[00:00:01] Blank Check with Griffin and David, Blank Check with Griffin and David Don't know what to say or to expect All you need to know is that the name of the show is Blank Check I think she's starting to suspect something Who? Your podcast!
[00:00:28] Okay, long break there. You really took a breath Because I did the lean in I tried to do the lean in You couldn't change your face Yeah, and you didn't do it with the southern accent Your podcast That line is how I learned something about Michelle Pfeiffer's range
[00:00:49] Because that line, there is like a slight southern accent to that line The girl who died was southern I don't know if it's Amber Valletta's character I don't think she's southern But you're supposed to know that it's someone else talking
[00:01:04] And it's just one line spoken with that southern little And Michelle Pfeiffer couldn't do it Well, but then I wonder, see here's my question I wonder, is that Amber Valletta doing the line? Could be, I suppose I'm reading that she was raised in Oklahoma
[00:01:23] So, you know, that's the south, right? You know, I know that's sort of, you know, south Midwest But it's the south It's even weirder that she can't do a southern accent then You know what's even weirder? What's arguably the weirdest?
[00:01:38] That this was like an 80 million dollar star driven prestige horror film Released in the middle of the summer And that was the money shot in the trailer That is the shot that made this one of the ten highest grossing films of the year Which seems so low-key now
[00:01:56] I want to correct you, its budget is listed as a hundred million dollars Which is, I assume everyone just got paid out because Yeah You know, it's a very nicely apportioned movie But you don't see a hundred million dollars here Yeah, cause it may triple that
[00:02:15] It made 300 million dollars Big hit Big fucking hit Yeah, and it, but I saw that one of the expenses was there were five The bathroom had five sets There were five builds of that bathroom So there could be a bathroom on both coasts
[00:02:30] And then I was just like, that's just indulgence You don't need to build five bathrooms set It's just a bathtub That's what this movie feels like Not only is everyone getting paid their maximum quote But also Zemeckis is like Here's how I want to do everything
[00:02:46] And I want to do everything in the most extreme control obsessed way But no, but it didn't feel like a Kubrick thing It didn't feel like I need to have the right red door It felt like we are all at a point in our career
[00:02:57] So we need to have ultimate comfort Like the if being on both coasts felt like We can't make anyone inconvenient for a second None of our stars can ever not feel comfort And we have to build a bathroom So we need to have ultimate comfort
[00:03:13] And we can't make anyone inconvenient for a second Whatever they are happening to be vacationing The other thing is, because I feel like now For how big of a hit this movie was It's not talked about very much And I think it's longest lasting legacy is just
[00:03:29] Oh, it's the movie shot while Tom Hanks lost weight During cast away And so I was like looking into that The scheduling of the two movies against each other Wow. It's a long time. Which also costs a lot. That costs a lot.
[00:03:44] Is it that it was an eight month shoot Or was it just an eight month break in between Like this, did this really take that long to make? No, because this is where I'm trying to figure this out
[00:03:54] I believe it was a full year break in cast away And this took up eight of those 12 months That's what I think I read But it was hard to get that confirmed There's so little written about it too I feel like it's been erased from history
[00:04:09] From history in every way It seems like no one involved once Is invested in its legacy whatsoever It's almost like this movie went missing And no one can figure out what happened to it As if my husband is trying to cover something up By leaving careful clues
[00:04:27] I think it doesn't have much of a legacy Although I don't think it's a disliked movie Right? It's a forgotten movie It's maybe a little forgotten considering the size Of how big a hit it was But is it also, I mean no spoilers
[00:04:42] But is it also the only movie where Harrison Ford is a villain? Ever? I think so, David You've become incredibly blurry You look like the poster for Michael Clayton You look like John Hamm in the Christmas Black Mirror At the end of that episode where he gets blocked
[00:04:59] Right, I don't know if it's Zoom or my camera But it has started to do this occasionally And if I just turn it off and on, it stops But it just blurs me out as if I am Like you say, worthy of censorship essentially
[00:05:12] Like if I am like testifying on CNN But my voice is gonna be really deep And I can't show my face It's really disturbing because that It's very weird Like for this episode is the most haunting thing I've ever experienced And I thought you guys were
[00:05:26] It was a thing that you guys did I was being ghostly Or to let the other person feel like They had the stage, you just blocked yourself I don't know how your partnership works It's constantly evolving I mean honestly, like all great marriages It's constantly evolving
[00:05:43] We keep secrets from each other And we gaslight each other Into thinking that the other one is going crazy By assuming that ghosts are real Did you see this movie when it first came out? Yes I saw this movie for the first time last night Oh, okay Wow
[00:06:00] That's interesting Well, Griff, introduce our podcast Introduce our guest Sorry, I'm sorry And then let's talk about this No, no, no, no Sarlie, don't apologize That's what we like We like it Yeah, we like it But now They're introduced What's terrifying to us
[00:06:14] Is if a guest is sitting there Waiting to come in And we're going like this Where should come in? That's not me Not you This is a podcast called Blank Check with Griffin and David I'm Griffin I'm David And it's about filmographies Directors who have massive success
[00:06:29] Early on in their careers Are given a series of blank checks To make whatever crazy passion projects they want And sometimes those checks clear And sometimes they lie beneath baby And this is a mini-series on the films Of Robert Zemeckis The famous Bobby Z And we've gotten to
[00:06:45] What lies beneath I mean, kind of his biggest clear year He has two of the ten Top-grossing films Of the year in 2000 He makes two massive Star-driven films That both hit hard Castaway, more critically beloved I feel like has had a longer legacy
[00:07:12] Although it was not the major Oscar play That people presumed This movie, I was surprised I had forgotten Kind of trashed by critics at the time People kind of shrugged it off But was a huge popular success People dissed it at the time Which in retrospect, I'm like
[00:07:31] If something like that I mean we say this all the time In this podcast But if something like this came out now Critics would be falling over themselves Being like he's paying homage To a great director He controls the camera He's got movie stars
[00:07:45] And he's deploying them like This is great Like Wike and Hollywood Make more of these It stars people over the age of 50 A studio's releasing it On 3,000 screens in the middle of July Everything about it would be catnip to them The time Critics are just like
[00:07:58] We get it Bobby You've seen a Hitchcock movie Like they were just like You know, jerking off I mean it's a clear And I don't think this movie's a masterpiece Although it has its defenders But it is the clearest sign of It's a good example
[00:08:12] Of how things have shifted in 20 years No what are you going to say? I don't know when the talking Is supposed to happen Introduce our guest Griffin All times Our guest today From election profit makers Writer on search party Starly kind Who we said in an ad read
[00:08:30] We should have on the show We were thinking out loud We were doing an ad read for The shivering truth An adult swim show That both you and I were voices on Starly And while doing the ad read We were like
[00:08:42] Oh we should have starly on the show Why haven't we done that And then we of our infinite Organizational capabilities Never reached out to you You reached out to us And said Hey I heard you guys said On an episode That you should have me on the show
[00:08:58] I'd love to do the show We went oh yeah No that's a good idea That's the only time I've ever done that Never done it But I felt Fearly safe Because it had been put out It had been put on record It was on the record
[00:09:10] Also shout out to Kat Solin Who made who is I know the shivering truth Vernon and Kat Solin Just want I know she listened to this show So I want to shout out to her Great work Kat Solin who rules Shivering truth is really Really good too
[00:09:26] We did ad reads for it So then I feel like people are Like well you're on the show And you didn't add read You're just shilling for it But I genuinely really like it It's a thing I think is very cool That I'm part of Small part
[00:09:39] It's a bug nut show Surely my part is smaller I just say like three sounds I don't even say full words On shivering truth Well you've been on multiple Episodes now I've been on one I think I've been on one It was the first season
[00:09:52] It might even have been The first episode of the first season And it's literally I think it's like my Bra straps are getting snapped And I'm just making sounds I do not believe I say words That rules Well to be fair
[00:10:08] So you said this is the first time You ever asked to be on a show I think this is the only time We've ever talked through Guest booking ideas During an ad read So the honor goes both ways But I messaged you What do you want to do
[00:10:21] What lies beneath And I think your line was You said I've only seen it once But it's the kind of movie I wish I were watching All the time That is true Yes that genre of film I find very relaxing And it pains me That they're not
[00:10:36] They used to be made all the time And the way they used to be made Defied critical thinking So that you could just relax And not really care If they were that good And the predictability Is comforting in a law and order kind of way
[00:10:52] Law and order the show Not the concept Although we love law and order We do We tweet in all caps all the time Law and order All the time Yes And they don't do these Kind of movies anymore They're very very few and far between
[00:11:07] And I feel like That's a loss And I also think that's why If this one came out It would get so much of a claim Not because it necessarily deserves it But because we would just be So excited to have It would be so excited to have
[00:11:21] A movie like this again And it would be better than the ones That are made now Totally I also I just kept thinking While watching this movie If this were to be made tomorrow It would be made for a streaming platform Or it would be made independently
[00:11:36] At a much smaller budget And it's not to say that couldn't be good But there's something about Like weirdly While you watch this movie And you're like how did it cost A hundred million dollars You also kind of see the money On screen just with the patience
[00:11:54] Of the movie Like this movie has the energy of They were given time to do everything Very deliberately And even just the ease of They're relaxed enough Because they had four bathtubs made It comes across in the energy Of the movie Where you feel like Like something like
[00:12:16] Gerald's game The Mike Flanagan movie Like the stuff he's been doing for Netflix Is just like I guess that's like the closest equivalent To like this kind of thing Today The other horror movies That get released Like the A24 stuff feel more gonzo You know
[00:12:32] But there's that genre in between Because Gerald's game I watched that hoping Hoping it was going to be like this And Gerald's game is kind of It's gross It has all that stuff that happens It's so not relaxing So I didn't feel protected And it kind of
[00:12:47] It's too gross Yeah, it's too gross I think Netflix has a lot of these That we now know are so bad That we don't even turn them on There are theater releases That will have like Jennifer Lopez maybe Yes I feel like I hear about ones coming out
[00:13:03] And they're always like the house next door But I know already that they're not going to To be Not even at this level But the level even slightly below this That came out during this time Well, yes What was the one with Dennis Quaid? Griff Oh, the intruder
[00:13:18] The intruder Yeah, they're all that Right Right, there's screen gems releases There are a lot of cash And it was made for like eight million dollars Like you know, they made that as cheaply As they could as quick as they could They had some like
[00:13:30] Name actors in it or whatever It's also why I think Invisible Man got Like high Invisible Man is the equivalent of this That got better reviews And I think the movie actually was Really good Considering we have not had anything like that In so long
[00:13:44] Yeah, and that it also is a movie that Like Its power comes from Suggestion in the same kind of way I mean, it's like baked into the whole premise But it's all about the lingering fear And building the anticipation And I don't know
[00:13:59] I mean, I just feel like Watching this last night It's like the versions of this That are made today Whether they're the screen gems version Where it's just going to be A lot more briskly cut A lot more jump scares They don't want to build this sort of
[00:14:15] Way more jumps and way more like Loud noises jumps Not just the classic, you know Pet jump, you know right Like a door moving or whatever Right, and even like the Netflix version Of this would not be comfortable With this much silence
[00:14:30] Would rely a lot more on close ups Just because they know people are watching it On a smaller screen Like this is a movie that weirdly Has the consciousness of We hope that a sold out crowd Is going to see this on the biggest possible screen
[00:14:43] In the middle of July I saw this movie when I was 14 years old On a big screen and it was so good On a big screen, I mean like And I was 14 years old So I probably had not still Not seen that many like kind of
[00:14:57] Robust thriller grown up movies In theaters yet Like it was still pretty new experience for me But it was just fun to be with a gasping audience With twists and furlings and so on You know what's weird though is I have This movie is gone from my memory
[00:15:12] Gone, I was watching it And normally you get traces back When you rewatch a movie you haven't seen in a while Only thing I remembered was that Amber Valletta Was in it and I was like I remember a vague memory appeal being like
[00:15:25] Amber Valletta is an actress now And it was during supermodel times When people thought about I guess it was a little bit after supermodel times And it was like that was a bit of a buzz And that was it I couldn't remember anything
[00:15:37] And then so there's something like Soundproof about it It actually does not penetrate Your consciousness I mean, yes The only thing I really remembered is For the end is the Ford being bad That's the thing that kind of stuck with me
[00:15:54] I was surprised when I was reading reviews Some of what I was watching Like the end when he keeps Coming back when he keeps Not being dead I was like Surely this is This must be one of the first times this happened Because otherwise
[00:16:09] You wouldn't be able to We know we can't do that now But this must have been one of the first times So that's why they were doing it But then all the reviews were like All this recycled stuff That we've seen a million times
[00:16:19] So already by this time Which was made in 2000, right That had already been done And so what really have we been doing For the last 20 years Because it feels like Movie, it feels like that was just yesterday That they just That they started that trope
[00:16:35] And we haven't come up with any tropes since then It's this thing I'm kind of obsessed with I feel like I talk about too much on the podcast But I feel like sometimes Things that are effective Get used so much That then the audience
[00:16:49] Starts to like feel like They're smarter than it Oh, it's this thing I've seen it before And then filmmakers start Removing effective storytelling tools From their arsenal Because they're like Well, I don't want to give in To the cynicism of I've seen this before
[00:17:06] But they're not replacing it With anything new They're just taking effective Storytelling tools off the table And it is that thing of just like Well, even if you've seen it before Like even if Harrison Ford Does just become the terminator In the last 20 minutes of this movie
[00:17:21] It still is shocking It still is like upsetting And scary, yeah Just using him, yes Especially using him, yes It was the best use of him in the whole movie Like before that he was so dead feeling And so it made me It turned And there was something
[00:17:40] It actually felt like it was about something finally Him, the way he tries to kill her And the way she's running from him Actually makes it The story of a marriage In the way that the rest of the movie Actually doesn't do Because the problem with movie
[00:17:53] This movie is the writing This movie is so strange I mean just even talking about Like it's cultural legacy And then we'll start to dig into Like the meat of the film itself But I was remembering Because I didn't see this at the time
[00:18:06] I was young but I also was Terrified of movies Like as much as I was a movie kid Any film that was trafficking In this sort of like A slow burn tension Was fucking kryptonite to me I didn't want to touch it
[00:18:21] Because I was such an anxious kid And not just like Horror thriller films like this We talked about this Or we talked about it coming up A little bit in the cast away episode But I was even scared To see a movie like cast away
[00:18:35] Where I was like the plane's going to crash And then he's going to be fucked Like I was so nervous Like I don't want this movie To get out of the point where his life is fine Didn't you feel that way
[00:18:43] I listened to your eyes back to the future Didn't back to the future stress you out then Because when I was little The things this made me These movies were comforting In a way that movies that just caused Were the characters were feeling anxiety
[00:18:55] Actually is what caused me anxiety Things going wrong Is what I couldn't handle And that's why when I walked back to the future All I wanted to do was get to the It was such a relief when it all Works out But this stuff
[00:19:10] It seems like too different This doesn't seem as anxiety provoking I think it was the comedy cut it for me I don't remember ever being stressed out About back to the future Although I was very invested in it Even from the first time watching it
[00:19:25] But this is like the most absurd version Of the story that I've told before My dad had to drag me to see Austin Powers Because I was terrified about the idea That he was cryogenically frozen It was such an existential Terrifying concept to me
[00:19:40] And my dad just wanted to see the movie And was stuck with my brother and I For the weekend I say as if my parents were divorced At the time My mom was like I wake them up I fucking take care of them all day Saturday and Sunday
[00:19:53] You have to do shit with them But I remember the same year Like U571 I think I walked out of Because I just was like I can't handle the tension of The fucking submarine is going to go wrong Anything like that Any sort of disaster movie
[00:20:08] It would freak me out And I just remember being like It's not like my parents said I couldn't see this movie Although they were a protective I was just like Yeah, no interest in seeing that It looks too spooky And then I After watching the movie
[00:20:21] Because I knew so little about it It's talked about so little That I was like, okay, bathtub And the shot where she turns into The other woman That's all I really remember From the marketing Let me just watch the movie For somewhat cold
[00:20:34] And then let me watch the trailer And it's bizarre how much The trailer kind of unfolds Everything I mean, Castaway is the same year Where he gets slapped Yeah, Zemeckis is like who fucking cares Right, but I do think the movie Actually holds up better
[00:20:53] If you're watching in a context Where you haven't seen the trailer Or like you started You don't remember anything That's going to happen And you know what? I kept everything I read About this movie Says that he didn't care And that he was just like That he was
[00:21:08] One of the reviews was like He's over the shocks He's phoning it in He's rusty He just made this movie In between making Castaway This movie did not strike me As someone who didn't care I thought this movie Was very painstakingly Put together
[00:21:22] And that's not the problem with it I think people don't have His number when it comes to this film Yeah, I don't think you can really Even his shitty His whatever His misfires now I don't think that would ever be What I tag Zemeckis with
[00:21:37] He's definitely very invested Yeah I mean this movie I like I think post these two movies, Griff He often misjudges What is compelling About the story he's telling maybe Right? Like I'm trying to frame Exactly what it is That kind of like went off for him
[00:21:57] I don't know We'll talk about it with these Later movies One thing I wanted to say, Starly Re-Yore, like missing this kind of movie I have been recently watching Morgan Freeman movies Like movies that Morgan Freeman starred in Like a long-came spider Like a long-came spider
[00:22:15] Exactly, like kiss the girls Like you know I watched seven And I sort of had for it It had been a while since I'd seen seven And I forgot like oh Like he, Morgan Freeman is the star Of seven and is so good in seven And post that
[00:22:30] Not that he wasn't already famous With Shawshank and driving Mistaisey And stuff, but like post that It was like Hollywood churned out A Morgan Freeman movie a year Like where he's a cop And those movies Even though they're often like The Alex Cross movies are pretty salacious
[00:22:46] Like they're very relaxing He's a very relaxing screen presence There is nothing more relaxing Those movies Those and the court The like what 90s, 80s legal dramas Oh yeah I mean I love like a Grisham Right, yeah like some kind of legal drama Even before the Grisham
[00:23:03] I'm talking the like Like the Black Widow ones Like a woman who killed her husband And they have to get Sure Which is a different genre than Grisham movies Although the firm is just Incredible I mean the firm is the best Grisham movie by far
[00:23:19] But do you also mean like Reversal of Fortune Like that sort of like That trend of early 90s You know like Sort of slightly classy courtroom Movies like with like A good lawyer character You know like some twists and turns That kind of stuff
[00:23:36] I mean I will take all of them I want them all back It is a loss that I am worn daily I The wrong There's the gatekeepers are the wrong people And they messed everything up I want it all back But I'm saying
[00:23:50] The whole difference is that the low brow ones Used to be Better than any movie Definitely better than these Netflix movies That are made And for the most part if you Find one of those Morgan Freeman They're not all You can definitely There's some that are so
[00:24:05] Not good that you If you dig around on Netflix Those are the ones that are usually available now Because they must be the cheapest ones But those Morgan Freeman Along came the spider ones Are so compelling and good I feel like the thing
[00:24:20] We're really mourning the loss of Is trashy Movies for adults No but you know what I'm saying It's like a Movies made for adults now Are always sort of Aspiring to be prestigey And then commercial films Are made for sort of younger audiences And the idea of like
[00:24:39] This is no delusions Of being an Oscar movie This is not trying to be a critics favorite This is a popcorn movie for grown up Starring two people over the age of 50 Trying to solve a moral quandary And I think I'm missing I think what I'm mourning
[00:24:53] Is us feeling like There was more to make Like it felt Like it didn't feel like We were gonna stop there The reason it was These movies felt good Is because we had a bunch of them But I didn't think we were never Gonna create new genres
[00:25:06] And never create, yeah I have a couple other thoughts That I need to say before I forget them One, Griff, I've never seen high crimes I'm assuming you've never seen high crimes I've never seen high crimes No one's seen high crimes It was directed by Carl Franklin
[00:25:18] Like is there a chance There's something there Cause he's a good director Carl Franklin rules Maybe I should check out exactly Two Morgan Freeman, Jim Caviesel Ashley Judd, is that it? It's a reunion of Judd and Freeman From Kiss the Girls Even though they're playing different characters
[00:25:35] The other thing, Starley You mentioned Jennifer Lopez And it's underrated as well That was such a cornerstone Of her movie star career Was R rated movies for grownups Like The Cell, Angel Eyes Enough, like those kinds of Movies for grownups I mean she would make rom-coms
[00:25:54] And stuff as well But like she went right to those As she got famous Like pre-her becoming like a Super-duper pop star That's when I feel like But even like a few years ago She made The Boy Next Door I mean that is a silly movie
[00:26:12] That's the thing, her movies get trashier Right, she's still making them But they now have to like Try to appeal to 16 year olds They have to be so trashy So what is the logic? They're thinking that grownups Don't want movies anymore
[00:26:27] Or they are not going to leave their house And what do they think that people don't... What happened? Why did we once appeal to grownups And not anymore? I don't know I think there's partly I will say whenever I write about this stuff So many grownups
[00:26:43] Like get in my mentions Being like well, you know The movie theater experience has been ruined I was gonna say You know like I don't like These kids with their phones looking You know eating popcorn and yelling or whatever Like there's definitely that energy out there
[00:26:59] Of like well, no one wants to go to the theater anymore Not crazy, they're giving up They are, they shouldn't give up They also have a big TV now That's what I was gonna say Leap-progging off of what you're saying David This is 2000 Pretty much right after this
[00:27:17] The big DVD boom happens Where suddenly like large Higher quality TVs become much more affordable DVD is so much better than VHS And you start to hear the sentiment of like Well with my setup it's almost as good as going to the theater
[00:27:31] Which very quickly gets coupled with these kids These movies, it's all trash I don't want to go out and see it I feel like that like sort of Like to pinpoint it I feel like white people over the age of 40
[00:27:43] Are the first audience to start to be like Is it really worth the hassle of going out to the theater Which they then also blame on All these movies are made for kids There's nothing worth even seeing anymore But then when these movies come out
[00:27:55] They don't go out and see them Because they go well it's easier Just wait until it's out blockbuster Until I can get it in the mail from Netflix Until it's streaming on Netflix Like that changes sort of Well then why don't they still make at least
[00:28:06] Good movies for them to watch at home I mean I think it's crazy They don't want to leave their house And that you're still going to blockbuster But we don't, we didn't have to then say Because they're sitting at home That they get nothing
[00:28:17] Is it just because there was no ticket sales That people needed anymore I think that's part of it I think it's harder to make And I think people get more scared I mean that's like at the end of the day It's the thing of just like
[00:28:31] People stop having the confidence That the thing will work So they start trying to cut it with like You know, what lies beneath I mean David you said Like you saw this You were 14 years old This was a big movie with teenagers
[00:28:43] But it is a movie that is not outwardly Trying to appeal to teenagers at all It is a movie that had an alert of teenagers Because it was like Oh this looks like some spooky adult shit It was scary Right That's pretty much the only alert probably
[00:28:56] This movie could not be more teenager proof And it doesn't have any One young person She sent away in like the first scene But teenagers wanted to see it There was this weird aspirational effect Which certainly used to happen of like I want to seem mature
[00:29:11] That I want to see the grown up horror movie And now I feel like You have your horror films That are clearly meant for kids And your big franchises and whatever But then when you get something like The intruder which is a perfect example As David said
[00:29:24] A seven million dollar Dennis Quaid Screen Gems movie That is very trashy Neighbor from hell movie Right on its face that premise Could be made into a movie like this Even at a lower budget It has all the trappings of It's adult characters It's adult themes
[00:29:39] There's no reason it has to be This sort of like gonzo and flashy And manic But it just feels like All these movies are like We need to outwardly try to get 16 year olds on board We need to try to get 13 year olds on board
[00:29:52] We need to make it look really Active and shocking And the slow burn of this movie I mean talk about like watching it cold Without you know Re-watching the marketing materials Trying to keep myself as blind as I could With just like I remember the bathtub
[00:30:07] I remember the face transformation Nothing else The most effective chunk of this movie For me is the first hour Where I'm going like Where is this going But it has that confidence Because it's got that like Zemeckis control The control of pace and everything Where you're just like
[00:30:23] I know he's going somewhere I don't know if this movie is going to be a masterpiece But I know he's going to something And every little morsel that's dropped off Every clue I'm really really engaged Trying to figure out What is this movie building to
[00:30:36] And as you said it's kind of not until The last 15 minutes that you're like Okay I get thematically what this movie is doing But it's rare that you watch a movie That takes so long to reveal Not just like it's twist But what it's trying to say
[00:30:50] And yet has the confidence to keep you On board for that long But what's interesting to me is I was watching the first hour And being like It's such a shame That it's written so poorly Because what makes a movie What makes a movie Coming for Clark Gregg
[00:31:05] Oh my god you have no idea how much I'm going I just yes I fully want to come for Clark Gregg Because it just it was shocking to me How bad the script was If considering what the movie thought What the movie was doing Considering all the jumps
[00:31:19] Scars are at the end of the film You actually have to build a world And what makes a movie like Six Sense so special is that Six Sense conceals its twist By making this incredible film That you're super engrossed in That has scares in it
[00:31:33] But you are actually following a plot Or like a movie like I mean I'm going for like really good Like hereditary where like You also save some scares Very sparing use of When it's scary But you're so absorbed in the world of it
[00:31:48] This movie I just felt like Because I did think so much care Was put into it I was shocked that Like this is what I often wonder Why not put as the same amount of care Into the script Why is the script so often An afterthought
[00:32:04] For a movie like this Where you're talking They're just talking for an hour But then it's weird This was such a hot script What were you going to say there? It was a hot script Well I think it's a very The reason it was a hot script probably
[00:32:17] Is like It's very Easy to It has an easy hook And not a lot of characters So it's sort of like clean and spare Right like you probably You could just read it and be like I can picture this in my head
[00:32:32] Right like I don't know how else It's a very rudimentary script But wait but this original story Came from Sarah Kernacan Who's like a two time Academy award winning documentary Filmmaker And she has this idea And she writes it I believe She writes a full draft
[00:32:51] It's not that she has this idea It's supposedly she had A personal experience with the paranormal Yes Sure That is how it is put So she who knows what happens That sounds cool She's married Has been for a long time To legendary theater director James Lapine Yeah
[00:33:08] I don't know how autobiographical The script is or isn't But she said it was like She was in a house with her husband In a somewhat secluded area Had a paranormal experience The idea came out of that I believe she writes A full draft of the script
[00:33:23] DreamWorks acquires it The other thing this movie comes out of Is just like This is peak DreamWorks is getting up on its feet They're trying to establish themselves as a studio Here's like Spielberg And Geffen and Katzenberg And they want to like Make their mark by being like
[00:33:38] We're making big fucking marquee movies We're bringing in the biggest directors The biggest stars But they're also just trying to acquire Like big shit Like they're like, you know I feel like DreamWorks was still trying To position themselves as being More high brow
[00:33:54] Like they were everything they were Trying to make Whether or not it worked Had a certain veneer To it Yeah Where you're like Even something like mouse hunt Like, you know Oh, like DreamWorks in its first year Is making a kids movie Is this like bizarrely
[00:34:10] Expensive production heavy Intricate children's movies Starring like two theater actors Yeah And so you can see how Spielberg would Look at this and be like Oh, it's like an adult couple It takes place in this house It's got these Spielberg elements It's got these Hitchcock elements
[00:34:28] You know, it's got like all these sorts of things in it Um And so here I think originally is sort of like Looking at it for himself And then he brings the script to Zemeckis I think the biggest thing was Like it would be great
[00:34:42] I mean so much of the promise of DreamWorks Was man, all Spielberg movies Are going to be DreamWorks releases That's enough to, you know Greenlight a studio But also he's going to be able to get all his friends And his favors in to do movies So it's like
[00:34:56] He gets the movie stars Right, DreamWorks has gotten a Zemeckis movie Now DreamWorks has gotten He's going to be able to call in the movie star favors And he brings it to Zemeckis And is like I think this would be good for you
[00:35:07] Zemeckis goes oh man this is perfect I need a movie that takes place in a controlled environment While I burn eight months Waiting for Tom Hanks to become emaciated I have a hundred million dollars to burn While I'm waiting But the thing that happens in between
[00:35:20] Is Spielberg kind of goes like Oh, this script I like this premise I don't really like the script And then hires Clark Gregg and says Like essentially do a page one rewrite So Kierna can only get story credit But Gregg also gets story credit
[00:35:34] It was very much positioned as like She came up with whatever the germ of the thing was And they essentially bought the script In order to start over from the idea So there's this quote from her On Wikipedia where she talks about
[00:35:46] Where she says I think people know That there's no point in calling me And if you want the other kind of women characters A feature list help me character Or the saint or the whore You know any of the archetypes I don't think all women are powerful intelligent
[00:36:00] Any of these things I just require that female characters are very real That they have all the dimension that the male characters do I read this after I watched the movie Like to me The problem with that first hour Is there is no
[00:36:13] If not even that just Michelle Fiverr doesn't have a character Because Harrison Ford also doesn't have a character So it's not just about the woman not having a character I was gonna say no one really has to mentionality I know but it is her movie
[00:36:23] It is watching a woman Question if she's mentally ill Grapple with Her marriage Her daughter leaving The fact that they gave it to I don't know anything about Clark Gregg Other than I know he's an actor I know he's married to Jennifer Gregg
[00:36:41] This is the first movie he wrote But just being like this is the guy who should write this story Especially since it was a woman Who wrote it to begin with And she has quotes like that That is the problem I couldn't agree more If nothing else
[00:36:57] It's lacking in that sort of specificity Because this movie is so framed From the perspective of this character All those circumstances you said Being of a certain age Being an empty nester for the first time Dealing with that fear Repressing that she saw her husband
[00:37:13] Having an affair and not acknowledging To herself This is woman of influence As a psychological thriller Which is One of my favorite sub genres is a movie Is person questioning whether or not They're going crazy Rosemary's baby Is very evocative
[00:37:33] But these are all some of my favorite movies ever made I mean Rosemary's baby But I kept thinking about being like Every scene is enjoyable It is just the movie you want to watch Over and over again So when you watch a movie like this
[00:37:47] I just don't understand why you wouldn't Put the same muscle into That part of it Into anything that wasn't just Getting the special effects perfect which they were It's wild too That it's like Dreamworks is gobbling everything up They're just looking for stuff to acquire Here's the script
[00:38:07] Why they pick Clark Gregg to write it is odd Because he's No I don't I have no beef with Clark Gregg I think he is Wonderful character actor I saw choke The movie he directed He directs two movies after this
[00:38:27] But he has not written or directed a film Very male movie too Could not be more male to go from this To choke He wrote and directed the movie Is he someone Who was quietly doing Rewrites For years Which is certainly plausible
[00:38:47] But we're going to get some mechas Or some big director How about we give Clark Gregg a call To apologize This is what it seems like to me It seems like Clark Gregg Is a super likable guy He's just exactly the kind of Actor that they're not
[00:39:05] He's not a movie star But everyone likes to have him around Kind of a Tate Donovan type Of the time So they were I think they were We like Clark He wants to write We like him Let's give him this There's no other scenario
[00:39:27] Maybe Joel Gregg pulled some strings I don't know I googled because I needed To know more Did he write some Specscript that everyone loves He had written some Specscripts that Nina Jacobson Who is a Really big wig And Dreamworks had loved And she's like She reads his scripts
[00:39:53] We have a ghost idea That's a couple of sentences And Spielberg is sniffing around You know what I mean So basically she sends him off With that He turns in a draft And then some mechas calls And is like, I want to do this Talk ghost thing
[00:40:13] And he's like, okay So very much a Four hire job But I guess when they start it off It's just a spec thing Well we'll see Why wasn't Sarah the one who wrote it then If she had the story They clearly just bought it from her
[00:40:31] And we're like goodbye Maybe she didn't have any credit They were just like, don't take her seriously at all But she seems respected And she doesn't understand Had she already won Oscar It's just so crazy to me There's also this weird Fucking thing Speaking about all the stupid
[00:40:51] Behavioral Shit that doesn't make sense In the entertainment industry But there's this line of thinking Of it has to be additive You have to move forward Where like They did their thing I've heard stories about Like someone writes a script Then They go, ooh It's good this area
[00:41:17] We feel like it's underdeveloped We're going to hire someone to rewrite it With an eye on this thing The person rewrites it They fuck the script up worse And then the original writer goes I'll rewrite it and try to reset it And take your notes
[00:41:33] We can't go back to the first writer And do the work that the second writer did Rather than just Reverting back to the earlier file You know And then bringing a new writer onto that There's just this thought of like You have to be doing new shit
[00:41:49] As opposed to ever moving back Because everyone's got to justify their jobs Right and it's partly It's a control thing It's like, well no You were there then If you come back We want, you know what I mean? That must be part of it
[00:42:07] Fundamentally it is our project And you are simply One of the many tools in our toolbox Clark Gregg seems perfect for that too He seems like a guy who'd be willing to be One of the tools in a toolbox He is not someone in these interviews
[00:42:21] Who's like, I'm so proud of that movie In these interviews he's like, you know what I saw it at the premiere I've never watched it again because I don't love to Re-watch things I worked on I would just obsess over What I wanted to change
[00:42:35] He does not seem like That was really my moment He's just kind of like, well it was a doubt But that's what I think he's appealing about him He really does seem so likeable In a way that He's very affable He's nice I enjoy it
[00:42:53] I feel like if you don't want someone who gets in the way Of your vision He's the one, she has all these opinions About women and She wants stuff to have archetypes I think that's the other big factor, Starly If someone like Sarah Kernigan comes in
[00:43:07] Is like this is personal I had this experience Out of this I examined my own relationships They're like, oh interesting premise We don't want you getting too attached to this thing You care too much About this and then to go to Clark Gregg
[00:43:21] And go like can you spin something off of these three lines And he's like yeah sure I think they get worried They don't care too much because then they're like Oh are they going to be a precious artist If someone like Clark Gregg comes in and he's like
[00:43:33] It's a living, they're like great That's the exact right attitude Because we can still exert more control over it In the way that you're saying David But it's a problem when it's a movie That is so about the writing If you're going to do a movie like this
[00:43:47] To pull off that first hour Has to really be about characters And story Well that would make this a capital G Possibly, but the movie we watched The movie that exists Is all about the direction And deploying two big movie stars And the writing is an afterthought
[00:44:05] And that's why the movie is very watchable And kind of Lovable 20 years later But not capital G Great I would say But also why it's so slow because You're waiting for something to happen Instead of getting attached There was a Pacino interview
[00:44:23] I feel like recently that went a little Viral where someone just asked him Like why do you make so many shitty movies And he was like At a certain point it became Like this competitive thing Of they would send me an awful script With a big money
[00:44:39] Offer attached And I would go this script is garbage I wonder if I can act well enough to make this better Like if someone sends me an A level script I can trust That I'll be good in that If someone sends me an F level script The
[00:44:55] Struggle of could I turn this into a C Almost gets me more excited And I have to wonder What is he? He's like zero for 100 on that Yeah, that's it because then it was truly dragged him To the bottom of the sea the way that
[00:45:07] This movie tracks Amber Valletta He's done that decision Yes, yes, but I think he even In that interview is like I probably got stuck in that trap And it's never really worked You know, like I shouldn't have done 18 Avi Lerner cop movies Where I'm 87 and pretending I'm 24
[00:45:25] And dyeing my hair orange But like I do feel like To a certain degree someone like Zemeckis who in all these interviews I've been reading is like A guy who is innately kind of ornery And also really Resented the fact that after
[00:45:41] Back to the future he was seen as Oh, he's a sure thing Bobby knows what he's doing And he's like I get off On people questioning me I want to feel like I'm pushing against something And when everyone Trust me I get really uncomfortable
[00:45:55] I wonder if there's a degree of Like reading a script like this where you're like Eh, the script's like 60% The germs are there And I see this as a good excuse For me to use all my director Like toolkit like sort of like
[00:46:09] Oh, I can do a hitchcock homage And almost saying like Is it a better test of me as a director To try to make a great movie out of a script That's mezzo mezzo Than taking a script that's a slam dunk
[00:46:21] That almost is kind of on rails and hard to Fuck up. He needs something To slot in between castaway Castaway things And he wants to make a hitchcock movie So he may also just be kind of like What thrillers do you have? Good enough, good fit
[00:46:35] I disagree with the good fit though That's what I don't think he was doing I think His weakness is women characters His films Leah Thompson is so good In Back to the Future but that's because of Leah Thompson And that character is such a weird Plot
[00:46:53] And it's so interesting that that's her character But across the board I like in castaway The woman, the angel that comes in At the end, like he He just has, it's not his strong suit So I think He wasn't able to recognize That in the script
[00:47:11] And there's also like when I was first watching it Before, I didn't read about it I just, I didn't remember anything about this movie I didn't read any of the stuff until after I didn't read about the hitchcocky in part
[00:47:21] And then I began to realize it as I was watching it Obviously But I don't think it's just because it's shot Like a Hitchcock movie I don't think it's just like the Hitchcock references I think even the style Of the marriage feels like a Hitchcock movie
[00:47:35] And so when I first, one of those first scenes When she's in bed with Harrison Ford And they're about to have sex The way they kiss is so weird And as I began to realize How hitchcocky in the movie was I was like maybe it was intentional
[00:47:49] Literally the way he had them kiss With their mouths are kind of like mushed Up against each other And they're about to have sex But it feels so old fashioned And at first I took it as them As Robert Zemeck is not knowing
[00:48:03] How to make a sexy scene But I actually think he might have been doing it intentionally To throw back A little bit also like Harrison Ford Just doesn't have sex on screen much Like there's something unsettling About Harrison Ford in this movie Right away
[00:48:19] Like because I'm just like He's just like a guy with a job In the house like And he's normal because like in that That scene you're talking about Starley He's shirtless, he looks sensational Like he looks like just like The greatest kind of like hot dad
[00:48:35] And he's like typing on his laptop Or whatever This is the very end of his like classical Hotness period right like after this It's like fucking K-19 and Hollywood homicide He's got the earring everyone's like Is he our weird grandpa Who's like now moved to Malibu
[00:48:53] And is trying to like re-brand himself But he does know how to be Like that scene is so weird And the way he when she says Do you want to fool around And he makes a smile That is so creepy and weird And not creepy to gesture
[00:49:09] What's gonna come at the end of the movie Just like you look at him and you're like This man has never had sex appeal Which makes your brain short circuit Because it's Harrison Ford and he Had nothing but he's had so much sex appeal
[00:49:21] Before that and even if you haven't seen him have sex He is the most charming In Working Girl Working girl is number one I was saying He's on solo in Indiana Jones In a rom-com he knows what to do And so then it's all gone
[00:49:37] And so I think it's a combination Of Harrison Ford Getting to that point that you're talking about Griffin where he suddenly loses it all But also maybe a filmmaking choice That's the other weird thing about this movie though Is like as you said
[00:49:51] Starley you read the reviews and everyone Is slamming of like Zemeckis has done this A thousand times he knows he can do it It feels like his heart's not in it But this movie is about directing above all else Like this feels like a movie
[00:50:03] Where Zemeckis is trying to will this Into being a classic through Sheer directing you know Whether or not he succeeds It doesn't feel dispassionate to me There might be calculations in it And like oh it'd be fun to do This type of movie
[00:50:19] Oh this feels like the right kind of movie To make in the time I have While Tom Hanks stops eating fries Like all this shit And I'm sort of asterisks to it But all of that stuff and even just like I want to see if I can reframe
[00:50:33] The star personas of two big Hollywood stars Like all this sort of shit And even just that sort of challenge of like Oh you never really see Ford play a villain And also Weirdly for a guy who is Such a sort of like Towering figure of like
[00:50:49] Modern Hollywood hunkdom You realize watching it Oh Harrison Ford is weirdly Kind of asexual in a lot of movies Like he is known as Such a classical hunk But it's almost always through suggestion You know? And you think about Usually like I like Witness I mean
[00:51:09] He's so hot in these movies Like no question I'm not saying and working girl Has the that at least Seared in my memory shirt change scene That is he is very Cute in working girl but it is usually Archetype like it's usually not Like
[00:51:27] He's kind of like Hayes Cody in a certain Way where you're realizing like There is this oddly old fashioned thing about Him where you feel like when he kisses Miss All Pfeiffer it's like when you watch Certain films were kissing was thought too
[00:51:39] Scandalous and like you know the early to Mid 1900s where When the two movie stars have the romantic kiss They're just like smoking their faces together Their lips are tightly closed Like he does have Come here The way that they They kiss and then you might as well
[00:51:57] It's like in old movies where they just Like slide to the next scene It feels like you are not Yes, yeah, you're not allowed To see what happens next It's so odd And I think It's a combination of these particular actors And Robert Zemeckis and all of them
[00:52:15] Actually being weirdly old fashioned And also I think Robert Zemeckis possibly did not Know what a good version of this Kind of movie is. I think he also might Of because he had not made this kind of Movie, he might have been shown the movies
[00:52:29] That we've all watched It's kind of when I sometimes I have friends who didn't Grow up on TV and then no watch a bad TV Show and think that's like a great thing because They've never seen anything like that Like he also could have seen the bad
[00:52:41] Psychological thrillers and been like This is what I'm actually supposed to be striving For It's sort of been talking about this But the I feel like Watching all these films in order as we have You forget like right He was like really a comedy director
[00:52:59] With a capital C That's what he was His student films were comedies Spielberg hired him when he said I finally want to do a comedy To write 1941 You know his first like six or seven movies Are all comedies And foremost if there's genre mashups The second thing is
[00:53:19] You know it comes after comedy Honestly Forrest Gump is a drama But it is obviously has many comic Elements and it's sort of unclassifiable Contact is But contact is the first movie he made That is a capital C I won an Oscar and I'm a serious
[00:53:37] Filmmaker now that's Right before this Forrest Gump wins the Oscar Contact totally earnest Totally serious no comedy What lies beneath Contact is not a flop But I do think was A little dinged at the time And he maybe was wounded By that because it's A good movie
[00:54:01] So maybe he's like Okay well I guess I need to make Pulpy stuff What lies beneath in Castaway are two Crowd pleasing movies Exactly like they are Movies that can appeal to grownups They are not like completely hacky But he definitely is like I'll make thrillers
[00:54:23] I'll edge your seat stuff Castaway to me is such an exploration of Manhood in a great way Like I have made fire is the epitome Of like men's secret Their most burning desire But actually because he made contact Right before this
[00:54:39] Contact is what I forgot when I said I've been in contact a long time But that is very much I remember loving contact So I actually have to amend what I said So maybe contact and Castaway are the ones That are supposed to go together
[00:54:53] And then there's this weird film in between But Starly you're making an interesting point Which is like That first hour of this movie Through a certain prism Is kind of the counterpoint to Castaway Where it's like this is a movie about A woman of the same age
[00:55:09] And she's left alone with her thoughts To a degree it's a woman in seclusion And it's not like Castaway is the physical version of this He's stranded But what lies beneath is like Well now the daughter's out of the house And he's really obsessed with his work
[00:55:25] And they've moved to this little fixer upper Like how does she function If she's left alone in a house For this long without other people And what is she most one? What is her version Of I Have Made Fire
[00:55:37] And I keep this being like you have your house And you have your garden, you must be so busy And it's so clear, like they cannot stop Mentioning that garden and house The garden which never plays into it at all
[00:55:47] Like it's her entire character is based on this Move and this garden that she's supposed to be Tending to that never get tended to And so he doesn't seem Him or Clark Gregg They don't seem interested in exploring Or even asking the question of what she most wants
[00:56:01] We just know what she's afraid of losing It's annoying because it feels like So close in so many ways It's like if you lay out all the elements It's like this should be great And while watching it I had that Excitement of like there are few things
[00:56:15] That get me more jazz than watching A movie take its time But laying out all the pieces Where it's like this movie has the confidence To just keep me there even though I'm Confused even though I don't really know What it's trying to say because it keeps on
[00:56:29] Deliberately laying all these breadcrumbs And I'm gonna trust that they're gonna Fucking make like you know A proper dish out of it at the end of the day I guess in the last like 20 minutes I understand thematically what the main Thrust of the movie is Yeah
[00:56:44] Almost all lines up thematically But there's a lot of stuff that's either Done sort of like sloppily or things That are sort of abandoned and it feels Like it should all They have everything they should Need to make it A full letter grade better than it is
[00:57:00] For sure The problem is every single thing is only About leading to the end and you can't Actually do that you actually have to have Things add up it can't be a straight line Adding up is not the same as
[00:57:11] A path that you're just on that you're kind of You like you get the The tram gets set in motion And so everything that they discuss Is about this one Thing I read the Ebert review And he said like you know Much has been made of this
[00:57:29] Being Zemeckis' Hitchcock homage But I think Zemeckis made one fatal mistake Which is having the film go into the Supernatural which is a thing that Hitchcock wouldn't do and I like I keep going back and forth on that We're like to some degree
[00:57:44] I like that the movie crosses that Threshold I think he's I I think that's good 100% I just I just saw that I read that too I disagree so strongly I think the strong the strongest part of The premise the idea that he This affects the way that he
[00:57:59] Thought Hitchcock would and it actually Had such for they had such for strain to Them because of that and there was so Much care put into them The problem is the writing the problem Is that the movie does not get constructed Sure wrong like
[00:58:13] That premise is the best thing about The movie but also it's a structural Issue I mean it's like if you just lay out What the main thrust of this movie is right It's like okay woman empty Naster only child leaves The house husband workaholic
[00:58:27] You know somewhat emotionally distant Now in a smaller house in a smaller Town more left alone becomes Obsessed with her next door neighbors You know who seemed to be fighting and When the wife disappears who she's Never actually met becomes convinced That she's been killed by
[00:58:45] The husband and she's trying to solve it So like you're like yeah the first Half is rear window right the first Half is rear window and then it just Like very sort of dramatic shift of Like well there's the James Remar the scene where she confronts
[00:59:02] Remar and is like yeah killed her wife I know you did it the whole first half Of the movie is it's the voyeuristic Thing it's the what's happening on the other Side you know is the grass greener Less green with our next door neighbors
[00:59:14] Right they seem to be more passionate but Also maybe something dark's happening there What's going on then it feels like It's heading into the is she crazy Or is it real kind of like that sort of Thriller which is my favorite sort of Type of thriller and then
[00:59:30] There's the Miranda Otto scene where I thought oh is the movie about Here's the wife but is it really The wife or is he presenting a new Person to be his wife I was like is It one of those movies where there's
[00:59:43] A cover up and everyone's trying to Convince her that she's making Something up in her mind but Actually it's just a very elaborate Cover up and then no it's like The Miranda Otto scene just kind of Like completely closes the book on it
[00:59:56] And then Michelle Pfeiffer goes oh no Everything I was paranoid about there Was this shit going on with my next Door neighbors but that was actually Just a kind of weird relationship I let my paranoia misinterpret but Then the other stuff on top of that
[01:00:10] That I viewed as supernatural was real But had nothing to do with her Because she's not dead there's This unrelated Missing woman case that I had Forgotten about and that must be The ghost and now I'm trying to Solve the different mystery of what
[01:00:26] Is that woman have to do with my husband When you put it like that it's just Like that's like two totally different Movies and they're thinly linked By the fact that she's sort of Been seeing spooky stuff the entire Movie but that's about it
[01:00:41] Like I could see more being Layered in where it's like well No one believes her when it's real Because she was flipping out When it wasn't real but They don't really do much of that Because once the first half is over Like you said we're really just in
[01:00:57] Sort of like cat and mouse Harrison For Michelle Pfeiffer stuff That's the other thing There's not much time before It's time for their show now Which is just a different movie Yeah and it doesn't make any sense too Because like the way that he act
[01:01:13] The neighbor the way he acts Actually has no logical explanation Yeah he's like threatening her He's not answering questions Right he seems like a bad husband Right yeah I mean there definitely is drama In the way she acts with the fence
[01:01:27] Is so great I did like the scene When the neighbor talked about Why she looked I actually thought that No no later on when she explained They wouldn't have to come up with an explanation To tie a bow on this
[01:01:39] Plotline that we're never going to hear from again When she says If you ever love someone so much That you like that she fled Because she loved him too much And they were too passionately entwined There's some pathos to that It doesn't get explored in the movie
[01:01:55] I mean there's all sorts of things like that In this movie that I wish they had Actually understood It's almost like they wrote this group Without understanding what the gems were So they had no way to actually tie it together And follow it thoroughly
[01:02:09] But then the other weird thing is Greg Sorkin wanted Clark Greg to play one of the roles on Sports night and he had to turn it Down because they were like This movie is going and we need you on set For rewrites. Like this very much seems
[01:02:23] Like a thing where he was like the Writer he was there Every single day he was the only guy with his Hands on this script Certainly he is the only credit screener But that also feels like $100 million Robert Zemeckis Shit where he's like no the writer
[01:02:39] He's like I'm not going to be here every day In case I need him There will be no corners cut I am Robert Zemeckis But also it doesn't seem like There were other people taking passes at this No, no, no whatever He's in charge of it
[01:02:55] And also the fact that there was multiple drafts Then there was actually revision on this script And this was the final version they came up with Blows my mind You mentioned hereditary Starly And I think that our Aster does really
[01:03:07] Is I feel like the movie starts out and I'm like Okay they're loading the plate up Like this is the first round at the buffet And he's putting so much on the plate Or his eyes bigger than his stomach
[01:03:17] Is there any way he's going to be able to tie All these things together cohesively Have these things pay off, you know And I think he does I think he's good at that I think that's one of the things that makes
[01:03:29] His movies exciting to watch because they have These epic run times and they seem kind of oblique At the beginning and you're trying to figure out Where are all these elements going to converge And I get excited watching a movie like What lies beneath where you're like
[01:03:42] Okay so the re-mar stuff is a red herring But it has to have some greater purpose Right? Whether it's a greater emotional pay off Or it ties into thematically what the movie is doing And it's like the second that's abandoned I almost start getting more excited
[01:03:59] Because I'm like fuck, okay wait Wait a second Like Bobby's writing a huge check for himself He's not going to put onion rings on the plate If he's not going to eat them What's going on here And it's like at the end you're like
[01:04:13] I guess it's he's trying to do this Sort of like wishy washy like Look at marriages Where it's like well What is it like Pfeiffer has this marriage that's sort of like Not just appearances but it's a little lacking in passion And is there envy over them
[01:04:35] But then her husband who seems kind of banal Is actually hiding this sort of like Agro energy but it's all about her wishing That he lost it after her more And he kind of views her only as like This is the perfect kind of life that I want
[01:04:52] I mean it's very tricky too because like It's very complicated why she's with Like the throwing in of her giving up Her chelous career to be with him After her husband dies Like that is unnecessary complications Because it's not actually explored And every time they say it
[01:05:11] When they're like having their big heated fight And he was like you were a single mother You loved, like we It's not a given that she ever Why did she have to give up a career Why did it all have to stop because she married this Scientist
[01:05:23] I feel like yes none of that is Particularly well explored but it's all part of Whatever the quote-unquote what lies beneath Where it's like oh you know You think they're such a great couple And they've got a nice house and everything seems
[01:05:36] So perfect but actually there's all this drama And then below that also he killed someone In her ghost haunts them but like that's Layer two first there's layer one This is also the other area in which Like the interesting ways he's working with
[01:05:51] Movie star personas and our relationships With movie stars actually almost works against The movie is that like you're watching For the first hour and you're like Okay come on Harrison Ford is first Build this is the most relaxed performance I've ever seen he's not going to be
[01:06:07] In this movie just to quietly say Look this is a really big project Right so you're like He's got to end up Right he's going to have skin in the Game like you're like he's So under playing it He's not tipping his hand to the fact
[01:06:24] That he's going to turn out to be bad at all That you know he has to turn out to be bad Because otherwise you wouldn't pay Harrison Ford twenty million dollars to be in this movie He wouldn't agree to do it if there wasn't
[01:06:36] More for him to play So it's like there's that weird subversion Of just like it is bizarre How low key he is is bizarre how quiet he is Because they're also not trying to It doesn't feel like they're positioning it as Like oh they're the perfect couple
[01:06:52] Look at how much chemistry they have Look at how red hot they are It's like they're just they're nice They're like a nice couple it doesn't feel aspirational You'd have dinner with them I guess that's a decent marriage Maybe their dinners seem kind of boring
[01:07:06] I mean they were a boring couple and that's the shocking part It's Michelle Pfeiffer and Harrison Ford And the feelings I was having watching these two She actually always was drawn to I did like watching her She's so good I've never experienced watching Harrison Ford
[01:07:20] At this stage where I didn't What I wanted to see less of him Like I felt slightly repelled by him And it wasn't because he turned out to be A sociopathic killer I loved him as a killer that was my The best scene with him
[01:07:34] There was something very very weird I really deeply did not envy her being married to him Which is a shocking feeling to have When watching someone being married to Harrison Ford In a movie But I wonder if that's almost what he was trying to play
[01:07:46] There's an insincerity to the way This guy is playing the role Of the perfect husband Another element that's just Weirdly thrown into the mix of this movie Is like the specter The ghost if you will of his father The idea that his father was this towering figure
[01:08:02] And he feels completely crushed By the legacy of his father And needing to be as important A man, have as beautiful a wife As great a family Like all this sort of stuff It's like the ideal husband Harrison Ford of the first hour
[01:08:18] Is a guy who kind of can't even Give a shit about going through the motions You know, he's doing the bare minimum To play the role of the ideal husband Because it's odd Like after this Harrison Ford enters weird grandpa Stage but also
[01:08:34] Is like sometimes it just feels like He doesn't give a shit Like he's just so lazy, he's asleep He doesn't care anymore He's locked in still And this is an era where it still feels like He would care But you're watching it and you're like
[01:08:50] He's doing so fucking little But it doesn't feel like it's out of laziness There has to be some thought process It's a choice Some of it seems like it had to be I think in his mind he was like I'm contrasting this with the guy
[01:09:04] That you see at the end of this movie But he somehow doesn't contrast it with charm He contrasted it with dullness He's like, I can be so dull You won't see it coming that I'm the bad guy
[01:09:14] And then there's a part that I think he wasn't conscious of That if you actually did kill someone You might You have to bury that so deep inside for yourself That it actually would dull you In a way that you would act The way he acts
[01:09:30] And I don't think he's I might buy that as a conscious thing I don't know I do think everything we're talking about though It just feels like they stripped one too many layers out of this To make it a spare and clean thriller
[01:09:46] And again, I enjoy this movie I have no real experience It's very watchable But it's just that there's one thing missing This is an episode of three people Who like a movie trying to figure out Why it isn't a masterpiece It's because it's so clean
[01:10:04] The palette that's being presented to me I can see where it could have been improved upon There's so much time to understand What could be better about it While still enjoying the entire time It feels a lot like her and the tub We can't do anything about it
[01:10:20] We can't change anything Her and the tub Which is the best set piece in the film It's just kind of incredible That just feels like something Like an idea director has I have no idea if Clark Gregg was the one
[01:10:34] I want to stage a set piece that's so tiny And yet can totally occupy an audience for ten whole minutes That can literally play out like an action scene Even though it's just a person in a tub Trying to twitch her toes
[01:10:50] It feels like a challenge a director sets himself Or he's like, how much can I strip out? For one different hour Oh, absolutely I would lose my mind I remember seeing Sorcerer The Freakin' movie And having this breakthrough And how I thought about tension and filmmaking
[01:11:12] Where it was one of the multitude Of close-ups of just a wet dynamite On the back of a truck And I was just like, this is the most nerve-wracking shot I have ever seen in a film And then I stepped back and went like
[01:11:28] This is like, it could have been a second unit shot Like this shot in and of itself holds no power But it is the build that this movie The sort of like relationship And the understanding and the game that the audience has Bought into of just now
[01:11:45] Anytime he cuts to an inanimate object It feels like a shot of like Jason with a machete There's so much tension In an image which in and of itself has no power And that kind of like directorial flex Is like the bathtub scene in like a nutshell
[01:12:01] Where it's like, well part of the gimmick is The actress can't even express the terror Like the history of horror and thrillers It's so much But it's like the history of actresses being Asked to play terror Right? You know this whole other thing we can get into
[01:12:18] And like the obsession with like true crime And women being terrified of being murdered And what that feeds into in our culture You know? And like the narrative of the women surviving it And being able to sort of overpower whatever it is But all conveyed through like
[01:12:33] The woman playing hyperventilating And the freaked out eyes and the run it Right, all that sort of stuff The screen queens thing and it's like This is the opposite It's like here's a shot of someone almost Unnaturally still And Kuleshev effect style We are projecting everything onto it
[01:12:49] And a shot that looks like it could be Like a Nancy Meyers movie Of just someone being like I need a bath, something fierce You know? Becomes like terrifying It's that Hitchcock thing of He gets the shower is scary Because you feel vulnerable in it You know like
[01:13:07] It's an obvious connection It's an obvious diagnosis but like It's still just great Like we are afraid of these mundane things Because we are vulnerable When we're sleeping or when we're bathing Alone like it's just It's just the easiest fear to pray on But it works It's clever
[01:13:26] And even like being buried alive And not being able to do anything If someone like that The being paralyzed is a fear That is primal to us as well I loved how at the end After the bathtub scene After the bridge when the truck goes into the water
[01:13:43] And you see the water come in To the car, the way she plays it She's so upset You'd be upset no matter what If you were in a car sinking to the bottom of the ocean But because she just survived it in the bathtub She's just like
[01:13:57] Fuck again Like she doesn't even get any time to enjoy Not being drowned And there's actual You can actually see her trauma That she experienced 10 minutes before From surviving this exact space Such a good actor Like she's so fucking good It's somewhat rare that someone is
[01:14:17] This good of an actor and this good of a movie star Like I feel like other people have said Like Michelle Pfeiffer is like a character actor Who tricked people into thinking she was a movie star Because she was so beautiful
[01:14:29] But there is that thing where you never feel That protectiveness with her of like This is what the Michelle Pfeiffer movie star persona is Versus someone like Harrison Ford Where you're like They're playing on my relationship to him Michelle Pfeiffer, you watch any Michelle Pfeiffer movie
[01:14:43] And there's kind of a clean slate, you know You're like I want to see what she's doing here Because I'm not preset into thinking She has to be playing this type of character Sometimes she's very high status people Sometimes she's like a seductress
[01:14:57] Sometimes she's a fliberty gibbit, you know Sometimes she's cold Sometimes she's funny Like Is there I've never thought about that with her You're totally right It's like meeting her for the first time every time Yeah Even though, yeah, she's not exactly
[01:15:11] Like you would never walk into a room and be like I'm picturing like a Michelle Pfeiffer type For this Yeah Even though she's obviously Like she has a look Like an undeniable look It's not like she looks really different in her movie No, she's not anonymous
[01:15:24] She doesn't disguise herself She doesn't transform herself in a showy way You know She almost always looks and sounds like Michelle Pfeiffer But here's the thing Clean slate Because now I'm really thinking about this It's not like Harrison Ford Stop being a movie star after this
[01:15:37] It is unfortunately kind of like Michelle Pfeiffer Stop being a movie star after this She shifts into more supporting roles You know, like in stuff like that This is the end of A-list Michelle Pfeiffer Yeah, I mean, I am Sam White Oleander, I am Sam
[01:15:52] Right, is the one that kills it I mean, White Oleander, that's the supporting role She ages out plus becomes like a really rich wife In real life Things happens and she ages Got that Boston legal money But like Yeah But Harrison Ford too
[01:16:09] Of course, he still will give you an Indiana Jones But also is basically about to shift Into supporting actor mode You see the shift in that smile That he gives her in bed I'm telling you That's when you see the tea leaves
[01:16:23] Of what the future holds in store for him It's just weird that this unambiguous hit Is basically the last chapter I know In both of their A-list movie star careers It's not like they made this and it's like, well
[01:16:37] You know, I guess it's time to call it quits on them They made this, they should make five more movies Like this each one, you know That's a Gagrium Brody Post-Pianist path Like that does happen But that moment, Starly, that smile is like That's it
[01:16:52] There's the last glimpse of Harrison Ford's Virility as a leading man Well, you see, I mean the smile What it actually is So it's like when you see Amber Valletta's face On Michelle Fiverr's face He's in bed He looks like Harrison Ford He's got that chest
[01:17:08] He is so handsome Then they kiss And he does this smile Do you remember it? He kind of puffs up his cheek And he's like, it's so disturbing And when he does that face Is when he turns into the equivalent of Amber Valletta
[01:17:22] And he turns into a different movie star From that point on But he's just like I mean, right after this Is Hollywood Homicide Does he, or no, no, K-19 No, that's like, that's, yeah Cause right after this And it's not even Two years later is K-19
[01:17:38] Which he gets of course Paid a ton of money for As we've discussed The bombs really are Right, and then it's Hollywood Homicide And then a three year break Until Firewall And that was really the last time Apart from in Indiana Jones Where he's the lead
[01:17:52] He gets his massive paycheck For Indiana Jones And then he becomes more As you said, David Of like a supporting actor Like it's, that's like Morning Glory Extraordinary measures In those movies He's a co-lead, right Exactly, in those Cowboys and Aliens 42
[01:18:07] Like the most you're going to get out of him Is co-lead I don't think he's bad In every single movie post this And as we've talked about Like he's very locked in When he needs to be Like Force Awakens obviously But he's given up on what
[01:18:22] I mean, and he's But the idea is interesting That it came after a hit though You're right He sort of becomes Spencer Tracy Post Firewall, right Like he's like Now I'm a grump Now I'm sort of the elder statesman I have glasses And character types
[01:18:36] Yeah, and wearing suspenders Or something maybe Like he had had a couple Bombs before this movie Like he'd random hearts In six days, seven nights Are both disappointments I mean, random hearts Full out bomb Six days, seven nights Okay, but right As you said Disappointment Right
[01:18:54] But still, you know What I found remarkable about This movie though Was his inability to access The charm Except at the end When he's clearly There's something that's energizing him About playing a villain But I would have thought That if you're a charming man That's the one thing
[01:19:09] You could always tap into But that's the question Is it like, is that a choice Or is this him losing? It might be a choice The charm It seems like he's like I really want to play A total bad guy And have it be a surprise
[01:19:23] Except after he loses The charm But then it sounds like He doesn't ever get the charm Back in any of the movies again Exactly, exactly And it's Here's what I would contend I would contend any movie In which he's successfully charming After this is Based on the opposite
[01:19:40] Of this algorithm Which is Harrison Ford acts Like an inaccessible grump And asshole to a comedic effect For the first 75% of the run time Right So the moment where he shows That he cares Is kind of heartwarming Like he has to flip it
[01:19:55] You don't enter the movie with the Anate, well Harrison Ford We all love this guy Like I think he's great In morning glory I think he's very good In force awakens I think those are two of the times He's really turned on And giving a shit
[01:20:08] But both of those It's like, oh come on I hate this, everything sucks Everything's awful Get away from me you kids And then when he shows He cares, you're like Fuck yeah, Harrison Ford Still in there But he never again does What you're saying Starly Which is like
[01:20:21] Oh you start the movie Being like, well Harrison Ford Of course I was talking right now Yeah Yes He could never age out of That for me But this one he It's before you see it Before your very eyes Yeah The transformation happens
[01:20:36] And then we've lost him forever And I don't feel good about it It does, it's hard watching Something like that It's hard watching a movie star Lose something that You always depended on them for And then like Pfeiffer I remember I feel like it was on weekend Updates
[01:20:51] Someone did a bit It was like a weekend update Like someone doing a fucking Op-Ed monologue Pete Davidson type piece As we would say now It was maybe even like David Spade doing a Hollywood Minute or some shit Sure But it was someone joking
[01:21:04] About how many TV shows David E. Kelly had On air at the same time And I remember someone Just on SNL saying Like David E. Kelly You're married to Michelle Wife Wife, like go home Why don't you want to Sleep with your wife But that's what this movie
[01:21:18] Is about too Like this is a David E. Kelly Story Every time Harrison Ford Wives into the lab Or when they're in bed And he's like She has to beg him To sleep with her You're just like What is going on This is Michelle Pfeiffer
[01:21:30] This is the most captivating Woman in the world But even a super model Is not as pretty as her They had to find To be her double It had to be a super model And still you're just like The reason I bring this up
[01:21:40] Is because as you said After this She sort of starts to like Soft retire Like I feel like There's this thing where It's like Okay, I am Sam And then White Oleander She's like A big part of the marketing campaign But she's a large supporting part
[01:21:55] And I remember there being this thing of Oh, she's saying She might take time off And then she doesn't do A movie for a while And then it feels like Post-White Oleander Every time Michelle Pfeiffer's in a movie It's positioned as a comeback Whether it's been three years
[01:22:09] Since she made a movie Or six months since she made a movie Every time everyone's like Oh, thank God Michelle Pfeiffer is back It never feels like She's fully like I'm back to being A full-time actress It always feels like
[01:22:20] She might never be in a movie ever again Yeah, and she starts to Feel unrelatable to us as a per... They're all unrelatable to us As movie stars But there's a certain kind of Movie star that I imagine her as And then when she starts
[01:22:32] Living the David E. Kelly life I'm like, I don't know what this is This is not who I thought She was And then I don't care anymore I also think She has that energy of People just are like You know, I'm talking about Nerds, but still
[01:22:49] Nerds like me Where it's like She hasn't won an Oscar So anytime she's in a project With the Vegas prestige Yeah People do sort of lean forward And they're like Well, could this be it? Yeah Is this the one? Like She's usually good
[01:23:04] When she shows up in like Mother, she's a blast She's a fucking good mother Yeah Like, you know Recently it's like She's done Marvel movies She's fun and Maleficent too I mean, it's kind of a bummer But that's like when she showed up in Mother
[01:23:19] I feel like people were like Fuck, great It's been so long since we've seen Michelle Pfeiffer That's the one, yeah You're forgetting the three movies She's been in in the last five years It's not like she's been gone forever She just doesn't seem to work all the time
[01:23:32] Well, Mother felt though Like a different It felt like She's doing something different than those last I don't know what the last three movies were But I assumed they were actiony And it felt like she would had Made a decision on a comeback Like this is what my
[01:23:45] Mother, it felt like she tapped into the real reserve She was giving us the good shit For the first time in a while Yeah, and we were so here for it Yeah She's in a movie called Where is Kyra That got like zero release
[01:23:56] You know, it was a Sundance movie that just didn't But that she is great in And it's just unfortunately one of those movies That it's a very quiet indie drama It didn't get picked up by the right studio Or whatever and that was that
[01:24:10] But like you see her in it And you're like, oh right She's absolutely, you know, capable of A great lead performance anytime Have you seen French exit David? Yeah, she's fun in that I mean, she's fun That's a, I did not totally connect with that movie
[01:24:26] But she's, again, she's a total pro But she's a rare, when you say she's It's very rare for someone as beautiful As her to be as fun as she is That is a distinguishing trait of her Is that she like, she's so fun
[01:24:39] And that I don't know how she's summoning something up It's like, she acknowledges her beauty She knows her beauty Wow, like, I don't know She's a good time That there's also this weird X factor with her Where it's like, it shouldn't be possible
[01:24:57] For someone as a neatly beautiful Like just like she has glamorous bone structure You can't make her dowdy, right? But she is able to convincingly play Low status people and to remain relatable As a sympathetic audience character Like where I feel like people who are her
[01:25:17] Level of beauty often have that struggle Where it's like, you can't accept them as an everyday person It's just impossible It's because she seems like I think part of it is because of What's it, Mary to the Mob is on her first start
[01:25:30] So she like cemented something about Being able to play a different class And when I see her beauty I feel like, oh, it's possible That you were the genetic anomaly In a family of non-beautiful people She's so astoundingly beautiful That you don't even know
[01:25:49] It's a little bit like I've seen Cindy Crawford's sisters And I'm like, Cindy Crawford just like Something happened in that cellular formation That made this extraordinary beauty It's not like Kardashians So I buy it and Michelle Pfeiffer It's because she's not denying her beauty
[01:26:08] That makes me actually able to see her As so many different people I can buy her as the beautiful woman In all different walks of life Who always knew she was beautiful And then the different ways that that beauty Finds paths in life I do, I will
[01:26:24] It's just fascinating though No, what were you gonna say? Well, what she was wearing in this movie I did feel, because it was an era When it was like straight-legged Not like straight-legged Like lackeys with bootleg cut All the way down
[01:26:37] A little bit past the ankle with this bootleg And then like the kind of sandals, platforms Payless shoe style Like everybody was wearing kind of payless shoes No matter what your class was It did hurt to see that on Michelle Pfeiffer
[01:26:49] I felt like how dare you put it on this goddess Like she had to live through this era And wear that stuff Did you folks notice that there was like a big, bold Sort of like, you know Significantly spaced on its own In the end, credits
[01:27:05] Like Harrison Ford's outfits designed by credit No It was very odd Because she didn't get one And he got one And it's not like he's wearing like fucking Tom Ford's suits But maybe he just had some endorsement deal With like fucking Eddie Bauer
[01:27:21] It was like, I got it He's wearing normal, he's I was gonna say he's wearing like T-shirts and pajama pants And shit But I like didn't know It wasn't like a brand name I recognized It was like, did he insist on bringing in his own like
[01:27:34] Costume person who was like Harrison's got very specific thread counts on his lounge wear Like it might be I mean there was Again that luxury There was a luxury feel to this movie The fact that they were Robert Zemeckis' only choices
[01:27:49] That he was like, I wanna make this movie And there's no one else who's gonna be in this movie But then made everything feel like The terms and conditions for people to be involved in this film I think that's how he honestly kind of still operates
[01:28:00] Like and I do think that's part of his continued Cloud in the industry Even though he doesn't make hits at the same rates It's like movie stars will still work Like Brad Pitt, Tom Hanks Like are still just like Oh okay sure You know, Robert Denzel
[01:28:15] Like Robert Zemeckis Okay I'll do that Like he For whatever reason I mean because I guess because he made back to the future Roger Rabbit and Faris Gump Like he will just get you The star Yeah I was also I was thinking about watching this
[01:28:32] And trying to place it in like the time And there was that thing for a while where it was like If you're an A-list movie star You eventually have to work with all the A-list directors And the mere teeming of
[01:28:45] One of those people with one of those people For the first time Was enough to elevate any movie Into being a blockbuster Being seen as a major tentpole release Regardless of what genre it was Or what premise it was Like the idea is it's like
[01:29:00] Oh fuck it's like Harrison Ford Is a mechist movie for the first time Like that meant something Whether they ended up teeming up for a comedy For an action film For a psychological thriller Like that was the selling point In the same way that I feel like
[01:29:15] Minority Report was the same thing Of just like fuck Spielberg And Cruiser making a movie together That's bananas That's the biggest example of it Where it's like wow Like you know Would that happen now? I mean Leo is probably the only one Like that's about it
[01:29:30] But who would it be with? Well it already was It was like just Tarantino I think Leo, I think him in Once Time and High Was that But I think that But no one, the problem is No one cares about anything anymore No If Cruz had done it
[01:29:46] That's what I was gonna say Like as rumored That would have maybe been enough But like that's about it Tarantino works with blank Is the only thing that potentially Is that kind of power And I think there's the short list of other Or Paul Tonc Anderson maybe
[01:29:58] But here's the thing Paul Tonc Anderson I agree Like we would get excited about But none of his movies Have been crossover successes The difference is that Tarantino movies play Like populous blockbusters So it's the idea of like If they announced tomorrow That Denzel was gonna star
[01:30:16] In the next Tarantino movie If Cruz was gonna star In the next Tarantino movie Like there's that very short list of people Who if they were in a Tarantino movie It would feel like Holy fucking shit In the same way that I think Once My Time in Hollywood
[01:30:28] Was largely sold as Its pit and de Caprio together We know you've seen Both of these guys separately work With Tarantino But look, two big movie stars But I feel like anyone outside of that It's like there's certain people maybe But even just like If they announced tomorrow
[01:30:49] That Scorsese's next movie Was starring Denzel It wouldn't feel as Sort of like earth shattering And other than him Scorsese already worked with You know, like Cruz I mean you talk about that tier of just Like Cruz, Pitt, Denzel Who's the other one I was just thinking of
[01:31:12] Hanks, Clooney, you know Well it's cause Tom Cruise Is the epitome Is the best example though Because you're I'm always interested to see What Tom Cruise does And I'm especially interested to see him Do something that's not expected Like anything that will give me a more
[01:31:28] Magnolia type surprise Right, which he stopped doing Like he has that great 15-20 year run Where he's like I want to work with every big director And then the last 5, 6 years He's like I'm going to work with The same three directors
[01:31:43] So he said no to Once Upon a Time in Hollywood He was offered the part Well I mean the But then the version of it I heard is that like Tarantino had it set as like My casting options are in pairs
[01:31:57] I would need both people to agree to do it It was Cruz and someone else who I won't name It was never going to be Cruz and DiCaprio Or Cruz and Pitt Pitt and DiCaprio were a pair Cruz and someone else was a pair
[01:32:10] And there was maybe one other one he had And it felt like Well like Pitt and DiCaprio Both equally on board and available That worked out And Tom Cruz was going to be Brad Pitt's part He was going to be the stuntman
[01:32:25] I've never heard him make that clear But that's the assumption It was going to be the Cliff Booth Or whatever, right? That's what he's called That would have been Stucking thrilling It would have been cool It would have been very cool I mean and Pitt is sensational
[01:32:41] In that movie He won a fucking Oscar It says so much that Pitt won an Oscar for it And even still were like But imagine how much better it would be What? If Spielberg Was going to make a real Spielberg movie now
[01:32:59] A real one that we could trust And be like this is the one That he's been waiting for And he's going to actually draw up Be Spielberg again And now if I could have announced a cast I would be excited still I also think
[01:33:15] Part of it is now In order to Feel bigger than The blockbusters These franchises that have been going on Forever and ever that are sold on so much More than just who's At the center of them Like characters and story lines And interconnected universes have become bigger
[01:33:35] Than singular stars biggest paychecks are usually conditional baked into one role. They're so much bigger in this one part or this one franchise than they are outside of it that it's like, you do kind of have to stack them up.
[01:33:49] You do have to go, it's Pitt and DiCaprio. It's Pitt and Clooney and Damon. You know, it's Roberts and Hanks. And you also get excited by the combination. Like you wanna see them acting again together, not just like having the most movie stars,
[01:34:03] not just like a Marvel movie, but being like, I'm interested to see how those two actors are work against each other. But that's the thing, like the Spielberg, I feel like the Spielberg announcement would have to be like three of those people together.
[01:34:17] And you have to promise that he was not gonna use like any effect, I give it have to be like also a commitment to another kind of movie that he doesn't make anymore. Well, what? Bridge of Spies. I didn't see it. Yeah, oh Starly.
[01:34:28] You should check out Bridge of Spies, it's so good. You gotta walk the bridge. Is it actually good? It's so good. Oh, it's a massive ass role. It's good in a real way? Yeah, absolutely. One of our favorite movies in the last decade. Okay.
[01:34:39] And you know, and he right, he worked with Day-Lewis, he worked with Streep. Like those were, where it felt like he's checking off. Now I mean, he made those movies for more than just to check things off, but like, okay, I never worked with Meryl Streep,
[01:34:51] like let's finally like collaborate, you know, like stuff like that. But it's true that it doesn't have the same buzzy kind of feel. I mean, it's also cause these people are getting older. Like, I mean, which is sort of sad to say, but you know.
[01:35:04] The sad part though is it's sad that they're getting older, but it's more sad that we only allowed a limited number of people in. So now we have to like be at the mercy of mortals who are aging like, and then we also
[01:35:17] allowed things to fall apart in the last 20 years of filmmaking in a way where like, we could have just kept going. We could have been like, okay, you're getting older. That's what happens. But it's also like, yeah. I mean, you talk about not letting people in,
[01:35:35] it's like so few actors have had a chance to become like full fledged movie stars and not just like very valuable in this one sort of role, in this one narrow genre, you know, or whatever it is. And also it's partly like, oh, they spend like,
[01:35:54] you know, most of their year making this big franchise. So then when they're not doing it, they wanna take like the third lead on a Netflix show, which does start to make people feel less special and iconic. Like I don't mean to be sort of like,
[01:36:08] you know, sticking my nose up at TV, but then there are people who are able to like do both and retain their power in doing both. Like someone like Viola Davis, it's like, well, she still feels very high status and like a big, big movie star,
[01:36:23] despite spending like seven seasons on an ABC procedural, cause it was like a Viola Davis show. Like she brought the gravitas to it. And at this point in ABC procedural is so much more high status than a Netflix show, most of the Netflix.
[01:36:38] Like I will, she's able to retain her prestige in a way that I, like Hillary Swank now, I'm just like, whatever, you're just a Netflix. Like even though that, that, I didn't watch all of a way. I only watched a half of the pilot,
[01:36:50] but it feels like I no longer trust any of the things that are coming out and it's reducing them in my mind, even before I watched the thing. I mean, I think the only two people who have kind of pulled
[01:37:01] it off in recent history in the last 10 years are Bradley Cooper and Jennifer Lawrence to somewhat mixed degrees, but like, it felt like both of them were like, oh fuck, they've somehow figured out to be, how to be an old fashioned movie star and they both had franchises,
[01:37:17] but the franchises didn't become the overwhelming thing for them. They didn't become like she's just Katniss. He's just fucking the hangover guy. Like they had these hammocks of like very successful series, but like both of them also got to do their Marvel movies that didn't feel overpowering
[01:37:35] where they were supporting characters, where it didn't like, overrun everything else. But he turned himself into a movie star. Like he willed his self out of that. That's a very, very rare instance. Absolutely. You can feel the effort in Bradley Cooper saying like,
[01:37:51] I am going to be DiCaprio. I'm going to be a movie star who works with high tier directors and like is able to make prestige films feel like blockbusters. And I'm also gonna become the high tier director. Right, right, right.
[01:38:05] And Jennifer Lawrence, it feels like she went like too much too fast. Everyone got burnout on her, has taken time off and is now trying to like come back. But I think Robert Pattinson is trying to do what she's doing. I just don't know if it's working
[01:38:17] because his movies aren't seen as much, but I definitely think he is trying to do that and he takes very bold choices. Pattinson's a weird thing because it's like massive franchise, then everything he does outside of the franchise bombs, then he's like, let's wipe the slate clean.
[01:38:32] I want to play weirdos in tiny movies. None of those movies are widely seen but people start to build respect for him. And then now he's Batman. And the question is like, are people going to like him as Batman? And after Batman, is that going to translate
[01:38:47] to people wanting to see him do weirdo roles? And is he still going to want to do weirdo roles? Or is he going to have to do Batman be like, this feels pretty good. This is pretty fun. That's the other question.
[01:38:56] Is Batman going to become his next Twilight until that ends? And then he goes back to making tiny weirdo roles. Like the balance is harder to do of making the non-franchise stuff feel as important to audiences as whoever the sort of attitular A-list franchise character you're playing is.
[01:39:14] Last night when I couldn't sleep, I watched the new season of the Netflix David Letterman show which just came out and cause he has like, you know, a 45 minute hour long Robert Downey Jr. episode. And I was just like, yeah,
[01:39:31] Downey Jr. just doesn't do shit like this anymore. I feel like he's so protective of his movie star image. The idea of watching him sit down and talk about his life for an hour feels weird. I want to see this.
[01:39:41] And David Letterman just sort of asked some point blank. He's like, so like, who are you now? Like what do you do post Iron Man? Like at a certain point you're like, like everyone's favorite like, oh this guy's got all the potential, like young, exciting actor.
[01:39:58] Then you become dogged with like bad press, you know, sort of like he's the most unstable is he gonna die? How long is it gonna end up in jail? Sort of dude. They pulls himself up and becomes like the biggest movie star.
[01:40:10] And then clearly kind of it becomes a gilded cage situation for him. What he's terrified of doing anything outside of Iron Man or anything outside of that budget level. And you're like him ending Marvel on such a high note
[01:40:26] where everyone was like, you ended it on your terms. Your last one was this huge fucking triumph in people's eyes. And then you make do little and it fucking sucks dog ass and everyone hates it. You know? Like what do you do now?
[01:40:39] He'd be an exciting one in a Tarantino movie. He's another one. He needs to work with a good director again. Like that's what he needs to do. Yes, if they announced him with any good director tomorrow, it would be thrilling. It would be so exciting.
[01:40:53] And like he, you know, I mean Fincher obviously got the, he was gonna be an inherent vice, which is in my opinion, a better movie if he's in it and I like inherent vice. Like here's the thing that has had me thinking about him.
[01:41:09] I really like the HBO Perry Mason, which he spearheaded. I threw it on. And was it developed for him? For him, yes. I threw it on months after it had finished or whatever and with the caveat you sort of are told like, look,
[01:41:27] you know, as with all these fucking prestige TV shows it like takes like three episodes to warm up. It's a 10 hour pilot. Right, right. Which, but it is so insanely specific and interested in things that no other TV show is interested in.
[01:41:42] Like where it's basically like getting into all kinds of weird stuff that was going on in LA after the depression or really during the depression. And it's written by these guys who wrote, you know, for Friday Night Lights who wrote The Sun, which is the most famous episode
[01:41:56] of the Friday Night Lights. Like it is just clearly a no bullshit show that he was very invested in. And I'm like, why isn't he in this? Like I almost wish this was something he had actually followed through. Like there's obviously some point at which
[01:42:09] and Matthew Reese is really good, but there's some point at which he's like, well, that's obviously just gonna be too much. So I'm not gonna do that. Like I'll just produce it. And I wish he had gone whole hog. Like I wish he'd just take it.
[01:42:20] Can I throw out my thought and this sort of ties back to like the Harrison Ford thing as well. There is this sort of thing when people get to the very, very fucking top of the mountain in Hollywood. Not that they have to be number one pole position
[01:42:35] alone, but when they're in that upper echelon where it feels like people get very protective of like I never wanna lose this. I never wanna get dinged from this. So you start to become more sort of like you safeguard yourself from things that feel too risky
[01:42:52] whether it's like this project feels too off or I don't wanna lose the veneer of I am a major blockbuster movie star. I don't wanna star in something that feels smaller. I don't wanna agree to ever take anything below my quote
[01:43:10] where it's like Harrison Ford would rather be like the fucking like grumpy old sheriff and cowboys and aliens than for $10 million. Right, then be the lead in a movie for $2 million that's better suited to his talents. Because it's like- This is actually good script, yes.
[01:43:28] This movie is gonna make it feel like I'm a bigger deal because they're gonna put so much energy into look how much money we paid to have Harrison Ford stand at the side and go like, I don't like these aliens. Well it's interesting because at Harrison Ford's age
[01:43:42] you get to the point where you're like if I make the wrong toys it's the last movie I ever do cause no one will ever put me in a movie again until there starts to be that kind of stakes.
[01:43:50] At Robert Downey Jr.'s age what I don't understand is when you don't have money you are forced to take jobs for money that you don't wanna do and the entire thing you're working towards is I just wanna have enough money so I can say no to this.
[01:44:05] Like that is a dream and I as someone who has never made you know real money, I don't understand why people do things that aren't good for money. Cause I've managed to live long enough not making any money but making good things so it always can,
[01:44:24] so I'm like you can actually be a person who does this but they're in the exact opposite situation where they have all the money in the world and they keep saying no to the bad things so that they can keep getting paid.
[01:44:38] It just doesn't make any sense to me. That is the freedom that you earn from having money. And like Ford will take more chances. Downey Jr., I feel like what he's saying when he answers that Letterman question is I'm trying to decide whether the most important thing
[01:44:55] for me is retaining the idea that I need to get paid $20 million for a movie because if that's the case I'm gonna be making more shit like do little. I hope it's better than do little but no one's gonna pay me $20 million to be in a PTA movie.
[01:45:09] It has to be movies that seem like they can play just as well with five year olds in China, right? They have to be movies that at least have the potential to be that kind of like billion dollar thing versus do I just give it up?
[01:45:21] Do I say I've made ungodly amounts of money? I'm in the annals of blockbuster history for playing this fucking humongous character in this unprecedented blockbuster franchise. Do I just go, cool, I'll do anything Fincher wants to do for any amount of money now. I don't need it.
[01:45:35] Let me just be good again. But that's the thing is like it's not about he's not giving up money. He's gonna have money forever. So to me, he's being like I'm giving up the idea that people see me as Iron Man.
[01:45:45] If I do the wrong movie, my legacy is actually my last what they start to know me as a loser instead of a winner. It's separate from the money. That is perfectly put. It's also this thing I think of like
[01:45:58] if you get to the top of the mountain, what you start to fight against isn't your rivals, your peers, you're not fighting to get jobs. You're fighting against the idea of what your legacy is. Like you start, I feel like going,
[01:46:11] okay, but how am I gonna stack up to Gary Cooper? When I'm dead, how is my filmography gonna get looked at as a whole? And the reality is like, Harrison Ford, if he died tomorrow, he will always be Han Solo and Indiana Jones.
[01:46:29] Like, you know, Robert Downey Jr. will always be Iron Man. And they've also given great performances in smaller films and bigger films and what have you. But it's just like, they feel just fucking safe from that. They shouldn't have to feel like
[01:46:42] is there anything I could do in the next decade plus that would ruin my legacy? Because you can't do- At least with Robert Downey Jr., I understand because he had such a huge career, then it kind of, then he went through that rocky period just personally.
[01:46:56] I could see him being like, Iron Man is my comeback story of overcoming it all and being this strong guy. And if I do another thing past that, they're just gonna be like, that guy's washed up. And there's like a psychological trap that he's made for himself.
[01:47:12] Because really what he should be remembered for as much as Iron Man is Chaplin and lessons here. And his whole, and there's also a thing that's happened. Harrison Ford is lucky because he has Indiana Jones and Star Wars and Star Wars is gonna live on,
[01:47:25] it's gonna outlive everything in terms of memory. But a lot of what I've noticed, one of the strangest parts of living through this time is because we don't rent movies anymore and because streaming exists, a lot of movies are lost to time now.
[01:47:40] When I was little, I could watch old movies. People don't watch old movies anymore because there's so much new content and you can't rent, you can't find everything. And so I do think his legacy is being replaced with Iron Man in a way that it shouldn't be.
[01:47:51] But even then, he's Iron Man. I agree and to get back, circle back around, it is the thing as we're going through this that makes Zemeckis feel so interesting to me is just like he seems kind of unconcerned with these questions.
[01:48:08] As much as I believe that every time he makes a movie, he's hoping it's a big blockbuster hit, he has never made a movie that I think he didn't believe had the potential to be a populist crossover thing. Even his most bizarre films he's convinced
[01:48:22] are going to be like, because if you make things as weird as fucking Roger Rabbit and Back to the Future and Forrest Gump that become blockbusters, you start to go like I can will anything into becoming mainstream. That's what the walk is. That's what Marwan is.
[01:48:36] He's like, this is something that people don't know that they want, but they're going to love it. Yeah. This is why there should be a job. I often think it should be my job that where you get away, where you save the people from themselves.
[01:48:51] Like he, that's a good instinct. Him taking those chances, him making different kinds of films. It's not that, well I forget that movie is called What's the Terrible at the State of Peril One? Mar- Mar- Welcome Marwan. Yeah, so I saw that Christmas Day in the theater.
[01:49:06] So it's not that I don't want him to do that. It's that I want him to let the people in who say that we need to actually talk about your instincts and tell you how to get, everything should be like Jerry Maguire or everything the speech about
[01:49:20] I know you for the man that you could be. Like that's what I feel about these people because they do have to be saved from themselves in order to become themselves and be the greatest version of themselves. This is such a fascinating movie through that prism of like
[01:49:35] here's three heavy hitters all like at the final stages of their no one questions them status. And also the end of studios being willing to green light hundred million dollar movies based on three undeniable people and willing them into becoming blockbusters. And as you said Starly, it's like
[01:49:54] I'd rather see him make a bad movie that's risky than agree to do the flash because he can and he could probably- That's what I was gonna bring up. When he was considering the flash I was like it's over man. It's over. Even Zemeckis is like fuck it
[01:50:09] I'll do a DC universe movie. It's just like Rami doing Doctor Strange no offense to Rami. I'm excited or whatever. Whatever, I'm happy he's making a movie but it does kind of just feel like okay. All right they're just like well what fun
[01:50:24] thing can I do with within this. But you're also like the bigger bummer is that Rami has only done one movie out of like the big franchise machinery in the last 20 years. It's three Spider-Man and Oz reboot and Drag Me to Hell.
[01:50:40] And it's like you wish even if they were disastrous that Rami had made a welcome to Marwyn. You know that Rami had made a flight or whatever. But it's like then maybe you don't get to make another one I guess is the fear. I don't know.
[01:50:53] Yeah, it's all the question of right how do you make sure you don't lose that status which is a fear that is silly. We gotta play the box office game guys. We got it, we got it. We gotta get play the box office.
[01:51:04] Can I just say two things very quickly? Yes. One after watching the trailer for this movie where they reveal everything that he had the affair that the ghost is of the woman he had the affair with sleeping, you know. I then was reminded the fucking scary movie too
[01:51:23] is so much about what lies beneath and the trailer for scary movies too that was also the money shot was like someone's having sex with Tim Curry and Anna Faris I think and then he says who and then he leans in and becomes like fucking
[01:51:39] Marlon Waynes or whatever. He becomes one of the Waynes brothers. It's just odd that this film was that culturally like tapped in for one moment. Then only was the film this big but a parody movie was like getting its fucking shine off a parody
[01:51:53] and it specifically and then gone. Never talked about again. And again and forgotten like I remember all the twists from every random psychological thriller I ever saw and this was not like that wasn't clattering around my brain. But like a year later the movie was iconic enough
[01:52:13] that they were like, this is one of the three major thrillers that we're parodying in this sequel. The other thing I want to say not a merch spotlight but I worked once with a hairdresser. I was making small talk on a set
[01:52:27] and was asking her about like things she's worked on and she told me like, yeah, I always liked to like collect things from the things I work on whenever they have like set dressing sales or prop sales. I always try to get little mementos from the film.
[01:52:41] What, have I told this story before? But so many years ago but I remember this story. I believe you told it like during the like Star Wars days if it's about the bathtub. Yeah, yeah. And I was like, so like what do you have?
[01:52:51] And she was like little things, little things, little things, the bathtub from what lies beneath. And I was like, you have the bathtub from what lies beneath? Like I hadn't seen it and I was like that's the fucking poster. The whole movie is about the bathtub, right?
[01:53:05] And she was like, yeah, someone made a massive mistake. They were not supposed to give that to me. I mean, using the math that they built multiple bathrooms. Yeah, I guess they had multiple bathtubs but it's still just insane that she just has that in her house.
[01:53:19] Didn't you tell me like she couldn't even use it? Like that it was not functional? It was just like a free standing claw foot bathtub. She was like, I can't figure out how to hook it up in my house. It costs too much money.
[01:53:29] I just have it as decoration in the middle of a room. The bathtub where Harrison Ford almost murders his wife. It's such an important prop. It's like having the widow Bego in your house from Breaking Bad. It's the titular role. Yeah. Yes, box office game.
[01:53:47] Okay, so no, it was, I mean, this is July 21st, 2000. It was obviously number one at the box office. You mentioned Scary Movie 2. Guess what else is in this box office? Scary Movie 1. Yes, it's number four. I had three weeks, just absolutely. People forget like a true sensation.
[01:54:07] One of the biggest R rated hits of all time, like when it came out. So big that they make the sequel from beginning to end in like six months because they're like we need to strike all the iron. That's how quick, because Scary Movie 2 is 2001.
[01:54:20] Like they turn it around immediately. That's partly probably why it has a Web of the Lies. They don't start writing it until January. It comes out in July. All right, but so all right. What lies beneath is number one. The movie was a big hit.
[01:54:32] It opens to 30 million, it made 300 worldwide. It's a big hit. What's number two Griffin? It's a movie that portends many of the trends we were dismayed about in this episode. Is it the movie X-Men? It's X-Men. Number one? Yes.
[01:54:49] It is the first X-Men, which if you watch it now feels like a goddamn art movie compared to what followed because there's not a lot of money on the screen in that movie. It's weirdly lost to you. Yeah, and it has this leather and steel aesthetic
[01:55:04] that is just kind of cutesy to look at now. I mean, it's not whatever. It's a funny movie. All right, number three at the box office is a film I saw in an empty movie theater. It's an animated film. It's opening to $20 million. Fully animated? Yep.
[01:55:24] From 2000, is it a Disney movie? No. Art animated? No. And it's not a DreamWorks, is it? No, no. Is it like an adaptation of something? It's a sequel. It's a sequel. It's a 2000s animated sequel that you saw alone. A Garfield kind of? No, no.
[01:55:51] I mean, like not a movie you guys could ever even... Oh, oh, oh, David, David, David, David, David. I gave myself the biggest clue talking through it. It was an animated sequel from the year 2000. Of course, it has to be Pokemon the movie 2000.
[01:56:07] I mean, it's right there in the name. One of the funniest titles ever. Was that... Why was it the theater empty? Why was it titled that? Why was it titled Pokemon the movie 2000? Oh, why was the theater empty? I think people were just not that hyped about seeing
[01:56:20] Pokemon the movie 2000, I guess. I don't know. I took my brother. Why is it titled that? In Japan, it was called Pokemon 2 or whatever. And then 99 is Pokemon the first movie. And then this comes out nine months later. And there was that trend of putting 2000 in titles.
[01:56:42] But the New York Times review said it's called Pokemon the first movie, which feels like a threat. And this is very much where they're like, there's gonna be one of these a year guys. And this is the 2000s one. It feels like a model number.
[01:56:55] It doesn't even feel like a sequel. It's like, this is the 2017 Jetta. And then there's basically only one more that I think they really mounted a significant American theatrical release. Like, you know, that died off pretty fast. But this one certainly opened big.
[01:57:12] You know, it drops off, but like, I mean, this movie made $130 million worldwide. Like it was a hit. How many weeks into it did you see it then for it to be an empty movie? It must, it can't have been opening weekend
[01:57:24] because surely there would have been people there for that. I don't remember. I just remember it is an empty theater experience. Why did you go see it? I like Pokemon. David loves Pokemon. There you go. I was all in. I was all in. I mean, what am I?
[01:57:37] I'm 14 years old at this point and I'm still like, you know, I'll sneak in the Pokemon movie. Why not? See, and I love a bullshit for babies, but I distinctly remember like Pokemon the movie, the first movie, you know, October 99, all in mega event.
[01:57:55] By the time Pokemon the movie 2000 comes out, I'm like, I'm over Pokemon. That's what happened. I'm not gonna see that. It's what happened. That's why by three it's like, okay, I guess these just go to video. Right, Miramax is releasing it now. Yeah. Right, right.
[01:58:09] Number four scary movie. Number five is another grownup blockbuster that is pretty good. Movie for grownups. I mean, it's not like what lies beneath it. It's just his special effects driven, you know, thriller at, you know, very intense movie, but it is absolutely a movie for grownups
[01:58:27] and I don't know that it would get made now. I don't know, maybe it would. Is it like a big movie star, big director movie like this? Big movie star, at the time a big director, although he's nearing the end of his Hollywood dominance or whatever.
[01:58:42] Is it like, is it a genre film? Oh, oh. Is it the perfect storm? It's the perfect storm. There we go. Clooney, Wahlberg, Wolfgang Peterson. I mean like what do you call that? It's not really a genre movie. It's like a based on a bestseller.
[01:58:59] I don't know if grownup movie's the first description though of it though because it's an action movie. Kind of, but it's also like this like doom disaster movie. Right, yeah. Because like it's really just guys on a boat being like, what do we do? And then they die.
[01:59:17] Right. Okay, but disaster. But disaster comes before grownup. Sure. It's one of the few Clooney movies where he's just like, it's not, I mean, Wolfgang Peterson is obviously a major director, but he's not working with an army director. Yes. Yeah. And he's good. Like, you know, he's like,
[01:59:33] and I'm sure it was a pain in the ass to make. Like they're in some fucking tank getting water dumped all over them for months. Like it must have sucked. I also think starly like the difference is like most disaster movies are like, here's Tommy Lee Jones,
[01:59:45] he's gonna fight a volcano. Right? It's like, here's a big movie star and you're gonna see them triumph over the odds. And Perfect Storm is like a disaster movie based on a true story where everyone knows the ending is bad.
[01:59:57] Like it's not like, here's how these guys survived this. It's not even Captain Phillips where it's like a story of everyday heroism. It's this weird like summer release. The poster is a small fishing boat getting engulfed by a wave. And everyone was like, fuck yeah,
[02:00:12] I wanna see these guys die. I wanna see how these guys grapple with their mortality. I didn't know they died. And so when I saw it, I was devastated and I still found them, I wasn't even that into the movie itself
[02:00:25] but I still find the end unbearably sad. It is, it's intense. And I can't watch it. And I, it's so sad. I think the ending is the best thing of, the way it's done is really, really, really well done. And I had no idea.
[02:00:40] I did not know they died. I've never seen it. And that's an ultimate, no, no, I mean, I knew it died. I knew they died, but that's an ultimate like me at this age, I absolutely will never see that movie that's gonna stress me out too much.
[02:00:55] Now I'd probably like it. It's just so sad they make it. Yeah, it's good. Cause it's also an imagined fate. I mean, we know the fate but it's imagined last moments. They don't know what the last moments are. So what he chooses to make the last moment be
[02:01:06] I thought was really good, smart. Fuck, no one needs to watch Perfect Storm. It's not a bad movie. Not a bunch of character actors. In sweaters, wet. And again, everything that is made from those kind of movies in comparison to the movies that are made now,
[02:01:20] they all just seem automatically better. Starly, thank you so much for being on the show. What an interesting series of conversations this movie unhooked. Yeah, it is one of those movies where you have to think about like the entire history of Hollywood films by watching it.
[02:01:40] Like what it was coming out of and how it disappeared and all of that. It's a real time capsule and it really makes you wonder, it just made me think so much about the space for the last 20 years and what happened.
[02:01:54] Cause this shouldn't have been an ending point not only for these actors but also not for this type of movie. And it kind of was in a- The lack of a healthy balanced ecosystem in American movie making. And unfortunately,
[02:02:10] I don't think things are gonna get better post pandemic. Election profit makers continuing past the election. This episode will be coming out past election as well. But hopefully the show is fun for you to keep doing at that point if you catch my drift.
[02:02:28] I don't wanna say anything cause I don't even wanna speak the words. It's a great show. It's a great show. Thank you. It's brought me much comfort in a time of stress in an electoral moment of stress. It's replaced the psychological thriller genre. Yes.
[02:02:44] It is now providing the comfort that those ones provided. And if you wanna watch a comedy with elements of psychological thriller, watch a search party which is on HBO Max and gives both Starly and I a residual payouts. So feel free to watch all three seasons of that
[02:03:01] and season four coming sometime soon. Less now that it's on streaming but yeah. Sure, sure. Yeah. You're also truly I think my favorite part of search party, your performance on it. I'm not just saying that. It's the best. That's my favorite performance I've given
[02:03:18] and I've spent the following years trying to get anyone to hire me to do something like that again. And instead people just want me to fucking drop coffee cups. Wrongs. They just need to ask me what's right and wrong and I will tell them.
[02:03:33] Let's start the campaign now. The ingredients are all there. Yeah. Starly kind for Grand Arbiter of Entertainment Industry. It's an elected position. Exactly. The living tribunal of Hollywood just with two with like scales and she weighs. It's just showing if the stuff already exists
[02:03:51] being like more like this, less like that of this person's work. Yeah, I also just like talking about all this shit. It's like I'd rather play stuff where it's playing off the fact that I seem non-threatening and I'm able to subvert that
[02:04:06] than playing some guy who looks like he's gonna be fucking frazzled. It's so subtly done. I just, I really do love, I've watched your episode so many times. I remember the conception of your episode. I remember seeing your episode and it is just,
[02:04:23] I mean you've been in several episodes but the dinner party, I think you're so great in it. I'm not just saying that. Thank you. That means a lot to me. Well now I feel weird ending the show but thank you for saying the very nice things
[02:04:36] that you just said. And thank you all for listening and please remember to rate, review, subscribe. No, no, no, I just don't know how to take compliments. Go to blankies.red.com for some real nerdy shit. Go to patreon.com slash blank check for blank check special features
[02:04:53] where we're watching the alien movies, other tense movies starring adults. Although films that pretend more the future of franchise obsessed filmmaking. Thanks to Lea Montcarrion for our theme song, Joe Blunt, Pat Rounds for our artwork and for Guto for social media and for helping produce the show.
[02:05:14] Tune in next week for Castaway with Nia Dacosta, director of the upcoming Candyman movie and Captain Marvel 2. Agree to be on our show. So tune in for that next week. I think it's a really fun app. And as always, Harrison Ford smiles weird.