0:01

Three, two, one. Oh,

0:08

that's a wet little girl. That's

0:11

a quote from

0:14

Scoot. Rest in peace. Not

0:16

a joke. I don't know. It's

0:20

difficult to get the information to everybody

0:23

because there's still people like kind of

0:25

figuring it like just. Yeah. Not

0:27

everybody. Not everybody. It's

0:30

impossible to try and get everybody on the

0:32

same page about a thing that's happened. So

0:34

that's annoying. But anyway,

0:36

sorry. I'm

0:38

Adam from Your Movie Sucks. This

0:40

is Sardonic Cast. And

0:43

I'm Alex from HE. And I suppose

0:45

this is coming out you're a little bit delayed

0:47

compared to normal because you've had to wade through

0:49

something you weren't expecting to. Yeah.

0:52

Yeah, here we are. It's

0:55

got passed away, unfortunately. So sorry

0:58

if all of my adjacent content is going to

1:00

be like a little heavy for the next month.

1:04

I don't know. We'll see how things go. I'm

1:06

still figuring things out. Yeah.

1:09

Of course. Yeah. Sometimes

1:11

life just comes at you in a way you cannot anticipate. I was

1:14

very surprised when you sent that message and told me and yeah,

1:17

we're just hanging out in April. Like

1:20

it's quite surreal. It's quite strange. Yeah.

1:24

Yeah. I mean, like I'm glad you got to

1:28

meet him a couple of times. Yeah.

1:30

What the fuck? Yeah, same. And

1:33

I've been quite impressed by the

1:36

like groundswell reaction, like online to

1:39

the fan art and the stories and whatnot.

1:41

It's quite emotional. Like

1:44

the reach them on a lot more positive than

1:46

I possibly could have

1:48

anticipated. Yeah.

1:52

Yeah. Everwhelmingly positive. Well, you're kind of getting at

1:54

it in the intro of like, obviously

1:56

there's a lot going around in your mind of

1:58

like, how do we, how do we talk about

2:00

it? about this, how do we address this? So

2:02

obviously that's a fear. So that is nice. Yeah.

2:06

That's being respected. Yeah,

2:09

he made a huge impact. Hilarious

2:14

going. Yeah. Like I'm not like

2:16

a huge wrestling person, but like

2:20

people love them. And we

2:23

all love them and it's sex,

2:27

shit sucks. But

2:31

yeah, was not anticipating it.

2:34

It wasn't on my list. No,

2:37

but yeah, it's just one of those things. So you can't,

2:40

you guys know one of those things you can like be ready

2:42

for, is it? Like it's never a

2:44

good time. There's never, it's

2:46

always just going to kind of trip you up.

2:49

Which is weird because I'm like, I feel like

2:51

I'm the type of person to like prepare myself

2:53

for every potential possible scenario

2:55

and tragedy. I

2:58

feel like in my mind that I've like

3:02

gone through at least

3:04

like somewhat likely or inevitable scenarios

3:08

of potential things like that. But like some

3:10

variables are like, just seem so random. You

3:13

can't let into everything. Yeah. Yeah.

3:16

Yeah. It's anyway.

3:19

So if anybody is kind of left in the

3:21

dark about this, I just did a stream yesterday.

3:23

We kind

3:25

of went into more details about like what we know

3:27

about what happened. Yeah. We don't

3:29

know everything, but we

3:33

gave some information. So that should be

3:35

on the highlights channel by the time

3:37

this episode's up. If you

3:41

need more information and

3:46

yeah, well,

3:48

he would want us to make

3:52

jokes, I guess. Yeah,

3:55

let's do it. Let's make fun of some French people.

4:00

You know what's crazy? So, all

4:03

right, well I guess we'll start

4:05

the movie discussion, because it's about the movie

4:07

discussion. Okay, let's go. Nice

4:10

trilogy episode, let's do this. Trois

4:14

color. That

4:19

sounded definitely not like

4:21

a French person. Three

4:23

colors trilogy is from

4:26

a Polish guy, named

4:31

Christophe Kislowski, and

4:37

I still haven't looked up how to pronounce it. I'm just so

4:39

glad you had to say it. Yeah, I'm just glad you had

4:41

to say it as well. And

4:44

I think he was petitioned

4:46

by like the French government to

4:50

make some movies

4:53

about colors in the French flag, kind of,

4:55

so. Oh,

4:57

he didn't know this detail. Sorry,

4:59

he was- Well, that's what multiple

5:01

people have told me, and I have not fact

5:04

checked it. So maybe I should. Let's

5:08

look it up. Because I was also kind of

5:10

confused by that frame. I didn't know much

5:12

about these movies. I know they existed, I've had them on DVD

5:15

actually, for a while. But

5:17

I figured it was more about like three

5:20

stories to do with like the French

5:22

Revolution or something historical, or like a

5:24

big epic in that way. That's

5:26

more what I was kind of anticipating. So I was

5:28

quite pleasantly surprised by what it

5:30

did turn out to be. So I don't

5:33

know if the French government necessarily, oh wait,

5:35

why did people say that? Where

5:37

did you hear it? From multiple

5:40

people. Three

5:43

colors in blue. But I don't remember who. So

5:46

I guess it's said, what I'm

5:48

reading is French investors, so not

5:50

necessarily the government, which

5:52

makes a bit more sense because I'm like, okay,

5:55

usually if a government's gonna finance a

5:57

film, like you think that they would be a bit

5:59

more. making

12:00

it visual, it all feeds into itself. And

12:02

if we're just talking about blue right now,

12:05

obviously the look of the

12:07

movie is extremely blue. There's blue items everywhere. It's

12:10

very intentional and it's

12:13

kind of, I was

12:15

already appreciating all three of them on that level

12:17

and that was entertaining in and of itself for

12:20

me, just that level of dedication to

12:23

following through on that idea and like what,

12:26

how that enhances the story they're telling though as

12:28

well. Like it's not just a gimmick, it doesn't

12:30

feel like a gimmick. It's actually enhancing an emotion

12:34

like with blue. Blue

12:36

does evoke what like sadness, grief,

12:40

loneliness, coldness, but

12:42

also things kind of like calmness, you

12:44

think like an ocean, a

12:46

sky or whatnot. And every scene

12:48

in the movie like falls into one of these things. It all

12:51

feels very like where it's just actually, like, actually

12:53

kind of like the

12:56

lot of people well- enjoyed but

12:58

not all the time. And I think

13:00

what they did with the sound

13:04

Internetcast is they took the syringe

13:06

Smaurgoouto and went into it and then started radios

13:09

that show up. And, you know,

13:12

it was a splash of fresh freshUF, but you know,

13:14

th tinned up a

13:16

little too mysize woman. And yeah. Adam and Pels

13:18

thing. So if you want to watch in

13:21

memory of Scoot, if you want to, that might be a

13:23

bit more enjoyable. Yeah. Hair it apart. It

13:25

kind of, it's funny because it kind

13:28

of tries to do that same thing.

13:30

There's just like random blue things throughout

13:32

the movie, but it

13:34

just, it feels so much less purposeful. It's like,

13:36

it's just a why. Oh, but it like doesn't,

13:38

it doesn't link to anything. Like it's, it feels

13:41

like a distracting gimmick that

13:44

doesn't, that doesn't fit the pieces

13:46

of what the story is trying

13:48

to tell or what the film thinks it is.

13:51

No. And it's like, it's just like one

13:53

of the worst trashiest movies, but thinks it's

13:55

an art house piece, I guess. The

13:58

best kind. It's fascinating.

14:01

So I'm glad to have seen this to

14:03

have a much better film

14:05

that does the blue

14:08

motif. For example, of doing it right. Yeah.

14:12

In a way that's certainly not subtle. It's

14:16

certainly not subtle, but it

14:18

still feels appropriate.

14:21

I'm not sure if I'd call any of these subtle. The

14:25

visuals especially. Even though they

14:27

do have kind of like a real grounded

14:30

drama and dialogue and emotion and it is

14:32

kind of understated and there's like a

14:34

lot of self-explanatory

14:36

imagery instead of like lots and lots of

14:38

dialogue. There's plenty of dialogue and a lot

14:41

of it is great. They also like will

14:43

slow things down, allow the visuals to speak

14:45

for themselves. And

14:48

blue as far as the expressive imagery

14:50

is again, I think the

14:52

strongest with the stuff that conjures in my mind

14:54

with. Yeah,

14:56

just this type of imagery that really matches these

14:58

themes of grief, be it her

15:01

floating in the pool with her hands on her head and

15:04

visiting her mother without simas and she's watching

15:07

bungee jumping on the television. Like

15:10

complimentary visuals with like what's going on and

15:12

what's being talked about and these extreme close-ups

15:15

in eyes and reflections and all these

15:18

interesting things to kind

15:20

of pick apart and unpack. This

15:23

one and red mostly I felt like

15:26

I need to see this again. Like I've missed

15:28

some stuff here. There's definitely detail, even just the

15:30

kind of interesting way they're

15:33

connected. We

15:35

say this is a trilogy, but it's quite different

15:37

to all the other trilogies we have spoken about

15:39

before, but they're all stylistically

15:42

fairly different. They're all, all the characters

15:45

are very different. The genres are different.

15:47

Like totally. The middle ones are comedy,

15:49

tonally, completely different. The

15:51

like styles of characters they're playing with, but

15:54

then also kind of loosely connecting them

15:56

like these weird little MCU cameos. like,

16:00

oh, I remember that one from the

16:02

other movie. Yeah, it's like a Tarantino

16:05

verse. Yeah, yeah, but it's so restrained,

16:07

it's so subtle. And

16:10

yeah, you could imagine that really

16:13

tripping over itself. I

16:15

feel that this is like a concept I feel like we've

16:17

kind of talked about in

16:20

various different forms, even with something like Magnolia,

16:22

you know, these big sprawling narratives that are

16:24

like interconnected. I feel there's something about that

16:26

concept that I feel like is really intriguing

16:28

to a lot of directors. I'm sure like,

16:30

you know, when you've been daydreaming or thinking

16:33

about stories yourself, like I've had to thought

16:35

myself like a story where there's some like

16:37

event that connects like some people, but

16:40

it's like three different perspectives. It's all

16:43

different, but somehow connected. And that connection

16:45

gives it some kind of inherent value.

16:47

Yeah, just each person with their

16:50

own story. Yeah, yeah. But

16:52

the way it's done here is like, yeah, very unique,

16:54

very creative, very high concept, but

16:56

they pull it off. And

16:58

yeah, you do have weird things where like little

17:00

details, just like the in each

17:02

film, there's an old person trying to recycle a

17:04

bottle. And

17:07

turning that into a payoff. It's just like too

17:09

high. Yeah, yeah, exactly. But turning

17:12

that whole recurring scene

17:14

into a payoff in the third movie and these

17:17

kinds of things that like, it's kind

17:19

of a memorable scene on its own in blue

17:21

anyway, seeing that kind of struggle

17:23

and having that main character just kind of sitting there watching this

17:26

old lady struggle. But

17:29

then, yeah, these multiple layers. Yeah, there's something

17:32

about it that like sticks. Yeah, it sticks. But

17:34

then there's like these unexpected payoffs to it

17:36

as well. Yeah. But like, reward you for

17:38

paying attention. Yeah,

17:40

I like. So

17:43

this movie in terms of, I

17:46

guess the sequences

17:49

that are shown, this movie is the

17:51

most repetitive, but I think that

17:53

it works for the story that

17:56

it's trying to tell repetitive in terms of

17:58

what? Sorry. Well, I mean, like. We

18:00

keep getting the same, well, similar

18:02

sequences of her back at the pool

18:04

and the music sequences,

18:06

but they build up over the course of

18:08

the film and she's stuck in a routine

18:10

and pattern. But

18:16

I think that that

18:18

communicates something about grief

18:20

really well. Was

18:24

there patterns

18:26

that you either have to

18:30

be able to continue to process things

18:32

or patterns that you need to reflect

18:35

on to change even? Yeah.

18:37

It's kind of like that main character is coming

18:40

to terms with the concept. That's like

18:42

the journey of the movie in my mind as well. Yeah.

18:45

She starts off trying to run away from it. There's

18:48

a tragedy on a level that's so kind of

18:51

extreme. The

18:53

way it's depicted is not

18:56

Hollywood, it's not over exaggerated or any of

18:58

this. There's not loads of scenes of her

19:00

breaking down, crying and hamming

19:03

up any kind of emotion. In fact, it's quite the

19:05

opposite. It's quite a unique depiction of grief. I was

19:08

finding it with like her meeting

19:10

the woman who's like hiding, crying and saying,

19:14

I'm crying because you're not crying. And these

19:16

kinds of scenes and the exploration of just

19:19

what she's carrying around. I wasn't really sure

19:21

what it was going for until that scene

19:23

where she's walking around and starts dragging her

19:25

knuckles like brutally against that wall. That was

19:27

an awesome shot. I

19:30

thought that was amazing. Yeah. That's

19:32

when I really started kind of falling for the movie. But

19:35

yeah, just what that is such an interesting lead

19:37

character and the way they explore it. And yeah,

19:40

her running from this guilt and this

19:44

whole idea of like these three words

19:46

we mentioned, the liberty,

19:48

equality and fraternity. I've been

19:50

trying to think about the

19:53

liberty, if that's

19:55

like the thematic baseline of where this began, at liberty.

24:00

in the movie or creative choices. I think

24:03

it's three times that this fade

24:05

to black usage, the

24:10

way that is used with it.

24:12

Normally when you fade a scene

24:14

to black, that's the end of the scene, you're

24:16

implying time is passing. The way it's used here

24:19

is within the middle of a scene, it will

24:21

fade to black, there'll be a musical sting and

24:23

then it will fade back in to the same

24:25

scene. The first time it happens,

24:27

you're kind of like, huh? Oh,

24:30

okay, we're turned to the same scene. But

24:33

by the time it's done at the third time, it's like, wow, each one

24:35

of these is a... What

24:38

a creative way of communicating that, such

24:42

an abstract concept. When you receive

24:44

a horrifying or harrowing piece

24:46

of information, it does kind of feel like

24:49

time does stop

24:51

or there's a pause or something

24:55

breaks in that moment. Just

24:57

using fades, such a simple kind of

24:59

concept, but the emotional effect

25:01

that has, I thought was

25:03

brilliant. By the time they did the

25:06

third return to it, in each one of these is

25:08

punctuating a different moment for a different

25:10

reason. That's

25:12

brilliant. I think that's creatively

25:15

genius. I don't

25:18

think there's anything quite on that level for me in the

25:20

other ones. I think there's also

25:23

what I've come to realize

25:25

about myself is I really

25:27

enjoy, not every instance of

25:29

this, but I particularly in a film that's

25:32

well presented that I'm connecting with, I

25:34

really enjoy seeing characters

25:36

within the film, creating

25:38

things artistically and going through the

25:41

artistic process. I

25:43

really enjoyed just watching the composition

25:45

and having that communicated through the

25:47

film. Obviously, I love films

25:50

that feature people making movies within

25:53

the film as well. Obviously, there's

25:55

tons of bad examples of this

25:57

type of bohemian rhapsody, terrible. movie.

26:00

Like I get, I get, I get, we just do all

26:02

the curves. That's a good example of it. Yeah. Yeah. I

26:04

love seeing people creating things

26:07

within a

26:09

show or a film. And there is

26:12

some sort of satisfaction that I

26:14

get out of seeing things come together and

26:16

seeing things, seeing

26:18

the individual pieces coming together to make

26:21

something more whole. And seeing

26:23

the messy part of the creative process.

26:25

Yeah. Like the way, the

26:28

way that, that kind of resolves within

26:30

the film where she is working with

26:32

this guy that she kind of had an affair with to

26:35

finish this, this piece of music. And

26:38

there's kind of a phone call that resolves it where

26:40

he's like, I can't, I can't work with you. Like,

26:43

even if it's not, even if it's

26:45

rough around the edges, I need this to be mine. And

26:47

she's like, yeah, you're right. Yeah,

26:49

we can't undo the legacy. We can't do

26:52

this. Yeah.

26:55

Yeah. So. Fantastic. Very still provoking.

26:57

Like, I found it out of

26:59

the three to be the most challenging with

27:03

that kind of stuff and the way it was exploring

27:05

these concepts and I kind of how

27:07

heavy it was, but being able to maintain

27:09

that heaviness and explore that thoroughly, but then

27:11

just have that glint of hope at the

27:14

end. So, love that. Yeah,

27:16

it's, it's a, out of, out

27:18

of the three films, it's definitely stuck with me

27:21

the most. And

27:23

I really, I really am

27:25

looking forward to watching

27:27

this again, like all three of them really. Cause

27:30

I think that they're more interesting

27:32

in context with

27:34

each other. Although this

27:36

is like still really great as a

27:38

standalone film. I also think they all

27:40

are, to be honest, I'd say they all stand alone. Yeah, they

27:42

do. They do. Yeah. In

27:45

terms of, of just how, I guess

27:49

aggressively stylistic this film is. It

27:52

really sticks with me in that

27:54

way. Like I can, it's,

27:57

it's great to vividly. remembered

28:00

specific shots and specific emotions and

28:02

sounds. The sound design in this

28:04

movie is incredible. The score is

28:07

incredible. I

28:09

would say it's got the best score and the best sound design out of

28:11

all three, in my opinion. And

28:14

for that to be integrated into the film

28:16

in a way that's really purposeful is just

28:20

makes it stick that much more in my

28:22

memory. Yeah. Yeah, it's

28:24

kind of going back to what Sam, just

28:26

everything feeding into itself, the concept is

28:28

fully explored. It

28:31

avoids going into the kind of corny, gimmick

28:34

area with this idea that it definitely could

28:36

do. Yeah,

28:38

it's easily the most memorable to me. Yeah,

28:40

I just think about the uncomfortable

28:43

nature of the scene where she's crunching on that

28:45

blue lollipop in front of the fireplace. Just

28:49

all these subtle character building

28:51

moments. And

28:53

also, I thought there was a

28:55

really stand out, fantastic scene. When

28:58

the boy that's shown in the beginning of the movie,

29:00

he finds the car crash, kind of manages

29:03

to find the

29:05

lead woman and reconnect with her. There's

29:08

an awesome like structure to that scene

29:10

where he

29:13

says, yeah, his last words were something weird.

29:15

Like he said, now try coughing as

29:18

his last words. And then she starts laughing. And

29:20

the scene turns into sort of a backwards

29:22

joke explaining scene, which

29:24

yeah, it changes the state of

29:27

the character. It must be

29:29

one of the first times you see a smile like in the movie,

29:31

like a bit of happiness or

29:33

something like this. And it's just a really

29:36

great punctual scene. That ends

29:38

with her like leaving that gold chain and then the

29:40

gold chain comes back in when she later finds out

29:42

about her husband's infidelity. And

29:45

he'd given the mistress

29:48

one of these gold chains as well and

29:50

what that says about her

29:52

connection with him and it's

29:54

quite complicated. It doesn't, it's not interested

29:57

in simplifying out of these concepts or

29:59

simplifying these. characters, they're like very

30:01

flawed, sort of real

30:03

feeling people that are being interacted with

30:05

in the movie. Yeah. And

30:08

you can tell that she gets like kind of a, you know,

30:11

throughout the film, she's getting

30:13

more of like

30:15

a sense of closure, the more that she's

30:18

able to discover and

30:20

process. Mm hmm. And

30:23

yeah, I just like the details

30:25

that they kept returning to that you

30:27

wouldn't necessarily expect them to, like the

30:30

little thing going on with the guy

30:32

in his flute playing on the

30:35

street. And that line like you

30:37

always got to hold on to something, but then he's

30:39

like the flute is left

30:41

there and she's interpreting

30:43

it in this kind of like nihilistic way of like,

30:46

yeah, everything goes like, you're

30:49

not gonna have something to hold on to. Like he comes

30:52

back, says you've always got to hold on

30:54

to something. And it

30:56

comes back later when they're talking about the

30:59

composition of that song that they're working on. So yeah,

31:01

let's add a flute here, like

31:03

it's playing earlier. And it's like, I

31:05

was just so thoughtful and like this complicated

31:08

like tapestry that's all, the

31:11

longer it goes on and the more you see what it's doing, the

31:13

more there is to appreciate. Yeah,

31:16

there's so much great detail, like at least

31:20

two of these movies, like they use animals a

31:22

lot to sort of, you know, visual metaphors

31:24

or explore

31:27

ideas. This one has the whole, the

31:29

baby rats thing, which kind of feeds

31:32

into this relationship

31:34

with her mother who has dementia and keeps mistaking

31:36

her for her sister. She's asking her, I was

31:38

like, was I scared of mice,

31:42

rats and leading into this cat

31:44

scene and her borrowing the cat. And yeah,

31:47

there's a, even if I haven't fully interpreted what

31:49

some of this imagery is pointing at, it's like

31:51

all of it is thought provoking. In a

31:55

way, I wasn't

31:57

being washed with and quite the same

31:59

intensity. as the other two. I

32:02

just felt, yeah, a lot of intent, a lot

32:04

of stuff that I've still got to unpack, sorry.

32:07

Yeah. Just fantastic stuff.

32:10

I really like the, there's a

32:12

shot of just a table and

32:17

a plate with the coffee spoon on top

32:19

of it. And you

32:21

can see just the shadows start to

32:23

lengthen. And I found that to be

32:25

a really interesting way to just communicate

32:27

passage of time, like a really unconventional

32:30

way. Like, you know, people have done

32:32

like time lapse, but

32:35

usually it's like, you see the sunset or

32:37

something more explicit. But I love that

32:39

it's just like a lengthening shadow and you can tell that there's

32:41

like light coming from the window.

32:44

And then again, I wanna come back to that

32:46

shot of her

32:48

dragging her knuckles across the stone

32:50

wall. Cause I'm just thinking,

32:52

like, did you just get an

32:55

X, like a stunt double to just

32:57

actually do that? Cause I don't know what the

32:59

fuck, is that like a fake hand? Like, how

33:01

did you do that? That was crazy. It was

33:03

very convincing. Yeah, that

33:05

was intense. I'm one

33:08

expressive visual. Yeah. It

33:10

was brutal in a necessary way. You

33:16

kind of communicated, oh,

33:18

there is like a raging inferno in

33:20

here. We're not necessarily

33:22

seeing it every second, but there's something

33:25

that's not being dealt with right now that's

33:27

coming out in very unhealthy ways for this character. Yeah.

33:33

Yeah, loved it. I think we can move on

33:36

to the next one. I'm

33:38

feeling probably a high eight on

33:42

this one. We are some about to go

33:44

on this one. That was similar.

33:46

Just a solid eight for me, this one. Yeah,

33:50

I thought it was

33:52

very artistic, creative, inventive.

33:55

Love the performance of that dialogue, love every technical

33:57

aspect. I love this high concept style. stuff.

34:01

But we haven't mentioned the brevity of all

34:03

three of these movies. Oh yeah, they're so

34:06

quick. They were all 90 minutes. So

34:09

clean, they respect your time, the pacing is

34:11

great. Like these scenes communicate what they need

34:13

to, they explore these themes. Like yes. This

34:16

is probably the slowest pace out

34:19

of all three of them. Because

34:22

there is like a pretty repetitive nature

34:24

to it. And it is a little

34:26

bit more like kind of meditative almost like

34:29

and mesmerizing. Yeah. And I say that, yeah,

34:31

that fits like thematically with what this character

34:33

is going through. And just that, yeah, the

34:35

range of emotion with these three movies too

34:37

is like when you've only seen blue, you

34:40

haven't really, you know,

34:42

appreciate that yet. Like kind of

34:44

what you're in for with this as a trilogy and like where

34:46

it sits. Great stuff. Next

34:49

up, we've got Three

34:52

Colors White. And

34:56

he's got a different cinematographer

34:58

for each of these films, which

35:01

is interesting. Interesting.

35:03

Okay. But

35:05

again, extreme style

35:07

when it comes to the colors of this film,

35:10

you know, he gets like,

35:13

he gets shat on by a bird in

35:15

the first like five minutes. It's like, oh, white

35:17

poop. Yeah.

35:19

Yeah. Because I was thinking about that

35:22

with the, when thinking about

35:24

the concept before seeing them, you're like, yeah, I

35:26

can, I can imagine blue and I can imagine

35:28

red. So what are you gonna do with

35:30

white? Is the whole thing gonna look like you're like

35:32

in heaven the whole time? Then the second they're like

35:35

in Poland with the snow and I'm like, of

35:37

course, snow. Yeah. Lots of snow, lots of overcast.

35:40

Yeah. We got a, there was a toilet in

35:43

one scene. Yeah. Yeah. It's just more, it's

35:45

less overt than the blue and white. There's

35:47

still like a white item in like every

35:49

shot of the film kind of in the

35:51

same way, but it, because it doesn't

35:54

strike you quite as much because white is just

35:57

such sort of a neutral. What are the

35:59

implications of white? It's kind of like emptiness,

36:02

rebirth, innocence,

36:04

these kinds of things. It's not quite

36:07

as loaded as the colors blue or red

36:09

to me, which I

36:11

think is fitting with what they do with this movie because it's

36:13

kind of like way more comedic

36:15

compared to blue. It's like such an

36:18

inverse kind of feeling to the

36:20

movie. This kind

36:23

of seediness, this pattiness

36:26

is really what I loved about it. This like

36:28

petty main character in the, this

36:30

interpretation of this

36:32

one is equality. It's

36:34

the name that inspires

36:37

this one. That

36:40

seems to be ironic to me, as

36:44

far as like equality. It's like, yeah,

36:46

it starts off with a divorce

36:48

in court with this guy, the Polish

36:51

guy in France. Can't

36:54

speak French, so they're kind of awkwardly

36:56

in divorce court talking through like lawyers

36:58

or whatever. And

37:02

just where they take this kind of, it

37:04

kind of boils down to a revenge story,

37:06

like a warped love story that's all centered

37:08

around like selfishness and

37:11

revenge. It's like a- It's a

37:13

very odd sequence of events and

37:15

very complicated characters. It's super odd

37:19

and kind of like playful and

37:21

goofy. Yeah, it's weird. I honestly,

37:24

I found this, while I don't

37:26

think it's the best one at all, I actually

37:28

found this one to be the most entertaining.

37:30

It's the most traditionally

37:33

paced, I would

37:35

say. Yeah, it's breezy. The

37:38

other ones you don't really have scenes like sneaking

37:40

into another country in like a

37:42

bag that gets stolen and this kind

37:45

of goofiness and like the way

37:47

it wraps up. It's not trying to hit you with these

37:50

heavy emotions and themes that are played with in

37:52

the other ones in quite the same way. Yeah.

37:54

There's a bit more, the beats

37:57

in this film are a bit more explicit. in

38:00

terms of like the what developing

38:05

and it's locations or you

38:07

know, it's moving

38:09

in a different way.

38:11

Yeah. And I think that might be the

38:14

reason this is the one I feel

38:16

like I don't

38:18

need to go back to as quick

38:21

as the others where I feel like I

38:23

had the feeling after blue and red that like there's

38:25

stuff I missed there, that like I've got to comb

38:27

over this again. Whereas I feel like I pretty much

38:29

got what white was putting

38:31

down for me to pick up. Shay

38:34

said that he watched, well, because he watched the

38:36

trilogy with me and he'd seen it before. He

38:38

said that this one was better on a second

38:40

watch for him. So I'm

38:44

sure there's, I think everything

38:46

in context, knowing what

38:48

it is before going into it is going to give

38:50

it a bit of a different feel to me in

38:52

a positive way. Yeah,

38:55

it was definitely a positive experience. It's one

38:58

of the more unique like trilogy experiences I've

39:00

had. Yeah. Like watching in a big chunk. There's nothing

39:02

else like it. No, not

39:04

at all. So going like

39:06

after blue and it's like,

39:08

wow, this is like dour and I guess we're in

39:10

for a ride with this trilogy. They were going to

39:12

be like exploring this like misery and grief and all

39:14

this heavy stuff. And then you, yeah, you jumped to

39:17

white and it's a bit more like comical

39:19

and breezy and you have full

39:21

on like jokes and silly scenes.

39:24

But there's still some, like

39:26

a good chunk of serious and

39:28

emotional elements

39:30

to this as well. Yeah, it balances it really

39:32

well. The dynamic that the main character has with

39:34

the other Polish fellow who he kind of forms

39:36

his bond with and they like start a business

39:39

together. And it's a really

39:41

great scene with the, it's kind of

39:43

like a fight club before fight club with the

39:46

gun and pulling the trigger, but it's a

39:49

blank. Yeah. And he's

39:52

kind of commissioned by this guy to like take him out

39:54

because he doesn't want to live anymore. And

39:56

it gives me perspective after the

39:58

blank. The first. Like Three

40:00

Colors Blue almost feels like a somewhere

40:03

between like a Von

40:05

Trier and like a

40:07

Andre Yitzvah, like something

40:09

just like so

40:12

unabashedly like depressing but like with

40:14

a purpose. Yeah. And

40:16

then this one almost feels more like kind of like

40:18

a Coen Brothers movie in ways.

40:20

Yeah. Just kind of

40:23

the silliness of what

40:25

winds up happening and just like a guy in a suitcase

40:29

smuggling himself and then oops he does

40:31

it, you know, things go

40:33

wrong and then they steal the

40:35

suitcase and he gets mugged. Yeah,

40:39

exactly. So much happens and this character goes

40:41

through such extreme changes, you know, like from

40:43

the start of the movie where he's literally

40:45

homeless, doesn't have a passport, he's like there's

40:47

this recurring thing of him playing a comb

40:51

like on the streets for cash or what not. Which

40:54

is also kind of like just a silly imagery as well. Yeah,

40:57

yeah. But like

40:59

where that goes and he's like what like half an hour

41:01

later he's like a bodyguard

41:03

and he like screws over these

41:05

criminals that are gonna do something

41:07

with this land and he

41:09

has this like the whole like

41:11

punchline of it all being yeah, this

41:14

petty revenge mission to try and get back at his

41:16

wife. He kind of has this like ex-wife,

41:19

he has this abusive kind

41:21

of toxic relationship with him just kind of

41:23

like torturing each other in his.

41:26

The payoff at the end is like so wild that

41:29

like it's very because of the realization that like that's

41:31

what that was his motivation with this whole thing just

41:33

so he could fake his death so he could see

41:35

his ex-wife cry at his

41:38

funeral so then he could know that

41:40

she did care. Yeah, like the interpretation

41:42

on Wikipedia anyway is like

41:45

her hand signals are gesturing that she

41:47

wants to marry him again, which

41:49

is fun. It's almost

41:51

like a phantom thread kind of relationship.

41:53

Like man, you know,

41:55

this is probably a little toxic. The crying

41:57

and everything. This is a...

42:01

funny, it's like a complete inverse type

42:03

of emotion to where you end with like blue.

42:05

It's like what the,

42:09

what a strange reveal. Very bizarre. It

42:12

is bizarre, but it's not

42:15

bad, it does work. It's very

42:17

entertaining, this weird like comedy crime

42:19

thing they're going for. Although

42:22

I do think it had, I'm torn

42:24

to be honest, because I thought the

42:27

flashback to the wedding towards the

42:30

end, actually showing it was like

42:32

quite a nice place to end

42:34

it. But then you wouldn't get the

42:36

jail scene like right after, and you kind of, you

42:38

have to have that jail scene in there as

42:41

the full, full stop. I felt

42:44

like this one was not only

42:46

the most traditionally paced, but also

42:48

the most traditionally presented in the sense

42:50

that obviously throughout the

42:52

trilogy, like the color grading and

42:55

choices for sets and props are

42:57

all super interesting

43:00

and purposeful and really

43:02

help the visual experience of the

43:05

film. But especially

43:08

after just seeing blue and having that

43:10

in my mind and memory for what

43:13

to expect for the trilogy, like this one

43:15

just doesn't go nearly as hard or extreme

43:17

on the visual

43:20

and audio choices in

43:22

terms of like camera work and fully

43:26

utilizing the medium

43:29

of filmmaking through editing and sound

43:31

design. That's why

43:33

it's the comedy and the goofiness and

43:35

sort of like the comedic performances that

43:37

are sticking out in my mind

43:39

more than like specific images or scenes that like I

43:43

mean, not that there aren't good scenes,

43:45

but there aren't. The

43:47

imagery just isn't quite as striking in

43:51

this one to me anyway. Not that it's

43:53

bad. It's just solid for what it needs

43:55

to be for what they're

43:57

exploring here. Yeah. and

48:00

not clash, we'll be distracting. Damn.

48:04

I'm kind of...

48:07

So this is the... I

48:09

believe you're in the same boat with me that

48:11

this trilogy is the first that we've seen from

48:13

this director. Yeah,

48:15

yeah, I'm not familiar with this

48:18

fellow otherwise. Shay said Decalogue's really good, which

48:20

is like the Ten Commandments and that also

48:22

has a criterion. Oh,

48:25

sweet. 572 minutes though. No.

48:29

Nice. There we go. Okay. That

48:32

wouldn't be the first time. Maybe for

48:34

a future... Instead of a trilogy, we

48:36

just recommend that maybe? I don't know.

48:40

But that also has kind of like a

48:42

similar thematic kind of purpose,

48:45

because it's literally just like, I guess, about

48:47

the Ten Commandments, but who

48:50

knows how explicitly. And

48:52

then I think my uncle's favorite movie

48:54

is The Devil Life of Veronica, which

48:56

I'm also looking forward to a lot.

49:01

1991. All right, so that was just before

49:03

we started this trilogy. And he of course

49:06

retired with Red. Like you just retired from

49:08

directing. I

49:10

mean, yeah. Exactly.

49:13

He's got a pretty good catalog

49:15

behind him. I can't say I blame him. He

49:18

died in 1996, age 54. What the fuck? Wow.

49:24

That's unfortunate. Yeah.

49:29

Go out on top. Yeah,

49:31

I don't know. I definitely feel like there's the least to

49:33

say about White. As enjoyable as I

49:36

found it. I agree. This is what

49:38

I just go to with the... It just doesn't seem as

49:40

like thematically deep as quite

49:42

the other ones where there's all this stuff to

49:44

pick apart. It's very entertaining, for sure. Yeah,

49:47

it was a breeze. I just love... It went by pretty quickly.

49:50

The fact that one of these three is a

49:53

comedy drama is

49:55

awesome to me. I really was not expecting that. Yeah.

49:59

And yeah. like an anti-comedy. Yeah.

50:02

I think, hold on, there's like a Roger Ebert

50:04

quote. The trilogy

50:06

has been interpreted by film critic Roger

50:09

Ebert respectively as an anti-tragedy, an anti-comedy,

50:11

and an anti-romance. It's like, yeah, I

50:13

get that. Yeah. I

50:16

feel, I feel similarly. Especially with white. Yeah.

50:20

Yeah, for sure. And yeah,

50:22

I'm kind of excited what other stuff I could pick up

50:24

on, on a rewatch or with that framing of like. Yeah.

50:27

Lucid Connected, there is a lot of like

50:29

intent that you couldn't possibly pick up on

50:31

a first watch. Yeah, exactly.

50:35

If I rewatch them, I'm rewatching all three

50:37

for sure. And again, it's, fuck. The

50:40

entire trilogy is four

50:43

and a half hours long, basically. It's really not

50:45

that crazy of a commitment, yeah. It's like one

50:47

extended Lord of the Rings. Yeah, I was just

50:49

going to use that as a frame of reference.

50:51

Oh really? Yeah, yeah. Yeah,

50:54

I give this one, I'm gonna give this one a seven. Again,

50:57

I'm right there with you. This was kind of

50:59

a low seven for me. I was entertained the whole time.

51:03

It's just not gonna sit in my mind like the other ones

51:07

in quite the same way. Even saying

51:09

that I do have a fondness for like unique

51:12

approaches to comedy and film. Where

51:15

it's like, yeah. We're gonna

51:17

go, comedy is so difficult to

51:20

like integrate and pull off and

51:22

have the like traditional like filmic elements going on

51:25

and really be dedicated to all of it. And

51:27

pull off, there's something

51:29

admirable about that. So

51:31

yeah, strong. Well,

51:34

no, I said low seven, give it a low seven. I'm

51:37

giving it a solid seven. Nice.

51:44

Three colors red. Bet

51:46

you didn't see that one coming. That's

51:49

the movie. The

51:54

final one. The

51:58

trilogy. The final, it's the best. they're

1:08:02

all meant to be watched like a second

1:08:04

time together. Definitely. Yeah.

1:08:07

I thought this had the strongest ending, personally, out

1:08:09

of the three. Yeah.

1:08:12

Well, I mean, it felt like you could tell it was

1:08:14

the ending as it was happening. Yeah.

1:08:18

Yeah, exactly. It's not just like the good

1:08:21

ending in and of itself, but it does

1:08:23

wrap off the whole trilogy, like

1:08:25

conceptually. Put some

1:08:28

nice bow on it. Yeah.

1:08:31

Yeah. Gives a lot to think about. And

1:08:35

yeah, I would love to watch these again. Glad I

1:08:37

got the 4K

1:08:40

criterion. And

1:08:45

yeah, looking forward to his other films at

1:08:47

some point. So, I

1:08:49

can cross that off the list of the directors

1:08:53

who've made a lot of great things that I haven't

1:08:55

checked out yet. Another

1:08:57

one to add to the backlog. Yeah,

1:09:00

I really enjoyed this. As far as a trilogy is

1:09:02

concerned, can you think

1:09:04

of another one that's kind of

1:09:07

abstract, but also has

1:09:09

enough connecting elements? It's

1:09:11

not like an Edgar Wright

1:09:14

unofficial trilogy thing. Yeah.

1:09:16

There's a lot of other trilogies that exist

1:09:18

like that Edgar Wright one,

1:09:21

where a fucking Chandwick

1:09:25

Park has his vengeance trilogy. And

1:09:27

it's like, okay, well. Yeah, it's not a

1:09:30

trilogy like this. Yeah. In some ways you

1:09:32

could almost say that calling it a trilogy

1:09:34

is almost retrospective. Whereas this one

1:09:36

feels despite not

1:09:39

having the clearest

1:09:42

connections and through lines throughout each of

1:09:44

the films, you can tell

1:09:46

like, oh, okay, these are companion pieces

1:09:49

and they were always meant to be. Yeah.

1:09:51

And it really stands out to me with

1:09:54

like most trilogies that people think

1:09:56

of the obvious ones they know.

1:09:59

It's you. So

1:12:00

yeah, an unkindness can get us going. Why are you

1:12:02

gay? Who says I'm

1:12:04

gay? G-A-E. G-A-E.

1:12:08

Specifically too. I

1:12:11

consider myself more G-A-Y-E, not

1:12:13

G-A-E. So

1:12:16

yeah, you can take that and

1:12:18

do what you like with it. But an

1:12:21

unkindness is banned from this community. Right.

1:12:23

I hope you agree. Because... I think

1:12:26

so. I'm putting my foot down on

1:12:28

that one. Who

1:12:30

says I'm gay? But

1:12:33

a groglet. You are gay. Do

1:12:36

you know what I'm referencing there? You are gay. Do

1:12:39

you know? Have you seen the thing? That

1:12:41

does ring a bit. I've got such brain rope

1:12:43

from all this stuff. Yeah. Just

1:12:46

catch me up. So it turned into a bit of a...

1:12:48

So basically, I think it was

1:12:50

on a Ugandan television program where

1:12:53

there were two hosts

1:12:56

and they brought on someone

1:13:00

from the LGBT community to,

1:13:02

I guess, just kind of

1:13:04

harass them over. Oh

1:13:06

yeah. This is unlocking something now. It's

1:13:08

for some reason, it's just like even

1:13:11

despite the obviously

1:13:13

tragic and terrible circumstances surrounding

1:13:15

it and discrimination that these

1:13:17

people face in that environment,

1:13:19

it sucks. It got

1:13:21

turned into a bit of a meme

1:13:23

just because it sounds funny when the

1:13:26

tiny conversation that they have and basically

1:13:28

it's very meme-able. So the conversation

1:13:30

goes, why are you

1:13:33

gay? And

1:13:35

then who says I'm gay? You are

1:13:38

gay. And that's basically

1:13:40

just the meme. That's

1:13:42

what I was doing. That's really making me

1:13:44

think of who's that character. He's that fellow.

1:13:47

He's like in the

1:13:49

reactionary politics

1:13:52

scene, I think, where he asks these kind

1:13:54

of questions. Oh, fucking

1:13:57

Jesse Lee Peterson. I'm

1:18:00

just like just drop the the, okay?

1:18:02

It's cleaner. Yeah, it's clunky. Yeah, let's

1:18:04

call it Last Stop in Yuma County.

1:18:07

Don't call it The Facebook. What was it?

1:18:09

When I went to the cinema last, there was a trailer

1:18:12

for something, like an Austin Butler

1:18:14

movie called like The Bike Riders or something. That

1:18:16

stood out to me as like that name sucks.

1:18:18

I don't know anything about the movie, but that's

1:18:21

a bad lame name. That

1:18:23

makes me not want to see it. Let's

1:18:25

see. I'm just going to look at just what's in theaters

1:18:28

right now. Yeah, the bike riders

1:18:30

is a bad title.

1:18:32

Oh, fuck

1:18:34

it. I don't like how many of

1:18:36

those are in the apes movie titles, and

1:18:39

it's like four of them. It's word of

1:18:41

salary, yeah. Kingdom of the planet of the

1:18:43

apes. Just fucking king. Like naming

1:18:45

the order. That's the hard word. Kingdom of the apes.

1:18:47

I don't give a shit. Rise,

1:18:50

uh, what are

1:18:52

the words that you used to say? And which

1:18:54

order is it? I had no clue. I could not tell you.

1:18:57

Rise, dawn, erupt.

1:19:01

I fucking know. One

1:19:03

I love, though. Naked

1:19:06

Lunch. Great title. Cool,

1:19:08

weird. Just yeah. Two words to

1:19:10

a strange combination of words. Gets

1:19:13

you thinking, gets your attention. Dig it.

1:19:15

Yeah, I'm sure there's titles. I'm sure there's

1:19:17

some that I'm not thinking of right

1:19:19

now that Surely the ultimate worst one is the

1:19:21

Bye Bye Man. That's the meme. But

1:19:24

I mean, it wouldn't have made money

1:19:26

if it wasn't called that. Nobody

1:19:29

would have, nobody would have talked about it if

1:19:31

it wasn't called the Bye Bye Man. True.

1:19:37

Mothriegan's a terrible title. Oh,

1:19:40

yeah. Yeah, you're right. And

1:19:44

didn't they just like announce a sequel for or something?

1:19:46

It's got like an eight in the title or spinoff

1:19:48

or something like this. I think it's Mothriegan 2.0. But

1:19:53

it's just save it for

1:19:55

the third. Yeah. Yeah,

1:20:02

sometimes the subtitles are like weird, like the

1:20:06

like Silent Hill revelations

1:20:09

where you just throw a word like-

1:20:11

Yeah, that sucks. That doesn't mean anything. That's-

1:20:13

Games do that a lot. Yeah. You

1:20:16

just need to think of a title. Yeah. Well, so

1:20:18

you run out of, yeah, you're just making me

1:20:20

think of like Assassin's Creed now. It's like spin

1:20:22

off and spin off and spin off. You got

1:20:24

your brotherhood, you got your revelation, you got your

1:20:27

reservation, you got your dehydration. I think- Yeah,

1:20:29

you got me a little bit. Yorgos

1:20:31

has been pretty good with titles. Can

1:20:35

I have a sacred deer? That's

1:20:38

a good title. Dogtooth.

1:20:40

Yeah. Good title. I

1:20:43

just, yeah, I like it when it links

1:20:46

in or makes you think or

1:20:50

even forces you to have an interpretation in some

1:20:52

way, like poor things or something like that. Yeah.

1:20:55

Looks like we'll be taken away from this

1:20:58

title. I like when it's not like too

1:21:00

explicit and not just like a line from

1:21:02

the movie. Not too literal necessarily. Yeah. Okay.

1:21:06

Feel like we got some good ones in there. Let's

1:21:09

do this one about animated movies from

1:21:11

Big C Bowler. Do you think

1:21:13

the conversation surrounding kids movies would be more

1:21:16

productive if we thought about them as more

1:21:18

all ages movies? Because I feel like doing

1:21:20

that would help differentiate between movies that have

1:21:22

mass appeal for any age versus movies that

1:21:24

are made for kids. Basically, I

1:21:26

see this as a way we can squash the arguments

1:21:29

such as calm down, it's just a kids film. It's

1:21:31

not that deep. Yeah.

1:21:34

I mean, there's a lot we would

1:21:37

need to change about how people engage

1:21:39

with animation culturally

1:21:41

in the West particularly. It's

1:21:48

an annoying spiral

1:21:50

pattern that we've gotten ourselves into.

1:21:53

It's like a catch 22, yeah. We're

1:21:56

stuck in it. Yeah. But

1:21:58

it's also like... And

1:22:01

these are some of the more popular films that

1:22:03

most people see, you know, like there's some of

1:22:05

the broader, more watch, more successful films. I think

1:22:07

Inside Out 2 is the biggest movie of the

1:22:09

year right now. As

1:22:12

long as Pixar is on

1:22:14

the poster, then,

1:22:18

yeah, people of all ages will see it.

1:22:20

I can't believe it beat Dune already. The

1:22:24

movie hasn't been in this movie. Wow. Yeah,

1:22:27

the movie has been Dune Part 2 already. Yeah. It

1:22:29

is kind of quiet right now, but... Because

1:22:32

I couldn't name a person that I know

1:22:34

that went to see Inside

1:22:36

Out 2. I

1:22:39

guess I'm out of touch. I suppose, yeah,

1:22:41

what is the competition, you know? Like it

1:22:43

is pretty like dry right now. Yeah. That's

1:22:47

why it's like the big Hollywood stuff. Like Dune

1:22:49

Part 2, I was

1:22:51

under the impression that that was like

1:22:53

a big thing. I guess it

1:22:56

was, but inside out 2 is huge, I guess.

1:23:01

Just wait for Smile 2. That's

1:23:03

fucking annoying. Did you know... The

1:23:06

guy who directed Smile is remaking

1:23:09

possession. Did you know that?

1:23:11

Oh, shit. I did see that. Isn't that annoying?

1:23:14

What a horrible idea.

1:23:16

You saw Smile, right? Yeah, yeah, I

1:23:18

saw Smile. It sucked. Like

1:23:23

you can... When

1:23:25

the thesis of your film is just

1:23:28

rip off other movies and don't have

1:23:30

an identity of your own and you're

1:23:32

going to tackle possession, what

1:23:36

the fuck? We already know

1:23:38

how that's going to go. There's

1:23:40

only one way it's going to be. Yeah,

1:23:43

it's just going to be like a quarantine situation.

1:23:46

It's very disappointing. I'm

1:23:49

disappointed in the film before it's even out.

1:23:51

It's just a bad idea. It

1:23:55

has such a cult status to that film. Yeah.

1:23:58

So what, you really think? You can,

1:24:02

you're the guys to give this a new

1:24:04

voice, not that it needs it, like everything

1:24:06

was great. The director should

1:24:09

look at that opportunity and

1:24:11

say, I'm sorry, I'm not the

1:24:13

person for the job, right? No,

1:24:16

yeah. If you have any

1:24:18

sense of self awareness. This is embarrassing. Yeah,

1:24:22

but it is completely embarrassing. What

1:24:26

were you talking about? I

1:24:28

can't remember, I'm just upset. We were talking about animated movies.

1:24:31

But it's also, but like with the possession thing, like

1:24:33

the last thing, like what's

1:24:35

even the, it's not even like

1:24:38

a, it's not like alien or like

1:24:40

predator or something from the eighties that like

1:24:42

everyone knows and it makes sense to like

1:24:44

constantly remake. Cause like, it's just in the

1:24:46

zeitgeist, like is a possession remake

1:24:48

really gonna. It's probably gonna

1:24:50

bomb. Yeah, exactly. Unless he

1:24:52

just makes it smile again and people

1:24:55

go, oh. Oh, dude. Maybe

1:24:57

they're rebooting it cause of the title.

1:25:00

Cause the title possession is a title

1:25:03

that people would, you know, people

1:25:05

who would see it. Yeah, the one word, the horror implication. The

1:25:07

one horror movie that people see every couple

1:25:10

of years that's the same every time

1:25:12

you could call that possession. I wonder if, yeah,

1:25:14

cause Smile had all that stuff with like the

1:25:17

creature at the end. And there's that sort

1:25:19

of creature thing in possession. I wonder

1:25:21

if that's the, make it more of

1:25:23

a creature feature type thing. Yeah.

1:25:27

No, no, no. That

1:25:29

is very. What

1:25:32

are you doing buddy? I feel like

1:25:34

there's, there's constantly like 50 of those always

1:25:36

in play. You know, like this person is

1:25:38

making this thing for no reason type stuff.

1:25:41

Yeah, usually it's just Adam Winger. Yeah.

1:25:46

Well, speaking of wanting improvements or

1:25:50

wanting improvements Adidas, one nine eights is thoughts

1:25:53

on how to improve the movie theater

1:25:55

experience. I

1:26:00

need some improvement with like especially with how few

1:26:02

people are going broadly people

1:26:06

goes they'll see their inside outs but like man

1:26:09

I will have my map max that's already gone at a

1:26:12

few weeks this place like Deadpool is gonna come out and

1:26:14

everyone's gonna see that but uh how do

1:26:16

you improve the actual experience and get people to actually

1:26:18

want to go there make

1:26:22

better movies I

1:26:25

don't know do you think that do you think that

1:26:27

way yeah well I mean there's lots of great movies

1:26:29

that people don't see you're right like it's not yeah

1:26:32

you got to get people excited about it in some

1:26:34

way but it's getting more difficult to get people excited

1:26:36

to see a movie in theaters because so much shit

1:26:38

is just like being released on streaming

1:26:40

so much especially yes really it's like okay well

1:26:43

do I see this in theaters or like it's

1:26:45

just gonna be on Disney Plus anyway yeah so

1:26:47

in this in this mad rush to get into

1:26:49

streaming they didn't even consider how it would cannibalize

1:26:52

other parts of like the

1:26:54

entertainment industry like this yeah but it's not

1:26:56

like these the companies that own the streaming

1:26:58

services are the ones that own the theaters

1:27:01

so they probably just

1:27:03

don't care Alamo draft house now

1:27:06

Sony owns them which that's odd

1:27:08

oh yeah I saw that that doesn't I

1:27:11

hope that they remain some like

1:27:15

they retain some semblance of like

1:27:17

what their business is and what

1:27:19

made their business special to me

1:27:22

but who knows

1:27:24

hopefully they don't gut it and destroy

1:27:26

it only so many films from now on

1:27:28

yeah I mean you know it's a great

1:27:30

it's a good enough theater that even if

1:27:32

all they were playing was venom three I

1:27:34

would probably I would if there was

1:27:36

an Alamo draft house near me I would

1:27:38

watch venom three there so I

1:27:42

like that theater a lot about craven yeah

1:27:44

I would watch craven and Alamo draft house

1:27:47

if every movie theater was like an Alamo draft

1:27:49

house I think people would be more excited

1:27:51

for movies yeah because they're

1:27:53

just a much more pleasant experience oh

1:27:56

yeah so much nicer we don't have Alamo here but we

1:27:58

have sort of equivalent type things.

1:28:02

We have pretend equivalent type things that

1:28:04

are just not, they

1:28:06

don't. Right. Oh, they're not at the same level.

1:28:08

Right. No. Yeah. Yeah, we've got

1:28:10

every man here, which is pretty solid.

1:28:12

Yeah. Nice comfort surfers, get food and

1:28:14

drink. See, I'm like,

1:28:17

in terms of what I culturally

1:28:19

expect out of people, I'm not

1:28:21

a fascist, so I don't

1:28:24

need other people to do the things that I

1:28:26

enjoy for me to enjoy my things. My

1:28:29

concern is that because I'm obviously

1:28:31

a lover of film festivals, these

1:28:35

theaters need to exist throughout

1:28:38

the year in order for film festivals

1:28:40

to use those spaces at

1:28:43

that specific point to screen. So

1:28:45

that's my concern. And so I'm

1:28:49

really cherishing and

1:28:51

appreciating the time that I have with

1:28:53

TIFF where that Scotiabank theater still exists.

1:28:55

I don't know what they're going to

1:28:57

do. That's like 10 different screens that

1:29:00

they use there consistently during the festival

1:29:02

every year. I don't know what the

1:29:04

fuck they're going to do when that disappears. There was news

1:29:06

that the land- What

1:29:10

do you mean it's disappearing? What is- Got sold

1:29:12

and they were going to turn it into a

1:29:14

condo, but it's still there. And that news was

1:29:16

like five years ago. So I don't know what's

1:29:18

happening or if it's still

1:29:20

staying. Oh, does it all make money or whatever?

1:29:22

I don't know. It's not that it didn't make

1:29:24

money. It's that the real estate in

1:29:27

Toronto, it's top three in the world. Oh, were

1:29:29

they putting up rent or something? It's

1:29:31

literally just someone wanted to turn it into

1:29:33

a condo and they have so much money

1:29:35

that how could Cineplex say no, because they're

1:29:38

a company, right? Yeah,

1:29:41

yeah. I just buy out the building. I don't

1:29:43

know what's going to happen. Fucking

1:29:45

build around the Cineplex. You want

1:29:48

it, you want to, if you want the

1:29:50

property to be something that people want to

1:29:52

live in, you should probably

1:29:54

have amenities like a movie theater in the

1:29:58

area, because then people- Will want to live there

1:30:00

more. I don't know. Yeah, I don't know what the

1:30:03

fuck people are doing I don't know what's gonna happen Like

1:30:05

a lot of film festivals already kind of

1:30:07

do this like pop-up theater Like

1:30:11

Khan does it like they'll just like pop

1:30:13

that they'll like Construct like

1:30:15

a little screening room like on the

1:30:17

beach basically Mm-hmm. Go

1:30:20

do what you do. So it's like film festivals

1:30:22

still have options I guess just I'm

1:30:24

concerned about tiff the most because that's

1:30:26

my favorite festival and I just knowing

1:30:29

Like how dense Toronto is it's like you can't

1:30:32

really Do a pop-up that

1:30:34

like it would have to be like in a completely

1:30:36

other area of town, which would be annoying but Yeah,

1:30:39

yeah, that was convenient with so many

1:30:41

the screenings being like so close to one another.

1:30:43

Yeah Mmm,

1:30:46

I know there's also just the whole like just cost

1:30:48

of living Bottom-line it's

1:30:50

like if if a ticket

1:30:52

to one of the nice theatres if you

1:30:54

want to guaranteed good experience It's gonna cost

1:30:56

basically the same amount as like a month's

1:30:58

worth of a subscription service The

1:31:01

whole family can use like is

1:31:03

it really that surprising that people don't

1:31:05

want to go to the theater in the same

1:31:07

way You know,

1:31:10

yeah, like I don't blame people if you

1:31:12

take a family of four to the movie

1:31:14

theater and buy them all stuff Yeah, yeah.

1:31:17

Yeah. Yeah, exactly. It's way more cost-effective

1:31:19

to do it at home. Everybody's struggling

1:31:21

financially right now So, you know

1:31:24

shit's changing so fast and there is just

1:31:26

this attitude that like movies are bad now

1:31:28

It's like it's a really popular thing. Where's

1:31:30

that everyone thinks? Yeah,

1:31:32

maybe is that just like political garbage

1:31:35

and that's all they do and Films

1:31:38

suck compared to what they used to so

1:31:40

why even go? That's

1:31:44

like a lot of this discussion is about all the

1:31:46

time even though Yeah, we just had doom. We just

1:31:48

had civil war just had a bunch

1:31:50

of great movies But you might see them in the same

1:31:52

in the same favor. We're

1:31:54

out of that just everything can make a billion

1:31:56

bucks like just 15

1:31:58

years of genre shit.

1:32:00

Yeah. It's all like

1:32:02

crumbling. Like all

1:32:05

survive with digital releases. Like

1:32:08

I enjoy watching things at home, but like

1:32:11

just the film festival experience is the

1:32:13

one thing that like

1:32:15

is not replaceable. Yeah. To me.

1:32:18

Because yeah, I agree. I'm fine watching stuff at home, but it's

1:32:20

like, man, where

1:32:23

else are you gonna get the midnight movie

1:32:25

madness or you know, these sort

1:32:27

of best moments with cinema,

1:32:29

like when you have a crowd that are all

1:32:31

engaged with the thing and you're feeding off the

1:32:34

energy of the crowd. Agro drift.

1:32:37

Exactly. Get that drift on. Did I tell you

1:32:39

I watched it a second time? No

1:32:42

really. Well, cause I

1:32:44

was in the during the

1:32:46

convention, furry convention in Atlanta,

1:32:49

it happened to be playing. Cause

1:32:54

it was literally just like a one week only. And I was

1:32:56

like, okay, the theater is like a

1:32:58

five minute Uber from the convention. Was

1:33:00

it a late thing too? It

1:33:02

was a yeah, it was like a 10 PM

1:33:05

or something. The theater wasn't packed

1:33:07

or anything. And I brought Sarah

1:33:10

from just too good. Sarah

1:33:13

wanted to watch it. I probably wouldn't have seen it

1:33:15

if there wasn't someone else that like really wanted to

1:33:17

watch it. And it was like the last night she

1:33:19

could have seen it. And it was like, okay,

1:33:22

we're going to do it. Oh, what did Sarah think?

1:33:24

That's hilarious. I mean, yeah, it

1:33:26

was similar experience and

1:33:28

interpretation as we had. Yeah.

1:33:32

We were like giggling and snickering throughout the

1:33:34

film. And

1:33:37

it's almost like funnier

1:33:40

a second time. And

1:33:42

it's actually a lot more digestible a second

1:33:45

time. Like it flew by a

1:33:47

lot more knowing what it is and knowing what

1:33:49

the payoffs are. Or

1:33:51

lack thereof. Yeah, the payoffs. No, I feel

1:33:54

like that's a great lake. I'm just

1:33:56

going to invite someone over where it's

1:33:59

like midnight. I'm just going

1:34:01

to put this weird thing on and

1:34:03

just like watch people's reactions and like,

1:34:05

yeah, just get that sick enjoyment from

1:34:07

it. I wonder how they're going

1:34:09

to release it for like a home release

1:34:12

because so far they've done- Yeah, criteria.

1:34:15

LA strip clubs, TIFF,

1:34:19

and like one week in

1:34:22

some cities in the States. There

1:34:24

were a few screenings here. I didn't catch one, but

1:34:27

I did here. Yeah, it

1:34:29

was shown here and there through the

1:34:31

grapevine, but not

1:34:34

broadly by any means. Yeah.

1:34:39

There's some great theater experiences to be had

1:34:41

and all I can do is

1:34:43

to try and help promote

1:34:47

that in the culture and hope that enough

1:34:49

people listen. So anybody

1:34:51

who listens to my channel, you

1:34:53

got to help spread the word amongst your friends

1:34:55

and family and anybody you think would appreciate

1:34:58

any of these film going experiences

1:35:00

or festivals or anything

1:35:02

that you find special about seeing

1:35:05

a movie in a theater. We

1:35:07

got to be the change that we

1:35:10

want to see. And

1:35:12

who knows, maybe it's a losing battle, but

1:35:16

support your indie theaters, support your smaller

1:35:19

theaters. A lot of

1:35:21

these theaters survive off of concession by the

1:35:23

way. So if you're

1:35:25

going to sneak something in, do it in a fucking

1:35:28

AMC or a Cineplex. If

1:35:30

you're at a smaller theater, you're at

1:35:32

local indie theater, buy

1:35:34

a drink, buy some popcorn, it really helps

1:35:37

them out. Invite some friends, keep

1:35:40

it alive. Yeah. I

1:35:44

feel like I would be more concerned if there

1:35:48

were no good films coming out. And

1:35:50

that was not an insane thing to say. Yeah.

1:35:54

You guys qualify. I'm kind of pissed because like kinds of kindness

1:35:56

is out in the States right now. Anticipating

1:36:00

being able to see in Vancouver, but right now

1:36:02

there's no showtime So I'm probably gonna be seeing

1:36:05

it like next in like

1:36:07

a week or two when I'm in the States Like I'm

1:36:09

assuming it'll still be playing somewhere. Mm-hmm Yeah,

1:36:11

yeah be curious how that one does to Quite

1:36:15

long nearly three hours long Shit

1:36:19

yeah, I'm hyper there What

1:36:22

the fuck? Damn it. What

1:36:24

did I just really like it's playing like one day

1:36:26

only in Vancouver that from what I can see and

1:36:28

it's like The day I'm out of town. God fuck

1:36:31

That's annoying. Yeah, it's Whatever

1:36:35

I'll catch it in the States pissed

1:36:40

Always happens Fuck

1:36:44

well seeing as you're pissed You

1:36:46

might say about this one from Pat Burke

1:36:49

Junior 28 what are

1:36:51

your thoughts and I know I'm gonna say

1:36:53

I'm gonna say the words AI People

1:36:57

get so upset when it comes

1:36:59

up But what are your thoughts on

1:37:01

AI affecting film preservation recently James Cameron

1:37:03

released his film true lies on 4k

1:37:05

Blu-ray and it came under fire for

1:37:07

his lackluster transfer and weird visual problems

1:37:10

Apparently Cameron used an AI program rather

1:37:12

than just remastering the film like normal

1:37:14

many were mad and this With

1:37:17

this as this new 4k transfer is one of

1:37:19

the only legally available ways to watch the film

1:37:21

Do you think more studios will use AI to

1:37:23

remaster their older films? And how do you think

1:37:25

this will affect film preservation as a

1:37:27

whole? Didn't this happen with

1:37:29

like his Terminator 2 really isn't James

1:37:31

Cameron just notorious for like having the

1:37:33

worst 4k Blu-rays

1:37:35

ever I think this isn't the first time this

1:37:38

might be a Cameron ism. Yeah, cuz I have

1:37:40

heard this for two Yeah, what's this fucking deal?

1:37:42

I'm been great He does love the time like

1:37:44

Terminator 2 is like ranked among like the worst

1:37:46

transfers ever Yeah, cuz apparently they use

1:37:49

like a bunch of like notorious Yeah,

1:37:51

like denoising and like removal of film

1:37:53

grain, but it winds up making every

1:37:55

character look like they're like plastic Which

1:38:00

sucks and you'd think that something so

1:38:02

notoriously known to be bad They

1:38:05

would want to like I don't know fix it But

1:38:08

especially for a film of that kind

1:38:10

of reputation. Yeah, like people

1:38:12

love That

1:38:14

film classic. So

1:38:17

that's kind of annoying. I it feels like

1:38:19

a Outside

1:38:22

of this probably being a Cameronism thing It

1:38:26

also feels like a growing pain type thing. Maybe

1:38:29

it's like rough around the edges now, but It

1:38:31

is possible to do of course like AI

1:38:34

will be used to upscale

1:38:36

things to Anything

1:38:39

that can make money in any form if it can

1:38:41

be automated with AI will be done It's just

1:38:43

a matter of one. Yeah, and it's not necessarily like

1:38:46

a death sentence for

1:38:49

Restoring or you know enhancing

1:38:52

something. I I think that

1:38:54

as the technology improves things

1:38:56

like television shows that were shot

1:38:59

like on tape or something like if you

1:39:01

like it's something where maybe

1:39:03

there might not be a high

1:39:06

quality transfer to even pull from or

1:39:09

maybe even like films

1:39:11

that There are

1:39:13

no original reels available Yeah,

1:39:17

that might be a circumstance in which like

1:39:20

you could use this technology in

1:39:22

a way that's beneficial We don't

1:39:24

know. I like I'm I'm not

1:39:26

confident that the technology is there

1:39:28

yet obviously Over

1:39:32

the next five years shit's gonna get really

1:39:34

crazy with AI in terms of what its

1:39:36

capabilities are and how it's utilized in Society

1:39:39

whether artistically or otherwise, so we're

1:39:42

just gonna have to wait and see I don't think that there's anything

1:39:46

Like about the word AI that

1:39:48

makes James Cameron's transfers bad It

1:39:50

just seems like he just sucks

1:39:52

at it and he doesn't give

1:39:54

a shit any like he's just

1:39:56

a big big piece of duty

1:39:59

Because he's been You're

1:42:00

all a quote. The way

1:42:02

people market things already by saying, we

1:42:04

didn't use any CG. Yeah,

1:42:06

so disingenuous. I think

1:42:08

I recommended this. There's a very

1:42:11

awesome multi-part YouTube documentary

1:42:14

series thing from

1:42:16

a channel called the movie Rabbit Hole. And

1:42:18

it's a four-part series. And it's titled

1:42:21

No CGI is Really Just Invisible CGI.

1:42:24

And he really goes into just

1:42:26

how many movies will, in

1:42:29

the marketing, say, oh, there wasn't any CG.

1:42:31

But he just shows, yeah, there

1:42:33

was CG everywhere. It's

1:42:36

just a marketing gimmick. Yeah,

1:42:38

those are the best types of visual effects. I

1:42:40

think we're probably going to be in that same

1:42:42

space with AI. It's

1:42:46

another tool with obviously

1:42:49

very different and

1:42:51

more extreme societal implications that we're all going to

1:42:53

have to navigate. Yeah,

1:42:55

the problem is mostly just when it's bad, which

1:43:03

you can make something look bad with or without AI. As

1:43:06

soon as we have things that look good, then

1:43:09

it's not really an issue for

1:43:11

the artistic quality,

1:43:13

anyway. Yeah, because

1:43:16

that's the pushback I

1:43:18

see on social media, when a

1:43:20

big AI video will trend or whatever. And then

1:43:22

it would be quote tweeted of, this is everything

1:43:24

that's wrong with this. It's

1:43:26

kind of like, you're kind of missing the point. Yeah,

1:43:29

it looks all fucked up now. But

1:43:33

it looked fucked up in 2021. Then a

1:43:35

year later, they fixed the hand thing. And

1:43:37

it's like the trajectory of this. I

1:43:42

don't know what you think you can stop, I guess, is

1:43:44

what I'm trying to say. But

1:43:47

I know it angers people to no end, for whatever

1:43:49

reason. We'll see how it goes. Bringing up this topic.

1:43:53

We'll see. I've got my hands up. I'm just

1:43:55

kind of watching, because it's like, I

1:43:58

don't know. Growing up, all these stuff. stories

1:44:00

and sci-fi stuff with this as

1:44:02

a subject matter and never considering, oh, we're

1:44:05

going to live through that. Yeah,

1:44:07

like fucking Picard on the holodeck,

1:44:10

he just says, show me Five

1:44:13

Nights at Freddy's. Then

1:44:16

he is in Five Nights at Freddy's. We

1:44:20

might see that. Yeah. But

1:44:22

people watching that, people weren't like, man,

1:44:24

what about the property rights? Nobody

1:44:28

watching Star Trek was thinking that. Damn.

1:44:33

He just got the hologram for free, bro? Yeah,

1:44:36

my utopia. I don't know.

1:44:38

Shit's getting crazy. One

1:44:41

more question? Yeah,

1:44:43

let's end on this one from past confusion,

1:44:45

3234. Hi, Adam

1:44:47

and Alex. Recently I've

1:44:49

attempted to start taking notes during films due to

1:44:51

a mixture of remembering my

1:44:53

opinions on particular details and also helps given

1:44:56

how my brain works, which leads to this

1:44:58

question. Given that both of you write

1:45:01

notes for films and even Adam uploading them on his Patreon,

1:45:03

take notes, Alex. How do you write

1:45:05

notes for films? This can be from

1:45:07

what you write them on to how you decide what

1:45:09

needs to be written down or not. Vague

1:45:12

enough question, but I hope it leads somewhere. Keep up the

1:45:14

great job. Both of you on the podcast and your bloody

1:45:16

separate works over there. Yeah,

1:45:19

good question. It's quite like

1:45:23

a personal skill, I feel like, your

1:45:26

notes. They

1:45:28

might look crazy to somebody else, but it's like

1:45:30

the tangents and things I have attached to these

1:45:32

notes. Yeah, it's

1:45:35

for your own understanding. Yeah,

1:45:37

exactly. So I might just

1:45:40

note down a moment

1:45:42

of something that happens when you read the notes.

1:45:44

Okay, that's an obvious observation, but when I see

1:45:46

it, the connection I read is like,

1:45:48

oh yeah, that moment started this thought

1:45:50

process in my brain. And that's just

1:45:52

a way of reminding. I've

1:45:55

learned, what was it, semi-recently that I used

1:45:58

to always type all my notes. If

1:46:02

you do it with a pen or pencil, like

1:46:04

the connection with your memories seems a lot stronger,

1:46:07

at least for me. I remember

1:46:09

it a lot better. People have done

1:46:11

studies on that and that seems to be

1:46:13

a thing for some reason. Yeah. Yeah.

1:46:16

I mean, I vouch for it. I definitely remember mine. It's a lot better

1:46:18

when I write them by hand compared to typing.

1:46:20

It's also kind of nicer, like with

1:46:23

everything so like digitized, it's nice to

1:46:25

have a little notepad

1:46:27

or whatever. Yeah. I mean, I've never had that

1:46:29

going on. Do you have any process? I guess

1:46:31

you've just figured it out over the years. What

1:46:33

works for you? What you need to remember? Well,

1:46:36

I used to watch a movie

1:46:38

and then just immediately as the credits start

1:46:40

rolling, just whip out my phone and just

1:46:42

go, like speed type everything that I- Yeah,

1:46:44

I used to do the same. But you

1:46:46

just forget so much if you have to

1:46:48

like hold all this info over like two

1:46:50

hours and then- I'm pretty

1:46:52

good at remembering. And then also typically,

1:46:55

I'll watch a movie with

1:46:57

someone else and I'll have a conversation with them

1:46:59

about it after and then I'll continue to add

1:47:01

to my notes. But now I

1:47:03

just, I don't know, speed typing

1:47:05

on my phone doesn't do great

1:47:07

for my tendinitis issues. So

1:47:10

now I just bring like a notebook and

1:47:13

if the movie is really dark, then my

1:47:16

notes are a bit messier. As

1:47:19

long as I can- That's a learning curve. Understand

1:47:23

what I wrote after then

1:47:25

it's good. If I'm doing

1:47:27

like a watch along at my computer

1:47:29

anyway, then I'll probably type my

1:47:32

notes. Yeah. But- Yeah,

1:47:34

at home when you can like pause and rewind, I'm not

1:47:36

as strict, but like- Yeah, in terms of like

1:47:40

what I write down, just anything

1:47:42

that I, during the watching process

1:47:45

I think is something that I would want to

1:47:48

mention, whether it's a criticism

1:47:50

or an appreciation or just

1:47:52

something specific about the plot that I

1:47:54

want to keep in mind for whether

1:47:56

it's just- for

1:48:00

my own benefit to remember that about the

1:48:02

plot or if it's something that I think

1:48:04

might fit

1:48:07

in like a summary if I want to

1:48:09

like give some details about it.

1:48:13

I guess that yeah the important part is just

1:48:17

understanding how your brain works and how your

1:48:19

own notes assist like yeah what you

1:48:21

want to remember what you want to what

1:48:23

you want to achieve with it we want to do

1:48:25

with it you just got to do it. A

1:48:28

lot of this kind of shit just comes down to

1:48:31

that like yeah the more you do something the better

1:48:33

you tend to get at it as long as you're

1:48:35

doing it consistently. It can be as short form or

1:48:38

detailed as you want it's just

1:48:40

for you to understand if you're the one referencing the

1:48:42

notes it can be as messy as you want as

1:48:46

long as you understand it. And there'll be times

1:48:48

where like yeah you'll like do like five bullet

1:48:50

points for a whole movie and then other ones

1:48:52

will be like hundreds of bullet points.

1:48:56

Yeah. Yeah I didn't I didn't write that much down for

1:48:58

like white or red. Yeah

1:49:00

I specifically didn't for white. Yeah

1:49:04

that's just how it is though sometimes. It

1:49:07

doesn't it doesn't even necessarily indicate like the

1:49:09

quality really at all it's just more your

1:49:11

own observations of it. Yeah. Sorry

1:49:16

I was yawning. Cut

1:49:19

out that silence editor. Don't

1:49:22

leave the pregnant paws in. So

1:49:25

pregnant. Nice pregnant paws.

1:49:27

Now we have to keep it in because we're talking about it. Dang

1:49:31

it. All right. Thanks

1:49:33

for the questions. Yeah this is good. We're

1:49:36

gonna have a guest on next

1:49:38

episode. Gail's gonna. Let's

1:49:42

go. Join. Returning. And

1:49:45

I think this might be his favorite movie

1:49:47

that he wants to recommend but it's something

1:49:50

that I've wanted to talk about for a

1:49:52

while and he he would just be

1:49:54

a great part to have to that in the discussion

1:49:56

so I want to have him along. Yeah. Koyani

1:49:59

Scottsey.