True Lies

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

[00:00:05] Blank Check with Griffin and David

[00:00:09] Don't know what to say or to express

[00:00:14] All you need to know is that the name of the show is Blank Check

[00:00:21] Have you ever killed anyone?

[00:00:22] Yeah, but they're all podcasts.

[00:00:28] That's a terrible arty!

[00:00:29] It's not Arnold, it's Yarnal.

[00:00:32] I don't know what's going on.

[00:00:33] Do you remember Yarnal, our friend?

[00:00:35] Oh yeah, Yarnal, right, right.

[00:00:37] We said he was going to be a recurring character on this podcast.

[00:00:39] Right, he was...

[00:00:40] I'm a Yarnal.

[00:00:41] We got to do all the Yarnal jokes.

[00:00:43] Well now it's coming back baby!

[00:00:44] Alright, Yarnal time!

[00:00:45] Here we are, Blank Check, colon the return of Yarnal.

[00:00:48] My name is Griffin.

[00:00:50] My name is David Sims.

[00:00:52] This is Blank Check with Griffin and David.

[00:00:53] It's a podcast where we study filmographies.

[00:00:55] We like looking at careers of directors in the macro,

[00:01:00] charting a little narrative of what happens when someone has massive

[00:01:03] success early on and then they get a blank check.

[00:01:06] I would say that with every miniseries we leave a tapestry.

[00:01:08] Yeah.

[00:01:09] Wouldn't you say that?

[00:01:10] It's like a constellation of stars,

[00:01:11] several stars that we tie together into some larger beautiful picture.

[00:01:15] Using star rope.

[00:01:16] Yeah, except it says stars, they're checks.

[00:01:18] And sometimes those checks clear and sometimes those checks bounce baby!

[00:01:22] Yeah, but we like to find a little something good in every movie.

[00:01:26] This isn't a bad movie podcast and if you're...

[00:01:28] No.

[00:01:29] If you say it is...

[00:01:31] Hey now.

[00:01:32] You're wrong.

[00:01:33] Wow.

[00:01:34] We sure took it to them.

[00:01:35] Whoever they are.

[00:01:37] Sticking it to the man.

[00:01:39] Taking it to the streets.

[00:01:42] Oh, okay.

[00:01:42] No, I don't know.

[00:01:43] Um, this is a miniseries.

[00:01:46] It's called Pottinator,

[00:01:48] Judgment Cast.

[00:01:48] It's about the films of one slippery wet James Cameron.

[00:01:54] Absolutely.

[00:01:55] Yes, the wettest director there is.

[00:01:57] Now, I know what you're thinking.

[00:01:59] That's the greatest title I ever heard.

[00:02:00] Let's leave it there.

[00:02:01] No, there's more.

[00:02:02] There's more.

[00:02:03] Pottinator, Judgment Cast.

[00:02:04] What more needs to be said?

[00:02:05] There's more that needs to be said by us on microphone today.

[00:02:10] What needs to be said?

[00:02:11] What am I...

[00:02:11] We're going to talk about True Lies today.

[00:02:13] Oh, the movie, the movie, the specific movie we were talking about today is True Lies.

[00:02:16] I just think our title is so bad and I just like making fun of it every day.

[00:02:19] I think it's the best.

[00:02:21] True Lies is the film that we were talking about today in 1994.

[00:02:24] Remake.

[00:02:26] James Cameron's only remake.

[00:02:29] Is it his?

[00:02:30] I'm trying to...

[00:02:30] Yeah, yeah, it is right?

[00:02:31] Yeah.

[00:02:33] Oh, except Avatar is a remake of Franko.

[00:02:35] I think that was the joke.

[00:02:36] I mean, the fucking...

[00:02:37] Yeah, whatever.

[00:02:37] I was debating whether to do that or the Pocahontas and I thought neither one was worth the energy.

[00:02:43] Well, yeah, it's a mash-up.

[00:02:44] Avatar is a mash-up.

[00:02:45] This is a street remake of a 1991 French farce.

[00:02:49] Call a Latte Hotel.

[00:02:50] Do you think James Cameron saw it?

[00:02:52] Maybe.

[00:02:53] Or some might have described it to him.

[00:02:54] Yeah, right?

[00:02:55] Yeah.

[00:02:58] He wrote the movie himself.

[00:02:59] He must have.

[00:03:00] He did.

[00:03:01] But that is the film we're talking about today.

[00:03:02] 1994, the first film under his Light Storm deal.

[00:03:06] His $500 million deal with 20th Century Fox.

[00:03:10] Right.

[00:03:11] Have we set the title that we did?

[00:03:13] True Lies.

[00:03:13] True Lies.

[00:03:14] True Lies.

[00:03:15] So yeah, as we sort of covered in past episodes, Cameron makes two big movies at Fox.

[00:03:21] He makes Aliens and he makes The Abyss, right?

[00:03:23] One's a big hit, one's a disappointment.

[00:03:25] Yeah.

[00:03:26] He then goes to a weird group of financiers and independent studios to make Terminator 2.

[00:03:35] Sure, distributed by TriStar, I believe, right?

[00:03:37] Right.

[00:03:38] But CoroCoe is like the-

[00:03:39] Yeah, but CoroCoe was the production company.

[00:03:40] And the Terminator rights are weird.

[00:03:42] We've discussed it on our two Terminator episodes, Yarnal.

[00:03:44] Yes.

[00:03:45] Hey, Yarnal.

[00:03:47] How did we not do Yarnal stuff on T2?

[00:03:50] I know, we forgot.

[00:03:50] And here's the crazy part.

[00:03:51] It's not like we didn't have enough time.

[00:03:53] So the running time, by the way-

[00:03:57] Hey, Yarnal.

[00:03:57] On True Lies is a comfortable 141 minutes and we are not going to hit that one on this one.

[00:04:03] No, absolutely not.

[00:04:04] 141 minutes.

[00:04:05] Come on, James.

[00:04:07] Yeah, well there-

[00:04:07] This is a sexy spy farce!

[00:04:09] Yeah, so here are a couple things to think about.

[00:04:10] It shouldn't be like the length of Amistad, like come on.

[00:04:13] It shouldn't be the length of other James Cameron movies.

[00:04:15] Yeah, right.

[00:04:15] That's the real problem and it also, this was at the time it was made the most expensive film I've ever made.

[00:04:20] And there's no reason for it to cost that much other than the fact that it was James Cameron and he only works up.

[00:04:25] I guess so, and they blew up a bridge in Florida or something.

[00:04:29] There's a version of this movie that could have cost $60 million.

[00:04:31] Yeah, definitely.

[00:04:32] Whereas there is no version of Avatar that could have cost $90 million.

[00:04:36] Do you know what I'm saying?

[00:04:38] For sure.

[00:04:39] I'm looking at the budget of Mission Impossible 3, which was less than True Lies like 12 or 13 years later.

[00:04:47] And that movie has way more set pieces and looks more expensive and has Tom Cruise in it.

[00:04:51] Yeah.

[00:04:52] I'm just thinking of them because they both have that long bridge attack.

[00:04:54] Sure, sure.

[00:04:55] Anyway.

[00:04:57] But he makes the abyss, it's a disappointment.

[00:04:59] He makes Terminator 2, it's humongous.

[00:05:01] And Fox wants him back.

[00:05:02] They want him back baby.

[00:05:04] And they go, hey, Light Storm Entertainment, why don't you set up your shingle here on the 20th century lot?

[00:05:09] We'll give you $500 million.

[00:05:11] Has this deal been fulfilled by the way I was thinking about this the other day?

[00:05:15] He's only directed three movies since.

[00:05:17] Yeah.

[00:05:18] But I assume some of the movies he produced were part of it as well?

[00:05:21] Like Strange Days and Solaris?

[00:05:23] Perhaps.

[00:05:24] Oh, because both of those were Fox as well.

[00:05:26] I think, I assume like that.

[00:05:28] I don't know.

[00:05:28] I don't know.

[00:05:29] I don't know.

[00:05:30] I think the original deal was for $500 million and five years.

[00:05:35] If I'm not mistaken.

[00:05:37] $500 million in five years?

[00:05:39] Yeah.

[00:05:40] That's, you sure it wasn't five projects?

[00:05:42] I'm going to look this up.

[00:05:43] I think it was five years.

[00:05:46] Because he made the two films within that 97 and 94.

[00:05:54] God damn it.

[00:05:55] All this shit about Avatar's budget comes up.

[00:05:57] Okay, whatever.

[00:05:57] Who gives a shit?

[00:05:58] The point is, right, the point is this is the first film he makes.

[00:06:02] They give him this deal at Fox.

[00:06:03] He goes first thing, remember Abyss, that movie you were the one movie I've made that didn't do well.

[00:06:07] You're going to give me more money to finish it.

[00:06:09] And they went, oh, fine.

[00:06:10] Right.

[00:06:10] They gave him a little bit of a few million bucks to just remaster and re-release and finish the ending of the abyss.

[00:06:16] Yeah.

[00:06:16] They gave him like three quarters of a million dollars, I think.

[00:06:19] And then,

[00:06:21] I really dig into this.

[00:06:22] Yeah.

[00:06:23] Carry on.

[00:06:23] I haven't been able to find much information about what drew him to True Lies or how it happened,

[00:06:28] but it kind of felt like watching it just sort of feels like he was like,

[00:06:31] I'd like to make another thing with Arnold.

[00:06:33] Yeah, it is funny.

[00:06:35] So T2, he makes T2.

[00:06:37] T2's the biggest hit.

[00:06:39] It's huge.

[00:06:39] It's humongous.

[00:06:40] It makes a gazillion dollars.

[00:06:42] It costs a ton and it makes like a huge profit.

[00:06:44] I don't know.

[00:06:45] Like you can't really be superlative about it.

[00:06:46] Right.

[00:06:47] It sort of cements Arnie as one of the biggest stars in Hollywood,

[00:06:50] certainly one of the highest paid.

[00:06:52] Yeah.

[00:06:53] So all that, it's logical that he would make an action movie with Arnie again, right?

[00:06:58] Very logical.

[00:06:58] What's not logical is James Cameron doesn't usually make a logical decision like that.

[00:07:03] No.

[00:07:03] Usually the next thing he does is sort of like a weird left turn and you're like,

[00:07:07] oh, why is he making an undersea alien movie?

[00:07:09] And like what?

[00:07:09] Anyway, here are a couple of things I'll say about this movie.

[00:07:11] One is it's the only movie he's made that feels like a career move to me, right?

[00:07:17] Yeah.

[00:07:18] You can argue that Terminator 2 as a response to the abyss was sort of a career

[00:07:21] move, but what he made Terminator 2 into is such a weird choice.

[00:07:26] Sure, but I think, but this is so this is a for them type movie.

[00:07:30] I guess so.

[00:07:31] I mean, it's just when you think about James Cameron and that's what this

[00:07:35] podcast is about.

[00:07:35] Wait a second.

[00:07:37] Okay.

[00:07:37] Yeah.

[00:07:38] Go ahead.

[00:07:39] I'm in the middle of a point.

[00:07:40] God damn it.

[00:07:41] What was your point?

[00:07:42] Um, this doesn't seem to be any of the shit that he's interested in at all.

[00:07:47] Agreed.

[00:07:47] Can I make a point?

[00:07:48] Yeah.

[00:07:49] I think that was the voice of a producer.

[00:07:52] Oh yeah.

[00:07:52] No, hey, I just just added my two cents.

[00:07:56] Producer Ben.

[00:07:57] Yeah.

[00:07:57] The Ben Deucer.

[00:07:59] Hey guys.

[00:07:59] Producer Ben.

[00:08:00] The poet laureate.

[00:08:02] I did write poetry in college.

[00:08:04] Mr.

[00:08:04] Positive.

[00:08:06] I you did.

[00:08:07] Yeah, that's breaking news.

[00:08:10] Poetry corner.

[00:08:12] Ben's poetry corner.

[00:08:13] Do you still have any of it?

[00:08:14] Of course.

[00:08:15] Oh, okay.

[00:08:16] So did you write it for girls or did you write it for to like sort of

[00:08:19] spill your soul onto the paint?

[00:08:20] Uh, I wrote it for girls for sure.

[00:08:24] I was a torture at soul guys.

[00:08:25] I just I just know Ben like, okay.

[00:08:28] So let's just paint a picture.

[00:08:29] Ben dirt bike slingshot in the back pocket.

[00:08:32] Wait a second.

[00:08:33] No, no, no, that's that's team bed.

[00:08:35] Dirt bike, Benny dirt bike, Benny, which is

[00:08:36] team Ben one day if we release like a series of action figures

[00:08:40] of like all of Ben's phases of life, which we plan to.

[00:08:43] We're in negotiations college.

[00:08:44] Ben is like emo tortured like no, no, don't don't don't label me

[00:08:48] emo.

[00:08:48] Sorry.

[00:08:49] I'm sort of like I'm like a tortured punk.

[00:08:53] Okay.

[00:08:53] Yeah.

[00:08:54] All right.

[00:08:54] Sure.

[00:08:54] You're a tortured punk.

[00:08:56] And so then what's post college been because that I imagine

[00:09:00] you like hanging out of punk shows and into like the DIY

[00:09:05] scene or something like right like yeah, I mean I was to me

[00:09:09] you're like the Emilio Estevez and Mission Impossible.

[00:09:12] You know what I mean?

[00:09:13] Like you've got kind of weird glasses and I don't know just

[00:09:16] sort of a look.

[00:09:17] Yeah, I definitely had a look about me.

[00:09:20] It was sort of like into graffiti culture at the time

[00:09:24] and was like, yeah, I don't know run around causing trouble.

[00:09:29] Ben really has lived a thousand lives.

[00:09:31] It's unbelievable.

[00:09:33] I mean, I don't know.

[00:09:34] I just have always been interested in new experiences

[00:09:39] trying new things.

[00:09:40] Well like you know being the tiebreaker.

[00:09:43] Yeah.

[00:09:43] Being the fuckmaster having birthdays birthday, Benny.

[00:09:46] I remember birthdays.

[00:09:48] Don't yeah.

[00:09:50] No, can you confirm or deny?

[00:09:51] Have you ever been Professor Crispy?

[00:09:52] Never never.

[00:09:54] Okay.

[00:09:54] And let's just let me just check my facts here.

[00:09:57] It says here that you have graduated to certain tells

[00:10:00] over the course of different many series.

[00:10:01] That's true.

[00:10:02] Okay.

[00:10:02] That's true.

[00:10:03] So just let's get a quick true or false tall.

[00:10:05] Get all the diplomas out and go through them.

[00:10:07] Okay.

[00:10:07] Prusa Ben Kenobi.

[00:10:09] Yep, that's correct.

[00:10:10] Kylo Ben.

[00:10:10] Yeah.

[00:10:11] Ben Aichamalan.

[00:10:12] Oh right.

[00:10:13] Yeah.

[00:10:13] Penn State.

[00:10:14] Mm hmm.

[00:10:15] Say Ben anything.

[00:10:16] Dot dot dot.

[00:10:17] Correct.

[00:10:18] Okay.

[00:10:18] And one last question.

[00:10:19] If we saw you on the streets how should we greet?

[00:10:22] Yeah.

[00:10:23] You could always say hello.

[00:10:26] Fennel.

[00:10:26] Oh, hello Fennel.

[00:10:27] Yeah.

[00:10:28] Well, hey, this is a movie that I watched.

[00:10:32] And fuck I love it man.

[00:10:34] 1994.

[00:10:35] I wish I could live in it forever.

[00:10:37] There's some great computers in this movie.

[00:10:39] Yeah, Ben before we started recording was just like man 1994.

[00:10:42] Remember how it smelled guys?

[00:10:44] Remember the smell of 94.

[00:10:46] What a weird guy Ben is.

[00:10:48] The best we got.

[00:10:49] All right.

[00:10:49] That's enough about Ben.

[00:10:50] So true lies.

[00:10:51] I love you Ben.

[00:10:51] Yeah, we love you too guys.

[00:10:53] Ben Hossley.

[00:10:54] Okay.

[00:10:54] True lies.

[00:10:55] 1994.

[00:10:56] It just.

[00:10:57] Does James Cameron care about like secret identities and marriage

[00:11:02] and things that are funny?

[00:11:03] He's not a funny guy.

[00:11:04] He's not a funny guy.

[00:11:05] I was so excited because I've seen this movie with the new lens

[00:11:09] since we've been doing the James Cameron mini series.

[00:11:12] This is like a weird divorce movie.

[00:11:15] Yeah, that's kind of true.

[00:11:17] Kind of.

[00:11:18] So he's married to Linda Hamilton when he makes this movie.

[00:11:20] Yeah, let me let me get the except because I remember the Abyss of course.

[00:11:24] Right is the gay one.

[00:11:25] It seems like he's wearing his heart in his sleeve.

[00:11:27] Yeah.

[00:11:27] No this movie he makes in between marriages.

[00:11:30] Okay.

[00:11:30] So now I assume that he is dating and or living with Linda Hamilton.

[00:11:33] He's already had a child with her, but they're not married yet.

[00:11:36] Just trying to figure it all out.

[00:11:38] So you know he was married to Gail and her and we talked about that.

[00:11:42] Correct.

[00:11:42] And that's the Abyss is sort of about that then he's briefly married to

[00:11:44] Catherine Bigelow.

[00:11:46] Oh right that happens from 1989 to 1991.

[00:11:49] That happens at that time period.

[00:11:50] Yes.

[00:11:51] Okay.

[00:11:51] And they break up but he still works with her and helps her make strange days

[00:11:55] which is part of his life's for him deal.

[00:11:57] Yeah.

[00:11:57] And then we'll one day talk about on this podcast.

[00:11:59] Right.

[00:11:59] So then he has the kid with Linda Hamilton in 93.

[00:12:03] So that's post T2.

[00:12:04] They have Josephine.

[00:12:05] He's on production in this pretty much.

[00:12:07] Most likely.

[00:12:08] Yeah.

[00:12:08] And then they got married.

[00:12:10] They started dating pretty much around T2 91.

[00:12:14] They got married in 97 but broke up almost immediately.

[00:12:18] The marriage ends in 99, but they broke up eight months after getting married.

[00:12:22] Yeah.

[00:12:22] She's with him at the Oscars and I think it's pretty much done at that point.

[00:12:25] That's a weird timeline.

[00:12:26] They break up because he gets married and I think he'd already been having an

[00:12:29] affair with Susie Amos.

[00:12:31] He later admits.

[00:12:31] Yeah.

[00:12:32] So it all seems very well.

[00:12:34] Yeah.

[00:12:34] They met on the 7th Titanic or something maybe post but like they met there.

[00:12:37] Yeah.

[00:12:38] Now he's been married of course to Susie Amos since 2000 and they appear to be

[00:12:42] It's as long as.

[00:12:42] Yeah.

[00:12:43] Yeah.

[00:12:45] But so this is I get you know maybe he's commenting on like the workaholic

[00:12:52] life and how to wreck three of his marriages.

[00:12:54] I don't know.

[00:12:54] I don't know the details of him and Catherine Bigelow's marriage very well.

[00:12:58] I don't either.

[00:13:00] He's a complicated guy.

[00:13:02] He's a complicated guy and it's hard to get a read on him because he doesn't

[00:13:05] open up about this stuff when I call him and just try to catch up.

[00:13:10] I do think I mean I think this is the central point and I should

[00:13:13] mention quickly.

[00:13:13] Joram Eligan is not on this episode.

[00:13:15] We had previously promised that he was going to be on this episode.

[00:13:18] Scheduling difficulties where a group of busy men with multiple plates

[00:13:23] being spun each respectively and collectively.

[00:13:26] Yes.

[00:13:27] Joram will be on our next miniseries.

[00:13:29] We'll find a place for him.

[00:13:30] He's overdue as a guest and we're excited to have him on and apologies for

[00:13:35] once again, Urbaniak style calling the shot and then failing to follow

[00:13:38] through on it.

[00:13:40] Thanks for the burp Ben.

[00:13:41] I do think this is the only film in his filmography if we don't count

[00:13:46] Pyrrhonna 2 because he only sort of half owns it right?

[00:13:49] Yeah.

[00:13:50] I do think it's the only film in his filmography that could have been

[00:13:54] directed by someone other than James Cameron.

[00:13:57] Probably every other film could only be a James Cameron movie,

[00:14:00] but nonetheless he's bringing lots of camera into the table.

[00:14:03] But I know you know what I'm saying is obsessions don't seem to

[00:14:06] drive it in the same way.

[00:14:07] Yes.

[00:14:08] And yeah and even sort of the the technical explorations on a

[00:14:12] filmmaking side, you know that are usually like he's the only guy

[00:14:15] to be able to push technology to do this kind of thing.

[00:14:17] This movie isn't breaking any barriers other than in how much

[00:14:20] a movie could cost.

[00:14:21] Sure.

[00:14:21] I also think on a similar page it's the only James Cameron

[00:14:26] movie that might have been better had someone else directed it.

[00:14:29] I think James Cameron bring some interesting stuff to the

[00:14:31] table.

[00:14:32] I want to build up to my point.

[00:14:34] I'll reveal it later of who I think could have directed the

[00:14:36] idea.

[00:14:36] It better be someone who is big in 94 else.

[00:14:38] I'll be mad at you.

[00:14:39] It will go ahead and say you know Brad Bird.

[00:14:41] No, it is.

[00:14:42] I have the right answer.

[00:14:43] I have the right answer for who should directed this

[00:14:44] movie instead.

[00:14:46] This is a weird movie.

[00:14:47] I also think it has a very strange star and for the story

[00:14:52] it's trying to tell and that it is all the more successful

[00:14:55] because it you know it's all the more impressive that it

[00:14:57] works considering Arnie and it's kind of I would say kind of

[00:15:02] good example of what Arnie brings to the table even though

[00:15:06] he's so wrong for this role.

[00:15:07] Yeah, on paper.

[00:15:08] I almost think the movie works in spite of Arnie.

[00:15:10] I think anytime he has to do something that isn't an

[00:15:12] action scene the movie gets really clumsy.

[00:15:15] Well, it's just the classic Arnie Conundrum where they start

[00:15:18] casting him as sort of every man all American goofballs.

[00:15:22] And it's just odd day.

[00:15:24] It's so insane to do that.

[00:15:26] Yeah, you almost admire it.

[00:15:27] You're like, yeah, okay.

[00:15:29] I guess Arnie is normal.

[00:15:31] Right.

[00:15:32] How did they pull that off?

[00:15:33] I mean when I was a kid I didn't even like blink an

[00:15:36] eye at that but he is not a normal person.

[00:15:39] He's not huge.

[00:15:40] He's busting out of his freaking like button down shirts

[00:15:43] basically.

[00:15:44] Well, that's a problem with any.

[00:15:45] Sorry I was caught that works.

[00:15:47] It's just like you just like he's so boring like he's this

[00:15:51] giant man.

[00:15:52] I could never believe that he'd be a spy hip.

[00:15:54] My old boring husband Harry Tasker.

[00:15:57] Come on.

[00:15:58] He's such a doll.

[00:15:59] I think that's the inherent problem with this movie.

[00:16:02] It is sort of the Incredibles joke.

[00:16:04] Yes, you know where except of course in the

[00:16:06] critical right everyone knows you know in his family

[00:16:09] at least knows that he is really a former superhero.

[00:16:12] But at the very least in the Incredibles,

[00:16:14] he's gained a lot of weight.

[00:16:15] His hairline's back.

[00:16:16] He looks so sad.

[00:16:18] Well, animation helps obviously sort of exaggerate.

[00:16:21] Exactly.

[00:16:21] Yeah, but you go like this guy's huge but he also

[00:16:24] doesn't look like how he used to look.

[00:16:26] This sort of central issue in casting him is like.

[00:16:31] You look at Jamie Lee Curtis in the movie right and

[00:16:33] transformation is a big element of her character

[00:16:35] performance where like at the beginning of the film

[00:16:37] when we see her and you're supposed to believe that

[00:16:39] she's sort of a wallflower, you know, and that she's

[00:16:42] kind of like a quote unquote boring housewife who

[00:16:44] settled into some sort of suburban domesticity.

[00:16:47] Right.

[00:16:48] You know, she's still Jamie Lee Curtis.

[00:16:49] You do.

[00:16:50] You're very hyper aware of the fact that she's like

[00:16:52] making herself more boring and dressing herself down.

[00:16:55] Right.

[00:16:55] And it's like a heightened sort of character.

[00:16:58] He's performing totally fine.

[00:16:59] It works on board from the beginning to the end.

[00:17:01] And it reads, you know, you understand the coating

[00:17:04] of what's going on.

[00:17:05] There's no question.

[00:17:06] Whereas all sorts of nigger never shifts his posture,

[00:17:09] his his any outfit he's wearing.

[00:17:11] You know what I'm saying?

[00:17:12] But this is what I'm saying.

[00:17:13] It's so ridiculous that you almost love it because

[00:17:17] it is just so nuts that he does.

[00:17:19] You're right.

[00:17:19] And this is my problem with the movie.

[00:17:21] We barely see him in beaten down husband mode.

[00:17:24] And I think that's partly maybe because they don't

[00:17:27] want to sell it because they know I think so too.

[00:17:29] But I but I also feel like my issue with this

[00:17:31] movie, it's a movie I'm really on the fence about

[00:17:34] I teeter back and forth and watching it last night

[00:17:35] was only the second time I'd seen it.

[00:17:37] The first time I saw it, I was fine.

[00:17:39] I was probably 15.

[00:17:40] I love James Cameron.

[00:17:42] I mean, certainly for some of my friends, this is a

[00:17:44] movie that was just in heavy rotation.

[00:17:46] Yeah, a movie they loved.

[00:17:47] I've seen it.

[00:17:48] Yeah, but this is probably my third time seeing it.

[00:17:50] I've seen it.

[00:17:50] It's on cable.

[00:17:51] I've seen this a lot.

[00:17:53] I mean, it's a real Ben movie.

[00:17:54] It's a real Ben movie.

[00:17:55] Me and my friends were really into this feels like

[00:17:59] it could have been a Ben's choice.

[00:18:00] It could have been a long list of Ben's choice.

[00:18:02] I agree.

[00:18:03] It's like it's all the things that we could check off.

[00:18:05] It's like dumb action movie that's easily digestible.

[00:18:11] I agree.

[00:18:11] Yeah, I do think but but it's also really long.

[00:18:16] I mean, that's the other thing.

[00:18:17] It's got this weird too long.

[00:18:18] It's the Cameron five act structure.

[00:18:20] It does.

[00:18:20] Yeah, you know, I mean it's.

[00:18:24] It's all wrong by today's Hollywood standard.

[00:18:28] You would never make a movie this with this

[00:18:31] plot today.

[00:18:32] Yeah.

[00:18:32] You could make the same exact movie like, you know,

[00:18:36] the same premise.

[00:18:37] Right.

[00:18:37] I feel like they do.

[00:18:38] Right.

[00:18:39] I mean, I just feel like we've seen now we've seen this premise

[00:18:41] so many times, right?

[00:18:42] Like yeah, maybe more on TV, but you know, the guy's a super

[00:18:45] spy and his family doesn't know, you know how to advice

[00:18:48] for a second.

[00:18:48] Yeah, whereas so and you would think it would go kind of

[00:18:52] like, you know, I guess the movie sort of follows that

[00:18:55] structure, but then it just has this weird long middle

[00:18:58] all the from Bill Paxton's introduction.

[00:19:01] All the way through to basically the finale or at least

[00:19:05] the final act because Bill Paxton's introduction to that

[00:19:08] that's an entire act of just them.

[00:19:11] That whole chunk you're like, wait, what?

[00:19:13] What is happening?

[00:19:14] Five act movie.

[00:19:15] I mean, say the opening set piece is an act in and of

[00:19:17] itself.

[00:19:17] I didn't take a stopwatch to it, but I don't think

[00:19:19] Jamie Lee Curtis enters until like 35 minutes into

[00:19:21] the movie.

[00:19:22] I think the whole opening mission and then seeing him

[00:19:24] with Tom Marnell and all that stuff.

[00:19:26] I don't think he gets home until after half an hour

[00:19:27] into the movie.

[00:19:28] That sounds about right.

[00:19:29] Right.

[00:19:30] Okay.

[00:19:30] Then there's like half an hour of like, you know, I'm

[00:19:33] trying to remember exactly that you don't even see

[00:19:35] her.

[00:19:36] You do see her.

[00:19:37] I don't think you see her until that there's the dinner

[00:19:40] scene.

[00:19:41] Am I wrong about that?

[00:19:42] Or when he gets home and gets into bed with her.

[00:19:45] That's the introduction is when he gets into bed

[00:19:47] with her.

[00:19:47] Wait, so what's happened before then all the stuff

[00:19:49] at the whole fucking opening mission.

[00:19:51] It's not half an hour.

[00:19:52] There's no way really.

[00:19:53] Yeah, that's at least 20 minutes.

[00:19:55] No, no, it's that's like the opening.

[00:19:57] There's the opening set piece and then we do see

[00:19:58] him at home.

[00:19:59] Tom Arnold shows up and makes 50 weird jokes about

[00:20:02] Eliza Dushku and then we jump into another opening

[00:20:04] is really long.

[00:20:05] No, it's not.

[00:20:06] Yes, it is.

[00:20:07] What?

[00:20:07] No, it's not that long.

[00:20:08] Yes, it is like 20 minutes.

[00:20:09] Right.

[00:20:10] That's pretty long.

[00:20:13] What happens in it?

[00:20:14] Come on.

[00:20:14] He he does like swims underwater five set pieces.

[00:20:18] That's I think it's like it keeps on extending

[00:20:19] then he goes around and he has all conversation

[00:20:21] to career who does the dance and then he

[00:20:23] leaves.

[00:20:24] He infiltrates me.

[00:20:26] Look, I can't argue this because I didn't take

[00:20:27] a stopwatch to the movie.

[00:20:28] She's taking a stopwatch to the movie.

[00:20:29] Yeah.

[00:20:30] I don't think it's I can't remember either.

[00:20:32] I mean, whatever.

[00:20:32] But then that's like very long.

[00:20:34] There's a whole chunk of the banalities of like not

[00:20:36] the banalities but just sort of like getting you

[00:20:38] acclimated to his work environment, seeing how

[00:20:41] it works.

[00:20:42] Charlton Heston is Nick Fury.

[00:20:45] That's a weird choice, right?

[00:20:47] You just it's not a weird choice if he then

[00:20:50] shows up back later.

[00:20:52] When you see him, you're like, oh, okay.

[00:20:54] Charlton Heston is the boss.

[00:20:55] Maybe he's going to be a bad guy.

[00:20:56] He's uncredited.

[00:20:57] Like he wasn't in the advertising material or he's

[00:20:59] credited in the movie, but he's not in the

[00:21:01] opening credits.

[00:21:02] I think he was on the poster.

[00:21:03] It wasn't the trailer where he's in the opening

[00:21:05] credit really and Charlton Heston.

[00:21:07] I'm pretty sure again, I would you know now

[00:21:10] we're I just know I was looking through the

[00:21:11] advertising material and he wasn't definitely

[00:21:13] any of it.

[00:21:13] He's definitely not.

[00:21:14] I just yeah, he's definitely he is credited

[00:21:17] in the movie.

[00:21:17] Okay.

[00:21:18] You know, it's like Eliza Dushku Grant

[00:21:20] Heslov, Charlton Heston.

[00:21:22] No, I think he gets it.

[00:21:25] Just funny if he was sandwiched between

[00:21:27] Grant Heslov and like one of the one of the

[00:21:29] terrorists.

[00:21:30] Yeah, it just like I mean the whole section

[00:21:32] of him trying to figure out what's going on

[00:21:33] between her and Bill Paxson takes a really

[00:21:35] long time.

[00:21:36] So we're going to talk about that.

[00:21:37] But yes, that's where they even activate on

[00:21:39] the mission and then there's like the fake

[00:21:40] out ending before you get to the final

[00:21:42] 20 minutes with Eliza Dushku.

[00:21:44] You don't know what the movie's conspiracy.

[00:21:48] You know, like you really know what the

[00:21:49] bad guys are after.

[00:21:50] They're just kind of bad guys.

[00:21:52] They also drop them for 45 minutes.

[00:21:53] They dropped them for a long time.

[00:21:54] And I think I think the weirdest thing

[00:21:56] about revisiting this movie and I feel like

[00:21:58] we're now both sound like we don't like it.

[00:22:00] And I do actually enjoy the movie.

[00:22:02] The weirdest thing about the movie is just

[00:22:04] that when the Bill Paxson stuff starts,

[00:22:06] you're like, oh, this is just going to be

[00:22:08] like 10 minutes, right?

[00:22:09] Like this is just a little detour,

[00:22:11] like a funny little thing.

[00:22:12] And then it kind of takes over the

[00:22:13] movie in a way you don't totally

[00:22:14] understand and it takes way too long

[00:22:16] for the movie to let go of it.

[00:22:18] Well, it's here's the thing.

[00:22:20] It's simultaneously my favorite and Lee's favorite

[00:22:22] part of the movie.

[00:22:23] Agreed.

[00:22:24] The movie, that section of the movie is kind of

[00:22:26] at odds with the rest of the film.

[00:22:27] Yeah.

[00:22:28] But I think it's kind of interesting on its own.

[00:22:30] Sure.

[00:22:30] I think Bill Paxson's character is really interesting.

[00:22:32] I think Paxson's very good.

[00:22:33] Oh, my God, he is such a good scumbag.

[00:22:35] Such a good scumbag.

[00:22:36] He's a great scumbag.

[00:22:38] But what is interesting about it is

[00:22:40] for that chunk of the movie,

[00:22:41] this like middle 30 to 40 minutes,

[00:22:44] I think it's like a solid 30 minutes,

[00:22:45] right?

[00:22:46] Where it's mostly about like he starts

[00:22:48] suspecting.

[00:22:48] I mean, and longer if you then include the sort of

[00:22:51] interrogation of her and all the stuff that comes after.

[00:22:55] It pretty much becomes like,

[00:22:58] so this is my thing with this movie.

[00:23:00] I think this movie is teetering right on the edge

[00:23:02] of being like a very self aware satire.

[00:23:05] Right?

[00:23:06] It's like, is everything problematic in this movie?

[00:23:09] And I don't mean problematic even just socially.

[00:23:11] I mean like cinematically, right?

[00:23:14] But also both.

[00:23:15] Yeah, both.

[00:23:16] I just want to make it clear.

[00:23:17] It's not exclusive to one idea or the other.

[00:23:19] Okay?

[00:23:20] Is everything that is problematic in this movie

[00:23:23] self aware and satirizing the inherent problems

[00:23:26] in action movies of this ilk

[00:23:28] and in sort of fragile masculinity,

[00:23:30] which is what causes.

[00:23:32] You want more.

[00:23:33] That's the problem.

[00:23:34] Yeah.

[00:23:34] And James Cameron obviously is not master of laughs,

[00:23:37] right?

[00:23:37] Yeah.

[00:23:38] He's never been a very funny guy.

[00:23:39] And when he does comedy,

[00:23:40] he does it broad.

[00:23:41] It's like a diffusion.

[00:23:42] It's very broad.

[00:23:43] Like, is there anything in Titanic

[00:23:46] that is funny?

[00:23:48] Yes.

[00:23:49] Yeah.

[00:23:49] You laugh at things.

[00:23:50] Right.

[00:23:50] But that's supposed to be funny.

[00:23:52] Like, that's just a straightforward joke.

[00:23:54] That stuff you're like,

[00:23:55] It's, oh.

[00:23:56] That shit's like the like,

[00:23:58] like the spitting scene.

[00:23:59] Something Picasso.

[00:24:00] Like that shit like that.

[00:24:01] When it hits the iceberg though,

[00:24:02] it's so funny.

[00:24:04] The Picasso look is a perfect example

[00:24:06] of what we're talking about.

[00:24:08] Where you kind of go like,

[00:24:09] huh, okay, I get it.

[00:24:11] Yeah.

[00:24:11] But you don't laugh.

[00:24:12] And then Avatar too, like.

[00:24:14] Yeah.

[00:24:15] I mean, I laugh at stuff.

[00:24:17] Like Giovanni Robisi scrolling too fast

[00:24:20] on the 3D map.

[00:24:21] Yeah.

[00:24:21] But like those are weird.

[00:24:22] Like, he's not a funny guy.

[00:24:24] Well, the difference is like,

[00:24:25] okay, in like action films

[00:24:26] or horror films, genre films

[00:24:27] that are mostly based on tension,

[00:24:29] the idea is to use comedy

[00:24:30] as like a bit of a diffusion,

[00:24:32] right?

[00:24:32] To release some tension

[00:24:33] before you load some more back in.

[00:24:35] So it's the difference between

[00:24:37] like someone who's like a master

[00:24:38] of balancing tones.

[00:24:39] Am I saying this as a criticism

[00:24:41] of James Cameron?

[00:24:42] It's just not what he excels at, right?

[00:24:44] Sure.

[00:24:44] But someone who would like, you know,

[00:24:46] someone like Hitchcock, right?

[00:24:47] Where he's got like really sort of

[00:24:49] sharp subtle humor

[00:24:50] and also has like this sort of

[00:24:52] cranking tension.

[00:24:53] Sure.

[00:24:54] But all, yeah, go ahead.

[00:24:55] He maybe never ties off the balloon.

[00:24:57] He holds on to it

[00:24:58] and then very slowly at certain points

[00:24:59] let's go a little, so a little air comes out, right?

[00:25:01] I think when Cameron makes a joke

[00:25:03] he literally sticks a pin into the balloon

[00:25:05] and air comes out really quickly

[00:25:07] and then they have to like

[00:25:08] put the finger over it.

[00:25:09] It's a good metaphor.

[00:25:10] Right?

[00:25:11] And in this movie,

[00:25:14] you're like, well, this whole period,

[00:25:18] especially like at this time

[00:25:19] we're kind of at the peak of it

[00:25:20] of like this arms race between

[00:25:21] Schwarzenegger and Stallone

[00:25:23] that was so based in like

[00:25:25] sort of who had the bigger dick, right?

[00:25:27] And like whose movie had more

[00:25:30] I don't know.

[00:25:31] It's all pre Michael Bay.

[00:25:32] Who could fuck more attractive women.

[00:25:34] Right.

[00:25:35] This is when the star was still out

[00:25:37] and the shift is with Bay it becomes

[00:25:39] the director is the one.

[00:25:40] But beyond that with Bay it becomes,

[00:25:42] yeah, it's spectacle first.

[00:25:44] There is a weird sense of irony to it

[00:25:46] even if you're not detecting it

[00:25:47] because it's just so stupid.

[00:25:49] Right.

[00:25:50] But like, yeah.

[00:25:52] I mean, I guess with Bay comes like

[00:25:54] Hollywood's like, oh, these movies

[00:25:56] don't need to even be good.

[00:25:58] We don't even need to write a script

[00:25:59] probably, right?

[00:26:00] Yeah.

[00:26:01] Just like set piece like we'll just

[00:26:02] plan eight giant set pieces.

[00:26:04] And the other interesting thing.

[00:26:05] And I like Michael Bay in some ways.

[00:26:06] I do too.

[00:26:07] And I dislike him in other ways.

[00:26:08] I do too.

[00:26:09] His impact on the industry is fascinating

[00:26:10] but it is crazy that Bad Boys is 95, right?

[00:26:13] Yeah.

[00:26:14] So I really do think you're seeing

[00:26:16] people like James Cameron.

[00:26:17] You're looking at me putting my hand

[00:26:19] on the wall.

[00:26:20] Yeah, I am.

[00:26:21] It's interesting.

[00:26:22] At this point I feel like I've done

[00:26:23] all I can with an action movie

[00:26:24] with just a straightforward action movie.

[00:26:26] Right.

[00:26:27] And so then these other guys are

[00:26:28] sort of rushing in to fill the gap.

[00:26:29] Bay being the best of it.

[00:26:30] There's so many bad ones.

[00:26:31] Like Simon West or...

[00:26:32] Right.

[00:26:33] Yeah, I don't know.

[00:26:34] Well the thing I find interesting about

[00:26:35] Michael Bay is that his protagonists

[00:26:37] are largely beta males.

[00:26:39] Yeah.

[00:26:41] Right?

[00:26:42] Yeah.

[00:26:43] Like he makes these movies that feel

[00:26:44] like Stallone Schwarzenegger movies

[00:26:45] in terms of attitude.

[00:26:46] Sure, no, but they're guys who have

[00:26:48] a huge chip on their shoulder.

[00:26:49] Right, but it's Nick Cage in The Rock

[00:26:51] or Shia LaBeouf in the Transformers

[00:26:53] movies.

[00:26:54] Or even Martin Lawrence.

[00:26:55] I was going to say 100%.

[00:26:56] But I mean...

[00:26:57] Are you and McGregor in the island?

[00:26:58] This is the other thing.

[00:26:59] Will Smith is kind of a beta male

[00:27:02] and an alpha male.

[00:27:03] Right.

[00:27:04] I mean he finds that balance

[00:27:05] better than anyone forgetting just

[00:27:06] the Michael Bay movies.

[00:27:07] He's probably the best leading

[00:27:08] man that Michael Bay is.

[00:27:09] Man in black, someone who's a

[00:27:10] tough guy but it's also really

[00:27:11] funny the whole time.

[00:27:12] Right.

[00:27:13] Like he's always kind of undercutting

[00:27:14] himself but he's also really cool

[00:27:15] like and he just like can always

[00:27:17] keep those two things going at the

[00:27:18] same time.

[00:27:19] Well, Will Smith is kind of our

[00:27:20] bridge to the modern perception

[00:27:21] of masculinity and leading man.

[00:27:24] He's sort of the guy who gets us

[00:27:25] from Stallone and Schwarzenegger

[00:27:29] to today's like you know Bradley

[00:27:31] Cooper or whoever where it's like

[00:27:33] you can't just be McKeesmo.

[00:27:35] Totally.

[00:27:36] You know?

[00:27:37] Yes.

[00:27:38] And even someone like Jason Statham

[00:27:39] part of his thing is that he

[00:27:40] feels kind of vulnerable.

[00:27:41] He's got this quiet, wistful voice.

[00:27:42] Schwarzenegger does love playing

[00:27:44] with his McKeesmo in his own weird

[00:27:46] way.

[00:27:47] In his own weird way.

[00:27:48] And this movie definitely does

[00:27:49] but only to a certain extent.

[00:27:52] I just think at this time that

[00:27:55] has all reached a peak where

[00:27:57] these movies are owed to these guys

[00:27:59] masculinity.

[00:28:00] Right?

[00:28:01] And then this is a movie about

[00:28:02] like fragile masculinity.

[00:28:03] It's about the panic of that.

[00:28:05] Right.

[00:28:06] And so the whole Bill Paxton

[00:28:07] section of the movie is

[00:28:08] essentially and you're going

[00:28:09] to be angry at me for using this

[00:28:10] word but the whole section of the

[00:28:11] movie is this horror movie where

[00:28:13] it's like okay the whole first

[00:28:14] chunk we've watched him deal in

[00:28:15] like really high stakes life and

[00:28:16] death situations.

[00:28:17] Sure.

[00:28:18] He's in a real action movie.

[00:28:19] But also where he's just like

[00:28:20] yeah this is my job.

[00:28:21] Exactly.

[00:28:22] He never loses his cool.

[00:28:23] I know what I'm doing.

[00:28:24] It's work a day, it's blue

[00:28:25] collar, it's clock in, it's

[00:28:26] clock out.

[00:28:27] Right?

[00:28:28] The Bill Paxton section is

[00:28:29] the only section where he's

[00:28:30] like suddenly like in an

[00:28:31] emotional panic and it's

[00:28:32] because the greatest threat

[00:28:33] for this character is being

[00:28:34] cuckolded.

[00:28:35] Absolutely.

[00:28:36] But and I think that's

[00:28:38] interesting.

[00:28:39] My problem with the movie is

[00:28:41] that it doesn't fuck with him

[00:28:43] enough for that fear.

[00:28:45] I agree and it also feels like

[00:28:46] it kind of is taking his side.

[00:28:48] Too much.

[00:28:49] I agree.

[00:28:50] It's taking his side too much.

[00:28:51] It doesn't feel knowing enough.

[00:28:52] And it he pushes things way

[00:28:54] too much and all he's getting

[00:28:55] his push back is Tom Arnold

[00:28:57] occasionally being like I don't

[00:28:58] know man like this seems a

[00:28:59] little much and he's like we

[00:29:00] just have to do it.

[00:29:01] He's like oh okay and then

[00:29:03] finally the movie does hand

[00:29:05] off to Jamie Lee Curtis and to

[00:29:06] me that's a good move.

[00:29:07] I agree.

[00:29:08] And I like it once it does that

[00:29:10] but it takes it takes a little

[00:29:12] while to do it.

[00:29:13] Well the problem is he's an

[00:29:14] actor incapable of showing

[00:29:15] vulnerability.

[00:29:16] I mean and we don't mean that

[00:29:18] it's like he doesn't want to.

[00:29:19] I think it's just actually

[00:29:21] I think it's very tough for

[00:29:22] him to do.

[00:29:23] It's very tough to sell him

[00:29:24] as a vulnerable person.

[00:29:25] Now you can do it.

[00:29:26] Now you can.

[00:29:27] He's kind of old and broken

[00:29:28] down.

[00:29:29] Right.

[00:29:30] But at that point in time

[00:29:31] I mean just physically there's

[00:29:32] a problem with Arnold Schwarzenegger

[00:29:33] movies whereas you know the

[00:29:35] test for whether or not to cast

[00:29:37] Arnold in a role is

[00:29:39] would any time that character

[00:29:41] walk into a room would someone go

[00:29:43] wait who the fuck are you?

[00:29:44] You know.

[00:29:45] Like if the plot of the movie

[00:29:47] would get slowed down by

[00:29:48] logically character should be

[00:29:49] asking who the fuck he is and

[00:29:51] why he looks that way then

[00:29:52] he's wrong for the role.

[00:29:53] And this movie he's so he's

[00:29:55] the least.

[00:29:56] But that's that's the Arnie

[00:29:57] magic isn't it.

[00:29:58] That's the thing I mean that's

[00:29:59] the catch 22.

[00:30:00] And so it's almost like this

[00:30:02] movie is trying to analyze

[00:30:04] his star persona in the same way

[00:30:05] that Last Action Hero does.

[00:30:07] I think this movie is more well

[00:30:08] executed than Last Action Hero

[00:30:09] but Last Action Hero

[00:30:10] way more interesting.

[00:30:11] Right.

[00:30:12] It's a more interesting idea

[00:30:13] of how to deconstruct him.

[00:30:15] This is a better move.

[00:30:16] This is a better move.

[00:30:17] It's inarguable.

[00:30:18] Okay so let's get to the plot.

[00:30:19] I mean those are the main themes

[00:30:20] I want to lay out some other

[00:30:21] things coming up just to brief

[00:30:22] things to brief things just

[00:30:23] about the two stars.

[00:30:24] Sure.

[00:30:25] We talked about Arnie a lot

[00:30:26] in T2.

[00:30:27] But just to reiterate you know

[00:30:28] before this he's made action

[00:30:29] at Last Action Hero that's a

[00:30:30] bomb the same year junior

[00:30:31] comes out I think it does okay

[00:30:33] but that's 93.

[00:30:34] It's really 94.

[00:30:35] 94 okay.

[00:30:36] The same year as true.

[00:30:37] Wow crazy.

[00:30:38] Junior comes out.

[00:30:39] Yeah.

[00:30:40] Gets really bad reviews and I

[00:30:41] don't know.

[00:30:42] And then I think as we talked

[00:30:43] about everything after that is

[00:30:45] Arnie in serious decline.

[00:30:46] Yeah.

[00:30:47] Eraser, jingle all the way

[00:30:48] Batman and Robin end of day

[00:30:49] sixth day collateral damage

[00:30:50] Terminator 3 governor.

[00:30:52] Yeah.

[00:30:53] You know and so we talked

[00:30:55] about in T2 but for this

[00:30:56] really it is the end of

[00:30:57] like yeah this is the last

[00:30:58] big one he has yeah.

[00:31:00] Now what's Jamie Lee Curtis

[00:31:01] been up to?

[00:31:02] Jamie Lee Curtis.

[00:31:03] I mean out of the gates strong

[00:31:04] you go Halloween trading places.

[00:31:05] All right.

[00:31:06] Halloween the fog prom night

[00:31:07] we forget she was in a lot of

[00:31:08] horror.

[00:31:09] Yeah I did forget that.

[00:31:10] Terror train.

[00:31:11] Jeez.

[00:31:12] Halloween 2 although she's

[00:31:13] only in that.

[00:31:14] I think very.

[00:31:15] No no she's in that.

[00:31:16] She's in that.

[00:31:17] Yeah no she's straight up

[00:31:18] in that and then trading

[00:31:19] places.

[00:31:20] Straight places was

[00:31:21] her first non-horror movie.

[00:31:22] That's 83 and Halloween 78

[00:31:23] so yeah like after a few

[00:31:24] years as being like a

[00:31:25] scream queen.

[00:31:26] Right.

[00:31:27] Like whoa she's so funny

[00:31:28] in that movie she's like

[00:31:29] star right.

[00:31:30] She wins a BAFTA award.

[00:31:31] Wins a BAFTA very.

[00:31:32] Best supporting actress which

[00:31:33] is weird.

[00:31:34] Well because the BAFTA's used

[00:31:35] to be fun and different you

[00:31:36] know the BAFTA's really

[00:31:37] look back at the 80s and

[00:31:38] early 90s they gave out

[00:31:39] whatever the fuck they want

[00:31:40] and do you know who they

[00:31:41] gave.

[00:31:42] Do you know who they gave

[00:31:43] best supporting actor to

[00:31:44] that year.

[00:31:45] I'd have to look at I can

[00:31:46] tell you who it is.

[00:31:47] Please.

[00:31:48] Denholm Elliott for

[00:31:49] trading places.

[00:31:50] That is an interesting.

[00:31:51] They gave both of their

[00:31:52] supporting.

[00:31:53] That movie was huge in

[00:31:54] Britain.

[00:31:55] I think that's a

[00:31:56] great movie.

[00:31:57] It was huge in Britain.

[00:31:58] I that is that's so funny

[00:32:00] because I would even think

[00:32:01] if you're going to give a

[00:32:02] supporting trophy for

[00:32:03] trading places I maybe go

[00:32:04] Donna Meshay more than

[00:32:05] Denholm Elliott.

[00:32:06] That's the year.

[00:32:07] Educating Rita and trading

[00:32:09] places sweep the back.

[00:32:10] What like what the fuck

[00:32:11] because it was educating

[00:32:13] Rita wins picture

[00:32:14] actor actress.

[00:32:15] That's the thing that

[00:32:16] people don't talk about

[00:32:17] is like before like

[00:32:18] 2000 every award show used

[00:32:20] to have different results

[00:32:22] because this is the thing

[00:32:23] the BAFTA's wasn't

[00:32:24] televised in America.

[00:32:25] Right.

[00:32:26] So they who cares and

[00:32:28] even when I lived in Britain

[00:32:29] the BAFTA's had the movie

[00:32:30] awards at the same day

[00:32:32] the same ceremonies the TV

[00:32:33] awards.

[00:32:34] Yeah.

[00:32:35] So you would have like

[00:32:36] educating Rita best picture

[00:32:37] and then like Carnation

[00:32:38] Street best soap opera you

[00:32:39] know like everyone was just

[00:32:40] there and it was kind of

[00:32:41] dorky and also like you

[00:32:43] know then they turned into

[00:32:44] an Oscar precursor and I

[00:32:45] think that just ruined them

[00:32:46] they all start getting

[00:32:47] screeners and I don't know

[00:32:48] like yeah and then like

[00:32:49] you'd look at something like

[00:32:50] if you look at the history

[00:32:51] of like the independent

[00:32:52] Spirit Awards before they

[00:32:53] were televised and before

[00:32:54] Indies broke through the

[00:32:55] Oscar so they got covered

[00:32:56] there made so many cool

[00:32:57] choices like Spolden Grey was

[00:32:58] nominated for best actor for

[00:32:59] Swimming to Cambodia.

[00:33:00] Who would think to nominate

[00:33:01] right but it's like it's a

[00:33:02] monologue film that's such

[00:33:03] nonlinear thinking have you

[00:33:04] seen all the dock now this

[00:33:05] year are you like I'm a little

[00:33:06] behind but I think it's

[00:33:08] probably the best show on

[00:33:09] television.

[00:33:10] I agree.

[00:33:11] Yeah.

[00:33:12] It's extraordinary.

[00:33:13] Yeah.

[00:33:14] I can't recommend this

[00:33:15] whole season now.

[00:33:16] So Jamie Lee Curtis and then

[00:33:17] she does her comedies she

[00:33:18] does trading places she does

[00:33:19] perfect not really a comedy

[00:33:22] but funny.

[00:33:23] Yeah.

[00:33:24] Yeah.

[00:33:25] That's a good way to put it.

[00:33:26] She does a fish called Wanda

[00:33:27] right great in that.

[00:33:28] Yeah.

[00:33:29] Gets a BAFTA nomination and a

[00:33:30] Golden Globe nomination.

[00:33:31] Yeah.

[00:33:32] BAFTA's love Jamie Lee

[00:33:33] and she got a Golden Globe

[00:33:35] for True Lies as well.

[00:33:36] She never gets the Oscar

[00:33:37] won the Golden Globe for

[00:33:38] True Lies.

[00:33:39] Yeah.

[00:33:40] But they put her in best

[00:33:41] actress.

[00:33:42] Yeah.

[00:33:43] She's the lead I would

[00:33:44] say in this movie.

[00:33:45] I agree.

[00:33:46] SAG put her supporting and

[00:33:47] she didn't get the Oscar

[00:33:48] nomination which I think

[00:33:49] might have been an issue

[00:33:50] right.

[00:33:51] Weird category.

[00:33:52] She is there.

[00:33:53] Which is directed by

[00:33:54] Catherine Bigelow.

[00:33:55] So maybe that's one way she's

[00:33:56] getting in touch with Cam.

[00:33:57] Sure.

[00:33:58] She's I would guess

[00:33:59] that's probably it.

[00:34:00] Yeah.

[00:34:01] She's in My Girl

[00:34:02] and Forever Young.

[00:34:03] Uh-huh.

[00:34:04] So I feel like

[00:34:05] I guess at this point

[00:34:06] she's transitioning out of

[00:34:07] comedy and more into

[00:34:08] like mom territory a little

[00:34:10] bit more into like 30s

[00:34:12] actress you know

[00:34:13] sure.

[00:34:14] An actress in her 30s

[00:34:15] yeah.

[00:34:16] Hollywood starts being

[00:34:17] like let's get you

[00:34:18] at a house frock

[00:34:19] you're boring now.

[00:34:20] I'm always interested

[00:34:21] in like movie star in

[00:34:22] there.

[00:34:23] She's not fair I just want to

[00:34:24] be clear.

[00:34:25] Yes.

[00:34:26] I agree.

[00:34:27] Not a good thing.

[00:34:28] I agree.

[00:34:29] Movie star in their third

[00:34:30] decade is always

[00:34:31] interesting you know

[00:34:32] if you've been able to

[00:34:33] exist in three separate

[00:34:34] decades.

[00:34:35] She's only 28 when she

[00:34:37] makes this movie.

[00:34:38] Are you serious?

[00:34:39] Isn't that crazy?

[00:34:40] Wait how's that fucking

[00:34:41] possible?

[00:34:42] She was born in 1958.

[00:34:43] Oh no I'm getting it

[00:34:44] wrong.

[00:34:45] I'm sorry.

[00:34:46] I'm totally off.

[00:34:47] Yeah thank you.

[00:34:48] She's like 36.

[00:34:49] Yeah yeah there's

[00:34:50] always 20 minutes.

[00:34:51] Wait what?

[00:34:52] Like that's

[00:34:53] even for Hollywood

[00:34:54] outrageously sexist.

[00:34:55] No I was going to say

[00:34:56] because from late 70s

[00:34:58] to early 90s

[00:35:00] she has now

[00:35:01] stepped foot in three

[00:35:02] different decades.

[00:35:03] If you're able to bridge

[00:35:04] different sort of cultural

[00:35:05] trends.

[00:35:06] I mean I was talking with

[00:35:07] Pass and Future

[00:35:08] guest Richard Loss in the

[00:35:09] other day about how

[00:35:10] interesting I find this

[00:35:11] phase of Tom Hanks'

[00:35:12] career.

[00:35:13] Right now Tom Hanks.

[00:35:14] Right now because

[00:35:15] he's gone through so many

[00:35:16] different phases

[00:35:17] and he's found his sort of

[00:35:18] new footing he's had to

[00:35:19] evolve in all these

[00:35:20] ways.

[00:35:21] Mid 2000s Hanks where he's

[00:35:22] struggling to figure things

[00:35:23] out is a really interesting

[00:35:24] thing.

[00:35:25] Right we're now in like

[00:35:26] the fourth decade that

[00:35:27] Tom Hanks has existed in

[00:35:28] as a leading man

[00:35:29] and what I find

[00:35:31] interesting about it is

[00:35:32] he's stripped away all the

[00:35:33] tricks and he's become

[00:35:35] really good at playing

[00:35:36] people who are really good

[00:35:37] at their job

[00:35:38] without any theatrics

[00:35:40] because on a metal level

[00:35:41] Tom Hanks is just so good

[00:35:42] at his job.

[00:35:43] That's his persona

[00:35:44] as a person.

[00:35:45] He exudes a sort of

[00:35:46] quiet calm confidence

[00:35:48] and control you know

[00:35:49] and like sully

[00:35:50] Bridger Spies,

[00:35:51] hologram for the king,

[00:35:52] Captain Phillips.

[00:35:54] Yeah it's interesting.

[00:35:55] Right he has

[00:35:57] all right.

[00:35:58] He's found his groove again

[00:35:59] three or four of those were

[00:36:00] out of four were very

[00:36:01] successful.

[00:36:02] Jamie Lee Curtis is now

[00:36:03] in her third major phase

[00:36:05] right?

[00:36:06] Yeah.

[00:36:07] But it's a weird nebulous

[00:36:08] one it hasn't totally

[00:36:09] found footing yet.

[00:36:10] And it's not going to

[00:36:11] I feel like it's not

[00:36:12] gonna make it.

[00:36:13] No.

[00:36:14] No because after true lies

[00:36:15] it's like she doesn't

[00:36:16] even really make she makes

[00:36:17] house arrest

[00:36:18] which I don't even know

[00:36:19] what that is.

[00:36:20] Oh right with the

[00:36:21] yeah.

[00:36:22] Who's the fucking

[00:36:23] dad in that?

[00:36:24] Evan Pollock.

[00:36:25] That's what I was going to

[00:36:26] say geez right.

[00:36:27] And then fierce creatures

[00:36:28] this sort of quasi-sequel

[00:36:29] to a fierce called

[00:36:30] Wanda that is not funny.

[00:36:31] Right which is a big flop.

[00:36:32] I mean it's not a sequel

[00:36:33] that has the same cast

[00:36:34] and it's a great theme.

[00:36:35] Right and it was sort of

[00:36:36] thematically it was trying

[00:36:37] to be their runaway bride.

[00:36:38] But it's really

[00:36:39] have you seen that movie?

[00:36:40] No I haven't Fred

[00:36:41] Skepsy directed it?

[00:36:42] Yes.

[00:36:43] Yeah weird.

[00:36:44] And then she makes

[00:36:45] Halloween H2O 20 years

[00:36:46] later.

[00:36:47] It's a fascinating movie

[00:36:48] even though it's not quite

[00:36:49] as good as you want it to be

[00:36:50] but it's a good idea

[00:36:51] where they're like

[00:36:52] forget those other

[00:36:53] Halloween movies.

[00:36:54] That was all a bad idea.

[00:36:55] Yeah.

[00:36:56] We're just going to make

[00:36:57] a sequel to Halloween 2

[00:36:58] right?

[00:36:59] Like let's just pretend

[00:37:00] like this is a J.B. Lee Curtis

[00:37:01] series.

[00:37:02] Which you know I've

[00:37:03] talked about it a little

[00:37:04] bit in the Jack Reacher

[00:37:05] series is one of the things

[00:37:06] I love about the Godzilla

[00:37:07] franchise because do you

[00:37:08] know the Godzilla franchise

[00:37:09] does that a lot?

[00:37:10] Sure.

[00:37:11] Where they're like

[00:37:12] this next one is just

[00:37:13] going to be a direct sequel

[00:37:14] to.

[00:37:15] They've made like six

[00:37:16] films that treat every other

[00:37:18] Godzilla film.

[00:37:19] Comic books.

[00:37:20] Where some new guys

[00:37:21] comes in and is like

[00:37:22] well the thing I like is this

[00:37:23] can't we just do this again

[00:37:24] like go back to this.

[00:37:25] Yeah.

[00:37:26] I just love that there's

[00:37:27] been like six times where

[00:37:28] someone's gone like

[00:37:29] I'm going to make a film

[00:37:30] that's the first Godzilla

[00:37:31] attack since 1954 because

[00:37:32] I'm an artist who wants to

[00:37:33] put my spin on the Godzilla

[00:37:34] and then I feel like

[00:37:36] that's a big hit.

[00:37:37] Then in the 99 she makes

[00:37:38] the virus.

[00:37:39] Huge flop.

[00:37:40] Huge flop and I feel

[00:37:41] like that's it for

[00:37:42] Jamie Lee Curtis as an

[00:37:43] above the title star.

[00:37:44] Okay.

[00:37:45] Let's talk about Tom Arnold.

[00:37:46] Well I just want to say she has

[00:37:47] one more big movie.

[00:37:48] Freaky Friday.

[00:37:49] Thank you.

[00:37:50] Fantastic movie.

[00:37:51] She got some Oscar hype for

[00:37:52] and she got a Golden Globe

[00:37:53] nomination.

[00:37:54] Right.

[00:37:55] She's so good in it but

[00:37:56] that is a mom role.

[00:37:57] Yeah.

[00:37:58] It's definitely you're right

[00:37:59] a big starring role

[00:38:00] with Linty Lohan obviously

[00:38:01] and it was a big late

[00:38:02] summer surprise hit.

[00:38:03] Huge hit but I was

[00:38:04] supposed to be someone

[00:38:05] else who dropped out the

[00:38:06] last second and that

[00:38:07] Benning maybe.

[00:38:08] I believe you.

[00:38:09] Jamie Lee Curtis took over

[00:38:10] like a week before

[00:38:11] and then she got like

[00:38:12] the best review she'd gotten

[00:38:13] in a long time in her

[00:38:14] life.

[00:38:15] But nonetheless that's not

[00:38:16] Disney thinking like oh here

[00:38:17] we're going to have

[00:38:18] Jamie leave me a

[00:38:19] but the thing is after

[00:38:20] that I think there's an

[00:38:21] attempt to do the fourth

[00:38:22] wave of Jamie Lee Curtis

[00:38:23] which is mom and family

[00:38:24] comedies and the other

[00:38:25] ones don't work.

[00:38:26] Right.

[00:38:27] She did that

[00:38:28] Kristen Bell you again

[00:38:29] movie which is

[00:38:30] Kristen Bell's mom.

[00:38:31] I mean she's

[00:38:32] that's basically it she

[00:38:33] actually has sort of

[00:38:34] stopped working.

[00:38:35] She's largely retired

[00:38:36] from acting.

[00:38:37] I mean she was in

[00:38:38] Veronica Mars the movie I

[00:38:39] did not see it because

[00:38:40] I think she's

[00:38:41] I think she's

[00:38:42] Kristen Bell.

[00:38:43] She's on Scream Queens

[00:38:45] right now the TV show

[00:38:46] and she has a recurring

[00:38:47] role.

[00:38:48] She has a couple

[00:38:49] episodes a season

[00:38:50] new girl which is really

[00:38:51] good on.

[00:38:52] She's always funny on

[00:38:53] new girl.

[00:38:54] She plays Zoe's mom.

[00:38:55] Yeah.

[00:38:56] We love her.

[00:38:57] She said she has a

[00:38:58] Rwandu movie and where

[00:38:59] she's kind of largely

[00:39:00] retired.

[00:39:01] And of course she makes

[00:39:02] yoga commercials.

[00:39:03] Which is great at

[00:39:04] she's she's a star.

[00:39:05] I mean as someone with

[00:39:06] poop problems it you know

[00:39:07] it means a lot to me

[00:39:08] to see big star up there

[00:39:09] you know talking about

[00:39:10] so and then now Ben

[00:39:11] wants to talk Tom Arnold

[00:39:13] more like Tom

[00:39:14] Yarnall.

[00:39:15] Tom Arnold

[00:39:16] he is.

[00:39:17] We don't need to

[00:39:18] talk about Tom.

[00:39:19] Rose in this movie.

[00:39:20] Yeah.

[00:39:21] He really disturbed

[00:39:22] me in this movie.

[00:39:23] I mean we could just do

[00:39:24] a fly by but Tom Arnold

[00:39:25] like it Tom Arnold

[00:39:26] stand up comedian right

[00:39:28] start sitting Rose

[00:39:29] and bar.

[00:39:30] I think she's out of

[00:39:31] the first marriage where

[00:39:32] she had all the kids

[00:39:33] that the show was

[00:39:34] based on that the

[00:39:35] sitcom was based on.

[00:39:36] Yeah to Bill

[00:39:37] Pentland right her

[00:39:39] whoever who she was married

[00:39:40] to for like 15 years or

[00:39:41] something right and then

[00:39:42] she marries Tom Arnold

[00:39:43] right from 90 to 94

[00:39:45] they are married

[00:39:46] and they are like

[00:39:47] bizarrely like tabloid

[00:39:49] material.

[00:39:50] Well and here like

[00:39:52] the other factor is that

[00:39:53] a lot of made a lot of

[00:39:54] people resent Tom

[00:39:55] Arnold and Tom Arnold

[00:39:56] in my household I was

[00:39:57] raised as like

[00:39:58] this guy fucking sucks

[00:39:59] like my dad would always

[00:40:00] like a notorious

[00:40:01] monster right yeah but

[00:40:02] the other factor is

[00:40:03] she finds the stand up

[00:40:04] who's like a middling

[00:40:05] stand up.

[00:40:06] She marries him

[00:40:07] hires him on the show as a

[00:40:08] writer and then puts him in

[00:40:09] his nectar marries him

[00:40:10] exactly like she

[00:40:12] it's she pushes him

[00:40:14] up the ranks of Hollywood

[00:40:15] you know kind of quickly

[00:40:17] like he's in the writer's

[00:40:18] room everyone's like this

[00:40:19] guy's not qualified to be

[00:40:20] head writer and she's

[00:40:21] like okay head writer

[00:40:22] like she keeps on like

[00:40:23] promoting him

[00:40:24] sure sure sure

[00:40:25] you know now he's

[00:40:26] a regular on the

[00:40:27] show now he's

[00:40:28] the star of movies

[00:40:29] and then they like

[00:40:30] hosted SNL together

[00:40:31] it was like she was so

[00:40:32] big and she made

[00:40:33] everyone have to take

[00:40:34] him if you want me you

[00:40:35] gotta take him

[00:40:36] Roseanne's crazy I mean

[00:40:37] the story of the TV show

[00:40:38] Roseanne is crazy

[00:40:39] but they also they

[00:40:40] were to think they were

[00:40:41] doing a lot of drugs

[00:40:42] they were certainly

[00:40:43] drinking a lot

[00:40:44] and they were like

[00:40:45] hyper sexual

[00:40:46] he got a tattoo of her

[00:40:47] on his chest

[00:40:48] yeah

[00:40:49] he got married a couple

[00:40:50] times since I just

[00:40:51] want to say in 2009

[00:40:52] he's now sober

[00:40:53] and whatever

[00:40:54] he got married

[00:40:55] in Maui to his

[00:40:56] fourth wife

[00:40:58] who I think he's

[00:40:59] still married to yes

[00:41:00] Dax Shepard was

[00:41:01] his best man

[00:41:02] Shrug

[00:41:03] I don't I have

[00:41:04] nothing for you why

[00:41:05] I don't know why

[00:41:06] David's not even shrugging

[00:41:07] he's waving his arms

[00:41:08] in the air like

[00:41:09] Howard Beale and

[00:41:10] network he's losing his

[00:41:11] mind

[00:41:12] but so before this

[00:41:14] he been in some movies

[00:41:15] I guess he's in Conan

[00:41:17] I'm cone heads not

[00:41:18] Cohen yeah

[00:41:19] he's but like

[00:41:20] he's in true lies

[00:41:21] and I feel like

[00:41:22] at this moment

[00:41:23] people are like

[00:41:24] oh Tom Arnold is

[00:41:25] like a comedy

[00:41:26] star in the making

[00:41:27] right we've got a

[00:41:28] Tim Allen on our hands

[00:41:29] or something

[00:41:30] right this is going to be

[00:41:31] like a crossover

[00:41:32] success well

[00:41:33] well this is actually

[00:41:34] because I listen to his WTF

[00:41:35] Cameron cast him

[00:41:37] Cameron thought he was funny

[00:41:38] Tom Arnold that time

[00:41:40] public opinion of him

[00:41:41] was so low everyone

[00:41:42] was so tired of having

[00:41:43] him hoisted already

[00:41:44] at that point

[00:41:45] people were sick of

[00:41:46] Tommy yes 100%

[00:41:47] sorry Tommy

[00:41:48] so they actually

[00:41:49] kept him out

[00:41:50] of all the advertising

[00:41:51] for the movie

[00:41:52] not in the advertising

[00:41:53] with the advertising

[00:41:54] is just

[00:41:55] Schwarzenegger's

[00:41:56] big face

[00:41:57] but I'm telling you

[00:41:58] they consciously

[00:41:59] were like people

[00:42:00] don't like Tom Arnold

[00:42:02] they did a test screening

[00:42:03] he tested through the roof

[00:42:04] but they were like

[00:42:05] people don't think

[00:42:06] they want to see him

[00:42:07] right the audience

[00:42:08] is like him in this movie

[00:42:09] so that was

[00:42:10] like the big thing was

[00:42:11] they like hid him

[00:42:12] from the movie

[00:42:13] and then

[00:42:14] people liked

[00:42:15] this performance

[00:42:16] it did well

[00:42:17] and then they tried

[00:42:18] to make him a leading man

[00:42:19] and that was a

[00:42:20] conclusive failure

[00:42:21] then he's in

[00:42:22] nine months

[00:42:23] the stupids

[00:42:24] he's in big bully

[00:42:25] carpool

[00:42:26] I can't believe we're

[00:42:27] doing this

[00:42:28] touch

[00:42:29] whatever that is

[00:42:30] I don't know

[00:42:31] he's the and in that one

[00:42:32] but that's the big run

[00:42:33] of leading performances

[00:42:34] excuse me

[00:42:36] exit one

[00:42:37] mchales navy

[00:42:38] oh mchales navy

[00:42:39] I love that movie

[00:42:40] he pops up in our

[00:42:41] Austin Powers

[00:42:42] he's really good in that

[00:42:43] I rewatch Austin Powers

[00:42:44] like a week ago

[00:42:45] he's really good

[00:42:46] is he show number two

[00:42:47] who's boss

[00:42:48] or yeah exactly

[00:42:49] he's the cowboy

[00:42:50] in the bathroom next to

[00:42:51] man Vegas

[00:42:52] he's funny

[00:42:53] and then I think

[00:42:54] it's finally like

[00:42:55] out of here

[00:42:56] that's enough Tom Arnold

[00:42:57] and you don't see him again

[00:42:58] really I mean he's in stuff

[00:42:59] but I think

[00:43:00] I think of

[00:43:01] yeah okay fine

[00:43:02] he's not I don't remember

[00:43:03] I think of happy endings

[00:43:04] the Don Rusk

[00:43:05] which is like him

[00:43:06] beat where you're like

[00:43:07] oh who knew about Tom Arnold

[00:43:08] right here he is

[00:43:09] dramatic role

[00:43:10] by the time Austin Powers

[00:43:11] came out he had had

[00:43:12] enough

[00:43:13] success of leading man

[00:43:14] flops in a row

[00:43:15] that I remember

[00:43:16] being there in the theater

[00:43:17] with my dad when Tom Arnold

[00:43:18] came on screen

[00:43:19] he was like

[00:43:20] and it's just a cameo

[00:43:21] and he actually does

[00:43:22] a good job

[00:43:23] my dad was like

[00:43:24] you know the best thing

[00:43:25] I can say for that movie

[00:43:26] sure right

[00:43:27] like I think they probably

[00:43:28] shot that cameo

[00:43:29] being like Tom Arnold

[00:43:30] yeah hi tide raises all ships

[00:43:31] and then by the time it came out

[00:43:32] they were like

[00:43:33] we got to overcome

[00:43:34] hi tide raises my hails name

[00:43:35] that's what they told

[00:43:37] themself in pitch meetings

[00:43:39] so they told themself

[00:43:40] anyway he plays

[00:43:41] give Gibson

[00:43:42] yeah who's gross

[00:43:43] he is Arnold Schwarzenegger's

[00:43:45] partner

[00:43:46] which makes no sense

[00:43:47] yeah he's kind of chubby

[00:43:48] yeah

[00:43:49] he drives the car

[00:43:50] he's very every man

[00:43:51] very every man

[00:43:52] he's the guy in the van

[00:43:53] who's like

[00:43:54] listening on the headphones

[00:43:55] and helping out

[00:43:56] he's like a hen peck sad sack

[00:43:57] but he's got like

[00:43:58] way too much self-esteem

[00:44:00] in this movie

[00:44:01] you know what I mean

[00:44:02] I feel like part of the joke

[00:44:03] is supposed to be like

[00:44:04] oh yeah he's like

[00:44:05] kind of the chubby partner

[00:44:06] but I don't know

[00:44:07] he's making a lot of

[00:44:08] weird sex jokes

[00:44:09] a lot

[00:44:10] he just sort of

[00:44:11] seems really high on himself

[00:44:12] as a secret agent

[00:44:13] which I guess

[00:44:14] I mean he is a secret

[00:44:15] agent I guess he should be

[00:44:16] proud of that

[00:44:17] I guess own it Tom Arnold

[00:44:18] I don't know

[00:44:19] I feel like

[00:44:20] he's just a creep

[00:44:21] I feel like in real life

[00:44:22] secret agents look more

[00:44:23] like Tom Arnold

[00:44:24] than they do like

[00:44:25] Arnold Schwarzenegger right

[00:44:26] that and if you want to

[00:44:27] make a movie about that

[00:44:28] point then that's fine

[00:44:29] and I think this is an issue

[00:44:30] with the movie

[00:44:31] is like of course

[00:44:32] like spies become glamorized

[00:44:33] by movies

[00:44:34] but I think in real life

[00:44:35] they're just kind of

[00:44:36] fucking guys like Tom Arnold

[00:44:37] sure baby

[00:44:38] but it's very jarring

[00:44:39] when you have the guy

[00:44:40] who's like maybe the real

[00:44:41] world version of a spy

[00:44:42] up against the guy

[00:44:43] who's the most fantasized

[00:44:45] like cinematic version of a

[00:44:47] spy right

[00:44:48] the one guy who like

[00:44:49] can't move cannot

[00:44:50] like slip into his

[00:44:51] environments like

[00:44:52] Arnold Schwarzenegger

[00:44:53] can never go unnoticed

[00:44:55] but also right

[00:44:56] but also this is not a

[00:44:57] realistic movie

[00:44:58] no they work for something

[00:44:59] called the omega sector

[00:45:01] it's a made up thing

[00:45:02] yeah their spies

[00:45:03] like the joke is that

[00:45:04] they're spies

[00:45:05] this is not about CIA agents

[00:45:07] I know

[00:45:08] but then Tom Arnold

[00:45:09] is almost realistic casting

[00:45:10] that's what I'm saying

[00:45:11] we're saying the same

[00:45:12] I know

[00:45:13] we're not arguing with each

[00:45:14] other we're arguing

[00:45:15] with the movie

[00:45:16] I also agree with you too

[00:45:17] thank you Ben

[00:45:18] you're a great friend

[00:45:19] and a better producer

[00:45:20] in a moment

[00:45:21] you'll learn what

[00:45:22] true lies a signature

[00:45:23] James Cameron Arnold Schwarzenegger film

[00:45:26] so the opening of this movie

[00:45:27] which we don't need to talk about

[00:45:29] is what exactly

[00:45:30] what you'd think

[00:45:31] yeah

[00:45:32] it's just look at him

[00:45:33] isn't he a spy

[00:45:34] nice party he slips in

[00:45:35] all the women turn their heads

[00:45:36] he swims

[00:45:37] he's a smooth operator

[00:45:38] and then he swims

[00:45:39] he gets out of there

[00:45:40] nice to see you all

[00:45:41] got in chance

[00:45:42] who's that guy

[00:45:43] I don't know

[00:45:44] it feels like

[00:45:45] James Bond spook

[00:45:46] which is what La Total is

[00:45:47] which is the movie

[00:45:48] that this is based on

[00:45:49] and La Total let's make clear

[00:45:51] that did not cost

[00:45:52] $150 million

[00:45:53] yeah

[00:45:54] I'm gonna guess

[00:45:55] the budget on that one was

[00:45:57] I don't know

[00:45:58] a few francs

[00:45:59] yeah

[00:46:00] because the final gross

[00:46:01] was 13 million

[00:46:02] which was like a smash

[00:46:03] runaway success

[00:46:04] France it is

[00:46:05] it's good good money

[00:46:06] I'm saying it probably cost

[00:46:07] 4 million at most

[00:46:08] it was a Claude ZD movie

[00:46:10] and Claude ZD

[00:46:11] who plays asterisk

[00:46:12] I know him best as the guy

[00:46:14] who plays asterisk

[00:46:15] in at least the first few

[00:46:16] asterisk French movies

[00:46:17] he's like a big

[00:46:19] French comedy star

[00:46:20] and he you know

[00:46:21] the French love those movies

[00:46:23] like the artist guy

[00:46:24] made a bunch of those

[00:46:25] spy spoofs as well

[00:46:26] yeah the OS

[00:46:28] OSS 117

[00:46:29] which Dujardin is amazing

[00:46:31] they like making fun of that

[00:46:33] he did not star in it

[00:46:35] a guy named Terry Lermet

[00:46:37] starred in it

[00:46:38] no he made it

[00:46:39] he directed it

[00:46:40] and that guy's sort of like

[00:46:41] you know it's not a perfect

[00:46:43] parallel but he's sort of like

[00:46:44] if Steve Carell starred in that

[00:46:45] yeah Terry Lermet

[00:46:46] you've definitely

[00:46:47] he's been in American movies hasn't he

[00:46:50] I feel like you'd recognize that guy's fate

[00:46:52] he's a lot of stuff

[00:46:53] but it's like he's like a Steve Carell type right

[00:46:55] absolutely

[00:46:56] someone like that

[00:46:57] I mean he's like a comedy star

[00:46:59] who also can do drama

[00:47:00] and has sort of very conventional

[00:47:02] sort of like every man

[00:47:03] nice looking guy

[00:47:04] but nothing extra

[00:47:05] right and I think that movie is more

[00:47:07] based in most French comedies

[00:47:09] are sort of social farce

[00:47:11] you know comedy of manners type

[00:47:13] that's the other thing to crucially note

[00:47:14] is that of course

[00:47:15] that is like a bedrock of French comedy

[00:47:18] is like mistake you know

[00:47:19] double identities

[00:47:20] and like people like changing their

[00:47:22] costumes and their attitudes

[00:47:24] and their accent

[00:47:25] and balancing the politics of different aspects of your life

[00:47:26] and different relationships

[00:47:27] and stuff like that

[00:47:28] and like domestic shit

[00:47:29] like you know being

[00:47:30] you know the sort of notion in France

[00:47:32] that you would like hide secrets from your wife

[00:47:34] I don't mean to impugn all French people

[00:47:36] sure

[00:47:37] but that is a notion that I think

[00:47:38] a lot of French people

[00:47:39] would totally get on board with

[00:47:40] yeah

[00:47:41] but French comedies are always about

[00:47:42] culture clashes

[00:47:43] almost always someone hiding some

[00:47:45] deception

[00:47:46] they love secrets

[00:47:47] yeah

[00:47:48] remember the movie The Closet

[00:47:49] yeah I

[00:47:50] which was like an extraordinary hit in France

[00:47:52] yeah I like that movie

[00:47:53] it's fine

[00:47:54] and he's in that too Terry Limitett

[00:47:56] or whatever his name is

[00:47:57] he's one of the guys antagonizes him

[00:47:58] but Daniel Ote

[00:47:59] who is again a serious French actor

[00:48:01] in that movie

[00:48:02] but like he's funny

[00:48:03] like yeah

[00:48:04] I mean like

[00:48:05] what the movie is just about a guy

[00:48:06] who pretends he's gay

[00:48:07] he pretends he's gay

[00:48:08] so that they can't fire him

[00:48:09] yeah

[00:48:10] and then everyone starts to go like

[00:48:11] oh I don't know how to behave

[00:48:12] I don't know how to behave around you anymore

[00:48:14] because that's enough in France

[00:48:16] that's an idea

[00:48:17] I'm really surprised I never remade that movie

[00:48:19] like you couldn't do it today

[00:48:20] but in like 2001

[00:48:21] that movie felt so prime for a movie

[00:48:23] this is America

[00:48:24] like they made

[00:48:25] I now pronounce you Chuck and Larry

[00:48:26] like you know these movies existed

[00:48:27] now I don't think you can possibly

[00:48:28] no you couldn't today

[00:48:29] but at the time I was like

[00:48:30] they're gonna remake this any second now

[00:48:32] but there are a lot of French

[00:48:33] I mean it was like

[00:48:34] three man and a little baby

[00:48:35] which was humongous

[00:48:36] was a French remake

[00:48:37] sure

[00:48:38] it's three men and a baby

[00:48:39] and three men and a little baby

[00:48:40] little ladies

[00:48:41] and the visitors

[00:48:42] the visitors they remade that

[00:48:44] which was unsuccessful

[00:48:45] usually I mean often

[00:48:46] jungle to jungle was a remake

[00:48:47] of little Indian in the big city

[00:48:49] which was a humongous hit

[00:48:50] huge

[00:48:51] jungle to jungle was a humongous hit

[00:48:53] the original French film

[00:48:54] it was based off

[00:48:55] little Indian in the big city

[00:48:56] was humongous

[00:48:57] yeah but in France

[00:48:58] you mean

[00:48:59] yes jungle to jungle

[00:49:00] was a solid double or triple

[00:49:01] the le jeté

[00:49:02] the short

[00:49:03] that was then

[00:49:04] 12 monkeys

[00:49:05] 12 monkeys

[00:49:06] that's a French art movie

[00:49:07] yeah we're like sure

[00:49:08] yeah more about the comedies

[00:49:09] but yes

[00:49:10] yes Ben

[00:49:11] you are a finest film critic

[00:49:12] thanks for the excellent Paul

[00:49:13] problem

[00:49:15] so yeah true lies

[00:49:17] I have to imagine

[00:49:18] didn't really go too much

[00:49:19] into the action sectors

[00:49:20] of the idea

[00:49:21] probably didn't blow up

[00:49:22] a suspension bridge

[00:49:23] across you know

[00:49:24] like a giant

[00:49:25] part of the ocean

[00:49:26] like a horse versus motorcycle chase

[00:49:28] through a hotel lobby

[00:49:29] that's a funny

[00:49:30] it reminded me of that line

[00:49:31] in adaptation where he's like

[00:49:33] it's like horse versus man

[00:49:35] or whatever

[00:49:36] and that's when the movie

[00:49:37] feels like it knows what

[00:49:38] you're doing and it's in on the joke

[00:49:40] but the problem is that joke costs

[00:49:42] as much as the thing

[00:49:43] you're making

[00:49:44] I don't have a problem with that

[00:49:45] I don't have a problem

[00:49:46] it would be expensive

[00:49:47] you're so

[00:49:48] here's the thing

[00:49:49] I don't have a problem with that

[00:49:50] like

[00:49:51] sort of morally or anything

[00:49:53] it just feels like

[00:49:54] you can't really make fun

[00:49:55] of the thing

[00:49:56] if you are the thing

[00:49:57] okay I get that argument

[00:49:58] the fine line you're walking

[00:49:59] where it's like

[00:50:00] well wait you have

[00:50:01] just made an action movie

[00:50:02] this can't just

[00:50:03] this can't get away

[00:50:04] with making fun

[00:50:05] of action movies

[00:50:06] right I get what you're saying

[00:50:07] and it's like

[00:50:08] you're making fun of it

[00:50:09] and even though you're making fun

[00:50:10] of the fact that this guy

[00:50:11] is more threatened by

[00:50:12] his wife wanting to sleep

[00:50:13] with someone else

[00:50:14] than having a gun in his face

[00:50:15] it also feels like

[00:50:16] it gives the Arnold character

[00:50:18] all the support and satisfaction

[00:50:19] he wants

[00:50:20] it all pays off for him

[00:50:21] you get

[00:50:22] fucking Bill Pax

[00:50:23] and pissing himself twice

[00:50:24] so it's so clear

[00:50:25] that he's the guy

[00:50:26] you're supposed to like

[00:50:27] align with

[00:50:28] so let's get to the plot

[00:50:29] alright so we have this

[00:50:30] we introduce him

[00:50:31] he's a spy

[00:50:32] yeah he does spy things

[00:50:33] he's on the tail

[00:50:34] of some spy

[00:50:35] villains

[00:50:36] in 1994

[00:50:37] everyone wanted to dance

[00:50:38] with Tia Carriere

[00:50:39] Tia Carriere

[00:50:40] is Tia Carriere

[00:50:41] yeah

[00:50:42] who had been in

[00:50:43] obviously Wayne's World

[00:50:44] and less obviously

[00:50:45] Wayne's World too

[00:50:46] two years ago

[00:50:47] and less obviously

[00:50:48] Wayne's World too

[00:50:49] and Rising Sun

[00:50:50] she was a

[00:50:51] she was a hot star

[00:50:52] of the moment

[00:50:53] who did not

[00:50:54] happen

[00:50:55] no

[00:50:56] no although she was in those

[00:50:58] the librarian

[00:50:59] or is that Noah Wiley

[00:51:00] what was it called

[00:51:01] yeah the librarian

[00:51:02] with Noah Wiley

[00:51:03] is she in those

[00:51:04] no she had

[00:51:05] a rally counter

[00:51:06] she had some TV

[00:51:07] you know kind of

[00:51:08] ongoing

[00:51:09] yeah

[00:51:10] rally counter

[00:51:11] she gives a very good voice

[00:51:12] performance as the older

[00:51:13] sister in Lilo and Stash

[00:51:14] she does she's very nice

[00:51:15] she sings a couple songs

[00:51:16] she's got a lovely voice

[00:51:17] but anyway this is her

[00:51:18] at the moment where

[00:51:19] she's just like

[00:51:20] kind of like

[00:51:21] a famously beautiful

[00:51:22] actress

[00:51:23] right she's just

[00:51:24] the kind of person

[00:51:25] who's going to be

[00:51:26] in a movie in 1994

[00:51:27] and not even

[00:51:28] 1996

[00:51:29] like it was already

[00:51:30] kind of over

[00:51:31] I think she had

[00:51:32] pretty good chops actually

[00:51:33] you watch this film

[00:51:34] but as a sort of

[00:51:36] lady who is at first

[00:51:38] nice and then mean

[00:51:39] she's good

[00:51:40] she quits herself

[00:51:41] yeah so

[00:51:42] Arnie's on the

[00:51:43] tail of some spies

[00:51:44] yes I mean some bad people

[00:51:45] yeah

[00:51:46] stealing weapons

[00:51:47] nukes

[00:51:48] ooh

[00:51:49] and then oh he goes home

[00:51:50] oh he's married

[00:51:51] he's a boring office

[00:51:52] drone

[00:51:53] or he pretends to be

[00:51:54] this is the real danger zone

[00:51:55] yep

[00:51:56] we're both slapping

[00:51:57] our foreheads

[00:51:58] when he said I do

[00:51:59] he never said what he did

[00:52:00] oh marriage

[00:52:01] so you got

[00:52:02] Jamie Lee Curtis

[00:52:03] and like full

[00:52:04] like dowdy 90s

[00:52:05] oversized glasses

[00:52:06] giant glasses

[00:52:07] now we know that

[00:52:08] Jamie Lee Curtis is good

[00:52:09] at having short hair

[00:52:10] but what if the short

[00:52:11] hair wasn't sexy

[00:52:12] hey now

[00:52:13] they've got a teen

[00:52:14] daughter

[00:52:15] played by Eliza Dushku

[00:52:16] who looks like a human

[00:52:17] hacky sack

[00:52:18] I thought of that

[00:52:19] while watching a new

[00:52:20] I would get that

[00:52:21] response from you

[00:52:22] David Laff so hard

[00:52:23] he took off his headphones

[00:52:24] it's a good line

[00:52:25] right

[00:52:26] yeah she's got

[00:52:27] a little hat

[00:52:28] and she's holding

[00:52:29] a pet the whole time

[00:52:30] and she's grungy

[00:52:31] yeah it's like if

[00:52:32] if

[00:52:33] John Connor had

[00:52:34] aged three years

[00:52:35] since Terminator 2

[00:52:36] but didn't have to worry

[00:52:37] about saving the world

[00:52:38] just about getting laid

[00:52:39] so

[00:52:40] and that is her entire

[00:52:41] character

[00:52:42] is that she wants

[00:52:43] to get in the back

[00:52:44] of a bike with a boy

[00:52:45] yeah

[00:52:46] and Tom Aron

[00:52:47] makes a lot

[00:52:48] of

[00:52:49] what's the word

[00:52:50] implications

[00:52:51] about her sex life

[00:52:52] yes

[00:52:53] Arne

[00:52:54] and Arne's like

[00:52:55] oh hey man

[00:52:56] like don't talk

[00:52:57] about that stuff

[00:52:58] to me

[00:52:59] whereas you should

[00:53:00] matter with you

[00:53:01] stop talking about

[00:53:02] my daughter's virginity

[00:53:03] why are you so interested

[00:53:04] in my daughter's virginity

[00:53:05] she is 14 years old

[00:53:06] if she was 24 years old

[00:53:07] this would be weird

[00:53:08] now I know you've

[00:53:09] already like raked me

[00:53:10] over the calls from

[00:53:11] identifying how long

[00:53:12] certain sections of

[00:53:13] this movie run

[00:53:14] oh boy

[00:53:15] and I didn't

[00:53:16] take a stopwatch to it

[00:53:17] but I do think that

[00:53:18] conversation about Eliza

[00:53:19] Dewscrews virginity

[00:53:20] in the movie

[00:53:21] lasts for 55 minutes

[00:53:22] I think

[00:53:23] right

[00:53:24] isn't it sort of

[00:53:25] it's like an interstellar

[00:53:26] where you're too close

[00:53:27] to the black hole

[00:53:28] right like time starts

[00:53:29] to infinity

[00:53:30] you're sort of just like

[00:53:31] when is this going to end

[00:53:32] and he's like

[00:53:33] one more thing about

[00:53:34] your daughter's vagina though

[00:53:35] like he just won't stop

[00:53:37] I do think this is important

[00:53:38] because that is the entirety

[00:53:40] of her character development

[00:53:41] and I guess

[00:53:43] you know when you see her

[00:53:44] you're like

[00:53:45] oh well she's gonna end up

[00:53:46] getting kidnapped or whatever

[00:53:47] yeah

[00:53:48] and she does

[00:53:49] but it's actually not as big

[00:53:50] a deal as you think

[00:53:51] it's gonna be

[00:53:52] like it's almost an after

[00:53:53] thought right at the end

[00:53:54] of the movie

[00:53:55] but I think it pays into

[00:53:56] this gross thing where

[00:53:57] the movie the success

[00:53:58] of the movie is

[00:53:59] he stops another guy

[00:54:00] from fucking his wife

[00:54:01] and he saves his daughter

[00:54:02] so she doesn't get fucked either

[00:54:03] it's

[00:54:04] yeah

[00:54:05] like I'm not saying the terrorist

[00:54:06] you're gonna fuck the daughter

[00:54:07] no no no

[00:54:08] but you're right

[00:54:09] there's no other character there

[00:54:10] he comes home

[00:54:11] he gives her the snow globe

[00:54:12] oh thanks dad

[00:54:13] she throws it out

[00:54:14] she's actually pretty great

[00:54:15] I think she's good in it

[00:54:16] yeah this is

[00:54:17] she's gonna be in Buffy

[00:54:18] four years later

[00:54:19] bring it on

[00:54:20] and she's bringing on

[00:54:21] after that

[00:54:22] but I mean like

[00:54:23] and Buffy her

[00:54:24] her character

[00:54:25] is a bigger version of this

[00:54:26] which is just like

[00:54:27] all two like leads with to

[00:54:28] just cover it too

[00:54:29] and in this there's nothing else

[00:54:30] in Buffy obviously

[00:54:31] there's a little heart behind it

[00:54:32] you know

[00:54:33] was she your dream girl

[00:54:34] when you saw this movie been

[00:54:35] um

[00:54:37] no

[00:54:38] she feels like a female

[00:54:39] Ben a little bit

[00:54:40] yeah

[00:54:41] I suppose

[00:54:42] but I mean

[00:54:43] I think it was

[00:54:44] just Jamie Lee

[00:54:45] you were into Jamie Lee

[00:54:46] yeah

[00:54:47] okay

[00:54:48] hey can I make a quick point guys

[00:54:49] at any point

[00:54:50] great so there's the scene

[00:54:51] where Arnold's talking about

[00:54:52] you know what he was doing

[00:54:53] on his business trip

[00:54:54] oh yeah

[00:54:55] lying like really badly

[00:54:56] it's like a terrible performance

[00:54:58] but this moment

[00:54:59] and a couple other moments

[00:55:00] I mean think of Trump

[00:55:01] Ben I'm sorry

[00:55:02] did you say it's a terrible

[00:55:03] performance

[00:55:04] yeah

[00:55:05] we'll play the clip quickly

[00:55:06] Arnold is great

[00:55:08] at everything

[00:55:09] yeah Arnold's good at

[00:55:10] everything Ben

[00:55:11] you're right

[00:55:12] damn it

[00:55:13] but it reminded you of Trump

[00:55:14] yeah I don't know

[00:55:15] it just made me think

[00:55:16] especially the way he was

[00:55:17] talking like his like

[00:55:18] sort of like

[00:55:19] the language

[00:55:20] and the way he was talking

[00:55:21] of his like

[00:55:22] Trump to a team

[00:55:24] it's about like

[00:55:25] so good

[00:55:26] yeah yeah

[00:55:27] um

[00:55:28] for a movie called true lies

[00:55:29] a big cornerstone of this character

[00:55:30] is that he cannot lie

[00:55:31] convincingly

[00:55:32] no

[00:55:33] not at all

[00:55:34] he's

[00:55:35] barely

[00:55:36] barely selling it

[00:55:37] and when his wife finds out

[00:55:38] that he's a spy

[00:55:39] she's like

[00:55:40] that's impossible

[00:55:41] this boring shmo

[00:55:42] okay

[00:55:43] so opening chase

[00:55:44] he gets back home

[00:55:45] he gives the snow globe

[00:55:46] Eliza Dushku's

[00:55:47] giving him the toad

[00:55:48] his wife's boring

[00:55:49] and then he goes back

[00:55:50] to the office with Tom Arnold

[00:55:52] right

[00:55:54] at Omega Sector

[00:55:56] and Charlton has since their boss

[00:55:57] Grant Heslov

[00:55:58] who later becomes a writer

[00:56:00] and a director

[00:56:01] and George Clooney's pal

[00:56:02] producer

[00:56:03] smokehouse

[00:56:04] co

[00:56:05] but he didn't direct

[00:56:06] the men who steric goats

[00:56:07] I believe he did

[00:56:08] yes

[00:56:09] but he

[00:56:10] he produces all of Clooney's movies

[00:56:11] and writes them with them

[00:56:12] and they

[00:56:13] they have their smokehouse

[00:56:14] shingle together

[00:56:15] set up at

[00:56:16] WB

[00:56:18] you know

[00:56:19] he's an office drone

[00:56:20] yeah

[00:56:21] I think he's partly included because

[00:56:24] James Cameron is smart enough to know like

[00:56:26] you gotta balance out

[00:56:27] yeah we shouldn't just have all the villains

[00:56:29] be these sort of brown people

[00:56:30] like the

[00:56:31] the Crimson High Middle Eastern

[00:56:32] they're called the Crimson G

[00:56:34] yeah

[00:56:36] it's very

[00:56:37] this is a very pre-911 movie

[00:56:40] this is

[00:56:41] I mean

[00:56:42] it's a very post-gulf war movie

[00:56:43] yeah

[00:56:44] this movie is so of its time in every single way

[00:56:46] yeah

[00:56:47] in terms of where it stands

[00:56:48] politically on everything

[00:56:50] I'm not saying that Hollywood

[00:56:52] like treats Middle Eastern people

[00:56:54] with respect these days or whatever

[00:56:56] but it wouldn't just have like a

[00:56:57] literally just a bunch of

[00:56:58] turbaned guys with rocket launchers

[00:57:00] who just hate America inherently

[00:57:02] but also think about how safe

[00:57:04] we were at the time

[00:57:05] that we would actually

[00:57:06] portray terrorists coming into our

[00:57:08] country with nuclear bombs

[00:57:10] yeah and have it be like

[00:57:11] oh another day at the office

[00:57:12] for Arnold Schwarzenegger

[00:57:13] I mean

[00:57:14] and their plan is

[00:57:15] to set off some nuclear bombs

[00:57:17] in every city

[00:57:18] it's not like

[00:57:19] they don't even like

[00:57:21] and like the movie is not like

[00:57:22] oh they because this

[00:57:23] no they just hate America

[00:57:25] yeah

[00:57:26] Crimson G hot I guess this is right around

[00:57:27] the bombing of the World Trade Center

[00:57:29] had probably happened you know like

[00:57:30] yeah

[00:57:31] it was 92

[00:57:32] maybe

[00:57:33] I don't know

[00:57:34] I mean who would yeah

[00:57:35] 93

[00:57:36] 93

[00:57:37] so yeah you know I don't know

[00:57:38] but I mean it's just

[00:57:39] you watch it now you're like

[00:57:40] oh

[00:57:41] oh boy

[00:57:43] trauma has to be is literally

[00:57:44] playing Nick Fury which I find

[00:57:45] really interesting because I'm sure

[00:57:47] at this point in time Cameron was like

[00:57:49] oh I can just have

[00:57:51] Charlton Heston play someone who's like

[00:57:53] transparently a Nick Fury type because

[00:57:55] they're never going to make a movie with

[00:57:56] Nick Fury in it

[00:57:57] yeah you know yeah

[00:57:59] Nick Fury is never going to be in a movie

[00:58:00] I can just put an ipad

[00:58:01] on Charlton Heston

[00:58:02] no one will even object

[00:58:04] right no one will know

[00:58:05] it'll just be an inside joke for some people

[00:58:07] for a few little souls

[00:58:10] okay so all that's going on

[00:58:12] and then how does Arnold find out about

[00:58:14] fucking Bill Paxton he goes

[00:58:16] to her office and she's not there

[00:58:18] he goes to her office

[00:58:20] and overhears her chatting to a

[00:58:22] co-worker about like this mystery man

[00:58:24] who she's interested in yeah and here's

[00:58:26] her on the phone and then she leaves all of a sudden

[00:58:28] he catches her in the lie later yeah

[00:58:30] but he goes back home is like

[00:58:32] went by your office today

[00:58:34] launch

[00:58:35] how is the launch

[00:58:37] and she's like oh wouldn't you know it

[00:58:39] and she does this scene really well where

[00:58:41] she talks about the problem with the printer

[00:58:43] and the ink and having to go up to a

[00:58:45] floor and makes it into a whole big dramatic story

[00:58:47] and it's like she's now

[00:58:49] playing the part of the boring domestic wife

[00:58:51] she doesn't want him to know that anything exciting

[00:58:53] is going on in her life so she's making

[00:58:55] the story as banal and uninteresting

[00:58:57] as possible she's good in that scene

[00:58:59] I think she's good in every scene

[00:59:01] I think it's a terrific performance

[00:59:03] I agree and then Arnold

[00:59:05] goes on to like the major

[00:59:07] offense and is like I'm going to use all

[00:59:09] the resources of this spy agency

[00:59:11] I work for to spy on my wife

[00:59:13] and stop this other guy

[00:59:15] giving her the deal in the middle of a crisis

[00:59:17] in which terrorists are targeting

[00:59:19] a nuclear weapon yeah and it's right after

[00:59:21] he just had that long chase scene

[00:59:23] which is the second set piece in the movie

[00:59:25] with the horse and the hotel

[00:59:27] and let me make it clear when I say that

[00:59:29] he's trying to stop someone else from giving

[00:59:31] his wife the D he's not trying

[00:59:33] to stop someone from hiring Caleb

[00:59:35] Deschanel to beautifully lens his wife

[00:59:37] in stunning

[00:59:39] widescreen frames

[00:59:41] and when away this is not a Caleb D

[00:59:43] that's what I'm saying he's not trying to do that

[00:59:45] this is Russ Carpe

[00:59:46] he's trying to give her the dick

[00:59:47] he's not trying to give her the D

[00:59:49] okay so okay all right well I'm going to move right past this

[00:59:51] but it is creepy right so this is great

[00:59:53] we should talk about this yeah so the central

[00:59:55] the middle hour

[00:59:57] of the movie yes is all about this

[00:59:59] basically it's that the greatest threat in the

[01:00:01] world is that your wife would not be sexually

[01:00:03] satisfied by you even though you

[01:00:05] the movie has spent 40 minutes setting

[01:00:07] up how shitty a husband you are

[01:00:09] right like forget the lies which we can

[01:00:11] forgive that's one thing he is like

[01:00:13] completely he barely cares there's no

[01:00:15] remorse he's emotionally distant he seems

[01:00:17] to completely neglect her

[01:00:19] it doesn't feel like the weight of like

[01:00:21] God what's happened to our marriage we've grown apart

[01:00:23] it's like he just doesn't give a shit and they

[01:00:25] often talk about the fact that they haven't had sex

[01:00:27] in forever yeah so

[01:00:29] he's not present for her in any possible

[01:00:31] sense he's lying to her he's not

[01:00:33] emotionally present for her and he's not

[01:00:35] physically present for her at all he sucks

[01:00:37] he sucks but the idea that she would sleep with someone else

[01:00:41] how dare she terrifies him and that's where

[01:00:43] you know the reason why cock has become

[01:00:45] this like fucking like

[01:00:47] can we have to litigate every fucking awful

[01:00:49] word of this current sociological

[01:00:51] moment no but the idea is

[01:00:53] these these mra like

[01:00:55] alright dudes think the most offensive

[01:00:57] thing you could ever say about someone

[01:00:59] else is that their wife would want to fuck someone other than them or the

[01:01:01] girlfriend want to fuck someone other

[01:01:03] than them which gets in these gross

[01:01:05] connotations of like you know your job as a man

[01:01:08] is to like own your woman that she's your property

[01:01:11] and no one else should have any piece of her

[01:01:13] you know yeah so like cock becomes this like

[01:01:15] horrible fucking insult we have we are an hour

[01:01:18] and we're not going to talk about this movie is like

[01:01:20] based all around that same central fear

[01:01:22] which is like if your wife okay

[01:01:24] no go ahead it's getting the

[01:01:26] Dachanel from someone else alright alright

[01:01:28] I'm cutting you off we value as a man

[01:01:30] knows what you're talking about in the movie would be fine

[01:01:33] if it was mocking Arnie's

[01:01:35] insecurity but it feels like he's they kind of think he's right

[01:01:38] it feels a little too much goes back and forth

[01:01:40] it goes back and forth scene to scene and the

[01:01:42] biggest problem is you have all this stuff with Bill

[01:01:44] Paxton that is very good because Bill Paxton is very

[01:01:46] funny rules so all the scenes were Paxton

[01:01:48] pretending to be a spy to impress

[01:01:51] Jamie Lee Curtis are funny

[01:01:54] because you kind of get the con he's running I mean

[01:01:57] she seems maybe a little like an idiot

[01:01:59] which is a little too bad because you feel

[01:02:01] like I don't go on and this is the central hook of

[01:02:03] the French movie from what I gather the French

[01:02:05] movie is far more based in that right well it's

[01:02:08] right out because like as someone watching action

[01:02:11] would be like wait a second so she's maybe dating

[01:02:14] someone who's pretending to be a spy while her

[01:02:16] husband's a spy pretending not to be a spy

[01:02:18] like this is too many plates spinning like

[01:02:21] I don't know if I need this why can't you just have

[01:02:23] an flirtation with an office guy

[01:02:25] especially when the first 45 minutes have nothing

[01:02:27] to do with that in the last 45 minutes

[01:02:29] guys I like that part of it

[01:02:31] no I like it too it just gets great

[01:02:33] but we're saying that should be the whole movie

[01:02:35] the French movie sets it up as here's a guy

[01:02:38] who's lying about being a spy his wife and

[01:02:41] he are distant and she starts maybe having

[01:02:44] an affair with a guy who's pretending to be a spy

[01:02:46] lying about being a spy it's the inverse

[01:02:48] and the whole movie is centered around that

[01:02:50] sort of triangle yeah of the three people

[01:02:52] this movie loads so much stuff around it

[01:02:55] that just feels like a thread now you just

[01:02:58] get more movie baby with it okay so it's

[01:03:00] like a MacGuffin it's like a plot activator

[01:03:02] I'm yeah I guess so anyway Bill Paxson's

[01:03:05] pretending to be a spy Arnie goes on an

[01:03:07] extended drive with him in which Bill

[01:03:09] Paxson is like hey yeah my whole thing is

[01:03:12] I pretend to be a spy I'll tell you this

[01:03:14] that gets him wet yeah it gets any makes

[01:03:16] all these gross jokes he's very again

[01:03:18] as we've noted very good at being a

[01:03:20] yeah Arnold has a fancy about putting him

[01:03:22] in the face the kids do you remember

[01:03:23] when they do the close-up of his kit

[01:03:25] that he like it's like a flashback of

[01:03:28] when him and Jamie Lee Curtis first met

[01:03:30] yeah and she like brings that suitcase oh

[01:03:33] yeah from the Chinese food restaurant

[01:03:35] gun in the past like that is the grossest

[01:03:37] thing you could do as like a dude is

[01:03:40] like trick a woman and also put together

[01:03:42] a kit right and it is gross yet but and

[01:03:46] like and then but then the movie is

[01:03:48] like there's that bit where he's a small

[01:03:49] dick it's really lame what I'm doing here

[01:03:52] like it's really sick and you're like

[01:03:54] yeah okay movie and then already thought

[01:03:56] he was a jerk and then he pees himself

[01:03:58] for the first of two times in no he

[01:04:00] poops himself to see the second time

[01:04:03] they don't it's subtle did you watch

[01:04:05] this in 4dx this movie is so yeah there's

[01:04:08] a move if there's a word for this movie

[01:04:09] subtle is it yeah alright so but it's

[01:04:12] like the audience already knows that

[01:04:13] this guy sucks and also that he's not

[01:04:15] a spy and even though the movie I feel

[01:04:17] like is trying to be like he's

[01:04:18] definitely not a spy or is he you know

[01:04:20] like but to have him himself over at

[01:04:23] the information that his penis is not

[01:04:25] only small but doesn't work well feels

[01:04:27] like an Arnold note which is like I

[01:04:29] want everyone to know these guys are

[01:04:31] fucking loser you know yes definitely

[01:04:33] already know it Arnold he's like no he

[01:04:35] needs more it's a mother lose I'm

[01:04:37] yonald so there's all the packs and

[01:04:40] stuff and then you know Jamie Lee

[01:04:42] backs out like he takes her to this

[01:04:44] like remote cabin and tries to sleep

[01:04:46] with her I love that bit where he's

[01:04:47] like they already got guys watching my

[01:04:49] my pen house in Paris we're gonna have

[01:04:50] to hide out here like he acts like

[01:04:52] a shitty little place his backup is

[01:04:54] like his backup like one of his 17

[01:04:56] hideout here's where I want to get to

[01:04:57] here's where the movie loses me because

[01:04:59] I'm actually I'm willing to be on board

[01:05:01] with most of the stuff happening so far

[01:05:02] as long as this sort of rug pull is

[01:05:04] good and if it feels like the movie is

[01:05:07] setting up Arnold as being almost the

[01:05:09] bad guy of the exactly like they're

[01:05:11] both bad guys and Jamie Lee's the hero

[01:05:13] almost does this anyway cuz he is so

[01:05:15] good but then the scene where they

[01:05:18] interrogate her yeah and Arnold and

[01:05:21] Tom Arnold hey they both got what's

[01:05:23] was problematic about that scene

[01:05:25] where she's essentially been like you

[01:05:28] know grabbed and put in a cell right

[01:05:30] some scary men talking to these

[01:05:33] distorted voices and being like did you

[01:05:35] sleep with him you know yeah and she's

[01:05:37] like you know crying and sitting on a

[01:05:39] chair and then the movie is kind of

[01:05:41] being like oh he's realizing she

[01:05:44] didn't cheat on him and you're like

[01:05:46] oh who cares a you and be Arnold

[01:05:49] and capable of playing that moment he's

[01:05:51] not no they're asking the question that's

[01:05:53] on everybody's mind did she bang that

[01:05:57] dude did he give her the day yeah yep

[01:05:59] yeah and so to me that scene is just

[01:06:02] all wrong even though Jamie Lee then

[01:06:04] kind of takes charge of it when she

[01:06:05] starts smashing the window yeah but it

[01:06:07] just feels like boys will be boys is

[01:06:10] kind of the moral of Arnie's crazy

[01:06:13] expedition to like sort of entrap

[01:06:15] and kidnap her an interrogator which

[01:06:17] you know I mean feels very gross

[01:06:20] especially in a post like locker room

[01:06:23] talk world where we're like so aware of

[01:06:25] this but also like knowing that Arnold

[01:06:26] had this like years long affair with his

[01:06:28] like cleaning lady I'm no I'm saying

[01:06:31] don't even think about right now don't

[01:06:33] think about Donald Trump don't think

[01:06:34] about the cleaning lady I don't care

[01:06:36] I'm just saying the scene just doesn't

[01:06:37] play I agree it could play and it

[01:06:39] doesn't play because it doesn't

[01:06:41] reverse it on Arnie doesn't really

[01:06:43] get a come up in this movie I agree

[01:06:45] but I think it plays even worse now

[01:06:47] than it did back then and always played

[01:06:48] I'm less interested in litigating a film

[01:06:50] in okay I mean out of context yeah I

[01:06:53] understand but okay but then you have

[01:06:55] the big stripping scene the dance scene

[01:06:59] you know the right so I'm again very

[01:07:01] French and at this point in the movie

[01:07:02] let's just say Arnold has been

[01:07:04] abusing his status within the agency

[01:07:07] yeah is no one like checking his line

[01:07:09] items here like come on there's a lot

[01:07:10] of money you spend in like fucking

[01:07:12] helicopters and SWAT teams he's having

[01:07:13] that French dude record in the video

[01:07:15] while Crimson Jehad is stealing nukes

[01:07:18] right he's just forgetting about Crimson Jehad

[01:07:20] for like a couple days I mean this is

[01:07:21] probably millions of dollars and eyes

[01:07:23] spent you know away from wondering the

[01:07:25] things that they're supposed to be doing

[01:07:27] taxpayer dollars you know what you have

[01:07:28] to do with Crimson Jehad knock the

[01:07:29] hell out of him yeah you gotta knock

[01:07:31] the hell out of him you gotta knock

[01:07:32] that you gotta build a big wall build

[01:07:33] a wall around them and knock the

[01:07:35] hell out of it so it lands on them

[01:07:37] yeah tremendous what if Trump just

[01:07:40] started campaigning on the grounds of

[01:07:42] being able to knock down Crimson Jehad if

[01:07:44] you just specifically Crimson Jehad with

[01:07:46] these Crimson Jehad they tried to destroy our country

[01:07:48] I'm gonna destroy them you won't even believe it

[01:07:50] Art Malik is the biggest

[01:07:52] movie true lies I'm gonna do true lies

[01:07:54] times two it's gonna be true allies

[01:07:56] who that's not Yarnal either it's a new

[01:07:59] character it's Yarnal Trump

[01:08:02] alright what do you know Trump

[01:08:05] crimson the most in jihad yonal

[01:08:07] alright okay I feel like the most famous

[01:08:09] scene in true lies is the bedroom the

[01:08:11] hotel room yeah right the dancing right

[01:08:13] which is a very

[01:08:15] high-wire moment sort of a weird mix of

[01:08:18] comedy and sexy romance I mean everyone

[01:08:20] knows let's just set up bill packs had

[01:08:22] made her believe that she was gonna have

[01:08:24] to be an agent with him quote unquote

[01:08:26] they send him they sent her on a mission

[01:08:27] right so they're now flipping the

[01:08:29] script back on her and saying we'll

[01:08:31] let you go without any charges now

[01:08:33] correct me if I'm wrong women though

[01:08:35] or anyone really loves when you're

[01:08:38] tricked into role-playing right yeah

[01:08:40] that's a cool thing to do it's so good

[01:08:42] no but what works about the scene is

[01:08:45] she is dancing for Arnold but it also

[01:08:48] plays into the larger plot of the movie

[01:08:50] wait no it doesn't at all yep no he's

[01:08:52] just setting up a sexy encounter for

[01:08:54] them where she can't see his face the

[01:08:56] scene works because it's a masterpiece of

[01:08:57] physical comedy and because Jamie Lee

[01:08:59] is really good that's what I'm saying

[01:09:00] and because James Cameron's a great

[01:09:02] director right like lights it beautifully

[01:09:04] he lights Arnold's face you know

[01:09:07] like that shot you keep cutting to

[01:09:09] of Arnold like covering his face where you

[01:09:11] just see his eyes he looks like such a

[01:09:13] predator yeah and such a creep and I do

[01:09:15] feel like there's something you can read

[01:09:17] in to the movie there and Jamie Lee is so

[01:09:20] awesome yeah but also you

[01:09:23] like hell is where's this going

[01:09:27] but but it is if you take it in the

[01:09:29] French way with a like where it's

[01:09:30] literally just like what this is how

[01:09:32] you rekindle a marriage you know a

[01:09:34] little bit of threat little bit of

[01:09:36] anonymous you know like coercion

[01:09:38] you know that's he just spice it up in

[01:09:40] the 40 in your 40s look I don't know if

[01:09:42] this scene exists in the French movie I've

[01:09:43] never seen it but I also think the

[01:09:45] French movie is so much more focused in

[01:09:46] terms of what it's exploring where's

[01:09:48] this has so much more going on in it

[01:09:50] different sort of threads and everything

[01:09:52] Jamie Lee plays the scene beautifully

[01:09:54] and this feels like the scene where

[01:09:56] you're waiting for them to like fully

[01:09:58] flip the script and make it clear that

[01:10:00] like Arnold has completely acted the

[01:10:02] wrong the whole movie rather than

[01:10:03] the film feeling like it has its back

[01:10:05] being like God it is tough if your

[01:10:07] wife's trying to get the day Chanel

[01:10:09] right but but it never really does

[01:10:12] and it also is I'm willing to go along

[01:10:14] with movie logic I don't expect things

[01:10:16] to abide by the rules of the real world

[01:10:18] sure but but this is another scene where

[01:10:20] you look at it and it's like okay Arnold's

[01:10:22] in the shadows she can see his body

[01:10:24] but she can't see his face he's got a

[01:10:26] tape recorder in which he's playing

[01:10:28] the lines that he had this French guy

[01:10:30] record in a V.O. studio right right

[01:10:32] I don't think she could walk into that

[01:10:34] room seeing his body and not recognize

[01:10:36] that specific physical presence you just

[01:10:38] know you just have this is Superman logic

[01:10:40] you just have to go by the mental thing

[01:10:42] where she hasn't considered it yet it

[01:10:44] doesn't matter you that's the same thing

[01:10:46] where you want when Bill packs and when

[01:10:48] he shows up at the fucking used car

[01:10:50] dealership to go who the fuck are you

[01:10:52] why do you look no but it's no you're

[01:10:54] the movie fails if you're thinking

[01:10:56] this way it's the one scene where it

[01:10:58] pushes it for me what do you mean

[01:11:00] Superman logic where it's like no one

[01:11:02] buys that Clark Kent could be Superman

[01:11:04] as a bumbling Claude is so effective

[01:11:06] no one would make the connection right

[01:11:08] like that's the joke doesn't do that

[01:11:10] yeah fine but I'm just glasses on

[01:11:12] well maybe he should wear a hat or

[01:11:14] something I don't know that's a good

[01:11:16] call like a fucking here

[01:11:18] so the scenes well shot it's

[01:11:20] it's great I feel like we're being too

[01:11:22] negative about this movie but I couldn't

[01:11:24] help thinking about this stuff it just

[01:11:26] kept watching when I was watching it

[01:11:28] like our own character in this movie

[01:11:30] feels like the kind of guy who made fun

[01:11:32] of all you know I don't have those issues

[01:11:34] and I'm projecting that onto it my friend

[01:11:36] we're all these jocks who are making fun

[01:11:38] of you come on like literally but it was

[01:11:40] Austrian you know what I'm saying yeah

[01:11:42] all these Austrian bodybuilders used to

[01:11:44] the Austrian bodybuilders for the coolest kids at

[01:11:46] my school you're an old shorts in it sir

[01:11:48] um it just

[01:11:50] I don't know I just kept on watching being

[01:11:52] like this is the kind of dude where if I'm at a bar

[01:11:54] and there's a finance bro who's talking this way

[01:11:56] I leave the bar but I also

[01:11:58] think it is 1994

[01:12:00] it's not an excuse for how you view a movie

[01:12:02] this day but you know

[01:12:04] uh you know I just think

[01:12:06] things were different and this kind of

[01:12:08] shit was less

[01:12:10] unusual and what I don't know James Bond

[01:12:12] movies were more sexist everything was supposed to be

[01:12:14] responsible a little it doesn't and that's

[01:12:16] the big problem now here's what I'll say

[01:12:18] then we finally lock back into the real

[01:12:20] movie yeah you know the

[01:12:22] crimson jihad burst in he gets

[01:12:24] they get taken prisoner right right when

[01:12:26] she turns on Arnold because you think

[01:12:28] she's gonna because she's been told he doesn't want

[01:12:30] to have sex he just wants to look and then he's trying

[01:12:32] to initiate sex she like

[01:12:34] then she tries to attack and realizes it's him

[01:12:36] we don't have to which is the most satisfying part of the movie is

[01:12:38] watching her hit him a bunch of times and then she

[01:12:40] realized at the last second goes Paul how is this possible

[01:12:42] well Paul

[01:12:44] what's his name isn't it like the character Harry

[01:12:46] Harry I don't know

[01:12:48] whatever but um

[01:12:50] I like that

[01:12:52] and then I would say it continues to be

[01:12:54] satisfying when they are then taken prisoner

[01:12:56] and Harry has the truth

[01:12:58] serum injected in him which is an hour and a

[01:13:00] half into the movie we're getting to this stuff

[01:13:02] if not an hour and 45 minutes

[01:13:04] right it right I mean

[01:13:06] it's the last act of the movie

[01:13:08] except then there is that tacked on

[01:13:10] final set piece that sort of like

[01:13:12] 15-20 minutes yep but she keeps on thinking that

[01:13:14] that

[01:13:16] she's responsible for him getting caught up in this

[01:13:18] that she's the one who got well at first

[01:13:20] right she's like I'm sorry it's just

[01:13:22] yeah I'm on a spy mission you wouldn't understand

[01:13:24] he's like I must buy she's like don't

[01:13:26] try to cover for me you know

[01:13:28] Tia Carrera is like oh nice to see

[01:13:30] you again she's like who the fuck is this

[01:13:32] they're like I don't know how she's a prostitute

[01:13:34] she's trying to just yeah right

[01:13:36] and she's like how to get this fucking lock at the

[01:13:38] lock it's funny because Arnold's got this really kind smile

[01:13:40] in the lock yeah yeah

[01:13:42] I just love I just I want to talk about

[01:13:44] the truth serum scene I just think already

[01:13:46] incredible in that scene he's so funny

[01:13:48] yeah when they're like

[01:13:50] are you know we gonna die and he's

[01:13:52] like yes

[01:13:54] I can't even do the line

[01:13:56] exactly right he's because he's not capable

[01:13:58] of playing naturalistic comedy

[01:14:00] he's funnier if you put him in extreme

[01:14:02] circumstances like that where you

[01:14:04] account for his lack of naturalism

[01:14:06] you know I mean

[01:14:08] that's why he's funny he's

[01:14:10] funnier and terminator to then he isn't any of

[01:14:12] his comedies because the comedy comes from a robot

[01:14:15] trying to be funny yes

[01:14:17] also it's a better movie right but it's like

[01:14:20] anytime someone acting like they're on drugs

[01:14:22] it's usually the worst sure right he can

[01:14:25] pull it off because he never

[01:14:27] seems like a normal person

[01:14:29] so if you add a qualifier like well but he's on drugs

[01:14:32] then it becomes you're able to laugh him

[01:14:34] because you go like well that's got why this guy's so weird

[01:14:36] as he's on drugs where Snaker should be

[01:14:38] a stoner move you know that's a good idea

[01:14:41] that's a good idea so you know there's that line

[01:14:43] that you did to lead off the podcast if you were killed

[01:14:45] and was yeah but they were all bad yeah and

[01:14:47] like and then that great I think it's a great

[01:14:50] sequence where they're like you know

[01:14:53] what's would you want to say anything to me before you start

[01:14:55] and he's like yeah I'm gonna kill you then I'm gonna kill you

[01:14:57] and then I'm gonna kill you gonna use this to do that

[01:14:59] and he's like how are you gonna do that

[01:15:01] he's like oh because I picked my handcuffs and then he takes them all down

[01:15:03] that's awesome it's a great I love that

[01:15:05] that's I want a lot more of that in this movie

[01:15:07] yeah there are two things that come up right now that I'm fine

[01:15:11] with the mistaken identity show I just just squeeze it down a little bit

[01:15:14] that's all there's no reason this movie needs to be camera length

[01:15:17] or camera in size and once again not talking about the budget

[01:15:20] but just in terms of like you know he makes

[01:15:23] epics right I mean even when

[01:15:26] the scope of what the movie covers isn't huge

[01:15:29] the way he tells the story is huge

[01:15:31] I think he can't help but filter it through that kind of thing

[01:15:34] but this story demands a sort of precision

[01:15:37] and leanness in order to work as any sort of

[01:15:40] trenchant kind of like you know social comedy

[01:15:43] it's also just not interested in having a villain

[01:15:46] like I feel like Cameron's just been like you know what

[01:15:49] we're just not gonna bother with a good villain

[01:15:51] we just don't have the time here

[01:15:53] so the villains are very tossed out

[01:15:55] which is sort of boring and then

[01:15:58] it means that it means that the multiple

[01:16:02] final sequences in the movie you're like

[01:16:05] alright well can they just die

[01:16:07] I mean Benny you're fired or whatever

[01:16:09] yeah is great that's great

[01:16:11] but you know you feel no urgency

[01:16:14] for him to take this guy down specifically

[01:16:17] is this our least favorite James Cameron movie?

[01:16:19] other than Piranha yeah

[01:16:21] I guess it's probably mine too

[01:16:23] that's sort of a bummer I like this movie

[01:16:25] I'm really mixed on it

[01:16:27] yeah I'm mixed on it too

[01:16:29] there are two comedic set pieces I think work really well

[01:16:31] and they're short that come up right in the sequence

[01:16:34] I feel like we've now done the whole movie

[01:16:35] pretty much yeah that's good

[01:16:36] yeah we're near the end of this

[01:16:38] which is funny because it is long

[01:16:39] I know but it's like what the fuck

[01:16:41] it's just so drawn out

[01:16:43] there's the scene earlier in the movie where he tries to

[01:16:45] camera it up where like Arnold meets with Tia Carrera

[01:16:48] and then he leaves and then Art Malik comes in

[01:16:51] and he's dressed like a janitor

[01:16:53] and then when he closes the door

[01:16:55] slaps her in the face and it's like oh she's working for him

[01:16:57] and then later in the movie they say the thing where it's like

[01:16:59] you think I care about you, you think I care about them

[01:17:01] they just offer me more money and it's good money

[01:17:03] you know which is like he's sort of trying to make everyone

[01:17:06] a little more human you know and he's sort of setting up

[01:17:08] that you should hate Art Malik specifically

[01:17:10] not because he's a jihadist but because he slaps a woman in the face

[01:17:13] but it's like then you don't see him for an hour and a half

[01:17:15] like it doesn't matter right

[01:17:17] is that sort of like saving the cat?

[01:17:19] yeah it's the reverse, it's honestly the reverse of saving the cat

[01:17:22] right it's like here's the thing we're going to do

[01:17:24] to make it clear you're not supposed to like this dude

[01:17:26] on a micro level

[01:17:28] so that the macro you know in discretions

[01:17:31] become more insulting

[01:17:33] the two things that I actually kind of like

[01:17:35] laughed watching the movie

[01:17:37] you know a couple Arnold's line readings

[01:17:39] but that's also like half laughing at

[01:17:41] half laughing at the end of the last part of the Arnie Magic

[01:17:43] sure

[01:17:44] one I think there's one really smart funny idea

[01:17:47] which I would be astonished if it wasn't in the French original

[01:17:50] which is the battery dying on the camera

[01:17:52] while the guy's giving big speed

[01:17:54] maybe it isn't the French maybe it isn't

[01:17:56] it is really funny

[01:17:57] it feels like a very French gag to me

[01:17:58] I'll say that

[01:17:59] it's not that I don't want to give Cameron credit

[01:18:02] but knowing that it comes from a French film

[01:18:04] that's a very very French gag

[01:18:06] I also think the bit with Jamie Lee Curtis

[01:18:08] trying to shoot out the guys

[01:18:10] and then dropping the gun and then the gun perfectly

[01:18:12] as it lands on all the steps

[01:18:13] only shooting the enemies

[01:18:15] that is one of those things where at first you're like

[01:18:17] okay I get it

[01:18:18] and then it carries on you're like

[01:18:19] this is going on too long

[01:18:20] and then it keeps going and you're like

[01:18:21] I love this

[01:18:22] it's so overboard

[01:18:24] it's just so perfectly bouncing down

[01:18:26] it makes me so upset

[01:18:27] it feels like it's so drawn out

[01:18:29] and it's so not James Cameron

[01:18:31] because if you think about the spatial geography

[01:18:33] there's no way it works and nonetheless

[01:18:36] and it's the

[01:18:37] those are the two funniest things in the movie for me

[01:18:39] because they both play off of Cameron

[01:18:41] just like putting something ridiculous

[01:18:42] into a very tense high-stakes situation

[01:18:44] which is what he's good at

[01:18:46] more than like one-liners

[01:18:47] or little like behavioral stuff

[01:18:49] you know

[01:18:50] it's like what if you created James Cameron scene

[01:18:52] and then something went wrong

[01:18:54] is the joke behind both of those things

[01:18:56] but so they break out

[01:18:57] and then they fucking

[01:18:59] they save the day and whatever

[01:19:01] and they rush in

[01:19:03] and he kisses Jamie Lee Curtis

[01:19:05] and

[01:19:06] they tango

[01:19:07] the explosion happens behind them

[01:19:08] no no no

[01:19:09] and then Tom Arnold's like

[01:19:10] I got some bad news

[01:19:11] he did get away

[01:19:12] he stole one fugitive it's your daughter

[01:19:13] and it's like

[01:19:14] ah fuck that

[01:19:15] but that is such a James Cameron thing

[01:19:17] and Arnold

[01:19:18] not the fake out bugs me

[01:19:19] what bugs me is

[01:19:20] Arnold hears the news

[01:19:21] and immediately runs past Jamie Lee Curtis

[01:19:23] doesn't tell her that the daughter's in danger

[01:19:25] gets in the plane and flies away

[01:19:27] like the whole movie's built up to this thing of like

[01:19:29] we work together now

[01:19:30] she's equal

[01:19:31] and then the second there's the final threat

[01:19:32] he's like

[01:19:33] wait I'm the only one who can save my daughter

[01:19:34] he doesn't even

[01:19:35] message to her

[01:19:37] that the daughter's in danger

[01:19:38] that's a good point

[01:19:40] because this and it helps

[01:19:42] make it mean it hurts the stakes

[01:19:43] it hurts the stakes

[01:19:44] you know that but I mean

[01:19:45] also

[01:19:46] the stakes are kind of non-existent anyway

[01:19:47] what if the movie is like

[01:19:49] we finally rediscovered our marriage

[01:19:50] and then their daughters a charred corpse

[01:19:52] right at the end of the movie

[01:19:53] but shouldn't she fucking go on the mission with him

[01:19:55] or whatever once again

[01:19:56] it's like the man has to save the woman from being

[01:19:58] very true you know it's very true

[01:20:00] they do this false set piece who gives a shit

[01:20:02] he shoots the

[01:20:03] no I think it's a fun set piece

[01:20:05] I think it's a great set piece on the bridge

[01:20:07] I think it looks great

[01:20:08] that's the thing it looks

[01:20:09] we agree I'm just saying

[01:20:10] looks good yeah and

[01:20:12] your fire Benny

[01:20:13] end of movie

[01:20:17] thank you Ben

[01:20:18] quite a scream from him

[01:20:19] yeah

[01:20:20] Ben you like the movie

[01:20:22] I still do

[01:20:23] yeah it is good

[01:20:24] it's just it's like iconic for me

[01:20:26] yeah and like

[01:20:27] all of the things were pointing out

[01:20:29] like how it's aged

[01:20:31] I mean

[01:20:32] it's an unfortunate thing

[01:20:34] I think we're just gonna have to deal with

[01:20:36] any older film

[01:20:37] at this point

[01:20:39] but it still reminds me very much of my childhood

[01:20:41] I think it's fair

[01:20:42] yeah I think Ben's being fair

[01:20:43] the end of the movie

[01:20:44] I think Ben's being fair

[01:20:45] I just still have time with him

[01:20:46] what would we call him

[01:20:47] if we wanted to give him like a nickname about fairness

[01:20:49] well he's already the judge

[01:20:50] the tiebreaker

[01:20:51] right yeah

[01:20:52] I don't know

[01:20:53] fair ban I don't know

[01:20:56] the end of this movie

[01:20:57] it cuts forward a year later

[01:20:59] Ben and he fair they

[01:21:00] Ben and he fair is really good

[01:21:01] yeah

[01:21:02] that's really good

[01:21:03] ten comedy points

[01:21:04] yeah right it's a ten comedy point

[01:21:06] nickname

[01:21:07] the one year later to show the family gets along well

[01:21:08] yeah

[01:21:09] is the thumb war

[01:21:11] oh yeah

[01:21:12] and she's like no you have to keep your thumbs straight

[01:21:13] it's like this is how you

[01:21:14] this is the coding to show you the family's getting along

[01:21:16] guys the family's getting along

[01:21:17] it's great

[01:21:18] with a classic thumb war

[01:21:19] they get the call

[01:21:20] oh cool their agents together

[01:21:21] and then they do

[01:21:22] like a replication of the opening scene

[01:21:24] but now it's the two of them together

[01:21:25] and they do the tango together

[01:21:26] and that's nice

[01:21:27] and you are almost like

[01:21:29] hey man

[01:21:30] I check out a two-lice

[01:21:32] if it's her having like equal weight to him

[01:21:34] 100%

[01:21:35] yeah

[01:21:36] you know cuz she's got more layers

[01:21:38] and more coloring

[01:21:39] and it's interesting

[01:21:40] and I like the movie where he has to respect her

[01:21:43] the whole time

[01:21:44] which is what the end of the film sets up

[01:21:46] for years there were sort of whispers

[01:21:48] of a true lies to Tom Arnold was always pushing that rock

[01:21:51] uphill cuz he wanted it so badly

[01:21:53] poor Tom

[01:21:54] he always was like it's gonna happen

[01:21:56] it's gonna happen and then 9-11 happened

[01:21:57] and he was like

[01:21:58] maybe we have to wait a little bit

[01:22:00] and then Arnold got elected

[01:22:01] and he was like I talked to Arnold all the time

[01:22:02] he says the second he gets it off his true lies too

[01:22:05] true lies to is never gonna happen

[01:22:06] no no ma'am

[01:22:07] but he still sometimes in interviews is like

[01:22:09] oh we still talk about

[01:22:10] what else does he have to say

[01:22:11] exactly

[01:22:12] he's the punchline of a fantastic Paul of Tompkins story

[01:22:14] Tom Arnold

[01:22:15] yeah

[01:22:16] have you never heard it

[01:22:17] don't spoil it

[01:22:18] give the thing

[01:22:19] how we can look at it

[01:22:20] I believe it's on his album

[01:22:21] laboring on delusions

[01:22:22] about being on the set of the informant

[01:22:24] and watching Matt Damon being handed

[01:22:27] a bowl of blue liquid

[01:22:29] with it like jelly

[01:22:30] a square of jelly in it or something

[01:22:32] and just eating it

[01:22:33] like nonchalantly

[01:22:35] and no one reacting

[01:22:36] and Paul of Tompkins

[01:22:37] was going like

[01:22:38] what the fuck is going on

[01:22:39] is Matt Damon an alien

[01:22:41] who eats cubes

[01:22:42] and then yeah

[01:22:44] you should listen to that

[01:22:45] it's really very funny

[01:22:46] very funny

[01:22:47] this was the most expensive movie ever made at the time

[01:22:49] 100

[01:22:50] are you sure

[01:22:51] 115

[01:22:52] 100%

[01:22:53] as much as this is 115

[01:22:54] was T2 only like 100 or so

[01:22:56] T2 was like 97

[01:22:57] oh ok

[01:22:58] I mean who knows

[01:22:59] there might have been some tricky accounting here

[01:23:00] but this was the first movie on record

[01:23:02] is costing over 100

[01:23:03] and at the time

[01:23:04] it was certainly the number one

[01:23:05] most expensive movie

[01:23:06] it feels like he was just like

[01:23:07] I want to do the most of everything

[01:23:09] and you know

[01:23:10] spare no expenses

[01:23:11] I mean

[01:23:12] and of course

[01:23:13] hey

[01:23:14] this podcast called Blank Check

[01:23:15] after T2

[01:23:16] you know you're going to get a blank check

[01:23:17] especially if you're reuniting with the star

[01:23:19] of T2

[01:23:20] can I make my quick argument

[01:23:21] for who I think should have directed this instead

[01:23:23] oh yeah

[01:23:24] because every point I've made is going to feed in perfectly

[01:23:25] it's like a

[01:23:26] here's the code

[01:23:27] who's the person

[01:23:28] Paul Verhoeven

[01:23:29] oh interesting

[01:23:30] I mean that would be a very different movie

[01:23:32] I think the way this movie works

[01:23:33] is if you crank it up

[01:23:34] that much

[01:23:35] that it becomes so clearly

[01:23:36] knowingly satirical

[01:23:38] sure

[01:23:39] it's not a bad suggestion

[01:23:40] and I think

[01:23:41] it'd just be a very different movie

[01:23:42] I think Total Recall

[01:23:43] is the only movie

[01:23:44] that posits Arnold Schwarzenegger

[01:23:45] as an everyman that works

[01:23:46] because the universe around it

[01:23:47] is so insane

[01:23:49] that you know not take that literally

[01:23:50] good call

[01:23:51] good call on Total Recall

[01:23:52] might be harder in true lies

[01:23:53] because it's not set on Mars

[01:23:55] but you know

[01:23:56] but I think I mean

[01:23:57] his movies that take place in the real world

[01:23:58] if you imagine this

[01:23:59] with like a basic instinct

[01:24:00] Milia

[01:24:01] and then just like turned up

[01:24:02] you know

[01:24:03] I mean

[01:24:04] Paul Verhoeven loves

[01:24:05] he is himself

[01:24:07] a bit of a chauvinist

[01:24:09] but he is also

[01:24:11] someone who hates everyone equally

[01:24:13] to a degree

[01:24:14] so I think he would make

[01:24:15] Arnold's character a lot more

[01:24:16] openly discussed

[01:24:17] that's probably true

[01:24:19] but he would also make him more lovable

[01:24:21] weirdly

[01:24:22] which I kind of like

[01:24:23] I think he's the one guy who knows how to

[01:24:24] it didn't happen

[01:24:25] it's a good idea

[01:24:26] good idea

[01:24:27] interesting idea

[01:24:28] what if

[01:24:29] and perhaps

[01:24:30] we'll be discussed more

[01:24:31] someday when we do

[01:24:32] Verhoeven minisuit

[01:24:33] oh that'd be great

[01:24:35] the movie made

[01:24:36] $146 million

[01:24:38] domestic

[01:24:39] good number

[01:24:40] two

[01:24:41] and three 78 worldwide

[01:24:43] for the time

[01:24:44] very good

[01:24:45] certainly was an expensive movie though

[01:24:47] so maybe it wasn't like

[01:24:48] quite the money maker

[01:24:50] say T2 was

[01:24:51] yeah I mean T2

[01:24:52] cost less made more

[01:24:53] but this was

[01:24:54] really good

[01:24:55] R rated movies like you know

[01:24:57] this was a solid hit

[01:24:58] Jamie Lee got close to Oscar now

[01:24:59] and this big hit

[01:25:00] it got one nomination

[01:25:01] for visual effects

[01:25:02] that's it

[01:25:03] but yeah it's got

[01:25:04] it's got a going club win

[01:25:05] it got a sag nom

[01:25:06] blah blah blah

[01:25:07] the weekend

[01:25:08] is July 15th 1994

[01:25:10] wow right in the middle of summer

[01:25:11] it's right in the middle

[01:25:12] of a very hot summer

[01:25:14] for Hollywood in general

[01:25:18] the movie opened number one

[01:25:20] to 25.8 million dollars

[01:25:22] number two

[01:25:23] is

[01:25:24] one of the big films of the year

[01:25:26] which in two weeks

[01:25:27] has already made 72 million

[01:25:29] dollars

[01:25:30] four scump

[01:25:31] yeah and guess how much

[01:25:32] it dropped by

[01:25:33] 5%

[01:25:34] 1.3%

[01:25:35] wow

[01:25:37] he's out of it

[01:25:38] now of course

[01:25:39] Far as scump

[01:25:40] for the time was

[01:25:41] 330 million domestic

[01:25:42] was one of the craziest hits ever

[01:25:44] it goes on

[01:25:45] I think at the time

[01:25:46] was one of the five highest

[01:25:47] grossing films domestically

[01:25:48] quite possibly

[01:25:49] I think it

[01:25:50] at least until recently

[01:25:51] was Paramount's number one

[01:25:52] movie of all time

[01:25:53] yeah I believe that year

[01:25:54] we had two

[01:25:55] two films enter the top five

[01:25:57] of all time domestically

[01:25:58] and I would guess

[01:25:59] number three was

[01:26:00] the second of those films

[01:26:01] yeah

[01:26:02] The Lion King

[01:26:03] correct

[01:26:04] they were both in the top

[01:26:05] five at the time

[01:26:06] The Lion King

[01:26:07] which in his fifth week

[01:26:08] has made a hundred and 75

[01:26:09] million dollars

[01:26:10] on its way to 312

[01:26:12] domestic

[01:26:13] yeah I mean both those movies

[01:26:14] would make over 600

[01:26:15] a just for inflation

[01:26:16] I mean just

[01:26:17] crazy humongous hits

[01:26:18] yeah

[01:26:19] number four is a film

[01:26:20] I saw in theaters

[01:26:21] I also saw The Lion King

[01:26:22] in theaters

[01:26:23] I did not see Far as

[01:26:24] scump in theaters

[01:26:25] I saw none of these

[01:26:26] in theaters

[01:26:27] you didn't see The Lion King

[01:26:28] in theaters huh

[01:26:29] I was terrified of death

[01:26:30] and I knew it was a plot

[01:26:31] mechanic in the movie

[01:26:32] so I wouldn't see it

[01:26:33] there enough

[01:26:34] I didn't like seeing movies

[01:26:35] that I knew were based

[01:26:36] around death

[01:26:37] fair enough

[01:26:38] you probably didn't see

[01:26:39] very friendly kid movies

[01:26:40] yep and some of them

[01:26:41] we knew the death was

[01:26:42] at the beginning of the film

[01:26:43] you'd arrive late

[01:26:44] I swear to God

[01:26:45] that happened on fly away

[01:26:46] home because we knew

[01:26:47] that the mom died of cancer

[01:26:48] in the opening scene

[01:26:49] what a great movie that is

[01:26:50] is that Caleb Deschanel too

[01:26:51] I believe so and Carol Ballard

[01:26:52] yeah

[01:26:54] I think that's Caleb Deschanel

[01:26:55] I definitely got a cinematography

[01:26:56] nomination

[01:26:57] I just don't remember

[01:26:58] I think they gave the DNA

[01:26:59] I saw this film

[01:27:00] in theaters though

[01:27:01] number four it

[01:27:02] grosses 50 million

[01:27:04] it stars a young boy

[01:27:06] who would go on to become

[01:27:07] quite a famous actor

[01:27:09] the caps

[01:27:11] what the caps

[01:27:12] no not to cap

[01:27:14] not quite to caps level

[01:27:15] but he's in a movie with the caps

[01:27:17] Markey Walberg

[01:27:18] nope

[01:27:20] think like real

[01:27:21] kid star

[01:27:23] well that's star

[01:27:24] but you know

[01:27:25] kid actor

[01:27:27] it's not Lucas Hass

[01:27:28] it's not Elijah Wood

[01:27:29] I'm trying to get who

[01:27:31] he's in a movie with Leo

[01:27:32] just one

[01:27:33] he's in a movie with Leo

[01:27:34] before Leo blows up or after

[01:27:35] after way after

[01:27:36] way after

[01:27:37] oh yeah

[01:27:38] like recent like five years

[01:27:39] six years ago

[01:27:40] Leo movie

[01:27:42] he was a kid actor

[01:27:43] but he wasn't like a kid star

[01:27:44] he was a kid actor

[01:27:45] you know he was a fairly big kid

[01:27:46] actor and then he made a fairly

[01:27:47] seamless

[01:27:48] oh oh oh

[01:27:49] oh is it angels in the outfield

[01:27:51] yeah

[01:27:52] show some good love it

[01:27:53] correct and Danny Glover

[01:27:55] and a nice solid Disney hit

[01:27:56] 50 mil is pretty good for that

[01:27:57] movie

[01:27:58] I like that movie

[01:27:59] I like when they

[01:28:00] stand up and they

[01:28:01] wave the wings

[01:28:02] that movie also had dead parents

[01:28:03] but they were more

[01:28:04] alluded to than on screen

[01:28:05] which meant I was down to see it

[01:28:06] I have

[01:28:07] I saw it in theaters

[01:28:08] I don't think I've seen it since

[01:28:09] I think I liked it

[01:28:10] I might have seen it

[01:28:11] two times in theaters

[01:28:12] that run of kid baseball

[01:28:13] movies in the mid 90s

[01:28:14] that were really being crammed

[01:28:15] on my throat

[01:28:16] because it's rookie of the year

[01:28:17] there's the sand lot

[01:28:18] little big league

[01:28:19] little big league

[01:28:20] there's a lot

[01:28:21] there's a lot

[01:28:22] kids in baseball baby

[01:28:23] number five

[01:28:24] is one of my absolute favorite

[01:28:25] films

[01:28:26] this is so far the best

[01:28:27] I've done

[01:28:28] in the box office game

[01:28:29] you're killing it

[01:28:30] one of my favorite films

[01:28:31] to just rewatch

[01:28:32] I've seen it

[01:28:33] so many times

[01:28:35] it is a big hit in 94

[01:28:36] made 120 million domestic

[01:28:39] on a 30 million dollar budget

[01:28:40] it's in its sixth week

[01:28:41] it's a huge hit

[01:28:43] now it was kind of a

[01:28:44] what

[01:28:45] kind of a reboot

[01:28:46] no I was gonna say

[01:28:47] it was kind of a rebound

[01:28:48] for its star

[01:28:49] but I guess he'd been

[01:28:50] it was a little bit

[01:28:51] of a rebound for its star

[01:28:52] after a few years

[01:28:53] and making kind of

[01:28:54] weird indie movies

[01:28:55] interesting

[01:28:56] 94 and

[01:28:57] is it like a movie

[01:28:58] that you liked as a kid

[01:28:59] or do you rewatch it now

[01:29:00] a lot as a grown up

[01:29:01] because it's better

[01:29:02] as a grown up movie

[01:29:03] it's an action movie

[01:29:04] I definitely liked it as a kid

[01:29:05] and I've just always liked it

[01:29:06] because it's great

[01:29:07] is it Stallone

[01:29:08] no

[01:29:09] is it Bruce Willis

[01:29:10] no

[01:29:11] is it

[01:29:12] but you're doing a

[01:29:13] weird little hand thing

[01:29:14] like you're banging a drum

[01:29:15] there's nothing to do

[01:29:16] yeah

[01:29:18] give me another hand

[01:29:19] it's an action movie

[01:29:20] so it's this

[01:29:21] sort of a rebound

[01:29:22] for its star

[01:29:23] but it also introduces

[01:29:24] a new leading lady

[01:29:25] to Hollywood

[01:29:26] oh

[01:29:28] interesting

[01:29:29] it's an R rated action movie

[01:29:30] quite violent

[01:29:31] quite violent

[01:29:32] although not

[01:29:33] consistently just has moments of violence

[01:29:35] and it's not Bruce Sly or Arnie

[01:29:39] it's not

[01:29:40] he's been doing

[01:29:41] indie films

[01:29:43] I'm kind of

[01:29:44] I'm kind of stumped on this

[01:29:45] I think it's Van Damme

[01:29:46] but I don't know the movie

[01:29:47] no because I feel like it has to be

[01:29:48] someone who wasn't exclusively

[01:29:49] an action star

[01:29:50] like a physical

[01:29:51] presence guy like that

[01:29:52] not that kind of a guy at all

[01:29:53] right

[01:29:54] kind of a small guy

[01:29:56] although not tiny

[01:29:57] but just yeah a little more compact

[01:29:58] well it's not TC

[01:30:00] so no Tom Cruise

[01:30:01] no it's not TC 14

[01:30:03] it's not Clint Eastwood

[01:30:04] no

[01:30:06] uh

[01:30:07] give me the actor

[01:30:08] Yonah Reeves

[01:30:09] oh

[01:30:10] oh speed

[01:30:11] correct okay

[01:30:12] damn it

[01:30:13] I gave you some okay hints

[01:30:14] you did yeah I just

[01:30:15] it's a tough one to talk about

[01:30:16] it's a tough one to talk about

[01:30:17] without giving it away

[01:30:18] but of course introduce the world to

[01:30:20] Sandy Bullock

[01:30:21] that's right

[01:30:22] and it has some great lines

[01:30:23] all written by Joss Whedon

[01:30:24] what a great movie

[01:30:25] great movie

[01:30:26] great movie

[01:30:27] so that's the top five

[01:30:28] that's your top five

[01:30:29] is Batman Forever in the bottom

[01:30:30] of the ten

[01:30:31] no Batman Forever is not in this

[01:30:32] that's 95

[01:30:33] oh I thought that was 94

[01:30:34] yeah it's

[01:30:35] I'm almost certain it's 95

[01:30:36] I think you're right

[01:30:38] some of the other movies in the top ten

[01:30:39] you've got I Love Trouble

[01:30:40] with

[01:30:41] Julia Roberts and Nick Nolte

[01:30:43] people didn't

[01:30:44] love that one

[01:30:45] they did not

[01:30:46] a reporter movie

[01:30:47] you got blown away

[01:30:49] Steven Hopkins movie with Jeff Bridges

[01:30:51] and Tommy Lee Jones

[01:30:52] isn't it like

[01:30:53] sure

[01:30:54] it's some kind of action

[01:30:55] I've never seen it

[01:30:56] you got The Shadow with Alec Baldwin

[01:30:59] you got Wolf

[01:31:01] Jack Nicholson

[01:31:02] which my mom always contends

[01:31:04] is not a movie

[01:31:05] it is

[01:31:06] and happens

[01:31:07] I know and I know she went to see it

[01:31:08] I remember like

[01:31:09] my parents would go see movies

[01:31:10] yeah my parents also went to see that movie

[01:31:11] because it was a movie for grown ups

[01:31:12] right

[01:31:13] and I like

[01:31:14] I would stay up late

[01:31:15] wait for my parents to come home

[01:31:16] my babysitter would be like

[01:31:17] okay your parents are home

[01:31:18] and I'd be like how was the movie

[01:31:19] cause I always wanted to hear how

[01:31:20] the movie was

[01:31:21] they were like it's not great

[01:31:22] and I remember them coming home

[01:31:23] and telling me about Wolf

[01:31:24] and I've invoked it to my mother

[01:31:25] a couple times

[01:31:26] and she's like I don't think

[01:31:27] that's a movie

[01:31:28] I was like it is

[01:31:29] it's not a movie

[01:31:30] but Jack Nicholson and Michelle Fiecker

[01:31:31] set in like the board room

[01:31:32] right and she's like

[01:31:33] I would have remembered that

[01:31:34] and I was like you've seen it

[01:31:35] and what's the tagline

[01:31:36] he's a real animal or something

[01:31:37] the animal is out

[01:31:38] yeah okay cool great

[01:31:39] ten comedy points

[01:31:40] The Flintstones

[01:31:41] which is also a film I saw in theaters

[01:31:42] a film that is almost incoherent

[01:31:44] the plot of the movie

[01:31:45] almost incoherent

[01:31:46] is looking for in the end

[01:31:47] that's a movie that

[01:31:49] I saw it in theaters

[01:31:50] and my brother saw it with us

[01:31:51] and he was five years old

[01:31:52] and when we walked out of that

[01:31:53] my brother was like

[01:31:54] that was really bad

[01:31:55] yeah I think

[01:31:56] even a five year old

[01:31:57] was not on board

[01:31:58] and I had a movie with my brother

[01:31:59] and I had the same thing

[01:32:00] I was so hyped for

[01:32:01] I had so much Flintstones merchandise

[01:32:02] I had a Flintstones lunchbox

[01:32:03] for years after that

[01:32:04] and I was so fucking pumped

[01:32:06] because I was a Hannah Barbera kid

[01:32:07] and I went to see the movie

[01:32:08] and I couldn't have told you

[01:32:09] what that movie was about

[01:32:10] I rewatched it about a year ago

[01:32:11] it's a real corporate

[01:32:12] right of malfeasance

[01:32:13] the plot is so bizarre

[01:32:15] it's about they take

[01:32:16] they take a competency test

[01:32:17] but the scores get mixed up

[01:32:19] so Barney who's an idiot

[01:32:21] actually turns out to be like

[01:32:22] an idiot savant

[01:32:24] right right right

[01:32:25] but then Fred takes the credit

[01:32:26] for his scores

[01:32:27] because he thought Barney was going to fail

[01:32:28] and he felt bad for him

[01:32:29] because Barney was going to get fired

[01:32:30] yeah okay

[01:32:31] I vaguely remember this

[01:32:32] and Barney was going to lose his job

[01:32:33] and he didn't have any money

[01:32:34] because they just adopted the kid

[01:32:36] but then Fred ends up

[01:32:38] thinking it was going to make it better

[01:32:39] for Barney

[01:32:40] but it actually made it better for him

[01:32:41] and the kids at Nightmare

[01:32:42] right because they just adopted Bam Bam

[01:32:43] or whatever

[01:32:44] right so Fred becomes like a high roller

[01:32:45] and he gets

[01:32:46] works up the ranks

[01:32:47] but isn't there like some whole deal

[01:32:48] where it turns out like

[01:32:49] the company is like

[01:32:51] selling shoddy product

[01:32:53] at like a markup

[01:32:54] and they have to like

[01:32:55] uncover all of that

[01:32:56] all these 90s movies

[01:32:57] there were even the kids movies

[01:32:58] were about like corporate

[01:32:59] it's a gall street

[01:33:00] but with the fucking Flintstones

[01:33:01] but the thing about that

[01:33:02] Halle Berry plays Sharon Stone

[01:33:04] yeah she does

[01:33:05] and doesn't it have nine credited

[01:33:06] writers or something crazy like that

[01:33:07] probably

[01:33:08] like a famously large amount

[01:33:09] of credited writers

[01:33:10] it's from the director

[01:33:11] Problem Child

[01:33:12] it was like a huge Steven Spielberg

[01:33:14] production

[01:33:15] but the thing about the movie

[01:33:16] is it looks insane

[01:33:17] you'd never see a movie

[01:33:18] that looked like that

[01:33:19] no

[01:33:20] those production values

[01:33:21] are kind of amazing

[01:33:22] incredible they built the whole fucking town

[01:33:23] of Betterock

[01:33:24] they also

[01:33:25] there was so much merchandise

[01:33:26] for that movie

[01:33:27] and I had like all of it

[01:33:28] because

[01:33:29] they were convinced

[01:33:30] it was like coming the summer after

[01:33:32] or two summers after Jurassic Park

[01:33:33] no it was the summer after

[01:33:34] it was one year laughter

[01:33:35] they thought it was going to be

[01:33:36] as big of a merchandising

[01:33:38] bonanza as Jurassic Park

[01:33:39] because they were like

[01:33:40] we got dinosaurs

[01:33:41] and humans

[01:33:42] sure

[01:33:43] and there were these articles

[01:33:44] of they were like

[01:33:45] this is a once in a lifetime

[01:33:46] opportunity for merchandisers

[01:33:47] like not since Batman

[01:33:49] is the movie that's going to look

[01:33:50] this much more

[01:33:51] I'm cutting off your

[01:33:52] I had the lunchbox and everything

[01:33:53] because I keep mentioning the lunchbox

[01:33:54] because it looked cool

[01:33:55] it looked like Fred's little lunch pail

[01:33:56] that's enough

[01:33:58] maybe stay out

[01:33:59] Wyatt or Schindler's List

[01:34:01] hey but are we

[01:34:02] are we pretty much almost

[01:34:03] at the end of our episode

[01:34:04] this is the end of our episode

[01:34:05] so very quickly

[01:34:06] yeah

[01:34:07] this is just a new segment

[01:34:09] we're going to call it On The Record

[01:34:10] On The Record okay

[01:34:11] the reason why is because I thought

[01:34:13] hey you know we have the election

[01:34:16] coming up right

[01:34:17] sure

[01:34:18] we have predicted how the election

[01:34:19] will turn out

[01:34:20] and that'll be in a future episode