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TSP Ep 121 Part 2: Recap of Oscar 2024 Winner w/Special Guest Jared Reyes
29 Plays7 months ago
In this episode, Tom, Steve, and Jared conclude their discussion of the winners from the 2024 Oscars!
So come along with us as we discuss a thing or two!
Recommended
Transcript
Exploring Award-Winning Performances and Cinematography
00:00:00
Speaker
Jared, you want ice? No, thank you. I'll get warm, you know what I'm saying? We wouldn't know. Oh, those people need to go. Wouldn't know. Well, I haven't burned anyone's house down yet, so. No, buddy, there's still time to come out. That's true.
00:00:29
Speaker
Let's see, where are we? Oh, best supporting actress. Yeah. Divine Holdovers. I feel like this one was... Well, your favorite film. Yeah. And this was its only award? Only win, yeah. Travisy. So how do you feel about... I understand it.
00:00:48
Speaker
I don't think just as Oppenheimer cinematography is like a basic bitch. Holdovers is like the perfect basic bitch, right? Yeah. The perfect basic bitch. Yeah. That's perfect. It was doing interesting things though. Like there was a lot of like throwback when it comes to certain shots that it had and certain editing. Oh, I loved it. I was all throwback though. Yeah. It was...
00:01:14
Speaker
How many times do you see a shot of like, you know, when you see the close-up and then you see the, not the slow pullback, but like the fast pullback where you get to see the, like those, that's such a rare shot these days. And that was in the movies. Oh yeah, they've never done these. No, the cinematographer, I think the cinematography was one of my favorites of the year, if not my favorite of the year.
00:01:36
Speaker
Holdovers. Holdovers. It's just the the third act kind of is really is kind of weak. Yes. The third act is kind of weak. That's true. The third act really. The movie is it starts
The Banality of Evil in Cinema
00:01:48
Speaker
off pretty fucking strong. And it's pretty funny. Jesus Christ, you look like an oni. It's like, God, do you love my dishwasher? Oni-chan. Anyways, yeah, holdovers.
00:02:03
Speaker
Best film. I think once they get to Boston, it kinda slows down. Yeah, the third act, that's what you were saying. Yeah, because even when they go to the party, I loved that scene. That was cute. I think that scene won her this award. Yeah, I think that was like, that scene is so- Oh, that scene with them? I thought you meant a kid. The whole scene, yeah. The scene where they go to the party and they end up with her crying. I'll say they're a little too mean to Giamatti throughout the film.
00:02:32
Speaker
it the script's a little malicious to his character.
00:02:35
Speaker
But I like that, he's an asshole. But that's why he is who he is. He's not that big of an asshole though. That's why he's redeemable and that's why the end works so well. He could have been more of an asshole. The third act slows down and isn't the strongest, but the end is great. Like him actually finally letting go of his bullshit and kind of just becoming his own man. To your body? It felt great, yeah. Leaving the school. But it also felt like, when did he really hide it though?
00:03:02
Speaker
He hid it around his superior, his supervisor. It's only an hour and a half, buddy. Okay, fair enough. It's only an hour and a half. You wanted the movie to be longer? That movie's only an hour and 30 minutes? Yeah, by the way. Jesus Christ, it feels like two hours. Perfect movie length, 90 minutes. Yes, it is perfect. Any longer, I would've felt like I was in that fucking school by myself.
00:03:28
Speaker
I think it's a great ending. Can we talk about the endings? Of course. Just say spoilers. Spoilers. Spoilers for a holdover. Spoilers for all the movies. Spoilers for everything. You know what, get the fuck out of here and see this shit. But like him deciding to leave the school and just go off on his own and do his own thing, I think it showed growth in a character and at the end of the day, that's what you want, right?
00:03:52
Speaker
100%, absolutely. Absolutely. See, the problem with the Holdovers, it's the movie you exactly expect it to be. So obviously, Giamatti's gonna do that. Obviously, the kid's gonna go through his change. Everyone's gonna go through their fucking change over this fucking one magical winter. Okay, okay. That feels so good. Okay, exactly. It feels so fucking good. No, no, no, but that's what I'm saying. It's exactly what you expect it to be. But then you were saying, you know, where the Holdovers kind of fucks up in the third act.
00:04:23
Speaker
So that's why I didn't get shit. No, but it makes you, it's a movie that makes you feel so fucking good. Yeah. You think it's the best picture of the year. From what I've seen, it's the best picture of the year. From what I've seen so far. But once you re-describe zone of interest, maybe that's the best picture.
00:04:44
Speaker
uh zone of interest if you and past lives look beautiful those clips i shot i was like i think i might love this movie you'll love past lives and i heard american fiction is really good fucking off the charts the best film of the year i loved it but i mean our most fun film of the year i don't know of the best pictures it's not the most fun of the best pictures no it's the best written it's definitely the best written and then there's barbie
00:05:12
Speaker
Barbie's probably the most fun, because that movie's just all fun until it's not fun. It's not fun. Well, isn't that all of these films? No. Zone of Interest is not fun at any point in time. The opening is Five Minutes of Black. Yeah, I was like, oh, I hate this movie already. You know, that's what set me off to Zone of Interest on a bad start already. It kind of, I think, does it on purpose. It set me on a bad start. It was like, Five Minutes of Black, get the fuck out of here.
00:05:40
Speaker
You know, I think there's probably some artsy fartsy reason, like, oh, we had to do five minutes, because it represents blah, blah, blah.
Holdovers: A Cinematic Throwback
00:05:49
Speaker
But you know what? A million people killed here. What are you really trying to say in this film that hasn't been set already? And that's kind of my problem with Zone of Interest, because it shows this mundane family doing mundane things. But you know what? They're all oblivious to everything, like, oh, it's so common to hear that.
00:06:07
Speaker
Dude you hear shots anywhere you like get on the floor get on the floor. Come on, right?
00:06:12
Speaker
If you hear it 17 times a day for four years. Exactly, man, I grew up in the hood, bro. I grew up in Spree Valley Lake. You don't understand. Oh yes, all the shots out here at the lake. Sound of all those minorities being shot by the police. Men murdering their wives. Too afraid to get a divorce. My problem with the film is like, what are you showing me that hasn't been shown so much more worse? Like, what are you showing me new here that I haven't considered?
00:06:40
Speaker
I would say the thing that is different is the zone of interest is an essay on the banality of evil. And that's what it is. So then what are you saying within the context of where the Nazis exist within our own zeitgeist here? Do we all think all Germans were evil and anyone who was during that time that was German was strictly evil?
00:07:09
Speaker
No, I think like we understand there's some banality already, right? Yes, but I think as a passive observer witnessing it But you're not witnessing it. It's just it but you so you're faking it cuz no one's gonna react normal to like moans and fucking gunshots all the time That's the no they don't dude it that don't say yes those kids. We still let you
00:07:34
Speaker
If he triggers a PTSD. Look, if you can be in a drone strike and drone people from Las Vegas and suffer extreme PTSD, you think that family was just whatever? No, I mean, they're convincing them either they're less than human or they're reacting to it.
00:07:52
Speaker
I think it shows that the danger of institutionalized evil, that even this normal family can see this as normal because everything around them has allowed this to be normal. And even these people who in any other circumstance would be good people who wouldn't do these things are doing this because of this awful force being
00:08:19
Speaker
I would like to think, and of course I'm interjecting everything I feel. Without having seen the movie. Without having seen the movie in general. But like, okay, that sounds institutionalized. That sounds like something you'd be in for a long time, like something out in Russia, I don't know. Where that regime has existed for a while. The Nazi regime, how long did that exist? Tom, you would know this stuff. I think 33 is when he got in power or something like that.
00:08:47
Speaker
Yeah, so from then until what, 45? Like 14 years. 14 years. So that's not enough to like, that's not enough to just build it into you that it's absolutely normal, I don't think.
00:09:02
Speaker
I think there's a lot of groupthink and then the banality within the picture and the way they depicted it, because I did watch some of it, okay? I saw like 40 minutes, might've been 15 seconds, who knows, fills that log. It does. But I just didn't like where they were coming from, I guess, in regards to this topic, because it's like, what the fuck are you showing me? All I'll say is you got to watch it.
00:09:32
Speaker
I don't know. It just feels kind of gross to me. What are you showing me new to this thing that everyone's done? You had Schindler's List, man. Well, I think it's new because there's no shots of the actual concentration camp. Yeah, but we already know what's happening. We give so much power to those sounds, right? Yeah. Exactly. We give so much power to those sounds, but what does it show within the movie itself?
00:09:57
Speaker
Like if you're taking us here, why are you doing it? What are you accomplishing? Oh, I think part of it is- It doesn't feel like- It's like a warning in a sense. A warning of what though? That this
Theater Experiences and Film Festivals
00:10:07
Speaker
is what people can become and we can become it again. Yeah, we fucking know. We're witnessing it right now. Yeah, but that's what the film is. It's just a representation of that. Because there's a lot of people that don't believe that.
00:10:21
Speaker
Dude, there's a movie you gotta watch for me. And it's actually a great film and you have to watch it. I promise, it's a film called The Act of Killing. It's a documentary, which is essentially like what the zone of interest is, but actual real life documentary where they, because it's not nothing to do with the Nazis. It's about these people in Northern Sumatra who like would murder like,
00:10:50
Speaker
whenever they wanted. And like they won like their revolution. And it's like them later describing like how they killed people and how they, they're just nothing, they're less than dogs. Like I'd kill them, I'd stab a girl in the face just because she looked at me and I suspected her. And they make little short film reenactments of their,
00:11:14
Speaker
killings, but with fantastical elements sometimes. It's a really weird movie. Really weird documentary. So you felt like they were banal too? Yeah, they could just kill people. What does banal mean? Absent? I don't know. So essentially indifferent? Indifferent. Can I say that? Yeah. So they're completely indifferent within that documentary. Yeah. And then by the end, they kind of realize, through reenacting everything,
00:11:39
Speaker
that's when it starts to hit them. Like, oh shit, that was fucked up. But you watch them and the guys like laughing. Oh, so the actual people are reenacting? Yes. Yes. Because they were so proud of what they did.
00:11:51
Speaker
because it was like, it was wholly religious and everything. And they would, the guy was like talking about how he would like put like a wire around someone's neck and he grabbed the documenter, documentarian, and he starts choking the documentarian out. And he's like, see, but I would go much tighter because they would cut their throats and I would just, you know, drop them in the corner over here. And then I'd go grab their kid and I'd then do the same thing. It was just so removed from like, it was just like a procedural. And he was just describing it like he would like, like watching a tutorial on how to like, you know, like clean your dishes. Yeah. It's like, what the fuck?
00:12:20
Speaker
And this is real life, it's like a documentary. But see, that's my point. Yeah, right. You have, we already know this powerful thing exists. So what are you doing with it though? You know, I don't know. I grew, you know, remember when there was a Holocaust movie, like 12 every, you know, spring?
00:12:42
Speaker
Remember when there'd be like a Holocaust movie, like Jews fighting Nazis here. Life is beautiful, wasn't that a Holocaust movie? Yeah, there was like a bunch of others at Daniel Craig, one where he's in Russia and they're hiding out from the Nazis and fighting him. And there was just so many films like that. And it kind of felt, it was cheap, right? Cause you're commercializing this terrible thing that actually really happened. No mind can comprehend. And then with this shit, it's like,
00:13:11
Speaker
What are you showing me that this is the complete opposite of that? So you don't think the message that it was conveying was worth sort of using this awful moment in time? Well, let me preface this with I haven't seen the movie. But I feel like that's exactly what it's doing.
00:13:32
Speaker
Well, that was a good talk. I will say, watch the movie. It's definitely one that is at least looking. I know I'm right. God damn it. I saw 45 minutes and nothing happened. How did we get here from best supporting actress? Wasn't one of the actors in that movie. No, was it? No.
00:13:51
Speaker
I'm sorry. Okay, best actress. Wait, hang on. I want to say something about supporting actress because you said something like what is the holdover done? Oh yeah, we've just been going on tangents. Oh yeah. I'd like to respond to that because I feel like
00:14:04
Speaker
In so many movies, there's this thing, and there's even a new movie coming out about this called, I think it's called like The Spiritual Negro or something like that. Oh, The Absent Negro. Yeah, and it's like, it's these movies where all these white people have problems. For real, dude, that's a real movie.
00:14:23
Speaker
It's called It's the League of Spiritual Negroes. There you go. The American League of Spiritual Negroes. But it's like a trope in movies where all these white people have problems, but it's like their servant or their butler. The bagger vance is a perfect example of this. Hey mister, we're good wheel hunting? I heard you quit school and went to golf. Let me get your swing back. Exactly.
00:14:50
Speaker
Yes, that's exactly it's like they they the whole purpose of their character is to get the white person through their struggle and The fact that the holdovers does not do that with this character and this character is not that at all It's just another one of these people in this situation who is who is hurting just like everyone else who has their own problems I thought that was a was a huge
00:15:13
Speaker
like a boom for the movie because it was something unique it was something that you know you go into the movie it's set in the seventies you see this character working in the cafeteria and you think oh. I know where this is going and it doesn't go there at all and it does its own real it feels real and it feels it feels like a world that's lived in totally.
00:15:33
Speaker
Yeah, man, I get you, bro. Dude, I was just thinking. They're a beautiful band of misfits. Yes, no, they are. They are. And it's such a perfect, like, his little bratty attitude and his old grumpy asshole-ness and her kind of like bitchy sadness. And she's kind of like fun and playful, but also she's like, don't fuck with me. She's also guarded, right? She's also very guarded. She's friendly in talks, but she doesn't want to let anyone get too close.
00:16:02
Speaker
yeah but then she starts letting them in right and then it's like this i will say i did dominate her for the thing and i want it i would say like who else was nominated
00:16:15
Speaker
Emily Blunt, Oppenheimer, Danielle Brooks, the color purple. Didn't see the color purple. America Ferreira, Barbie, Jodie Foster, Nyad. Ooh. Yep. She, she definitely was. Who wasn't, who won it? Divine. Divine, yeah, definitely. Yeah. I just, I don't know. I was.
00:16:39
Speaker
with her character, because I was listening to her. She had a good NPR interview about it, and she talks about the holdovers and how they filmed it. And she mentions this interesting thing, like the glasses she picked, she copied from her grandmother. So she's like, I want those glasses. So they like mimicked it. And everything, the way she built her character, and she goes, it's like, I don't want to just
Debating Best Supporting Actor Performances
00:16:58
Speaker
be this token black person in the film, you know, like this manic pixie girl color, the minority, right? Right.
00:17:07
Speaker
And, uh, but see, that's the thing with the holdovers. It goes exactly where you think it's going to go though. And it did with her too. My problem. I think she just wasn't this servant to everyone else. She had her own storyline, which.
00:17:22
Speaker
in the perfect world of Bagger Vance, what would make that movie better is if Will Smith actually had a reason for being there, right? Other than for strictly the lead. Holdovers. Hey, Will Smith is in this movie. That's pretty much what he's into. Yeah, exactly. Holdovers is a lot like... I did like Bagger Vance though. I was like, get him, Bagger... Wait, which one was Bagger Vance? Was that the Caddy or was that the Golfer? That's the Caddy one. He's the Caddy, right?
00:17:47
Speaker
Who's a golfer? Bill Hunting? The golfer in the movie? Yeah. What's his name? No, I've never seen it. Ben Affleck. Oh God, I don't think he was staring in it. Matt Damon? That movie's for like 2000. Is that Matt Damon? Yes. Well, what I wanted to say about the Holdovers is like, it's like a 10 out of 10 Hallmark movie. There you go.
00:18:15
Speaker
The greatest Hallmark movie ever. Every single performance in that movie was fucking brilliant. It's perfect. It's like a perfectly perfect movie. It's like a store bought cake.
00:18:27
Speaker
but it's perfect. But it's a store-bought cake, right? Like, there ain't no weed in there, you know? Well, they don't drink anymore, man. Like, what? Yeah, it's like a store-bought cake. It's like the best store-bought cake you ever had, but it's a store-bought cake. Made to perfection. Yeah. Yeah, absolutely. All the emotional beats are there. They hit when they need to, and they're strong, and they're powerful, and that's what drives it forward to be a really good movie is that those performances drive it just a little bit to the next level. And one last knock on the film.
00:18:56
Speaker
That fucking 70s-esque thing they were going for. You know, it's a work for me. You're trying to be a 70s film. You know, I saw this random film that I had seen a while ago when I was a kid. Tom had it on his, uh, in his library, we'll put it. You know, it's called The Wanderers. You ever seen The Wanderers? Yeah. It's like The Warriors, right? They're like a gang of- No, nothing like that. It's really a movie you wouldn't see unless you grew up during that time.
00:19:23
Speaker
You delve into a lot of movies in the 90s, I'm like, Tom, you watched that movie? You're like, yeah, it kind of sucked, but it was okay. I'm like, dude, because that's when I grew up, so I literally watched. And I remember us watching The Wanderers because my parents watched a 70s film. Straight up, 70s film. No one mentioned any lists.
00:19:44
Speaker
but it has its moments. It's just about a bunch of New York kids and their little gangs, but in high school, you know? Yeah. It's kind of like grease, but rough, I guess. But rough. But dude, they have like this one scene where the instructor's like, all right, everybody, settle down. This was the Paula G. Madi in that film, in fact. He was this old instructor and he was like, okay, everybody, okay, I'm gonna tell you about race, all right? We're gonna get into race right now, you know?
00:20:10
Speaker
Yeah. I guess he was a history teacher and he's like, all right. Cause it's all Italians and blacks in the school. Right. And a lot of racial tension. Okay. This film. So you can imagine he's like, all right, we're going to reach an agreement here. Like, how about this? All the blacks, all of you guys go, you guys go on that side of the room and all the Italians, you guys go on that side of the room. Now everybody.
00:20:32
Speaker
I want you to tell me what they say about them that's offensive. You know, what you joke about. What do you call them? And they're like, ah, blah, blah, blah, blah, blah, blah. Oh, well, let's hear an example. They're like, okay, okay. And he's like, okay, now I want you guys to tell me what you hear about them. Blah, blah, blah. And the kids are going back and forth is keeping me a moment. And then he's like, all right.
00:20:57
Speaker
Now tell me what you really say about them. And of course, it doesn't hold back. Blah, blah, blah, blah, blah. And it's like, okay, now back and forth, back and forth and breaks out of this huge fight. And that's just how the scene ends. Like the teacher got nowhere, you know, it's like, whoa. And he was like, that's a 70s film. And that's why we like and respect the 70s so much if you see it as like a golden era of cinema.
00:21:26
Speaker
Holdovers? That motherfucking didn't go that far. Come on, when he's all offensive, he's like, you do not talk to her like that. You don't know what she's paid through. And I was like, oh, get the fuck out of there. That was a great scene. OK. It was a great scene. But don't pretend to be a 70s-era film and do all the 70s stuff. Dude, the 70s had the hallmarks. Of course it did. But don't stranger things me with the Holdovers, OK, bro? No. Don't stranger me things, OK?
00:21:53
Speaker
If you want to be a real 70s film, you go fucking hard. That's what I'm saying. No way, man. Those characters have a history together. They've known each other for decades. No, they did. That was like them barely knowing each other. No, they've known each other. No, because he even says in the earlier, he's done that quite a few times staying over the winter. He likes to do that so he can be alone with his books. But she never stayed because she just lost herself. No, she always did. No, no, she only stayed because she lost her son. Yes, and she stayed because of him.
00:22:22
Speaker
Okay, you might be right. Yeah, she stays because of him because that's like the closest she is to him. She gives a beautiful story of why she stays. Yeah, but this movie sucks, right? But the reason why I like that scene though, originally I said this
Analyzing Acting Performances in Maestro and Oppenheimer
00:22:35
Speaker
is the best film that I've seen for the year.
00:22:38
Speaker
The reason why I like that scene is because a lot of times in movies when young people are being rude, it's a group activity. They're all little shits. But in that scene, it was just that one kid who said that rude stuff about her, like, why the fuck would we want to sit with her? And everyone else was like, what the fuck? What's wrong with you? And that's a real thing that would happen. People would look at you like, what the fuck is wrong with you? Look, and that's what I'm saying is in the 70s, no, they wouldn't. That's what I'm saying. I don't know.
00:23:09
Speaker
Especially kids like that, rich preppy kids. Hey, respect the service. One was a Mormon and one was Korean. Korean, I don't know. I was a little too diverse for the 70s, maybe. No, but I was completely fine with that. No, from what I've seen, The Holdovers is a pest film in just about every way. The only thing that I didn't like about The Holdovers. Oh, again?
00:23:34
Speaker
Well, I mean, that's just me being critical, but I'm not. No, it's fine. Please, please. I mean, I just been shitty on Oppenheimer. But the only thing that where I was like, oh, I do not like this was the fake scratch marks. It's like, bitch, you shot this on general. Just accept that. OK, don't get me. I thought it was. Don't get a great. Don't give me random cigarette marks and all this little like, oh, we're going to be a little weird here and more noise in the film. It's like.
00:23:58
Speaker
No, no, no, that's faking it. That's just faking it too much. Just shoot it on film at that point. As someone who used to work as a projectionist and have to put together films, it made me uncomfortable sometimes because that's just me fucking on my job. No, but that's some of the beauty of film because it's like so much it's analog. It's tangible. There's a beauty to film. That's why I say like Christopher Nolan with Oppenheimer and IMAX is like,
00:24:24
Speaker
Like, yes, I do. I'm glad Nolan's here because he's giving a resurgence to film if there can be like Tarantino.
00:24:32
Speaker
then shoot it on fucking film, don't do it on fucking digital, then add all that shit. Support it with your actual money. Like, come on, dude. Yeah, I mean, the guy had an article about why they didn't do it. Yeah, I know, I bet he did. I bet it was an extensive article too. Was it cost, really? Like how much more to a budget? It was cost, but also it's- Kasusha said you could do it. You're probably that much more expensive. They always say that. And I believe Kasusha. And then it's like, oh, it's only 15,000.
00:25:00
Speaker
They can't afford that from the holdover. That's not how much. You make some of the budget for that. If it's that good of a script, the actors would have went down. But I think it was also just, they were talking about how you get the digital stops with digital versus filming on cameras and then you can't do as much natural lighting. Yeah, exactly. That's the whole point of film is it's not as- Hey, man. Come on, man. I'm just saying- That's the beauty of film. I dug it. You've been to the New Beverly. You ever been to the New Beverly? No. Tarantino's Theater and
00:25:29
Speaker
I guess Beverly Hills? Field trip. No, I haven't. Ah, dude. It's like this old... It's still a film projector? Yeah, it's all this film reels and I guess it's his personal collection or something. Nice. It's awesome because even the audio is from, you know, how they put on the, or I guess it's put on the film. That's how they get it. Yeah, so you hear it like sounding like that. It's not this remastered thing and it's ugly.
00:25:52
Speaker
Right? It's not as good as you would see it even on Netflix, but there's that charm to it, you know, because it's like, Oh, I'm with you there. Like tangible, real thing. It really is kind of like film lover Mecca. Yeah, man. Let's like, yeah, I know. Probably no one gives a shit about this.
00:26:08
Speaker
But I love this, right? It's like, this is something that I'm glad is still in the world. I saw Evil Dead 2 there and holy shit, that was marvelous. I hated working for a movie theater, but the nights, those Thursday nights where I was up till like two in the morning splicing together a movie and getting it all together and putting it on the reel, like those were the best, those are the nights that I miss because it's like,
00:26:33
Speaker
You're in there, you're working with your hands, you're touching the film and you're like, you feel like you're part of it. It's something real and tangible. It's not some file that you download through a satellite the night before the premiere or something like that. Like you're doing something and it's something real. And it's just, I'm totally with you there. Well, you know, I've heard a lot about your job because I know a lot of people, you know, and a lot of people you've worked with. So,
00:27:01
Speaker
You know, I know how rough that job is. It's like, Oh my God, you guys got to deal with that. Cause I, I mean, where I work is like paradise, man. I don't got to deal with any of the shit you guys have like, except for the, except for the, the, the film projection stuff. Well, that's what I'm saying. Like.
00:27:16
Speaker
It sounds like an awful job, but I gotta imagine working at a theater. There's gotta be those moments of movie magic where you're like, yeah, you know, being in a theater, watching it on the big screen. There's something special to it, right? Oh, for sure. And it never went away. Like, I never...
00:27:33
Speaker
Lost my love of going to a theater and watching a movie because I worked there even though I hated that job with the Every especially after we went all digital all the mat everything really eventually went all yeah everything good about that job just Fucking went out the window with a flash drive, but I still love going to the movies. I still love the experience I still go to New Beverly. You said what's the cinema don't cinema drone? Oh
00:28:01
Speaker
The one-off sunset, right? Yeah, the cinema dome. Have you ever been to the cinema dome? No. I haven't either, but I hear that. You said it was awesome, right? Yeah. Okay.
00:28:13
Speaker
But new bev, you know, we should do that. We should all go. Yeah, man. They have a lot of cool movie nights. You can check it out. We'll do a kaiju water source. Hell yeah. Say Godzilla, Godzilla. They do some crazy nights, that's for sure. Yeah, they have some really awesome, like if you love movies, dude. And it's... I guarantee there's gonna be a night you're gonna be like... It's like also, it's just like 12 bucks.
00:28:34
Speaker
And you get to watch all three movies, or two movies. Okay. Yeah, I mean, it's Tarantino's day. That's awesome. Hey man, I can keep this ready to go. So it's a passion project for him. Yeah, absolutely. It's not to make money, it's not a business. Like literally, the reels he uses for the film nights, apparently a lot of them are his own personal collection of film scenes.
00:28:54
Speaker
He's like, I'll bring it in. And they show some of the coolest old flicks. Yeah, like legit movies. They're all legit movies, right? Even if you haven't heard, you'll be like, because I think I saw one with Vivian. What was the one where's Veronica Lake? And there was like some random old film I'd never heard of.
00:29:14
Speaker
where the director wants to become a hobo so he can learn the experience and then, you know, make a film on it. And then they send her out or she meets them. Anyways, it's this meet cute kind of film. And, oh, dude, it was just so fucking good. It was just so fucking good. You're just watching with all these people and we're all laughing and watching Veronica Lake on the big screen. And it's like,
00:29:38
Speaker
It was fucking weird, but this would be so good. And yeah, if you're a film fan. That sounds appealing because you know that when you go, everyone else, there's also a fan and they're not going to be on their phone. They're not going to be the whispering. Like I cannot go to the movies past four p.m. anymore. If I go past four p.m., somebody in there is going to fuck it up for me. Yeah, exactly. You know that. Yeah, exactly. Because I mean, when I go to the movies,
00:30:06
Speaker
I go when no one's there. Cause I don't want anyone to fuck it up for me. But then when you go to the movies and everyone's there, but everyone's on the same page, nothing beats like an audience watching a film on the big screen, right? Cause that is so fucking fun. Like remember when we saw Mandy? Cause we saw Mandy right around when it got released, right? Cause it was just like first released in LA, I guess. Yeah. Limited release.
00:30:31
Speaker
Yeah. And just when an audience is behind a film. And we saw it packed in a theater and everyone was just like, fuck yeah. That's one of those movies though. That's a movie that's where you go and do it. That's probably the second greatest movie experience I've ever had. The first being First Man in
Storytelling and Screenplay Techniques in Modern Cinema
00:30:49
Speaker
IMAX. IMAX, First Man High as a Kai. I was like, whoa.
00:30:54
Speaker
I literally, that movie really fucked me up. Oh, it was anxiety, man. It gave me, yeah, you puked. Yeah, I did. And you know what else was a good one? No, it was right when we left. Oh, okay. Right when we walked outside. You weren't painting the aisles or something like that. No, even though we were the only ones there. He made it home. I think he made it home, right? No, it was to the one we got gas, and I remember now. We got Del Taco. Oh, no wonder.
00:31:22
Speaker
Yeah. But there was another one we did for COVID for me. It was during COVID. What was it? Beyond Fest? Yeah. Yeah. Beyond Fest. Sounds like a rave. No, it's a, what is it kind of films? It's a film festival. It's a film festival for like weird, weird, like kind of like weird indie movies. Yeah, weird indie movies. So it was COVID. Where was this? It was a Tiki mission. Is that in like Ontario or something?
00:31:50
Speaker
Yeah, that area, yeah. Yeah, that's the one I grew up next to. Yeah. I've been in that one a few times. I think I went there for the swap meeting. Hell yeah. I grew up in Ontario. Hell yeah. But, um... Oh man, we have way too much in common. I know, right? The desert. It's a scary place. It's fine. It's a twilight zone. But we went and we went to the film festival there and we saw this film called The Dark and the Wicked. And man, for me, that's like, I don't know if you've ever seen a film like Underwater.
00:32:17
Speaker
Have you ever seen Underwater? No. Okay, either, no one's seen it. Either you're gonna like it or you're gonna hate it. But for me, it's like, how could you not love this film? But if you like it, you love it. Yeah, it's like, how could you not love this film? It's fucking great. But we watched it high on, I think we were high on weed too, right? And drunk? Yeah. And then we did mushrooms. And dude, it was fucking terrifying. Triple crown. It was the scariest thing I've ever seen. We were in the car, I was like, oh man.
00:32:47
Speaker
And then it's it is a scary film so you hear like people in cars next to you screaming There is also high on mushrooms and yeah girls they weren't cute These cute girls in this car and like
00:33:08
Speaker
I was just like, oh fuck man. And there's something so scary too about people screaming in their cars. Yeah, dude, it was just. It was a nervy. You could take a murder someone. It was a very nervy experience. Yeah, it was. Yeah, just wait until a scary scene and then just stab them. That was one of the best experiences too. And I've had a lot of good ones because I've also watched Jaws in the water. Oh yeah, yeah, you did that right. Yeah, what was that at? In the ocean, at Balboa. Balboa. God, why?
00:33:38
Speaker
Cause it was one of my favorite movies. Jaws is great. Jaws is fucking fantastic. It was the most terrifying thing and not because of sharks because there was like 600 people like on inner tubes just crammed into this little area. Have you seen drone shots of the beach? They're always around us.
00:33:57
Speaker
Yeah, I saw those shots. Those fuckers. They're really not that far out. But I wasn't worried about the sharks. It was just like a claustrophobic, like hot, sweaty people in inner tubes. We're the real monsters. And it's like, oh my God, there's like... And if you were not at the edge and you had to like get anything or move or do anything like... Like if you were in the middle. Yeah. Like the best spot.
00:34:19
Speaker
Yeah, right. Exactly. If you're in the best spot, but also the most terrifying spot because you're literally just landlocked by like blabby, flabby, like a million fat people like watching Jaws on the beach, eating nachos and smoking weed. And you're just kind of like laying there like God bless America. You're just like, what in the fuck? Like I'm trapped.
00:34:37
Speaker
Like I'm fucking trapped. If there's a riot, I'm going in the water and I'm going to be stomped to death. Well, safety in numbers though, right? They're like your shield. I'm not worried. I wasn't worried about the sharks. It's just the other people, you know, they're fucking crazy. I think they're all going to go zombie. No, but I feel like you're just trapped, dude.
00:34:54
Speaker
And then they're like kids swimming around. That was the most wild experience. I was also pretty fucked up during that. Was it really wild? Yeah. Like people were super drunk. Oh yeah, dude. I didn't see anyone banging, but I saw a few nipples.
00:35:17
Speaker
Yeah, yeah. Shit, man, why did you never invite me, huh? You always go every year, buddy. I've only been once. Keeping it all, all those nipples for himself. All free, free the nipple. You know, there was, I've had a lot of cool ones. I got the, the Grand Warner theater for the Lovecraft festivals or like pool movies. Cool movies with nipples. Okay. So best actress.
00:35:43
Speaker
Uh, that went to Emma Stone. Didn't we mention that she was the greatest ever? Yeah. So, uh, best supporting actor. This went to Robert Downey Jr. Oh, this was a contentious, right? Cause I wanted Sterling K. Brown. But I understand Robert Downey. I haven't seen that movie, but
00:36:04
Speaker
I mean, he was probably good. It's Bobby De Niro. Honestly, I would have been fine with any of these except for Robert Downey Jr. Same. No, he wasn't bad. Well, Mark Ruffalo, I would not. No, I think Mark Ruffalo was the weakest part of poor things. Yeah. Because sometimes his accent was so like kind of putting me out of the movie because he was like too much. But yeah, did you see Emma Stone's?
00:36:28
Speaker
it was so natural her accent's great so he can't try to match it like no i can't hulk smash hulk didn't smash oh he did smash a lot hulk smash excuse you who is supporting oh downey jr yeah no look i came in he paid for that award no i came in an hour late his character wasn't even
00:36:53
Speaker
Yeah, but look at, again, the outsider. I came in an hour late, and he was the most interesting person outside of Kelly and Murphy in that film for me. Okay, that's true. But that's not saying much. Because Florence Pugh never appeared. But that's an indictment on Lee. That's how late I came. She was already like, well, we said spoilers, fuck you. She was dead. Florence Pugh was the best part of that movie. She was dead, so I didn't see her at all. I just saw Emily Blunt and Batman.
00:37:21
Speaker
Einstein, right? Remember when
Best Director Debate: Nolan's Win
00:37:23
Speaker
he appeared for the shadows? He's like, open up. I will try to destroy you. Be very careful, Oppenheimer. You have to watch your back. And then he just then just disappears back into the shadows. I said, wait. I laughed so hard in the theater. I think people, I probably was the annoying guy in the theater that day. But with that said, Robert Downey, I mean, he's a good actor, dude. Robert Downey Jr., he is a good actor.
00:37:49
Speaker
He's a really good actor. But this role is not a best supporting actor role. No. Not even close. You can argue that, but I would certainly say it's a nomination. I would have picked Sterling K. Brown. It's definitely a nomination, and if it's a nomination, and if you want to play it safe in Hollywood. Like I said, it's probably also the movie everyone watched, right, on the Academy. No one watched American fiction. Hey, that's a great point.
00:38:17
Speaker
Right. Everyone watched Oppenheimer. That's a great point. Exactly. Everyone watched Oppenheimer. Exactly. So the American fiction just came out. They probably haven't even seen it yet. And if you got to play the game, who are you going to pick? Hey, Mr. Daddy, you're number one! You're number one! All right. And then we're going to Best Actor. Now, this was like... Wait, no. Fuck that. Also bullshit. I think Best Supporting Actors are just a good topic. So you wanted Sterling K. Brown. You wanted Robert De Niro. Why? Why?
00:38:45
Speaker
You want to go first for me. Yeah. So Robert De Niro's character is the evil core of everything that has to do with the story of the Osage County. And it's played so brilliantly, so humbly by Robert De Niro, where you almost kind of believe that he loves them as much as he doesn't care that he's just murdering them for money and greed.
00:39:10
Speaker
There's something worse about someone that murders out of greed than like out of hate. Because we can kind of understand hate a little bit better than greed on that level. And he is just murdering people. Who are you murdering?
00:39:28
Speaker
I can't understand either. I mean, I don't know it. You don't like it. But come on. It wasn't that bad. And what was I talking about? Oh, yeah. Oh, Robert DeDeer. I'll be the good murderer. Yeah. And he just convinced me. I mean,
00:39:53
Speaker
He played the dual role so good and he played it hard till the end. Fantastic. I'm good for now. And so that's my that's why I think I would have went with De Niro. I thought it was a very especially for supporting. Now, if Killers of the Flower Moon wasn't a weird Leonardo
00:40:18
Speaker
That was the biggest problem with that movie, right? Leonardo DiCaprio. Leonardo fucked that movie up. Was he not good in it? No. No, he's good. He's Leonardo. Leonardo's always good. But it just felt so fucking weird. He's too old. It was too distracting.
00:40:33
Speaker
He's too old and there was no romance between them. He was too old for the role? Yeah, like he's like 50 something and he's playing something that should be like 28, 23. Okay, well, I didn't even catch that. But just in general, like, sorry, I'm an ageist, I guess. It just felt like he's trying to be... It feels like he's trying to act and he's trying to be in a Scorsese film.
00:40:58
Speaker
But also, there's too much attention. There's too much attention. And I didn't mind him in Gangs of New York. That felt a little bit more effortless. But this one felt like he was trying to do something. And it just was like, what are you doing? And a lot of people criticize that, right? They were saying he was too stupid or too old. You ever seen Tropic Thunder? He was too white.
00:41:35
Speaker
He went simple check. Who's that? Who's that? I don't understand. You never go too retarded or something? Full retard. You never go full retard. There you go. Yeah. Oh, Tropic Thunder. That movie is designed to piss off. What a special film. And now Robert Downey's out of... He won support. He just won. Oscar Award winner.
00:41:49
Speaker
No, what's your point actually? My point? Yeah, finish that thought. Tropic Thunder what? I've never seen it.
00:41:58
Speaker
All right, hold on. So then that's Bobby De Niro, cause I know him. And then yours was? Sterling K. Brown. Sterling K. Brown. So I've been thinking about this and I don't know if it's his performance that I liked the best or if it's just because that film, I was so enamored by that film and the writing of it and how every character was fucking fantastic.
00:42:23
Speaker
Maybe that's what I'm seeing. But I also thought his performance was very good. I thought his character was not what I was expecting. And every line he delivered felt so natural and so like, it just felt like I was seeing a complete performance. He had a lot of range in there. There was a moment where
00:42:50
Speaker
he can be extremely callous and unfeeling, and in the next scene, all that's being broken down, and he's something else completely, and I just appreciated it. I thought there was a lot of range in his performance, and a lot more than fucking the one-note Robert Downey Jr. performance, which was... Which I thought was, he was almost comically bad. It felt like he was just playing Robert Downey Jr.
00:43:19
Speaker
in the 50s or whenever that took place. To further Sterling K. Brown, didn't you feel like he was really good in that film? Yeah, he was. He was really good. So who do you guys think were the main picks? This is where the competition is, because it sounds like Sterling K. Brown, Robert De Niro, clearly. Do you think Robert Downey Jr. is even in that mix? No, not for me, but I will say who's missing Iron Claw?
00:43:45
Speaker
Any one of those brothers. Are you sure that didn't come out that year or this year? That was last year though? No, it got no nominations. That got no nominations. Well, I could see Gene Wilder's grandson, even though he's not, but that fucker, he could get it. And Zac Efron, I mean, I thought it was really good. I mean, he carried the film. No nominations. Well, yeah, you know why, right?
00:44:09
Speaker
It's too wide. It's too wide, bro. It's too wide. Wash it down. There we go. I think that's the only thing I could think. I think the scene specifically that convinced me for Sterling K. Brown was the scene where it's the wedding day and he's at the beach house.
00:44:33
Speaker
with his two friends. And he's like, oh, I'm gonna leave, I'm gonna leave. And the couple that's getting married comes in and says, you're not leaving like you're family, like you're staying.
00:44:44
Speaker
And that was such a powerful scene because, you know, 30 minutes or 45 minutes before then he was like, well, why have you considered just firing her? You know, cause it was, it was a, a, a maid or whatever for the family. And so he, he, you could sort of see the realization in his head of, Oh, what did I do before? Like he, you could see like him remembering that in, in his eyes and realizing like what he did and how, what the reality of the situation is. And I thought he was very powerful in that scene.
00:45:14
Speaker
Yeah, absolutely. I mean, they're at the whole movie and his delivery was so on point. Did you see American fiction? Yeah, I did. I saw all of them. You saw every film. I saw every film. First year, I finally got through all 10. Everyone ever made. Yep. Every film ever made, I've seen it.
00:45:35
Speaker
Best actor. Wait, so hold on. We're not getting to best picture yet, then. No. Okay. We still have like five more to go. Jesus Christ. Best actor? Best actor. And this went to Killian. Ah, Killian Murphy. Yeah, I love him. I like Killian Murphy, but. Even if it's not for this film, I love Killian Murphy. I would have been fine. Giamatti was so good. Honestly, I don't know what the fuck. Who? Rush Giamatti. I don't know what Rustin is, but.
00:46:00
Speaker
I would've been fine with Bradley Cooper, Paul Giamatti. I was fine with all of these. I don't know what Rustin was. I didn't see that. Paul Giamatti, Killian Murphy, Jeffrey Wright. Jeffrey Wright was so fucking good. Jeffrey Wright was also fucking good. He's so fucking good. And Jeffrey Wright's good in every film though, right? Every film he's in, he's great. It's almost kind of unbelievable how good of an actor he is because when you're watching him, you're just like,
00:46:23
Speaker
Well, the interesting thing with Jesse Wright, you're never excited about it, but then he shows up and you're like, yes. I just want to keep seeing more, like he just has this cadence, the way he talks, the way he delivers, like he's funny and he's kind of sexy. And he's this next generation's Morgan Freeman.
00:46:41
Speaker
Right. Just that person everyone loves. Because, you know, Margaret, he's out, dude. He's going so proud. That's true. Unless you get some of that spice. Oh, shit. The spice. But Maestro was an interesting movie. Are we a best actor? Yeah. Ah, but Killian Murphy was good. No, no, he was. The best thing about Nolan's Oppenheimer.
00:47:05
Speaker
is a cast. Oh, yeah. That's by far the best thing about Oppenheimer is that cast is the most insane casting director gets an Oscar. Because that made this film into what it is being seen. And Killian Murphy's the best actor for it. He's a main reader. It's literally titled after his character.
00:47:27
Speaker
Right? Yeah. So is Maestro. But I just want to... It's called Maestro, not what's his name? Exactly. I don't know. Weinstein? Bernstein. Oh, fuck. But I will say I didn't watch it. It looked like Maestro. You had that profile. It was such an interesting film because it was like watching Bradley Cooper tries best and realizes his best ain't that good. But did it go along with the film?
00:47:58
Speaker
I, as best as the decade, wow. Because, I mean, he really, really gives everything he has. And the problem is, you kind of see it. Well, let me tell you this, my mentor, he was describing
00:48:19
Speaker
Uh, my stroke, cause he said, I love that film, but he was like, but they've kind of fucked up. And he was like, one of the main things they fucked up was that Bradley Cooper guy. He was like, cause you know why? I was like, yeah, I've seen it. I've seen it. Sure. He was like, they showed his, his blue eyes. And I guess famously Leonard Bernstein had brown eyes, but they had to keep Bradley Cooper's beautiful blue eyes in the film. And he was like, that's why I fucking
00:48:50
Speaker
There's something wrong about it. See? That's what I don't fucking like.
00:48:55
Speaker
But it was still pretty, it got me into it. No, I think that's his favorite film of the year though. You just gotta give yourself over to it a little bit and it really does start to suck you in. Oh, I have bad problem. Definitely. But yeah, Killian, he's great. It's Killian Murphy, dude. Who cares, like he's fantastic. He deserved an Oscar for 28 days later. But was his performance an Oscar worthy performance?
00:49:23
Speaker
Course it was everyone in movies love the loves a person who doesn't say anything just I'm so sick of someone playing a real person Winning the Oscar. Yeah, it's just I guess it's just like a
00:49:37
Speaker
like ideological thing. I think I'm putting my lack of the actor over the performance probably too. Oh, for me, absolutely. I love Kelly Murphy. Yeah, I love watching him on screen. I don't know what it is about him, but he's like one of those actors. Like even though he's got like small roles and stuff in the Batman movies, I still love him when he shows up. Yeah, when he calls it like, yes, he's not dead. Scarecrows alive. And yeah, I mean, and Paul Giamatti,
00:50:05
Speaker
I would have I would have loved if they would have gave it to him. I love Paul Giamatti like I like I still think of him as John Adams. Did you ever watch that? No, I never saw there was an HBO like mini series on John Adams and he played John Adams and he was fucking great in it. He was he he like
00:50:31
Speaker
I don't know, everything, every role that he plays, I'm just sold, I bought it. I'm just like, this is perfect. Even when he played that fucking blue prick in that kid's movie with the guy Malcolm in the middle. What the hell? Big fat liar? Big fat liar, yeah. Yeah, even he was good in that shit. Oh, I mean, one of my favorite roles of his is as the villain and shoot him up. Have you ever seen shoot him up? Yes. He's so good in that movie. That movie is one of the most annoying movies.
00:50:59
Speaker
movies I've ever seen in my life. It's a Bugs Bunny movie where everyone has guns, which is like...
00:51:07
Speaker
It is what it is. And if you like Clive Owen's another one, it's like Paul Giamatti and Clive Owen. It's like, it's like, geez, the perfect fusion, like two of my favorite actors. Like I love Clive Owen. I love Paul Giamatti. So it's like, and then Monica Belushi. And you have Monica Belushi on top of that. You're like, geez, could you have a better cast in a movie? I mean, it's like they made it for you.
00:51:32
Speaker
Yeah, it kind of is one of those movies. Yeah. It's very much like a Mandy or a Underwater. You've never seen Underwater, man. I've never seen Underwater. You should watch it. It's a really good one. When did it come out? 2020. 2020? Who directed it? January 2020. It's directed by... Anyone worth knowing or is it just like... It's just the film is the star of the show. William Eubank, I think his name is.
00:52:00
Speaker
He directed. But you mentioned Mandy in the same sentence as underwater. Is it like Mandy? I love Mandy. It's not as stylized as Mandy, but I love the style and look of underwater. Like it's very practical. Okay. And they wear like big mech suits underwater kind of thing. And it's awesome.
00:52:25
Speaker
I think it's incredible. It's probably one of my favorite movies of 2020. It's probably my favorite movie of 2020. I love it when movies use practical effects. It just makes me so happy when I see a modern day film with all practical effects. Although it does have TJ Miller in it, which is a huge downside. People are split on him. I'm neutral on TJ Miller. Apparently he's a fucking asshole. I'm very anti-DJ Miller. I don't know anything about his personal life.
00:52:53
Speaker
I know everything about him and fuck him. Yeah. No, I don't know. Uh, Tom hates him and that's probably accurate on who he is as a human being. Good judge of character, huh? Oh yeah. Me and Tom are too much alike in very odd ways. That's very true.
00:53:16
Speaker
I mean, we are twin shadows, so it's not just the name. Best original screenplay, huh? What was nominated? Anamio Fall, The Holdovers, Maestro, and May, December, and Past Lives. Is that anyone's car? I don't have a car. Okay, never mind.
00:53:37
Speaker
Well anatomy of the fall one, which I thought was pretty that's gonna be okay That other than the holdovers that has one of the best scripts probably ever really very very smart very inch It's a tar which one? anatomy of a fall oh No, I thought that you were talking about the zone of interest. No. Yeah anatomy of a fly heard is a Mystery. Yep
00:54:07
Speaker
And you saw this. Yes. Was it up for best picture? Yes. Okay. Yeah. Okay. It was fantastic. Yeah. I heard it was, I heard it was pretty good. Deserved win. Yeah, absolutely. Better than holdovers. The story, the way it's told and
00:54:27
Speaker
Kind of like the twist and turns of like a court drama. It's a court drama. It's like a- Can you give me like the synopsis of it? Yeah. Because I heard someone falls. A man, so anatomy will fall. It's a man, a husband, a father, falls out of a window and dies. Okay.
00:54:46
Speaker
This blind son finds him and there's an investigation into whether it was an accident or a murder. And through their interrogations and talks, they indict the mother for murder. And it's her on trial for the murder of her husband. The wife? The wife. Well, yeah, duh. And in like the French court, they do like a huge,
00:55:14
Speaker
forum where they like dive into your personality and it goes into their relationship and like how she had affairs with young women. This is a fiction? Yeah, all fiction. Okay. And then it, and that's what the movie is about. And then, you know, the son starts to testify, but he, you know, like what he saw, but also on to his father's character because the defense presents a different option. So that, you know, cause you know, it's like,
00:55:42
Speaker
Instead of like trying to say we didn't murder him like he did this instead Like he committed suicide instead of murdering himself and that's what their whole case is It's a proof that he wanted to kill himself. So he jumped not that she pushed him Yeah and then it's left up to the evidence the stories and the characters and and them telling you they're about their lives and their experience and What to believe and that's fun. Yeah
00:56:11
Speaker
It's like being on jury duty. You ever been on jury duty? Wow. Yeah, I have. And that fucking sucked. Then don't watch Anatomy of the Fall. Yeah, if you want to serve jury duty, watch Anatomy of the Fall. Or if you like watching like True Crime. Best picture. I liked it a lot. But it wasn't your favorite. No. And you never mentioned it until now.
00:56:35
Speaker
No, yeah, we have talked about saving it for the podcast. We've been mentioning Best Picture like a million times. You could have brought it up if you liked it. It's in the middle. Exactly. It's the middle. It's my tar. Tar is good. This is good. It wasn't one of the two to skip. I could see how Tar could get Best Picture good.
00:56:54
Speaker
You got this doesn't sound like stop judging these movies until you watch them. I'll judge them all I want I know better I tar he had a 15-minute diatribe own fucking zone of interest And at the end he's like, but I didn't see it. I guarantee you watch the first 45 minutes you
00:57:10
Speaker
You will not feel any different about that film at the end of it. Yes, you will. Yes, you will. Yes, you will. Okay. Scratch that one part that you said is really weird and stick with the majority of that film, huh? Yeah. It's a wrong statement. No, it's a great movie. No, what I said though. I don't know what you said. Okay. Sorry, I don't understand. Did Oppenheimer win Best Adapted Screenplay?
00:57:34
Speaker
Yeah. No, American fiction one. Really? Yes. You sure? Oh, yes. Yes, it did. American fiction one. Okay.
00:57:41
Speaker
Absolutely deserve it. Always right with the world. American fiction is probably one of the best screenplays I've seen in a really long time. If there were any faults with the movie at all, it would be that it is kind of, it feels almost too realistic in how tonally it shifts around, which kind of gives you like an almost- Wow, that's a black thing. An almost- A bad thing when it's a black thing, huh? It almost is like an emotional bit-blash at times.
00:58:05
Speaker
What do you mean? It just goes from like you being really sad like the characters like really bad things are happening and then it cuts to like I'm getting paid like oh but I'm really shitty about I feel really about being paid it feels so real that juxtaposition is well it feels isn't that a good thing though
00:58:23
Speaker
It is, but it also... Because it makes you understand why that would happen, right? Like, I'm getting paid for some bullshit. But then it's like, why am I writing bullshit? I want to quit. And then it's like... Because you're getting paid! It's like, hell yeah! And then my mom has Alzheimer's.
00:58:36
Speaker
I think the shitty things that happen are pushing him towards the path of getting paid. If these shitty things weren't happening in his life where he needed the money, he wouldn't have pursued getting the book published. But it's also like a criticism on capitalism in the sense where it's like,
00:58:55
Speaker
We always sell our souls out. We always sell out for the big bucks, right? Yeah, look what we're doing. Our podcast, look what I have, brother. More than anything, he, you know, it's like more than the racial connotations writing that book. It's like almost like a thing for him where it's like, I don't want to write a shitty book. Right. That's like the core of the story. It's like he just is like, why would people write like shit?
00:59:24
Speaker
Like I wrote garbage and it literally wins the best literary award or whatever. And it's like. And we see that really early on when he's at the bookstore and he sees his books under, what is it, African American literature? Yeah. And his books, the subject matter of his books have nothing to do with African American literature. Yeah, it's like ancient Greece or something, right? He writes about like Greek mythos and stuff.
00:59:51
Speaker
But because it was written by a black guy, they put it in that section. Yeah. Yeah. And so the screenplay is very smart about it. There's some pretty funny scenes. I won't spoil if you plan on watching it. I do. I do want to watch it some year. Yeah, because I love the boardroom like at the end.
01:00:12
Speaker
when they're like, we should really listen to black people. We should listen to black people. All right, I'm going to be honest, I like this movie so much that I took some notes on it about like talking. Let's go. Go ahead. And one of the things I have is about that scene. So I noticed that like a big thing in that scene was like they were saying
01:00:34
Speaker
this book is so good, we need to amplify black voices, we need to expose these black voices, that's our role. But during that scene, the two black voices in the room that were saying, no, this book is no good, we're being completely ignored. And it's sort of this theme that the movie has of like- It's the perfect encapsulation of the film. Right, these white people- Of the film itself. Yeah, it's like white people with this white savior mentality who think
01:01:02
Speaker
that they need to help these people out because they feel so guilty. And when they see all of these negative stereotypes being reinforced in this literature, they feel less guilty about what they've done because they're like, well, this is the real experience. And they think that the black experience is just this monolithic one thing and anything else outside of this is not genuine.
01:01:30
Speaker
Yeah, well, it's because it's also representative of what their worldview. Exactly. Because they believe the stereotypes. Right. Even though he's like, yeah. And and then but there's a great backlash to that in the story where she was like, I, the author, the female author, where she's like, you know, I wrote all my stories off my books off true stories, like that I people had told me.
01:01:56
Speaker
And he's just like, you know, cause they're very stereotypically, you know, and it's like, they have like the ghetto or like that has like that, that kind of talk. What is it? It's called like Gee's money or something. Gee's money? Gee's money? Yeah. Her book is called Wheeze Lives in the Ghetto. Yeah. Wheeze lives in the ghetto. Yeah. Yeah. And, but it's so, the movie is, is very good and it's, it's, it's very layered.
01:02:23
Speaker
But like I said, it bounces between like this two different, the movie's kind of juggling two different movies. It's like this film about a man whose mom is sick and he's trying to keep his family together and he's never really lived a life.
01:02:41
Speaker
And he's really upset about his writing. And then it's also this story about this guy that writes a super famous and popular book and all the whirlwind fame and success that comes with all of that. Which I was like, is it like, and they kind of feel like separate entities in a sense. Because he never talks about it with anyone.
01:03:01
Speaker
Right. Yeah, it's a very like isolating thing. Except for his book manager or publishers or whatever, his manager, which is like that guy was great in the movie too. And that's another reason why I felt that the movie was so wonderfully written is because without the main story of what he's going through in his personal life,
01:03:24
Speaker
You're mainly, and if it was just focusing on the absurdity of everything going on in the other plot, you would mainly only see those negative black stereotypes that the movie is talking about and not see his life with his well-educated upper-class family, which is another part of a black experience that people do have in the world.
01:03:49
Speaker
And if we weren't seeing that side, and we were only seeing that stereotypical, this is the life of the downtrodden black man, the movie would sort of be falling into its own trap that it's trying to expose. Yeah, well, yeah, because I think the book side story exposes
01:04:11
Speaker
the real life because it's because all these white people have so much guilt. Yeah. But also the book, uh, cause like, even like, like at points, like his brother start, it kind of sounds like his writing when he's doing the dialogue scenes where, and it's like, Oh, like,
01:04:31
Speaker
He did take it from real life too. And maybe that's why he is mad at himself as well for them liking it. Cause like what he's saying is kind of ringing more true than what he maybe is allowing himself to give the book any credit. Well, there is sort of a disparity in that because what Monk, the main character, Jeffrey Wright's character says to be true, we see very early on is not the actual case because he's talking on the phone early on to his agent
01:05:01
Speaker
about all these things. And he says something like, well, I don't believe in race. You know, it's all about what you do. And at that same moment, what was happening in real life is he was hailing a cab and the cab completely passed him and picked up a white guy. Yeah. Every time that something like that happens, the movie has the answer for it, which is pretty which is pretty great.
01:05:24
Speaker
And I think it's- The end kind of sucked though. It was able to, yeah, the end was, but it was able to like- A lot of the ends kind of sucked this year, huh? It was able to explore this like really sensitive subject and talk about something very serious and have a point about it, but not sort of shove that point down your throat and say, this is what I'm talking about. It did it in the context of the story that made you appreciate what they were trying to say even more. Except for someone of interest.
01:05:51
Speaker
But that was great. Best movie ever. No, that wasn't. OK, and that's why American Fiction won Best Adapted Screenplay. Now, Best Director.
Nolan's Oscar Victory: Deserved or Not?
01:06:03
Speaker
Nolan finally got his Oscar. Who was nominated for this? Anatomy of Fall, Killers of the Far Moon, Martin Scorsese, Oppenheimer, Poor Things, Jorgos Lanemos, Dandemos.
01:06:16
Speaker
The zone of interest, Jonathan Glaser. And this is what Nolan won. I think Jorgos should've won. Yeah, you do. Yeah. What about you, buddy? Anybody but Oppenheimer. No, come on, really. Who do you think should've won? Christopher Nolan. Okay. If Oppenheimer is anything, it's because of that man.
01:06:42
Speaker
Yeah, that's a good point. His name is why that cast got to be assembled. His name is why he got to shoot on the most beautiful IMAX film. His name is why Warner Brothers let him do whatever the hell he wanted, why he really got to blow shit up and do practical and build a city. So does that outweigh why he doesn't deserve it?
01:07:07
Speaker
It's, I think best director work kind of go to like the guy because he- Who got it done? He got it done. Is this a business award? He made it a big movie. Exactly. Is that why we're giving best director or are we giving it based on, or are they giving it based on the job that they do?
01:07:26
Speaker
with the actual film. The thing is, there's not really a bad choice here. There really isn't. That's true.
01:07:38
Speaker
There's like, this is actually probably the hardest category because I could see it going to any one of these guys, except for Marty. No, Marty, just stay down. Don't get up. Why don't you try, Marty? He's like the, uh, uh, what's that guy's name? Billy. Uh,
01:08:01
Speaker
The old guy, he always runs for president. Billy the president? No wonder he doesn't win. Billy the president? You know, the old guy. What old guy? I don't think he's Billy. Bernie? Why didn't you say he's like the Bernie of the Academy?
01:08:26
Speaker
He always goes up there, no one votes for him, but he always runs. Oh, I voted for Marty and Bernie. Yep. But yeah, you know, Your Ghost was, Poor Things is a fucking great movie.
01:08:41
Speaker
Power of Things is good. Zone of Interest is really good. Namu Fall was really good. But I respect, as much as I shit on Nolan, it's because I respect him so much, I guess. It sounds like it. You expected better. I respect Nolan so much, I hate that fucker.
01:09:03
Speaker
Fucking sucks. I know. I hold them on a pedestal. That's fair. I hold them on a pedestal. Well, no, you just hold them on the pedestal of Masters, right? When you said Kubrick, Tarkovsky. Oh, we had never seen a Tarkovsky film. Godard, Fellini, Mancini, Bergen. Shyamalan. Shyamalan. Shyamalan. Shyamalan, ding dong.
01:09:29
Speaker
Kurosawa like truly is like, dude, that's an elite, that's an elite list, man. I would say you deserve to be on that list. Billy Wilder, Billy Wilder. Like, what is it, John Altman, right? I'm not a huge territory to know. Robert Altman. John Altman.
01:09:47
Speaker
I'm not a huge Tarantino fan, but I put Tarantino on that list before.
01:10:06
Speaker
Territino, honestly, look at this, look at this, he's right there. I've not seen him, Mr. Territino, what's going on? No, dude, he's the guy that checks, he's the St. Gabriel or whatever. He's like, I see him like a movie's kid, like, pretty good, go ahead and get in the party. Go hang out with Copa, like, yeah. And he's just doing like, you know, he's just sitting at the gates of movie heaven. Like, he sells the tickets to Mount Rushmore, you know.
01:10:35
Speaker
That's a good analogy. He sells the tickets to Mount Rushmore. You watch Tarantino and then you're like, oh, I want to go see Hitchcock. I want to go see... But don't you feel like Tarantino films are an event? Oh, yeah. I love Tarantino. Are Nolan films an event?
Oscar Ceremony Critiques and Industry Trends
01:10:53
Speaker
He wants them to be. I think that a lot of the Oppenheimer buzz.
01:10:59
Speaker
owes a lot to Barbie. Oh yeah. And the co-marketing that went on, even though maybe it wasn't like from the studio. It really was because you probably got the Barbie crowd watching Oppenheimer because of the meme of it. And a lot of Barbie people were probably like, Oppenheimer is a great movie. And then they're like, Barbie is the best movie. And you're like, oh yeah. And there's a big overlap of people who want to see both. But people saw Oppenheimer
01:11:30
Speaker
a lot of the buzz was it's coming out at the same time as this other movie. And they both benefited, I'm sure. Yeah, but Oppenheimer sucked. All right, so and it was the best picture winner. Anything at the Oscars, like at this award ceremony, did anything stand out to you guys for best picture? No, for like just the watching it, the show. Apparently John Cena was naked.
01:11:59
Speaker
Yeah. You don't remember that? Or did you miss that? Uh, I missed it. The weird like enshrinement of like joining the secret society, like they would bring the five past winners out and they would all like do a monologue on each, each nominee. And then they would bring in like, I was like, this is not like, just, just name them and then have them come up.
01:12:25
Speaker
Yeah, I mean, it's like we all know the Oscars is a show about like the glitz and glamour and excess. But then you're like, let's make that even more about like the famous rich people just patting the other famous rich people on the back. Right. It was kind of like, yeah, if.
01:12:46
Speaker
But I mean, it's the Oscars, right? Like that's kind of what the whole thing is. It's like, you know, it's like a bunch of like snooty, famous people loving each other. Except for the guy that directed for a zone of interest. He was there on a mission. I can't believe American fiction lost. There was a lot of good ones this year. I would recommend. I would accept the holdovers.
01:13:12
Speaker
Holdovers, I would have accepted killers of the far moon. I think it was that powerful. I would have accepted American fiction. I would have done past things, poor things. Past things, past lives. Past things and poor lives. Poor things or zone of interest. I would have accepted any of those. Look at A24, two movies on the list. Well, let me ask you guys something.
01:13:38
Speaker
Jared, you watched the past few Oscars that have happened and all. I don't usually watch the show itself. Okay. All right. Well then Tom, do you think they were pretty,
01:13:52
Speaker
reasonable and who they selected and won. I would say this year was a very boring year. Because, I mean, there's some years where it's like, yeah, you know what, I think they did good on who they selected. Yeah, I'll give them that, like, parasite. Yeah. You missed it editing, but you got it right. Yeah, I would say this year was a very boring year because it was really only two films. But did they get it right, though? No, of course not. Oppenheimer got stuff.
01:14:20
Speaker
Oppenheimer got most of the stuff. You don't think Oppenheimer should've got anything? I think it would've been more- Honestly, really? I think it would've been more interesting if other stuff won that was actually good. Okay, more interesting, but do you think Oppenheimer didn't deserve it if they got it? Sure, why not? I mean, I don't think so, no.
01:14:39
Speaker
So they didn't deserve it. I don't think they deserve editing. I don't think they deserve editing or supporting actor. No, not editing. God, I thought the editing was awful. I was like, what the fuck? How can you get nominated? I mean, I was fine with it winning cinematography, but like I said, the cinematographer's kind of boring. They gave it to it because it was 70 millimeter and it was big and pretty, but out of focus half the time. Garbage is a shit movie.
01:15:01
Speaker
I don't think Oppenheimer is a piece of art, like poor things or American fiction is a piece of art, if you know what I'm saying. Wow. It's like commercial art. So then what was Oppenheimer just? Oppenheimer. Oppenheimer is commercial art. It's an elevator music. What is that, Big Mac? Yes. Oppenheimer was a good Big Mac. Full of MSG.
01:15:25
Speaker
Papa Amy was made in a mold and American fiction, poor things, pass lives. These movies are, they broke the mold. No, they're bespoke. They're bespoke films. They're, there's not like what's bespoke bespoke. It was made specifically for this thing.
01:15:46
Speaker
Really? That's what bespoke means? Fuck. Okay. It was just one off. It's a one off. Well, that's how I feel the Holdovers is. Like it's made very specifically for what it was. And I think that the Holdovers is more of a piece of art than Oppenheimer is. It's a personal bias against pop picks, I think. But Oppenheimer was like that too, no?
01:16:05
Speaker
Like it was made specifically for what? It's a story that's already been told. It's a story that we all know. It's that classic biography story. It's something that already exists that they just put on a film.
01:16:20
Speaker
I mean, I think it sucked, so. I don't think it sucked. I actually liked it. It's a classic biopic then, right? I think it was. Yeah, it's it's good. I think. Well, OK, that's fine, right? There's films that want to be a classic biopic. So then how do they solve that? Do they then like? No, it's fine. I just don't. I just don't think to me personally, I don't think those movies are worthy of winning the highest honor of a film when there's films like like poor things, but never but never because it's a biopic like.
01:16:50
Speaker
If it's biopic, it's a biopic, but you still do the film. Right. Right. Oh yeah. I have no problem with it existing. So if it's still like the best film, I don't think it's the best film. No, but what I'm saying, I mean, if it's the best film, give it the award. Oh yes. Yes. So then like for Oppenheimer, how could they have fixed it to like earn, earn what they got? I guess is what I'm trying to get.
01:17:14
Speaker
I don't think this year, I think that the strength of the original films this year was...
01:17:23
Speaker
better than a biopic can can do. But within what Oppenheimer did do, what could he have fixed to? Oh, I don't know. I don't know. That's well, that's what we like to speculate on. So we can kind of understand and figure out the format better. You know, like as filmmakers, like, OK, if you're not if you don't do that approach, what do you do then? Like, how do you solve that riddle? I guess Oppenheimer melodramatics.
01:17:51
Speaker
Uh, it was too much spectacle, right? I mean, from what I saw, it felt like a lot of spectacle. And then it felt a little artsy fartsy in areas that shouldn't have been artsy fartsy. Like when he's in that crowd of people and they're like, yeah, we, the new blew up. Yeah. And then he saw some weird images. What? Yeah.
01:18:15
Speaker
I don't know, buddy, that sucked. No, but like... Okay, yeah, yeah, I know. You know, come on, tell me, like, where could it have been better? Like, come on, man, I'm making a movie called Dickhead.
Unique Storytelling in Cinema
01:18:23
Speaker
I need as much help as I can get. I mean, man, the editing, fix the editing. No, no, don't tell me the editing, please. I'm all being... Jesus. Tell me it could use some VFX, maybe some... No, fix the editing. Rewrite all the characters.
01:18:39
Speaker
It's a hard question to answer, though, because I really like Toppin'. I'm saying all these things, but I liked the film. No, yeah, exactly, like with the Holdovers. Yeah. The Holdovers is the best film I saw of the year. I'm just listing these criticisms, because just to list criticisms, I don't think it's a pitch perfect film. I will not say Holdovers is a 10 out of 10 perfect film ever created. No, I wouldn't either. It's not. No. No. It's an 8 out of 10.
01:19:07
Speaker
But you know, like, okay, Tom and I made a film called Dickhead. We thought it was the greatest film ever, but then we realized like, we made a film called Dickhead. So, uh, you know, second greatest movie ever. If there's any like, Hey man, you see that little path right there, that crack in the brick, maybe follow that, make your film a little better. I don't know.
01:19:30
Speaker
The crack in the brick. The crack in the brick, come on, that'll save Dickhead. But specifically like Oppenheimer, what could Nolan have done to make a biopic of that scale, of that subject matter, like what could he have done though? What would you have liked to have seen? I think that it was done as good as you can do it.
01:19:57
Speaker
But at the end of the day, that story is not what I go to the movies for.
01:20:05
Speaker
What do you go to the movies for then? Because I want to see things that I've never seen before. I want to see unique things. Like that's why I appreciate things like poor things because it's a director taking chances. It's a director that still like his films are seeped with symbolism and themes that the most viewers don't see but are still there and can still appreciate it on a subconscious level. Even if like when I saw poor things I didn't
01:20:34
Speaker
understand everything that was happening until I read some things afterwards, but When I was watching and I still appreciated it as something unique and like it's like it's Frankenstein But it's like done in a way that it's like when when you were watching it, did you feel like oh, this is something special I felt like it was something that could only be done by
01:20:59
Speaker
Jorgos. Jorgos. It felt very him. Just like when you see a Wes Anderson movie, it's like, yeah, that's a Wes Anderson movie. Yeah, but Wes Anderson movie. When you see a Jorgos movie, it's like, yeah, that's a Jorgos movie. Yeah. And I just appreciate that when a director has a specific eye for something and it has a style. Like as a writer, the voice? A voice, yes, exactly. When a director has a voice. That's why I like Wes Anderson. Like I don't really
01:21:27
Speaker
Um, cause when you see a Wes Anderson film, you know, like, what the fuck is this? I don't know. I don't know what it's called. I don't know who did it, but I know Wes Anderson is involved. He's the easiest example. Cause there's no doubt when you're watching a second, easiest would be like Tarantino Hitchcock. I think it's like, if you, so why did you're like, did his, like Rott Sterling.
01:21:56
Speaker
There's a few, yeah. But yes, you were saying- He's an auteur. Yorgos, you felt that he was doing poor things.
01:22:11
Speaker
No, he did do poor things, it's a fact. He did do poor things, yes, in fact. But I was like, what was? He is poor things. He is, no, he's rich things. I just think it's more interesting, like a movie like Poor Things is more interesting to me and is a more satisfying cinematic experience than Oppenheimer. Because it's completely what?
01:22:32
Speaker
Oppenheimer is white bread, peanut butter, and jelly. If Oppenheimer's a biography and it's like a story told, well, so is Frankenstein. It's not the story told. There's no originality thrown into it. Well, it's everything that goes into the story.
01:22:51
Speaker
Oppenheimer, everything is face value. What you see is what you get. But when you watch poor things, it's, it's, it's a Frankenstein movie, but there's also many other elements in there. You know, her development from a childlike creature that's barely able to walk into something that is, uh, you know, she's trying to be a doctor. All of her stages of development symbolize symbolize my way to the doctor. Look at these hands. They're steady. I could be a surgeon.
01:23:21
Speaker
Exactly. Is that how that movie goes? He described the whole movie.
01:23:27
Speaker
Each stage of her development can be seen as a stage of human development. She's learning about philosophy, and then she learns about, she's got all these ideas in her head, and then she goes to Alexandria, and she sees the real pain and travesty of human life. And then every sort of phase of her life can sort of be
01:23:53
Speaker
projected onto human evolution. It's sort of the way that we have come through the world. And it's sort of a way that the storyteller is able to tell something beyond the direct story he's telling, but is able to show other themes and other things. Meanwhile in Oppenheimer, it's a guy who's trying to make a bomb.
01:24:15
Speaker
You always know what Oppenheimer's gonna be. Right. And it never surprises you throughout. You're not gonna find any allusions to any other fucking, what is his name? Godwin something? Oh, Godwin. Mary Shelley's dad was named William Godwin. And it's little things like that, like all these references to things. And I saw something earlier that was like, Jorgos was using
01:24:46
Speaker
paintings from this artist named Hieronymus Bosch, who created all these crazy images of like heaven and hell colliding. And my buddy Charlie likes Bosch. He's always like, look at this image. He's like, what the fuck am I looking at? Fuckin' psycho? Exactly. That's Hieronymus Bosch, and he used those- He did hell. Yeah, that's the famous one, right? Yeah. Like the real famous one.
01:25:05
Speaker
And he used those images for like the final scene of her in the garden with everyone else as she's studying. With every subsequent watch, you can learn more things about the film. Oppenheimer, you'll learn someone's name a little bit better, but it's always gonna be the same. You've seen him once, you understand it. Yeah.
01:25:26
Speaker
Yeah, you never want to see it again. Well, you know, that's how I feel because I came in an hour late and it's like, how am I going to judge this film? Because I haven't even watched it. Yeah. And I was like, you know, I really don't want to watch this film because I know where it's going to go. And I don't think it's going to add a whole lot to my understanding here, you know? Yeah, right.
01:25:47
Speaker
What award are we on, Jared? We're done. Best picture. Best picture, you fucker. We talked about it already. Oppenheimer won. Well, why did you look like he had such an opinion on it? Pacino's eyes saw Oppenheimer. Okay, Pacino.
01:25:59
Speaker
Well, we concluded the Oscars. Just like Pacino, you know, no, no fanfare. My eyes are out. I opened the envelope now. I think it reads Oppenheimer. How are we doing? I'd like to leave now. Did you guys hear that part? I'm pretty sure he said I'd like to leave now once everyone got to the stage. Oh yeah. Al Pacino. I heard he was always late on set with Nassil.
01:26:30
Speaker
They would always put him three hours early on his call sheet. So he'd get through on time. What a piece of shit. When you're so late that they have to do a three hour buffer? It was called Pacino time, I think,
The Future of Cinema
01:26:42
Speaker
or something like that. What a piece of shit. Freakin' talked about in his book. The disrespect. Well, let me ask you this, guys, and then we can close it out.
01:26:55
Speaker
So with the Oscars and seeing possibly the four trajectory of where we're going with in cinema, cause you know, it's always ebbs and flows, it's ups and downs. Do you feel more confident going forward or is it less confidence? It's like, you know, seeing a movie like Oppenheimer, yeah, it's like, okay, in the middle of the road, but also seeing a movie like Oppenheimer versus Green Book,
01:27:23
Speaker
Yeah. It's like, okay, thank you. You know, I'll take it. I will say, so a lot of the best pictures this year were pretty good. And there you go. Like, so do you guys, are you guys feeling better about maybe what the new year's going to bring in the future years? I mean, positive note. I hope so. I want to be positive. I mean, I was surprised by how many of the films I liked this year.
01:27:51
Speaker
I thought it was gonna be a really bad year. I was looking forward to not watching almost half of these. Do you know what the worst year was for you? Damn, I don't know. Yeah, I don't know. Probably like 20, whatever the non-parasite year was. 2020, the Nomadland year.
01:28:14
Speaker
Yeah, that's fair. I think that year kind of sucked. But that was 2020. But I think Jared, any closing thoughts or did you have what was your question, Steven?
01:28:26
Speaker
Like if I think it's going to a good trajectory. Oh yeah. Are you feeling hopeful about the films? Yeah, absolutely. I mean, like Nolan, you know, I definitely appreciate him. I don't know if it's the best film of the year. I don't think it is in many aspects of what the awards want to recognize. I think a lot of other films won that, but.
01:28:45
Speaker
You know, it feels like Oppenheimer's a safe choice, so why not? And if a movie like that's going to get recognized, then I'm all for it because, you know, it's shot on film. It's putting a lot of focus not on just a complete spectacle. It's trying to do something. And.
01:29:04
Speaker
Yeah, you know, like that means like Dune 3 is going to maybe roll forward and all these more artsy fartsy films that they're going to invest in more. And if that's the case, and yeah, sure, you know, we're going to have a lot of failures, but the few successes are going to be magical. Like, you know, um, alien getting the budget it did, it's Star Wars getting the budget it did, or Blade Runner getting the budget it did, you know, we're all the much better for it within this medium of art.
01:29:34
Speaker
Um, all of it sucked. Okay. Let's not get ahead of ourselves. Jesus Christ. It all fucking sucked. But God damn, at least, you know, something was assaulted a little bit more and you like a little salt with your beer. So it was edible. There you go. Cut. Do better Hollywood. All right. Art is dead. Art is dead. Art is dead.