[01:51:11] their door. It's like maybe you guys should have

[01:51:13] fucked less if you didn't let these kids

[01:51:15] break down your goddamn door

[01:51:17] I just remember that like Tom

[01:51:19] Welling is in that. Yeah. And you're

[01:51:21] just like oh great they have so many

[01:51:23] kids that one of them is a CW

[01:51:25] star

[01:51:27] Like they're dealing with twin toddlers

[01:51:29] but they also have Tom Welling

[01:51:31] One of their kids is pregnant

[01:51:33] Right! Piper Perabo is pregnant

[01:51:35] Yes. With Ashton Kutcher's

[01:51:37] baby? No Jesus really

[01:51:39] Yes! I think Ashton Kutcher and Duff

[01:51:41] Right the big three are those

[01:51:43] three. Exactly. The big three

[01:51:45] And then it's after that it's like I don't know

[01:51:47] fucking kid with a clarinet

[01:51:49] there's two sets of twins

[01:51:51] And they drop off the first kid's

[01:51:53] storyline, the one who runs away from home

[01:51:55] He's just barely in the second one

[01:51:57] And yeah

[01:52:00] No it's something

[01:52:02] implying that he's adopted. Oh cause he's

[01:52:04] got different hair color than the rest of them

[01:52:06] He has red hair and he has a frog

[01:52:08] So they're pretty mean. Like you're adopted

[01:52:10] Kids are mean especially when you have that many

[01:52:12] And then there's the Eugene Levy family

[01:52:14] Well that's the second one. Adding a lot more kids

[01:52:16] How many do they have?

[01:52:18] 14? I think they balance them out

[01:52:20] Lautner is one of the kids

[01:52:22] Yes. They go tit for tat

[01:52:24] It's a movie in which they call them the dozen

[01:52:26] Studio exec

[01:52:28] Not since James Cameron went up to

[01:52:30] a whiteboard and wrote the dollar sign at the end of

[01:52:32] Aliens. Cheaper by the dozen. Imagine

[01:52:34] going into the studio and going I cracked

[01:52:36] it. Here's the hook for Cheaper by the dozen 2

[01:52:38] What if Eugene Levy

[01:52:40] and Carmen Electra

[01:52:42] had unprotected sex

[01:52:44] The studio is just like counting the money out

[01:52:46] as you speak. Well wait a second what does the kid look

[01:52:48] like? Taylor Lautner

[01:52:50] We got Sharkboy

[01:52:52] More more more

[01:52:54] Just to underline

[01:52:56] how much I've changed since becoming a parent

[01:52:58] when I was a teenager. I think I've mentioned this once in this podcast

[01:53:00] before. Me and my best friend

[01:53:02] Ali at the time in London

[01:53:04] wrote a parody sequel to Cheaper by

[01:53:06] the dozen called Cheaper by the Cousin

[01:53:08] In which Steve Martin

[01:53:10] reveals that he also has 4,000

[01:53:12] cousins. That's funny

[01:53:14] When you say wrote it

[01:53:16] did you complete a script? We wrote about 20

[01:53:18] to 30 pages of a script. You know what

[01:53:20] My hat's off. Yeah I've got it somewhere

[01:53:22] And it is revealed early on that his kids

[01:53:24] are dead

[01:53:26] by gas

[01:53:28] We just say of course

[01:53:30] they've all died. Dead by gas

[01:53:32] Cheaper by the cousin

[01:53:34] Just to show you what a callous little teenager I was

[01:53:36] I thought I could make a joke like that

[01:53:38] See I'm here like a Fox exec. By the time you get to the word

[01:53:40] cousin I'm throwing dollar bills

[01:53:42] We truly were like Cheaper by the

[01:53:44] Cousin, 4,000 cousins. There's a scene where

[01:53:46] Steve Martin is

[01:53:48] in charge of the Elgin Marbles

[01:53:50] The famous Greek

[01:53:52] And then the cousins smash them all to pieces

[01:53:54] It's really funny

[01:53:56] You gotta dig up this script

[01:53:58] It's somewhere in there. There's definitely a part where Anthony Hopkins

[01:54:00] plays the president too because we were really

[01:54:02] sick of him

[01:54:04] I had no idea

[01:54:06] You've definitely never told us this before

[01:54:08] I think I mentioned it like

[01:54:10] a zillion years ago. I really think

[01:54:12] I would have remembered. Fans? Screenwriters?

[01:54:14] Screenwriters

[01:54:16] at us tell us

[01:54:18] Is Lord Fauntleroy relatable or a villain?

[01:54:20] And have I mentioned this on the podcast

[01:54:22] in it's nine year history before?

[01:54:24] What else is in the top ten?

[01:54:26] We've also got

[01:54:28] Oh my god! A film I've been thinking about so much

[01:54:30] I'm sorry to react like that. It's not that surprising

[01:54:32] Cold Mountain

[01:54:34] Anthony Mangela's Cold Mountain

[01:54:36] Here's... Jesus. I'm sorry for all these tangents

[01:54:38] No no no. This is what I

[01:54:40] listen for. So this is really fun

[01:54:42] In the event that they get cut out

[01:54:44] I have the exclusive

[01:54:46] I rewatched, as did you, Gangs of New York

[01:54:48] for newcomers. We're going to be on that show

[01:54:50] whenever that posts. I think by now we might have posted

[01:54:52] With Lafkos and

[01:54:54] Bayer. Really fun

[01:54:56] For one second in Gangs of New York you see

[01:54:58] Sacred Harp Singers

[01:55:00] I don't know if you know what that is

[01:55:02] It's a form of Irish church music

[01:55:04] that came to America

[01:55:06] where people sit in a circle

[01:55:08] and they turn their voices

[01:55:10] into instruments

[01:55:12] It's crazy choir stuff

[01:55:14] It's so cool and it sounds like nothing else

[01:55:16] I'll play some for you later but it's really cool

[01:55:18] In Gangs of New York you see

[01:55:20] Cold Mountain has multiple sequences

[01:55:22] what they're doing. Because that movie has such cool music

[01:55:24] Have you seen Cold Mountain?

[01:55:26] Yeah of course I have. I don't know. I don't care

[01:55:28] I haven't seen it since it came out. I saw it in theaters when it came out

[01:55:30] You know it's got like Jack White in it and he's playing

[01:55:32] the banjo or whatever the hell he's doing

[01:55:34] And Albino Garrett Hedlund

[01:55:36] Yes, that's true

[01:55:38] And Sting did some weird music

[01:55:40] for it and stuff but it's got these sacred hearts

[01:55:42] They do this to keep time

[01:55:44] while they... it's really cool

[01:55:46] Anyways, I've been listening to a lot of sacred harp

[01:55:48] music

[01:55:50] And it got you itching to watch

[01:55:52] I kind of want to watch that

[01:55:54] Harp. Sacred harp

[01:55:56] And I

[01:55:58] saw Cold Mountain twice in theaters

[01:56:00] which is crazy. I think that movie

[01:56:02] is hugely underrated. I like all his movies

[01:56:04] Well it got Oscar noms, I know that

[01:56:06] It did but it was seen as the juggernaut and it didn't get the best picture noms

[01:56:08] We didn't even really talk about this

[01:56:10] in the newcomers episode

[01:56:12] But this thing of like if a year out

[01:56:14] People are saying

[01:56:16] This is number one

[01:56:18] It is almost always a death sentence and I was trying to think

[01:56:20] what that was for this year and it almost

[01:56:22] definitely was Maestro

[01:56:24] Maestro was the movie a year ago

[01:56:26] The Good Shepherd. There's so many movies

[01:56:28] like that where it's like you do not want to be the early

[01:56:30] Charlie Wilson's war, Dreamgirls

[01:56:32] You're naming... these are all true

[01:56:34] If someone in January makes the

[01:56:36] You might say it's a little bit early but here are my predictions

[01:56:38] Cold Mountain was a big hit

[01:56:40] It was. It made $100 million

[01:56:42] I was going to say what do you think it's going to be for next year

[01:56:44] Because I feel like everyone is already saying

[01:56:46] Dune Part 2. Yeah, do I want a Duma

[01:56:48] movie right now?

[01:56:50] Well it could also work really well and that you guess it

[01:56:52] No, here's what I'll say

[01:56:54] I think Deadpool is going to walk up

[01:56:56] onto that stage

[01:56:58] And go I bet you didn't think

[01:57:00] I hope they don't slap me

[01:57:02] This is a genuine question

[01:57:04] Where's John Cena's envelope? I don't need his bigger one

[01:57:06] Like he'll say some shit like that

[01:57:08] What is the front runner? Don't let

[01:57:10] Faye Dunaway read my name

[01:57:12] Is there some movie that people are perceiving

[01:57:14] No I don't think there is an obvious one. Big Picture just did an episode

[01:57:16] That will be a couple months old at this point

[01:57:18] Where they were sort of looking ahead to the thing

[01:57:20] It doesn't... I think a lot of this is

[01:57:22] Because of the strikes

[01:57:24] Right? The production was stopped down for a while

[01:57:26] And when production started up again

[01:57:28] The priority was get those fucking blockbusters

[01:57:30] Back up and running ASAP

[01:57:32] That I think there's a lot less

[01:57:34] In the pipeline and I think

[01:57:36] There hasn't been stuff that popped

[01:57:38] Out of Sundance or South by Southwest

[01:57:40] No, that is not like

[01:57:42] Yet that feel like they even have a past lives

[01:57:44] Level up. So that's why maybe Doom Part 2

[01:57:46] Just because it's like people are into this movie

[01:57:48] It's doing well

[01:57:50] But then it's classic fucking Two Tower shit

[01:57:52] Yeah

[01:57:54] Yeah, no I mean it can't be that

[01:57:56] The third one is undeniably happening

[01:57:58] There is no reality in which they don't make a third one

[01:58:00] It's just that Denny might want to make a movie in between

[01:58:02] I'd like to see him make a movie in between

[01:58:04] I would love that

[01:58:06] Also, I mean, you know, they need to let them age a little bit

[01:58:08] Sure

[01:58:10] Cause you gotta get to... It doesn't matter. Doom Part 2

[01:58:12] We'll talk about it later

[01:58:14] But it doesn't feel like an obvious cold mountain, right?

[01:58:16] There's nothing on paper where like

[01:58:18] Oh these six people made a movie together based on this subject

[01:58:20] Invictus I feel like was another one of these

[01:58:22] Where you were like

[01:58:24] Oh can you believe fucking Morgan Freeman is playing

[01:58:26] Nelson Mandela in a Clint Eastwood movie

[01:58:28] About beating racism through soccer

[01:58:30] I've had my dad take me to the theaters to see that

[01:58:32] Cause I heard it was going to be the best picture

[01:58:34] Yeah

[01:58:36] It was not now

[01:58:38] But there's nothing on paper that feels like it has the elements of the like

[01:58:40] The post is another one

[01:58:42] The Steve McQueen movie Blitz is the closest

[01:58:44] And that's like Steve McQueen doesn't really make

[01:58:46] Like very straight down the middle movies

[01:58:48] For a man who has one best picture

[01:58:50] It is wild that you are right

[01:58:52] Yeah like it's like so it's not like

[01:58:54] And that film's been a bit of a mystery box for a couple years now

[01:58:56] Cold Mountain

[01:58:58] Anyway I did I texted a friend of mine who sings

[01:59:00] And I said like you know sacred

[01:59:02] Like you must know what this is

[01:59:04] And she was like I do and she was like

[01:59:06] I bet you could find that in New York really easily

[01:59:08] And I was like it's pretty obscure googled it immediately

[01:59:10] It's like we're the sacred harp group

[01:59:12] We meet every Wednesday at this church in the village

[01:59:14] And I'm like New York has everything man

[01:59:16] They've even got fucking Irish folk church singing

[01:59:18] They've got it all

[01:59:20] David's gonna start breathing down our neck about finishing records early

[01:59:22] Because he has a fucking

[01:59:24] Gotta go do some sacred harp

[01:59:26] I'm gonna get a book of sacred harp tickets

[01:59:28] Are you playing?

[01:59:30] I'm singing

[01:59:32] Right no I bought ten

[01:59:34] I bought a ten pack

[01:59:36] I'm sure they would just let me listen

[01:59:38] Anyway you've also got something's gotta give

[01:59:40] Of course

[01:59:42] My baby's daddy as you mentioned

[01:59:44] Is clinging on

[01:59:46] Calendar girls

[01:59:48] They call them the calendar girls

[01:59:50] Which I feel like was sort of a failed Oscar player

[01:59:52] Like now it's Trump doing the newscaster thing

[01:59:54] It's evolved so much

[01:59:56] These brave women

[02:00:00] You can't do this because of woke

[02:00:02] Be a calendar girl anymore

[02:00:04] They should

[02:00:06] Calendar girls

[02:00:08] Old boobies on the calendar

[02:00:10] I feel like calendar girls

[02:00:12] It was Disney might have been Fox Searchlight

[02:00:14] It was Disney

[02:00:16] You know they were like naked English people

[02:00:18] This thing worked with you before

[02:00:20] And the Oscars were like

[02:00:22] It needs to be a little different

[02:00:24] Okay

[02:00:26] It can't literally just be

[02:00:28] Naked English people again

[02:00:30] So it didn't go over

[02:00:32] And then number ten the last samurai

[02:00:34] Tom Cruise is the last samurai

[02:00:36] Teachers pet the movie

[02:00:38] A movie you like

[02:00:40] One of my favorite movies of 2004

[02:00:42] Opening at number 13

[02:00:44] Have you seen that movie?

[02:00:46] It's the completely forgotten Disney film that yes was dumped

[02:00:48] Second week of January

[02:00:50] Well it's new this week so second

[02:00:52] It opened outside of the top ten

[02:00:54] I'm telling you it's opening number 13

[02:00:56] This is it

[02:00:58] Holy shit

[02:01:00] It's depressing but that film rules

[02:01:02] Also opening this week is the Jafar Bahani film

[02:01:04] Crimson Gold

[02:01:06] Incredible movie

[02:01:08] They call you the king of TikTok

[02:01:10] They do

[02:01:12] They will now

[02:01:14] This is going to follow me for years to come

[02:01:16] I'm sorry for cursing you

[02:01:18] I'll never be the king of TikTok

[02:01:20] Where is it that you whisper to Gen Z

[02:01:22] Do you have anything you want to play?

[02:01:24] Which mountain top?

[02:01:26] No not really

[02:01:28] That's my account name

[02:01:30] It came from man with a movie camera

[02:01:32] Yes

[02:01:34] I made it not thinking I would ever

[02:01:36] I was not on social before

[02:01:38] It became my job

[02:01:40] So I made it kind of like

[02:01:42] Like an Xbox gamer tag

[02:01:44] Where it's like you don't think about it

[02:01:46] It's not fair for me to

[02:01:48] Reside over be king of

[02:01:50] We were starting to talk about this

[02:01:52] But this feeling of optimism about film culture

[02:01:54] Coming back

[02:01:56] Especially you as someone who has a little bit of an ear

[02:01:58] To what some have said

[02:02:00] You whisper to Gen Z

[02:02:02] Some would say yes

[02:02:04] So yes on that

[02:02:06] TikTok is where I started

[02:02:08] But yeah it's all things

[02:02:10] Studios will just send me to sets

[02:02:12] And directors or filmmakers or producers

[02:02:14] That I've worked with will usually just be like

[02:02:16] Hey do you want to

[02:02:18] Come here

[02:02:20] And then after weeks of contracts

[02:02:22] And NDA's

[02:02:24] Which I only broke once

[02:02:26] Are you allowed to say which NDA you broke

[02:02:28] Or was there an NDA about

[02:02:30] It was Maisel

[02:02:32] The original breaking

[02:02:34] Exactly the original breaking

[02:02:36] Now I do not break them

[02:02:38] We all grow don't we

[02:02:40] But of course you will be breaking all of them on our Patreon

[02:02:42] Yeah I go real deep dive

[02:02:44] For $6 a month are no NDA's

[02:02:48] No I was just going to say

[02:02:50] I tried to break everything full circle

[02:02:52] And we were talking about this a little bit in the Millennium Actress episode

[02:02:54] But I do think it's fascinating to look at like

[02:02:56] David you were making the joke about

[02:02:58] Like Tokyo Godfather

[02:03:00] Barely outgrossing

[02:03:02] Millennium Actress

[02:03:04] But they were released by a Sony arm

[02:03:06] And a Dreamworks arm

[02:03:08] Like they were not getting wide releases

[02:03:10] No but everyone's exploring

[02:03:12] Like how do we maybe expand

[02:03:14] And there was always this feeling of like there's a real ceiling

[02:03:16] You know like Ponyo made

[02:03:18] What was it 15?

[02:03:20] Domestic and for so long was the highest

[02:03:22] Grossing Ghibli by like a good

[02:03:24] Distance

[02:03:26] Hey now

[02:03:28] She grossed at least 3 ham sandwiches in that movie as well

[02:03:30] Especially in the last like 4 or 5 years

[02:03:32] In this moment where

[02:03:34] It felt like theatrical exhibition

[02:03:36] Was very precipitous and the theaters

[02:03:38] Opening

[02:03:40] Japanese animation has been like one of the most

[02:03:42] Reliable bets in theaters

[02:03:44] Yeah! It is wild how many

[02:03:46] Japanese films now get released

[02:03:48] And it started as like Funmation dipping the toe

[02:03:50] And going like we're gonna

[02:03:52] It's a new movie that we're gonna put out for only

[02:03:54] 3 days and then suddenly it makes

[02:03:56] 20 million dollars. Like the Godzilla minus 1 thing

[02:03:58] Well now it's like commonplace

[02:04:00] I think it was like and I know everyone

[02:04:02] Points to Parasite as the

[02:04:04] As the one that like but

[02:04:06] I think younger audiences

[02:04:08] Are a lot more forgiving

[02:04:10] Than people think about

[02:04:12] Things not being American about things having

[02:04:14] Subtitles. This is why I'm bringing this up to you because

[02:04:16] You got their ear but I do feel like

[02:04:18] There's an interesting generational shift

[02:04:20] Of like outside of very few

[02:04:22] Exceptions it always felt

[02:04:24] Like look 99% of Americans are

[02:04:26] Just never gonna get past subtitles

[02:04:28] It's a fucking non-starter with them

[02:04:30] And I think a couple things have happened

[02:04:32] I do think right right and then

[02:04:34] You have your weird aberrations like

[02:04:36] Crouching Tiger and then it was like never replicatable

[02:04:38] But I think you do gotta give

[02:04:40] Some credit to Netflix which put a lot of

[02:04:42] International shows up and people started watching

[02:04:44] Them and they had the option to watch them dubbed or

[02:04:46] Subbed but people suddenly it's

[02:04:48] Like oh I watched this at home

[02:04:50] This is a normal TV show. Yeah

[02:04:52] Money Heist, Squid Game, like all of those things are

[02:04:54] Genre shows. They're fun. They're not

[02:04:56] Artsy. It makes people more open

[02:04:58] To the idea of seeing these things in theaters but I do

[02:05:00] Think there's also like Gen Z grew

[02:05:02] Up with Japanese animation

[02:05:04] Not being this weird kind of

[02:05:06] Hidden relegated thing to them. No

[02:05:08] And some of that is like the early

[02:05:10] Tale of like these movies

[02:05:12] These studios testing the water in the early

[02:05:14] 2000 things like Toonami on

[02:05:16] Cartoon Network and all this stuff

[02:05:18] The proliferation of DVDs making these films

[02:05:20] Easier to like get in circulation

[02:05:22] But you're just like I feel like anyone

[02:05:24] Under the age of 25 doesn't really

[02:05:26] Give a shit about subtitles and in fact

[02:05:28] It's like it's kind of cool to watch

[02:05:30] They're always watching things with subtitles

[02:05:32] I watch I mean yeah it's

[02:05:34] You always have them on. That's what we were about to say

[02:05:36] Yeah I have them on always. That's the other part of it

[02:05:38] I'm also not on my phone when I watch

[02:05:40] Sure. But um it's just for me it is

[02:05:42] Just I'm not staring at them it is just a

[02:05:44] Crutch if I miss something cause I'm

[02:05:46] If I miss a line I have to go back

[02:05:48] And I cannot have anything

[02:05:50] Missed or I'll just have to rewatch it. I swear to god I'm not saying

[02:05:52] This is a joke this just organically happened

[02:05:54] But I genuinely watched online the other

[02:05:56] Day a local news broadcast

[02:05:58] Where they were like meet the johnsons

[02:06:00] Family of five who like

[02:06:02] TV a lot but would you believe

[02:06:04] That they like to read the

[02:06:06] TV and it was truly like a

[02:06:08] News piece on like why are people watching

[02:06:10] Shit with subtitles on

[02:06:12] And I don't know if it's like

[02:06:14] I don't know if it's a chicken and the egg thing

[02:06:16] Yeah I'm not sure either I'm not sure

[02:06:18] If I could even think about when it happened

[02:06:20] But it's just how it's been. Like Americans

[02:06:22] Watching English language things with closed

[02:06:24] Captioning on has made them more open

[02:06:26] To watching foreign films with

[02:06:28] Subtitles on because the process isn't

[02:06:30] Different I don't know I just find it all

[02:06:32] Very interesting. Yeah also like the

[02:06:34] Social aspect where it's like I grew up just like

[02:06:36] On like all the film accounts

[02:06:38] And stuff I followed and everything just posting like

[02:06:40] Studio Ghibli like anything

[02:06:42] And like in all of these

[02:06:44] Anime shows where it's not like a cult

[02:06:46] Niche thing anymore they're like popular

[02:06:48] Culture. No they're like bigger than a lot of American

[02:06:50] And it went from being like what

[02:06:52] The fuck is Mugen Train and why is that

[02:06:54] Making 20 million dollars so then like a couple

[02:06:56] Times a year where like well obviously number two at the

[02:06:58] Box office is gonna be this movie

[02:07:00] That Funmation is releasing for 10 days

[02:07:02] And it just happened. I kind of agree with you. Yeah it's

[02:07:04] Interesting. Yeah it is

[02:07:06] It's good. They call him the

[02:07:08] King of TikTok. We'll see

[02:07:10] Him again soon on Blank Check

[02:07:12] The King of TikTok he'll be back

[02:07:14] He'll be back. Folks!

[02:07:16] Yeah I hope this

[02:07:18] Went well. Well we'll see if it follows me. Fantastic.

[02:07:20] This title is gonna it's either gonna be

[02:07:22] My downbringer. You're gonna be more famous than ever

[02:07:24] You're gonna be. My friend

[02:07:26] You thought you were famous before

[02:07:28] You thought you were a king

[02:07:30] I can't wait to listen to all of this

[02:07:32] Is not in it. Hope I don't

[02:07:34] Hope we've not twerped you know your career. Episode's 20 minutes long

[02:07:36] 20 minutes. We're like Tokyo

[02:07:38] Godfathers is good

[02:07:40] It's a movie

[02:07:42] I like the characters

[02:07:46] Ben's just doing ADR

[02:07:48] I'm Griffin and I liked it too

[02:07:52] I'm Griffin I know the box office is some shit

[02:07:54] Also while I'm still on mic

[02:07:56] I wanted to. I brought

[02:07:58] As like I genuinely

[02:08:00] Not to weird you guys out

[02:08:02] Like have been listening for years

[02:08:04] Before I was even working in TV. When did you get

[02:08:06] Into the show? I got into it

[02:08:08] I think 2020

[02:08:10] So that was like about when I started

[02:08:12] Working. I'm glad you didn't get into it when you were a teenager

[02:08:14] Just in the name

[02:08:16] Of not making me feel like shit

[02:08:18] He was probably basically a teenager

[02:08:20] No you're 20

[02:08:22] That's all I care about

[02:08:24] So I brought stuff because I know you guys decorate the office

[02:08:26] Yeah we do

[02:08:28] A little bag of goodies

[02:08:30] I don't know who wants to go first

[02:08:32] So for Griffin

[02:08:34] I know you're a toy enthusiast

[02:08:36] So I got the thing

[02:08:38] They call him the toy enthusiast

[02:08:40] So it's the um

[02:08:42] The thing

[02:08:44] Ben leapt to his feet

[02:08:46] Hell yeah

[02:08:48] I don't know if you already have it

[02:08:50] I figured

[02:08:52] Oh okay this is good

[02:08:54] Can I be honest with you

[02:08:56] I have a different McReady

[02:08:58] And I have the dog

[02:09:00] Thing. I don't have this one

[02:09:02] So this is good

[02:09:04] This is very valuable

[02:09:06] It's the Outpost 31 version

[02:09:08] It is the Hellraiser box

[02:09:10] Oh my god

[02:09:12] That's a really good pick for Ben

[02:09:14] Now Ben

[02:09:16] Ben you're like

[02:09:18] I forgot what episode

[02:09:20] If you guys came across the box

[02:09:22] What would you do

[02:09:24] And both of you said not to solve it

[02:09:26] And Ben was like oh fuck yeah I'm solving that

[02:09:28] So I just figured having it in the office

[02:09:30] For after I leave would be fun

[02:09:32] Maybe hold out for a day or two

[02:09:34] Before you solve the woman

[02:09:36] And then for David

[02:09:38] This is for you and your daughter

[02:09:40] So it's Nightmare Before Christmas

[02:09:42] What look at that

[02:09:44] So I figured that would be fun

[02:09:46] Yes that is very fun

[02:09:48] You're not showing it to her yet right

[02:09:50] No I haven't

[02:09:52] I don't know what she might love it

[02:09:54] My friend's daughter is a little older than yours

[02:09:56] And recently

[02:09:58] Just got into Nightmare

[02:10:00] And is like obsessed with Zero

[02:10:02] Which I'm predicting your daughter will be as well

[02:10:04] Yes

[02:10:06] I'm just saying for the audience

[02:10:08] Zero Jack Skellington

[02:10:10] I think my kid would love it

[02:10:12] You are two kinds

[02:10:14] It's the least I can do

[02:10:16] Do you know what I'm going to call you

[02:10:18] The king of gift giving

[02:10:20] That's exactly what I was going to say

[02:10:22] And now we get some great crinkles directly on Mike

[02:10:24] Reece thank you so much for being here

[02:10:26] Thank you so much for having me

[02:10:28] I hope I did okay

[02:10:30] You did a great job

[02:10:32] Do you guys listen back to the episodes or no

[02:10:34] Sometimes he definitely does

[02:10:36] I used to listen every week

[02:10:38] Pandemic kicked that out of me

[02:10:40] Alright Griffin wrap this up

[02:10:42] Everyone follow Reece

[02:10:44] I know we already plugged it

[02:10:46] And if you're Gen Z you don't need me to tell you that

[02:10:48] But also if you're not on

[02:10:50] TikTok I know it is

[02:10:52] Less scary than you might think

[02:10:54] You know TikTok is very

[02:10:56] Easy to use

[02:10:58] It's a little too easy

[02:11:00] It's very easy to use and also

[02:11:02] The algorithm fits to you

[02:11:04] So if you're into movies you'll find movie related

[02:11:06] Stuff so you'll quickly

[02:11:08] Be able to yeah

[02:11:10] Right for me it's mostly like you know airplane crashes

[02:11:12] And uh old video games

[02:11:14] What is it Griffin

[02:11:16] No I was going to say thank you all for listening

[02:11:18] Please remember to rate

[02:11:20] Review and subscribe

[02:11:22] Thank the algorithm if it brought this show

[02:11:24] To you

[02:11:26] Uh

[02:11:28] Thank you to Marie Barty who just walked into the room

[02:11:30] Co-producing the show

[02:11:32] Thank you to AJ McKeon and Alex Barron

[02:11:34] For our editing

[02:11:36] Thank you to our research

[02:11:38] Joe Bowen

[02:11:40] Pat Reynolds for our artwork

[02:11:42] Lee Montgomery and the Great American Novel

[02:11:44] For our theme song you can go to

[02:11:46] Blankcheckpodcast.com

[02:11:48] For links to some real nerdy

[02:11:50] Shit including

[02:11:52] Blankcheck special features

[02:11:54] Their Patreon where get ready

[02:11:56] We're about to fucking take some pot shots

[02:11:58] At TMNT

[02:12:00] Break NDA's

[02:12:02] An important 2007 movie

[02:12:04] We're gonna pour

[02:12:06] Unfortunately sadly

[02:12:08] Tragically the final film in our Satoshi Kono

[02:12:10] A dash of it

[02:12:12] More than a dash

[02:12:14] We're gonna pour it all over the sandwich

[02:12:16] And as always

[02:12:18] I got my short shorts on and my high socks

[02:12:20] My hair perfectly teased

[02:12:22] Into wrinkle

[02:12:24] It's my hat with a ribbon on it

[02:12:26] I'm skipping about

[02:12:28] It's me little lord Fauntleroy

[02:12:30] I'm gonna reboot it with Nick Nolte

[02:12:32] I'm a fancy little boy

[02:12:34] I'm chasing a hoop with a stick