0:01

🎵 Blank Check by

0:04

Griffin and

0:06

David 🎵

0:22

The moment you said you podcasted me, your

0:24

podcast is over. The

0:27

moment your podcast ends, my

0:29

podcast begins. You're using it too

0:31

many times! No, that's the right amount of times, because I'm replacing

0:33

the same word. Right. Love.

0:36

Yes,

0:36

correct. And what is a podcast

0:38

but love expressed? Right, well what is more important

0:41

than podcasts? Love. Remember when everyone

0:43

went crazy over that quote from WandaVision?

0:46

What is grief but love persevering or whatever? Uh,

0:48

yeah. Yeah. Well what is a podcast but love

0:50

on mic? I thought people were... I

0:53

think that was a pretty good line. I do too!

0:56

I thought people kind of got too worked up about that. This

0:58

is the problem with the internet. And I'm just gonna

1:00

hit the nail on the head, I'm gonna sum it up and the discourse

1:02

is over. I'm gonna tell you what the problem with

1:04

the internet is.

1:06

Anything said too many times is annoying. Sure,

1:09

right. Right. That's it! You got it! That's it! Even

1:12

if it's something you agree with or... We basically

1:14

create a platform where every voice is at

1:16

the exact same volume and

1:18

the most correct point in the world becomes,

1:20

dare I say it, cringe. Sure.

1:24

The second is said for the thousandth...

1:26

thousandth... thousandth...

1:29

thousandth... time. Now

1:31

everyone's going to say that I can't say the word

1:34

thousandth. That's gonna be the thing

1:36

that's annoying. That'll be the next cancellation. Yeah. Griffin

1:39

can't say thousandth. People are sick

1:41

of saying cringe. I saw someone tweet,

1:44

wait you can't type out embarrassing? Like

1:46

why did we all say cringe now? I do think cringe

1:48

is one of the cringiest things that people

1:51

are saying online. I think any variation of calling

1:53

something cringe makes me actually

1:55

cringe. Me?

1:56

Oh I can? Yeah, yeah. Yeah,

1:58

cringe is... It elicits

2:00

the feeling that it's meant. Yeah, it's

2:03

over. But in the wrong. Directly recursive.

2:05

Right. Yeah. It's the only way.

2:08

Have you guys heard about the self-described

2:10

cringe comedians? It's

2:13

a go on movement on TikTok. OK. Yeah.

2:15

Yeah. Oh, like they they

2:18

exist only to make you cringe. Is this

2:20

like there's no back reclaim the word kind

2:22

of stuff? Wow. What a what a reference

2:24

to me.

2:25

It was the New York Times article

2:28

recently. And it profiled

2:30

three or four different cringe

2:33

comedians and their whole thing

2:35

is they're just doing like I'm an annoying

2:37

person. Characters. Right. I

2:39

can't imagine someone building their

2:41

entire comedic persona around being annoying

2:43

on purpose, kind of needling their co-hosts,

2:46

saying bad jokes, repeating words that are

2:48

overused. One of the people involved said she made

2:51

like a half a million dollars. Well,

2:53

that's just through, you know, deals

2:56

with brands.

2:58

This existence, their existence

3:00

is annoying to me. Yeah. The fact that this

3:03

movement exists. But they would be like,

3:05

gotcha. No, but I'm cringing. It's

3:07

not. I'm not cringing. Now they'd be

3:09

like, yes, you are. I'm just testing. You're

3:11

just testing. I'm going, oh, brother.

3:14

You're you're humping. I'm not cringing. My

3:17

body is still.

3:19

My eyes are rolling. My feeling

3:21

with cringing is that my skin skin

3:23

lifts. That's the feeling for me. Is

3:26

like it like, oh, your whole like

3:28

my skin like wants to leave my

3:30

body. Right. Oh, you know, and so

3:32

things really. Yeah. Yes. Yes. No,

3:35

I always describe it as making my teeth

3:37

hurt. Yes. Which is one of your best phrases.

3:39

Thanks. Yeah.

3:41

Owns bones. Yeah, that's a good one. Makes

3:43

your teeth hurt. Yeah. I was out to

3:45

brunch recently. This fucking

3:48

guy next to me ordered Sambuca

3:50

with this espresso.

3:52

And it's just like he clearly just

3:54

learned about Sambuca and he's showing

3:56

off. Does he want it in the espresso?

3:58

That would be very odd. you get a Sambuca

4:01

and they put like three espresso

4:03

beans in. It's like, it's a thing that you

4:05

would do out to dinner, but

4:08

like

4:08

this fucker is just like out on a date

4:10

or something and he's like, do you have Sambuca?

4:13

And they were like, no. See, I don't know.

4:16

Oh yeah, cause yeah, it was just some random Brooklyn

4:18

brunch place. Yeah. Yeah. And they're like, what?

4:20

No, we don't have that. I can put champagne and orange

4:22

juice for you. Do you want me to do that? Yeah, pretty much.

4:25

This has basically become a new recurring

4:27

segment, Ben's, Ben's

4:30

grinding component. Yes. Tatiana,

4:33

we're not introducing you yet, but I want to. Please don't.

4:36

Just let you know that I'm directing this next statement

4:38

towards you.

4:39

Ben, at this

4:42

point, it will have been several months

4:44

ago. I told

4:46

a story on Mike about how

4:48

he was duped

4:51

into buying an overpriced steak at a

4:53

restaurant that the waiter upsold him with

4:55

an off menu item that he did not list the price

4:57

for. And he said it was a better deal

4:59

because the sides were included and the sides

5:02

would basically pay for themselves. And

5:04

then it cost a lot more money. It cost a

5:06

tremendous amount of money. I

5:09

can barely comprehend.

5:10

What was the price? Bleeped.

5:14

Okay, so we're gonna bleep it again. We're gonna bleep

5:16

it again. On Friday nights,

5:18

No. Right before we were

5:20

recording today, right? This past Friday,

5:24

some weeks after that episode came out,

5:26

I went to a friend's birthday party.

5:28

Two different people independently

5:31

asked me, hey, I totally understand if you can't say

5:33

it, but can you tell me what the amount of the steak is? I

5:36

got maybe 20 text messages. I got

5:38

a bunch of those as well. How much did the steak cost? Tell

5:40

me the number. The following night is Ben's

5:42

actual birthday, birthday Benny's birthday.

5:45

We went to his birthday party.

5:47

It's like a fun group of people, you know? You

5:49

have a birthday party of friends and different social

5:51

groups. Thank you for describing birthday parties. No,

5:54

I'm saying. People

5:56

are hanging out in different

5:57

spaces, in different configurations.

6:00

Ben at one point walks into his living room, sits

6:02

on a chair and starts relitigating the steak

6:04

thing. I swear to you, like a magnet,

6:07

everyone follows in, sits

6:09

down crisscross applesauce on the floor,

6:12

pin drop silence. Half

6:14

the room is waiting for him to drop the price,

6:17

and half the room doesn't know where the story's going.

6:21

But Ben talked about it, because when you did it on the podcast,

6:24

it was like you were playing up

6:26

a genuine frustration comedically. Right.

6:29

When Ben told it at the birthday party, there was a

6:31

thousand mile stairs if he was recounting his

6:33

time in Vietnam. No

6:36

one laughed. It was a harrowing

6:38

story. I'm haunted by it. Truly.

6:41

I can't sleep. You really,

6:43

it seems to have- I'm experiencing insomnia

6:45

from this experience. It's getting worse as

6:47

time goes on. I think you gotta let it go. Well, no, I'm

6:49

just, oh, okay, okay, you're playing into it. Sorry, sorry.

6:52

I don't know how much he's playing into it. I'm mad

6:54

about it. Furious about it. Very much so. He

6:56

was so mad about it, he got his ear pierced. Oh

6:59

yeah. Yeah, Ben got his ear pierced. That's like a recent

7:01

thing I did. Wow. Full of steak

7:03

though, it does feel like an expression of-

7:05

Yeah. It feels like a response, a trauma response

7:07

a little bit. Yeah, that's true. Right. Right,

7:10

sometimes you just need to change yourself in order to work through

7:12

something.

7:12

Until like recognize yourself again. I'm sure you just

7:14

got through this. Yeah, you wanna feel something? Right.

7:17

Like poke a hole in me. Yeah. Yeah. Stuff

7:20

of steak in there. I'm feeling cringe, because you're

7:22

all looking and analyzing me. All

7:24

right, come on. Griffin, what's our podcast? Our podcast

7:27

is Blank Check with Griffin and David. I'm Griffin. David.

7:30

It's a podcast about filmographies, directors who have mastered

7:32

Saskatchewan.

7:34

This is the episode where I'm not gonna say anything

7:36

correctly. You almost said Saskatchewan. They

7:39

have mastered Saskatchewan. You're from Saskatchewan. That's right.

7:41

I think you were just feeling the vibes. I was doing

7:43

that. It was on purpose. And it was

7:45

clever. Do you rap to Saskatchewan? Like are you Saskatchewan

7:48

proud? That's why I- I don't know why I'm doing a Black

7:50

Hour. That's why I skimped it into his- Yes. Yeah.

7:53

Well I guess it's just general sort of solidarity.

7:54

Oh for sure. That's why

7:56

I was sending it to you. Massive

7:59

success. early on in their careers. Enough

8:01

success to buy the world's fanciest

8:03

takes. They're giving a series of

8:05

blend checks to make whatever crazy. With two

8:08

sides. Two sides included.

8:10

You said the sides were garbage too. Yeah,

8:12

it was just like watercress that was dressed

8:15

in like a normal ass dressing.

8:18

And French fries, right? French fries. Oh

8:20

boy.

8:21

You can get those pretty cheap. Thin

8:23

french fries are thick. If they're thin.

8:26

They were thick. Okay. Yeah, they were

8:28

good fries. I prefer thin. I think a

8:30

thin is actually classier.

8:31

Yes, I agree. I think

8:33

it's much more. Thick is like, oh, you chopped

8:35

a potato four times. Good job. You made

8:37

a French fry. Right. Right.

8:39

Whereas we're talking more like shoestring

8:42

level thin. I like that stuff. Especially with a steak.

8:44

Yeah. I think it's right with a steak. Because

8:47

you soak up the juices. They only gave them five. It

8:49

was five fries. Seriously.

8:53

They're giving a series of blend checks to make whatever crazy

8:55

passion products they want. Sometimes those checks clear.

8:58

And sometimes they bounce. Maybe

9:00

this is a mini series on the films of Park Chan

9:02

Look. Today we're talking about, I

9:04

was gonna say it's final film, but it's the most recent film, the final

9:06

film in this mini series. Which has been called

9:09

I'm a Podcast, but that's okay. That's right.

9:11

It's a decision to leave. Decision to leave is the most

9:14

recent film. Our guest today. Correct me if I'm wrong

9:16

about this. Is this our first

9:19

Emmy winner on the podcast?

9:22

Tonti, do you have an Emmy? I do. Congrats.

9:25

We've been trying to collect an- Oh, you wanted me for a welcome back, didn't you? Yeah.

9:28

Awesome, I forgot about that. A proper Emmy, don't think she won

9:30

some.

9:31

You were about to

9:33

denigrate. Sometimes people will kinda sneak

9:35

an Emmy. She went a day in time. She

9:38

was a prime time star. I knew it was a huge

9:40

triumph for genre television. It was such

9:42

a great moment, I remember that. I'm just saying, we're trying

9:44

to collect our egot.

9:46

Oh, is that what we're

9:48

doing? Okay, yeah.

9:51

So we've had two Tony Award winners.

9:54

Wow, Zervorous, who's the other one?

9:56

Lynn. Lynn, Ben, one Miranda, sorry.

9:59

You fucking-

9:59

Sorry,

10:04

he might have an Emmy too. He might have snuck an

10:06

Emmy. That's what I'm talking about. I

10:08

think he wanted daytime Emmy for Wonder Pets, for writing songs for Wonder Pets,

10:11

I believe. Oh, that's nice. It

10:13

is nice. And he comes

10:14

for Grammy too. Okay, jeez. Well, now we're just kind of, you know,

10:17

bragging. He's hanging it all. Touchdown on

10:19

the Ronnie's here. Yes. Hi, hi, hi. Hi,

10:21

hi. I'm sorry I forgot about

10:23

your Emmy win. Oh, God. I wish you would

10:25

have always referenced it. It's a very

10:27

important thing. You've demanded it. You're one of the people. I do.

10:30

It's Emmy winner. The most frank question, but where do you

10:32

put your

10:32

Emmy? I'm one of those bathrooms. No,

10:36

it's like in my storage locker. I'm

10:39

not like a put things on the,

10:41

I don't have that in me.

10:44

I like a put toys on the shelf.

10:46

I don't like put awards on the shelf. We have a lot

10:48

of toys on our shelf. If I want

10:50

a sports award, I would put that on the shelf

10:52

because that would be really kind of like a thing.

10:56

Like an Olympic medal. Yeah. If

10:59

I snuck an Olympic medal. I

11:01

just got really good at javelin for a minute. Yeah.

11:04

Forgot awarded it for. I don't know. I've

11:06

said this on my for right. This is maybe potentially

11:09

a five timer. There was a rumor

11:11

I had heard that that was Cynthia

11:13

Rivo's goal. What? Was

11:16

to be the first EGOT winner with also

11:18

an Olympic medal. Oh, I love that. She's

11:20

very, very athletic. Very good. She is.

11:23

Yeah. She's fit as hell. You

11:25

could pick up a like a Gina Davis archery

11:27

kind of thing. I remember when

11:30

I was doing track and field because I was deeply unathletic.

11:32

I would always pick the ones where you were most stationary.

11:34

Right. Yeah.

11:36

Yeah. The shot put shot. It

11:39

doesn't make any sense. The hammer. Yeah. Yeah.

11:42

Metal to win. Not to bring up your from Saskatchewan again, but you

11:44

are from Saskatchewan. Did you skate?

11:48

I didn't play hockey,

11:50

but I skated in hockey skates. I'm

11:53

a good skater. I'm a good inline

11:55

skater.

11:55

Did you skate to school?

11:58

Up a hill. Yeah. Yeah,

12:01

no, but I do rollerblade in LA which

12:04

seems like I could get an award

12:06

for that

12:06

To

12:09

the Olympics Las

12:13

velas on That

12:16

is very dumb. Yeah, it's not smart.

12:18

No. No, I think it's a smart and cool

12:21

Do do do you ever see other

12:23

people do my experience? I walk more in LA

12:25

than most people

12:26

and it feels like people view me as

12:28

if I Am Same

12:32

I remember walking in LA and people pull

12:34

over and are like aren't you okay? Right? Yeah.

12:36

Do you need help,

12:37

right? Vegetables

12:46

are you selling? That's

12:48

the response. Yeah.

12:49

Yeah. No it biking in LA too Which

12:51

is another thing I do also and

12:54

I feel like anybody I see that's on bike. We like nod

12:56

to each other We're like, hey, we're doing it,

12:58

but this

12:59

is what's weird about this and this is of course a mountain movie so

13:01

this is we're actually making a really seamless intentional

13:03

segue back into the

13:06

ostensible subject of this episode

13:09

People love fucking hiking in LA.

13:11

It's the number one thing they all like to do and then

13:13

you talk about walking anywhere

13:16

Where people are right where

13:18

places go to a place and they act like you

13:20

are Demented yeah, you got to

13:22

go hiking you gotta go to this place and then right

13:24

right You're not just gonna like walk to the top walk back

13:28

Right, but if you're walking with intent to

13:30

actually accomplish something up, no

13:34

I don't want to I don't want to start another New York

13:36

LA beef on this podcast right now They're

13:39

different in a lot of ways what I've

13:41

noticed a couple and if I can actually take up my notebook here

13:43

Do you like LA?

13:44

Yeah, you happy in LA I do. Yeah, you're not

13:46

you're not you're not like tempted when you're here Like

13:49

a New York City big Apple never

13:51

sleep a lot. It's a lot from

13:53

my little system You're doing a Broadway play right

13:55

now. Yeah, you this is the second Broadway

13:58

play you've done

13:59

And are these the two longest

14:02

periods you've been in New York that

14:04

you've lived in New York? Yeah, for sure. When

14:06

I did network, that was like a year. Yeah, right,

14:08

that was like a crazy long run. It was a hit?

14:10

People wanted to see them, it's a hit? Sold out every

14:12

night, because of Brian Cranston. Cranston,

14:15

Baffo Bio. Yeah, that was the

14:17

Cranbone effect. The Cran, he called

14:19

it that, and it's copyrighted. Yeah. It's

14:22

that Cranbone effect. Knocks on your dressing

14:24

room, check the box office. They said it's still

14:26

Cranboning out of these goals. What is Cranbone?

14:29

I don't think he knows us, so I call

14:31

him. It's one of the Cranbones. Yeah. He'd

14:34

hit it every day, dap him up, like hey, Cranbone.

14:36

Hey, Cranbone. I do a lot of bad

14:38

impressions on the show, like on the spot

14:40

for the opening, when I butchered

14:42

the quotes. In character. There's like three

14:44

impressions I have that are good, and one of them

14:47

is Brian Cranston

14:49

in Trumbo. Have you seen Trumbo? Yeah.

14:52

I'm trying to write in the bathtub.

14:55

How do you feel about that? I love it. Thank

14:57

you. I'm glad you like

14:58

that. How you echoed like you were in a bathtub? You have

15:00

to. You got to project so far.

15:03

Yeah, splash splash. So

15:07

you're in town, you're not in

15:09

your in town, you're in a play called Grey House, but

15:11

you're in town in New York City.

15:13

And for a

15:16

long time, I wanted to get you on the podcast. Wow.

15:18

And it's throwing

15:20

out a lot of things. You're someone who, in a

15:23

way I find endearing. Oh

15:25

no. Every time we've had the conversation, you've been very

15:27

self-conscious of like, I don't know

15:29

if I know enough to come on that one. Oh for sure,

15:32

and I feel similarly to today.

15:34

No, you've come in with three pages

15:36

of notes. Yeah. But this is double

15:38

sided. Double sided and sort of laid out in front

15:41

of you. Yeah, just a reference. I

15:44

did not color code them. Did you

15:46

consider color coding? I did. Okay. I

15:48

did. Because David and I would talk and

15:50

he'd say like, yes, you David Sims, be

15:53

like, have you talked to Tatiana about possibly doing

15:55

this? I said, yes, she wants to do it

15:57

because what movie does she want to do? And

15:59

I said, I said, Tatya's answer is usually, assign

16:02

me homework. Well, here's the thing, I

16:04

go out with you and Brendan. Your

16:06

husband Brendan Hines. My husband Brendan Hines. Friend of the show, past

16:08

and future guest. Yeah, and the two of you. So

16:10

handsome. They're so handsome. He's so

16:12

handsome. And he's an absolute doofus too. He's

16:14

the best person. He's a silly Billy. He is a goofball.

16:18

But the two of you talk about films

16:20

in this way that I'm like, this is a different

16:22

language. These are references to

16:25

things within the industry

16:28

that I don't understand. And

16:30

you guys get plot, which I find

16:33

very difficult. You mean sort of just the general

16:35

plot of a movie. I find plot really difficult. Like I'm

16:37

here for vibes. I'm here for performance. Truly. I'm

16:39

here for like little moments. I'm like, oh, what?

16:42

Like, I don't know. Or like, I find

16:44

plot, which is why this movie is

16:46

a little daunting to me. Yeah, because this movie is incredibly

16:49

plotty. Although I don't think it's that

16:51

important. This is the thing. But the perch in the book is

16:53

it's like, there's a lot of dense plotting, but

16:55

also it's so much more about vibes and emotion and

16:58

character arcs. Right. He's like

17:00

kid talking that way. He's presented out of order. Right. And

17:02

then you're sort of like, am I supposed to be keeping track of all these

17:05

people? He likes the narrative puzzle. He likes the

17:07

surprise, but it's like, that's not actually what

17:09

it's about.

17:09

Well, interestingly too, our

17:11

detective, the plot, he

17:14

sort of decides what the plot is. Like

17:16

he in so many ways kind of erases the

17:19

plot. Do you know what I mean? And goes for

17:21

vibes himself. Makes a decision

17:23

to leave. He does.

17:24

Like, what's your favorite movie though?

17:26

Like, or what's a movie you throw on? I

17:30

would throw on a woman under the influence

17:32

often. Yeah. I've seen it probably 40

17:34

times. Maybe

17:36

we should do Johnny Singh. We should. Hey

17:42

Tatiana, I want you to know, before you start

17:44

to give him credit for suggesting that, I pushed it

17:46

many times and David's response is always not

17:49

my guy.

17:49

He's not, no, I like Casta Betty.

17:51

He's more your guy. He is absolutely

17:53

more my guy. I just say don't give David frowny

17:56

points. I pushed that up a hill.

17:59

You're amazing David. Thanks. I

18:02

would love, I mean, I'd love it. Well

18:04

come on back for a round. I've seen that movie so many times. The

18:07

one I feel like you told me after the fact

18:09

we should have had you on for, although it was a great episode

18:11

and a great guest,

18:13

but that you're like no nightmare before Christmas

18:15

backwards and forwards.

18:16

I do, I do. Yeah, I

18:18

really, really do. Like I can quote it. There's a few

18:20

movies that I've seen so many times that

18:22

I can quote them. I assume that was sort of a seminal

18:25

childhood film for you. It was, yeah. Yeah,

18:27

for sure. But even like There Will Be Blood

18:29

is one that I've seen probably like 50 times.

18:32

It's one that I'll like put on just to watch

18:34

a scene and then I kind of get sucked

18:36

in and can't. But I knew there would be movies like that

18:38

for you, right? If you're going for vibes or moments

18:41

or whatever, right? Like movies where you're like, let me put this on. Yeah.

18:44

But I'll say this too. I think you are very

18:47

self-effacing in underselling

18:50

your ability

18:52

to talk about film. You want to find a cringe?

18:55

No, no, no, I've had so many great

18:57

conversations with you about movies. And

19:01

I think, and look, this is

19:03

a thing I perhaps said about other guests before

19:06

on the podcast, but I think you

19:08

are one of the few actors I know who I think

19:10

can really talk about acting

19:13

intelligently and unpretentiously in

19:15

a way I find interesting and engaging.

19:18

And I've said that about other actors who have

19:21

been guests on the show, but the reason

19:23

is those are the only actors I've won

19:25

on the show. There are a lot of actors

19:27

I know

19:28

who I find don't really like movies

19:31

and cannot talk about acting at all.

19:34

It's tough to talk about. It's a tough thing to talk

19:36

about. Like if I ever interview actors, I have

19:38

no idea what to ask them and I think they often are like, I don't

19:40

really know what you want me to tell about

19:42

like however this works or whatever. How

19:45

I pick this stuff. It's a little elusive for sure. Well,

19:48

I think, no, sorry, what were you gonna say? No, but I was gonna

19:50

say like, even if Brennan and I were talking

19:52

about it, like watching this film

19:54

with subtitles also like changes

19:56

the way that you do watch performance in

19:58

a way. And I felt like seeing

20:01

it, because I've seen it now twice, in the first

20:03

time, I mean, I was

20:05

still struck by the performances,

20:08

by how, especially our lead

20:10

dude, just like his beautiful,

20:13

like intense focus on

20:16

her, just how he sees her,

20:18

you can feel it in a way that's so

20:20

visceral. But also in

20:22

this way, and perhaps it's in the dossier, of

20:24

research that JJ pulled up. But

20:26

watching it this time in particular, I was really

20:29

wondering how much- Good movie to see

20:31

twice. Yeah, absolutely. The first time is very

20:33

overwhelming in terms of your like, how much

20:35

should I be

20:36

following the narrative

20:38

here? Yeah, yeah, yeah. Go ahead. No,

20:41

I think the whole thing that's so fascinating about Teng Wei's

20:44

performance in this movie is that,

20:46

it is playing with that, where

20:49

it's like, when you watch a foreign language film,

20:51

whatever your native language is, any film that is not in

20:54

that, where you're watching a performance

20:56

with subtitles in a language, you do not

20:58

understand, how are you

21:00

judging that performance? And

21:03

I think in a certain way, it's like, well, that really

21:05

shows you what acting is. It's not about

21:07

just like line delivery on a surface

21:10

level. It's so much

21:12

of an energy, it's such a visual thing,

21:14

especially in filmmaking, and like

21:16

connection points and whatever, and you can

21:18

kind of hear the inflections and the emotionality

21:20

of a line without understanding the words that are

21:22

being said. But this is like a movie

21:24

that is about that, because for half of the movie,

21:26

the lead character

21:28

cannot really speak directly to

21:30

the

21:31

female lead character. Either

21:34

she is translating herself in real time, they're communicating

21:37

over text message, you know? Like

21:39

he's processing her trying to suss

21:42

out whether she's for real or not, in

21:44

the way that we kind of

21:46

view a performance in a foreign language. Sure.

21:48

Totally. And is she giving a performance, right? How

21:50

much, yeah, is she playing him? Right.

21:53

And is that like, is him

21:55

not understanding what she's saying, obfuscating it? Is

21:57

her writing in the written word

21:59

rather than? and looking him in the eye obfuscating

22:01

something, all that sort of

22:03

stuff. Yeah, I was reading about the subtitle

22:06

translator. And

22:09

it was really interesting because the

22:11

lines are so precise, but they don't translate

22:14

directly. So the line about

22:17

where she's like Google translating

22:19

basically the thing

22:21

about bring me the heart of that kind

22:23

detective, or bring me the head of that kind detective.

22:27

It's actually in the original

22:29

script, it's supposed to be the heart, physical,

22:33

is what he hears,

22:35

but the metaphorical heart

22:37

is what she means. But

22:39

we don't have two words for that. So

22:42

it had to be like something more intense,

22:44

like his head, to be like

22:47

impactful enough. Or even like

22:49

the later scene with the second husband

22:51

where he's sort of drunkenly texting on the bridge

22:53

and it's filled with typos. You're

22:55

like, how do you as a translator translate

22:57

typos?

23:00

What's the right letter to drop? What's the

23:02

right misspelling? There's

23:04

a lot of, yeah. I mean, this

23:06

is a movie about a translation,

23:08

a means of communication in golf, honestly.

23:11

Yeah. Right.

23:12

It's also just

23:15

a sort of simmering noir,

23:19

sort of a throwback. I feel like we don't get movies

23:21

like this enough anymore, genuinely

23:23

sexy movie without being even

23:25

like

23:26

particularly lurid, but it's just so hot. And

23:30

I remember last year that being kind of a narrative

23:32

of like, movies aren't hot anymore,

23:34

right? Like this is a movie with like real tension,

23:37

sexual tension. Yeah.

23:38

Well having fewer sex scenes than a

23:40

lot of his films. Movies are often more

23:43

lurid. And the sex scenes aren't the sexy

23:45

parts of this movie.

23:46

No, they're like the least sex scenes. They're like

23:48

where the sexiness is removed. They're routines,

23:51

they're like tooth brushing. Yeah.

23:54

I saw this in theater. Yeah,

23:56

do you guys see it when it came out? Yeah. So

23:58

on theaters, yeah. Yeah, I saw it at the... I think

24:00

in Boston. Was it the Brattle? It

24:03

was like a great old theater, old

24:05

rap theater. Yeah, Cambridge, the

24:08

Brattle, yeah. Might've been the Brattle, and if it wasn't,

24:10

shout out to the Brattle, because I love you. You

24:12

got me a shout out to Boston. We should say

24:15

this movie was in the United States

24:17

released by movie. That's

24:19

true, a frequent sponsor of the show. One of our most faithful

24:22

sponsors. But the beginning of their theatrical

24:24

distribution. Yeah, yeah, yeah. And I feel like

24:26

was a bit of a sleeper hit.

24:28

Yes, it was unfairly

24:31

snubbed for an Academy Award.

24:33

He has never gotten nominated? That's

24:36

not that surprising. His movies are very shocking.

24:39

Like I would say generally. Sure. But

24:42

I did feel like this was his chance, because it's sort

24:44

of like. This felt like the one. This is a mystery movie.

24:46

Like this is the kind of thing people want. But

24:48

it was sort of a hot year, I guess. And

24:51

yeah, they have submitted him.

24:54

It was the first time they had submitted him. That's wild.

24:56

OK. Wow. No? Yeah. It's

25:00

a country that makes a lot of movies, too. It's not like.

25:02

Yeah. And it's Buddy Bong. He's got to constantly

25:04

go up against. Bong has only been submitted twice

25:07

for

25:07

Mother and Parasite. Wow. OK.

25:10

Parasite won. Remember? Yeah,

25:13

best picture. Best director. Best screenplay. So

25:17

yeah, let me give you some context then about this

25:21

film. So this is he's making this after

25:23

The Little Drummer Girl. So he's just worked

25:25

on it. His first television show. It

25:28

was American or English or it was

25:30

English language. Because it's a six year

25:32

movie gap. But

25:34

I imagine Little Drummer Girl is

25:37

taking up a lot of that time. He got

25:39

attached to a very famous

25:41

blacklist script, a notorious blacklist script.

25:43

Stoker 2.

25:44

Called The Brigands of

25:47

Rattleborg, which is written by S.

25:49

Craig Zoller. Oh, yes. The

25:52

provocateur of independent

25:55

film. I don't know if you've heard of S. Craig Zoller.

25:57

But he makes these worlds tight as.

26:00

ponytail he makes these incredibly

26:02

gnarly indie

26:05

sort of thriller I don't know I used to see him at

26:07

sweet sweet green all the time yes

26:09

and I would text you and

26:11

you would say I'm surprised you can recognize

26:14

as Craig Zoller and I would just always say his ponytail

26:16

is so tight

26:17

that first you go what's up with this guy so

26:20

what type ponytail it looks like someone's drawn his

26:22

hair because it's

26:27

so like stretched it's licked

26:29

and it's just like yes straight lines back

26:31

like how a kid draws hair yes

26:35

yes so that's

26:37

like a Western you know right I'm sure

26:39

is breakout spec script right

26:41

it's never been made right right he makes all these

26:43

movies where people get like sawed in half or like their

26:46

face gets smooshed and you're like where

26:48

they just like eat a tuna salad sandwich

26:50

for 15 right but then they're all like oh

26:53

yeah right exactly all he's he

26:55

is a very interesting filmmaker

26:57

yes yes I gotta see this ponytail

26:59

yeah I'll show you the ponytail yeah

27:01

it's okay well I think that where

27:04

you see someone in person

27:05

and you're like that person striking and

27:07

then the more you look at them you're like oh there's somebody

27:09

they have to be they couldn't just be anybody

27:12

right I'm trying to find a picture of him

27:14

I mean you can kind

27:16

of see it here it's gotten tight over time

27:18

it looks tighter in person too it doesn't

27:20

somehow totally but you can sort of see

27:24

the intensity of how tight it's been

27:25

pulled here pony that would hurt it

27:28

looks like the pony and then

27:30

gels it if that makes sense well as

27:32

a former ballet prodigy

27:34

that's what it looks like you know I was a ballet

27:38

strategy but

27:42

I know but I know about ponytails that I'm

27:44

holding those backs of that you're crying

27:46

that is what it looks like it looks like ballerina hair when

27:49

do you start

27:49

ballet I have a daughter or okay

27:52

if you're if you want to

27:55

yeah my daughter's gonna be very tall though and

27:57

I know it's tough to be a tall ballerina

27:59

it's tough

27:59

to be in any ballerina that's not like

28:02

made of a toothpick.

28:03

So David's wife is also

28:06

over six feet tall. We've made a tall

28:08

child. They are America's tallest couple. And

28:10

I am just constantly terrified of how

28:13

few days I have left until she is taller.

28:15

Were we talking about how taller people

28:17

have more value? Yeah,

28:19

we were saying it's the ultimate currency in the broken

28:21

world. Yeah. And why we have zero

28:24

currency. Your height is listed as five

28:26

four. Is that correct? Five three. Wow.

28:29

I embellish it lightly. Brandon

28:31

is quite tall as well. He thought I was five eight.

28:34

He described me to a friend as five

28:36

eight. Do you have five eight energy?

28:37

You sell it. But do you mean he

28:39

has? You also tend to wear tall shoes. I

28:42

have this as a tall man where I'm kind

28:44

of like, who knows how tall any of these small

28:46

people are. Yeah. Are you five

28:48

eight? Sure. These little beeping things running

28:50

around. He can barely detect them

28:52

at all. They're sort of scuttling around my feet. Yeah.

28:55

I always think I'm the same height as anybody I'm

28:57

standing opposite. And then I see a picture and I

28:59

realize like you're like, but I do have like

29:01

a feeling of I'm making direct eye contact

29:03

with this person on the same level, regardless

29:05

of their height. You

29:06

were the other day you were wearing quite

29:08

tall boots. Yeah. And then we were

29:10

standing in the street outside a restaurant and you went, do you want

29:12

to see my impression of when I talked to Brendan,

29:15

which I thought that's a weird thing to say when Brandon

29:17

is right there. And then you walked

29:19

over to scaffolding. This

29:21

is Brendan did this. No,

29:23

didn't you do this? This is my impression of tat

29:26

talking to me. Anyway, I don't did this.

29:28

Okay. There was a lot of doing this happening.

29:31

There were a lot of bits happening. Yeah. Aggressive bidders.

29:33

The two of you good. Especially

29:35

like a physical bit. Brendan walked over to

29:37

scaffolding where there was a sign place very

29:39

high and he basically jumped up

29:42

and down like a small dog trying

29:44

to talk to the sign. That is very

29:46

funny. The impression of his wife talking

29:48

to him. The woman he loves. Who's

29:51

your tallest coaster? Is it annoying to act

29:54

alongside a very tall person? You're not even that.

29:56

Small. I don't know. Yeah.

29:59

Put him in here. You put him. Yeah, you do.

30:01

Well, wait a second. She hoke is all about

30:03

you got real big. Well, that's true. And

30:05

there was a physical, there was an actress

30:08

on set who was sort of like the height, eye

30:10

line, reference double.

30:11

Right. She's 6'7". Yeah, Malia.

30:14

Yeah, she's 6'7". So she would like sit in a chair

30:16

to like show us how her

30:18

body might, you know, sit in like a chair

30:20

that is made for somebody who's not as tall as she

30:22

is. Right. But then I was on platforms

30:25

too. And I had like a big face

30:27

on top of my head on a stick. It

30:30

was truly like my face, like that.

30:32

I thought there was just a miling. Permanent lip miling.

30:34

Wasn't green, it was green. It was green.

30:37

And it was like, she hulked out and it was like this. Or

30:39

there was this dead mask that they put on sometimes

30:42

that had like little silver eyeballs.

30:45

And it was like truly like dead face. And

30:47

that would be up here too. So

30:49

my co-stars, they're the

30:51

ones who really made it happen. Did

30:54

you feel more powerful

30:56

being on those stilts? I felt

30:58

more like a big baby than ever

31:01

before. That feeling was

31:03

like, yeah, like doo, doo, doo. Which

31:07

kind of works. It works. No,

31:10

I just don't think about this stuff until I have to think

31:12

about it. You don't think that an actor is going doo,

31:14

doo, doo. Doo, doo, doo.

31:18

Splash. Splash?

31:22

Yeah, that's the noise that

31:24

you hear if you were to

31:26

jump into a pool. You

31:30

had a big old flop. See, I

31:33

think the noise that you just described is more

31:35

of a splash. Here's what I think a big flop

31:37

sounds like.

31:39

Oh, okay. You know, I think splash is

31:41

like, that's the successful version. But I'm

31:43

seeing belly flop.

31:45

Yeah, once again, I think a belly flop sounds like this.

31:48

Listen, Ben. Let's get on track.

31:51

Let's get on track. But we're having fun. We're having a

31:53

great time. It's a loose ad for you. Griffin and I are

31:55

pointing at each other. We're pointing at each other from across

31:57

the room. Like the Spiderman meme.

31:59

Ben, I want you to picture

32:02

Steve Jobs tinkering with a computer in his garage.

32:04

Close your eyes, picture it. Tinker, tinker.

32:08

Walt Disney drawing cartoons for his high school

32:10

newspaper. Draw, draw, draw, draw, draw,

32:12

draw, draw. Yep. I

32:14

want you to picture David Sims and I coming

32:16

to you and saying, what if we only talk about the

32:18

Phantom Menace every week for

32:21

years? Every

32:24

big moment

32:25

starts with a big dream and those are three equally

32:27

big moments. But what happens

32:29

when that big dream turns out to be an even bigger

32:31

failure?

32:33

It's the flip side. You

32:35

thought I was leading you one way, I'm leading you the other way.

32:37

Each week on Wunderies new podcast, The Big Flop

32:40

host, Misha Brown is joined

32:42

by different comedians to chronicle some of the biggest

32:44

failures and blunders in pop culture

32:47

history. Each episode will have you thinking to yourself,

32:49

why in the world did this get made?

32:51

We're talking from box office flops

32:54

like Cats the Movie. Wow. To

32:56

Ben, Action Park, New Jersey's

32:59

infamous theme park. Had countless

33:01

injuries, many lawsuits, rides so wild it became

33:03

known as class action park. You ever go there? I

33:06

sure did. You ever get hurt? It was a really dangerous

33:08

place. Worst injury you ever got there?

33:10

Skinned the hell out of my elbow.

33:12

Wow. Yeah. And going down like

33:15

one of the,

33:16

they had like these carts that you could

33:18

ride down. You could throttle the speed,

33:20

right? And the bone still shows

33:23

through. That's true. Today. Quibi,

33:25

Quibi invention of our dear friend David Sims,

33:28

that short-firm video platform with an even

33:30

shorter lifespan. It was a recipe for

33:32

disaster from the start and it's creator Jeffrey Katzenberg.

33:34

That's weird that they have the wrong name down here.

33:37

Jeffrey Katzenberg. I thought David Sims created

33:39

it. Yeah. Even got the idea from

33:41

the Vinci Code. What

33:44

were you gonna say? Well, I was gonna say no wonder David

33:46

had to sit out this ad resection. That's why conflict

33:48

of interest. That's what it is. It's Jeffrey

33:50

Katzenberg, like his nom de plume for

33:53

his side business ventures.

33:55

Perhaps. Look, Quibi

33:57

is a story of a spectacular failure with lots

33:59

of surprises. Along the way here's what

34:01

I want you to do and not you Ben

34:03

although you're included in this But the the royal

34:05

you the general public the listening audience Yeah,

34:08

I want you to enjoy the big flop on

34:10

the Wondery app or wherever you

34:12

get your podcast You can listen to the

34:14

big flop early and ad free on Wondery plus

34:17

get started with your free trial

34:19

at Wondery.com slash plus

34:25

Park wants to go back to Korea. That's the okay

34:27

as much as you getting attached I think it's like I think

34:29

the whole thing is like Hollywood is like we

34:32

want you, you know like you clearly a

34:34

good genre direct wildly out of order, but

34:36

it's Stoker her hand Stoker

34:39

handmaiden drummer girl this right and

34:41

handmaiden is Korean film obviously But that was the partly

34:44

funded I think by Amazon Amazon

34:46

Stoker's his only American film and

34:48

the little drummer girl was American and

34:50

I think maybe made him production. Yeah sure English

34:53

language But so he's homesick.

34:55

Mm-hmm. He wants to make a Korean

34:57

film. He starts brainstorming ideas with

35:00

Chung. See a king his Frequent,

35:02

you know co-writer He

35:05

has two ideas

35:07

One he has a detective story idea

35:10

And he's like I don't want to do something about like a macho

35:14

Mystery cop right,

35:16

you know, there's like swearing and smoking

35:18

and punching people so

35:20

instead he starts to come up with This

35:23

character in decision to leave

35:25

His concept is a police officer who doesn't carry

35:28

a gun but insists carries instead carries wet

35:30

wipes Right like this sort of like weird courteous

35:32

kind of cop a

35:34

gentleman, right

35:37

He's also very interested in my

35:39

goodness a Korean 1967 hit

35:44

song called the mist Which

35:48

is about a protagonist who's trying to understand

35:51

the world around them

35:52

Do you know about this? Well, this factors

35:55

prominently into the movie. Yes, you

35:57

know and his he this is a

35:59

song He's loved since he's little.

36:02

It's a song apparently all Koreans know and sing.

36:06

And he was homesick making the little

36:08

drummer girl and started listening to Korean oldie

36:10

playlists on YouTube.

36:13

And this song came up and yeah,

36:15

tragic love song. Someone leaving into the

36:17

mist, looking at the silhouette of the person who left

36:19

her behind,

36:21

deeply romantic, all this stuff.

36:24

Does Martin Beck come in later? So

36:27

Martin Beck is more attached to

36:29

the former concept of the like, can I make

36:31

an anti-macho cop? Gotcha. Which

36:33

yeah, those are these Swedish,

36:35

sorry, Swedish novels. Anyone

36:37

can mispronounce words. It isn't just a Griffin thing.

36:40

Swedish, horrible.

36:43

Like a rose to word. And

36:46

you know, anyways, so yeah, that is interesting

36:48

because I remember when this movie was announced, you were like, well, what is

36:51

it? And they were like, it's like an original crime

36:53

thriller.

36:53

But

36:56

like, I do love like this sort of like myriad influences.

36:59

He's sort of like swirling together. I

37:01

mean, he had done a couple adaptations

37:03

in a row.

37:04

Yes. And

37:06

with Stoker, he's like taking someone else's script

37:08

or whatever, you know. This

37:11

is the first time he's completely auto-generating

37:13

something. Stoker's kind of fox. I

37:15

would definitely watch Stoker. I

37:17

think Brendan hates it. It's a very divisive

37:20

movie. And I shan't be watching it in our house. Brendan has drawn

37:22

opinions, yes. Okay,

37:25

so he smashes all these

37:27

ideas together. So basically

37:30

what if Martin Beck, this Swedish police

37:32

officer character falls in love with like the

37:35

lady from the mist sort of, right? Like

37:37

that's sort of what

37:40

he does. So

37:42

it's not quite a detective story. It's not

37:44

quite a romance. It's both.

37:46

Yes. You know, it's also a sort of mystery

37:49

noir. Like who can you trust? I don't know.

37:51

I loved thinking about

37:53

this creative process. I just think it's cool. Yeah,

37:56

it does. I don't. Watching it for me the

37:58

second time. It

38:00

did feel like, and

38:03

I don't know if this is just my read on to

38:06

it, but I feel like this movie is fundamentally

38:08

about

38:09

what makes you attracted to people.

38:13

Why do you feel inexplicable connections

38:16

with certain people?

38:17

And the whole red

38:20

flags. You know? There's

38:22

some red flags in this one. When

38:25

relationships end,

38:27

if there is a demonstrable bad

38:29

thing that happens or a revelation about

38:31

the other person or whatever on any scale,

38:34

even a small scale, I just couldn't deal

38:36

with this aspect of their personality. Behavior.

38:39

It always feels like the first thing that people in your

38:41

life ask you is,

38:42

did you always feel that?

38:45

When did you pick up on that? When

38:47

did you get a sense of this? And

38:50

I've certainly been in relationships where I'm just like,

38:54

all red flags identified at the starting

38:56

line. But here's this undeniable

38:58

thing.

38:59

Can I just play this out?

39:02

Does this outweigh that?

39:05

And when you combine that with someone who is a detective,

39:07

whose job is to just kind of clinically

39:09

assess things and just completely

39:12

reason them out,

39:13

and who has a relationship that seems

39:16

by and large very happy and functional and normal,

39:19

but there is just something about this

39:21

woman and it's not just about her because

39:23

it's not like she's like a

39:26

Catherine Tramiel sort of like

39:28

seductress in a conventional sense.

39:31

But it's like there is some undeniable thing between

39:33

them. And it's obviously just a thing that is also compelling

39:35

about her and how she's able to live

39:37

her life. Right.

39:39

He says that he can't reason out, that

39:41

he can't really explain her posture.

39:43

At one point he says your posture is

39:45

very upright. And I think that says so

39:48

much about you.

39:49

I'm so curious about what because that's

39:51

those things that like he's like written a

39:54

whole story about who she is. Right.

39:56

And like regardless of what she shows him,

39:59

regardless of

39:59

of how often she's like at the

40:02

scene of a crime. Obviously

40:04

like completely the one

40:06

who did it. He like has this

40:09

story like protects or

40:11

like he rewrites it or he like. His

40:14

job is also of course to be observant

40:17

and try to understand people's motivations

40:20

that they would be hiding, right? And all that. And

40:22

I do think that's short circuited him slightly,

40:24

right? Yes, yes. And so it's

40:27

partly about that experience, right? There's

40:29

that amazing early sequence when he's sleeping

40:33

with his wife and he starts like.

40:36

The sex they have is

40:38

hilarious. Yes. Where she's

40:40

just like. Anyway,

40:42

yes, go ahead. Like he sees. The Greek of

40:45

your chair was exactly right. I think it's so funny that

40:47

she's smiling in this way of like, this

40:49

is great, like, you know, good job buddy. Yeah, after

40:51

she's

40:52

like, that was great, we're really good and

40:54

happy marriage. Gotta

40:57

do it, what's the name? Right, the weird structure

40:59

of their relationship being because he's a commuter.

41:02

They basically live in different towns. It's like a once a

41:04

week arrangement. High five, right?

41:07

Yeah, make some noodles. I think it's

41:09

the first sexing they have together where he's looking

41:11

at the mold on the wall and then it morphs

41:13

into like, he can't stop thinking about his

41:15

case.

41:16

He can't stop his brain from constantly

41:19

looking for patterns, clues, connections.

41:22

Then he's looking at her skeleton and her arm

41:24

basically

41:25

and trying to relate it to the injuries that Tong Wei

41:27

has where it's just like, he's

41:30

too observant about everything. He

41:33

thinks about everything too deeply and this woman

41:35

who is somewhat inscrutable

41:37

is so exciting to him

41:40

because he can't quite crack it. Yeah,

41:42

because there's this thing about him looking at things directly.

41:45

And like, he puts those droppers in

41:47

his eye

41:48

all the time before he like

41:50

goes into a crime

41:53

scene or whatever to like see things clearly.

41:56

Get him moist. Yeah, yeah, gotta wet him up,

41:58

lube him up. But he...

41:59

like doesn't something

42:02

about her and I think that I also felt this

42:04

in watching her performance. There's like

42:06

this smile that's always just about

42:09

to break in her regardless of what

42:11

they're talking about or like

42:13

how earnest she's being there's

42:15

always like this weird like what is actually

42:18

what's actually being what's going

42:20

on and I feel like that inability

42:23

to like see her directly is is

42:25

like where he gets totally

42:27

fucked. Pretty much immediately

42:30

totally fucked. Yeah, there's a

42:32

I feel like I've already referenced this some point

42:35

this may series but Steven Soderbergh

42:37

and David Fincher did a

42:39

talk together at the Tribeca Film Festival

42:42

and Soderbergh told this story about going

42:45

to the edit or color correction

42:48

with Fincher on one of his movies

42:50

watching him work and he they

42:52

were like sort of watching and he was like

42:54

with a laser pointer noting

42:56

and he's like up there and like

42:58

the top left 25% more darkness in this

43:02

sector of the screen or

43:05

even like he was like two fifteenths darker

43:07

hyper precise right and Soderbergh was like

43:09

I walked out of the room sat in the couch in the

43:12

living room and like rubbed my temples and I

43:14

was like I cannot imagine the curse

43:16

of being able to notice that

43:19

like this is exactly what makes him such a good filmmaker

43:21

but it must be so constantly over

43:24

stimulating to have that ability

43:26

to suss

43:26

out detail to that degree which is like

43:28

absolute what's happening to this guy too he

43:31

kind of can't turn it off at any point.

43:33

Yes, he takes takes in too much or whatever

43:35

he's been doing it for too long and it's that is it

43:38

tends to be a park protagonist thing these people

43:40

who feel too much observe too much

43:43

feel too deeply

43:44

their senses are all kind of heightened often.

43:47

Alright, so Park takes this idea that I just

43:49

told you about to his co-writer who

43:51

is a woman you know right she writes

43:54

all her movies just important because I think that's

43:56

we love legal by the way. I think that's legal.

43:59

I think that should be. Women should write movies. No,

44:01

he takes it to her and

44:04

she says, no thanks, I don't want to

44:06

do this. Which is a woman's choice. Which

44:08

is, we have to respect. Of course, yep.

44:10

She says, I said no,

44:13

I didn't want to write a melodrama about an

44:15

abused woman. That was sort of her instant reaction

44:17

to him pitching this kind of

44:19

noir romance. And

44:21

she sends back some thoughts of like, I don't want to do

44:23

it. And he's like, okay, well what do you think of this? And

44:26

then they start talking and then she's like, fuck, he'd

44:28

like trick me into writing a synopsis. Like,

44:31

he's got me invested.

44:34

She and he immediately

44:36

agreed. They wanted to Tong Wei, who's

44:39

a Chinese actor, obviously.

44:41

Third time we've covered her on the podcast. That's true, because

44:43

we love her. Because of Coscoction and Black Hat. That's right.

44:46

Good ass actor. She's awesome. They

44:49

wanted her, they say they usually do not

44:51

write with an actor in mind in particular,

44:55

but they just thought her

44:57

face, they thought about her face immediately. I

45:00

always feel like she's a shut box and you can't guess exactly what's

45:02

inside. She is inscrutable

45:04

in a very interesting way without seeming

45:08

deliberately elusive. No, she's

45:10

not cold. No.

45:11

Right. There's a lot happening. No,

45:13

it sort of looks like she's about to cry half the

45:16

time. Yeah, she does feel very

45:18

empathetic or like

45:20

you feel like you want to tell her stuff, right? You

45:22

know, like, yeah. Yeah. You

45:25

want to buy her like really fancy sushi? Less

45:27

caution's really good. A lot of people have not seen it.

45:29

It's a bit of a bummer. It's not a big, well-seen movie. I

45:31

love a bummer. Well, let me. But

45:33

it's a movie about basically she has to seduce

45:35

a man as an act of political espionage

45:38

and the whole movie hinges on like,

45:40

is she falling in love with him? Is

45:42

it real? When is that

45:44

moment? When can she discern, you know?

45:47

So she does this. This actor does

45:49

this. And he doesn't quite know and

45:51

she doesn't quite know. And as an audience member,

45:53

you're left to decide, at any point does this

45:56

become real?

45:57

Uh-huh. You know? Yeah. Yeah,

46:00

it's one of those performances. It's just deeply, immediately

46:02

captivating. And that was pretty much her first performance, right? She was,

46:04

yeah, that was her breakout.

46:07

So Park Hale,

46:09

who is the cop, the detective,

46:14

he's worked with Park before.

46:16

No, maybe not actually. He's in the host, the

46:18

Bong Joon-ho movie. He's a big Korean

46:21

actor. No, I guess he never had

46:23

worked with Park before. Okay,

46:25

he is also basically cast before

46:27

the movie's even. He's writing

46:29

it for the two of them. Yes, he is very quickly

46:32

brought on board.

46:35

He brings in these two actors as they're

46:37

continuing to write. And he says, if you don't

46:39

wanna do it, we're gonna stop writing. Because we've basically

46:42

just started writing with you guys in mind.

46:46

Park Hale had never worked with

46:48

Park 10. They both had Park

46:50

before.

46:52

And thought maybe they were just gonna chat. He

46:54

was like, and before they ordered food,

46:57

Park 10 worked apparently just like talks for 90 minutes,

47:00

being like, this is the movie in my head. Like, listen,

47:02

and tells him the entire thing.

47:04

And Park

47:07

Hale says, I really needed to pee about

47:09

halfway in. I

47:11

was so immersed in what he was saying. I

47:14

didn't wanna interrupt him. So I just

47:16

let him talk. I've always loved Tong Wei since

47:19

less caution. So yes, he was interested.

47:21

I just like that idea of like the fever and

47:23

pinch and the guy's like, I have to pee so badly

47:26

once he gets on the park.

47:27

That is the sweetest. That

47:29

also just reminds me of like how

47:31

the human moments that he brings to this

47:33

that are so, I don't know, something about that

47:35

is like so human. The second half

47:37

of the movie in particular, I feel like he really

47:39

has like a sad puppy dog vibe. When you're

47:41

really like, buddy, oh God, you

47:44

really, no, you did it, you got away from her.

47:46

But it's not that. It's not like a self-pitying

47:48

performance, but there's, you're truly just

47:50

like, this guy doesn't, is

47:52

someone helping him out? Can someone

47:55

else inter? And then I'm also kind

47:57

of in the movie, I'm like, ride the lightning, who

47:59

cares?

47:59

Your wife is boring. Fighting Lightning

48:02

is a great way to describe what

48:04

this movie is about. Writing like.

48:08

So they Park

48:10

and his co-writer, Chung, do make

48:12

the conscious choice. Let's have less violence and

48:14

sex than we usually put in our

48:16

movies.

48:19

You know, because they usually think of that as like

48:21

this sort of like very, you know, you grab the audience

48:23

right away with stuff like that. And instead they were like,

48:25

no, let's try to like

48:27

get away from the sort of extreme label. Well,

48:30

I also think if you make this same movie

48:32

with more sex, it very quickly

48:35

comes becomes a Joe Esterhaus

48:37

movie. Right. Like you're seeing the version of

48:39

this early 90s erotic thriller where the seduction

48:41

is more physical than mental

48:44

and is graphically displayed on screen. And

48:46

it just it will just shift into that.

48:48

Also, like as soon as they have sex, it sort of

48:50

destroys. Yeah. Yes, totally.

48:52

Because then right now, totally. But

48:56

the other thing they really wanted to use was

48:58

cell phones, which like movies are scared

49:00

of. I'm scared of them in movies.

49:03

And in real life. Yeah, I don't like them at

49:05

all. Throw them away. I

49:08

loved

49:09

the texting in this movie.

49:11

And I will never say that about anything else

49:14

because it's like it's done so beautifully.

49:16

It's not even

49:17

like I don't even think he has

49:20

made casting texting

49:23

more cinematic

49:25

than other people as much as he found a way to make

49:27

it more dramatic.

49:28

Right. Totally. Apparently,

49:30

he was basically like, look, I'm writing classical. He kept

49:32

trying to not have cell phones. It's like this is

49:34

supposed to be a swoonie throwback

49:36

noir. Right. And then he's like, I can't

49:39

get rid of cell phones. So if I'm going to have them, you got

49:41

to lean all the way into them. And I'm going to have this like

49:43

real drama playing out in text messaging

49:45

in like whatever, just the minutiae

49:48

of using a phone. That's where the language divide is such a

49:50

gift for him. But there's that's so much translating

49:52

app come talk about this recently where someone

49:54

basically pinpointed like, oh, kind of like

49:56

the six major

49:58

Otor filmmakers.

49:59

have not made a movie set in

50:02

present day in 15 years. Like

50:04

they just tracked like Wes Anderson, PTA.

50:08

Like all these guys have just

50:11

moved away. And admittedly,

50:14

they're like, I just don't know how to tell a story

50:16

in a world where smartphones exist. And

50:18

Soderbergh is one of the few guys who like heads

50:21

straight into it.

50:22

And it's like, you gotta make movies about now. You have to find

50:24

a way to work this into the language. You

50:26

know? And this one, it actually

50:29

like amps up how

50:31

much, how sort of emotionally

50:34

immature the, like they're

50:36

texting when they're texting about like the

50:39

granny that

50:41

she can't go see.

50:43

And he's like, do you want me to go? And she's like, really?

50:45

And it's like, I don't know. It just

50:48

sounds like when you're first like

50:50

dating someone or like interested in someone,

50:53

it has such a kind of embarrassing

50:56

childlike quality to it. Text

50:59

flirting is such a specific thing where you're trying to read

51:02

energy and intent in what

51:04

is a very flat, sterile,

51:07

cold thing. Right? Yeah.

51:10

And the things you do to performatively

51:13

try to relay intent

51:17

can feel disingenuous or fake. It's

51:20

like a dishonest way of communicating for how emotional

51:22

it has become for most of us. And

51:25

even just the weird, the rhythms of

51:28

it, the waiting, all that sort of shit. But

51:30

there is that thing of like, if you're text flirting

51:32

with someone, I feel like you are visualizing,

51:35

what are they doing right? Yeah. In

51:37

a way you don't if you're like texting someone. The dots.

51:39

The dots. Those, I mean,

51:42

there's so much like drama and weight

51:45

to just watching someone. Well,

51:47

and also the rhythm of like, how much do I say before they say something

51:49

back? Over typing, oh,

51:51

I can't talk. Like, or I start to say

51:54

something, oh, wait, they just sent in two more messages

51:56

that totally negates what I was about

51:58

to say.

51:59

Yeah, that is all like playing out

52:02

in this really well Yeah And the dots

52:04

like go over his face out There's like a point

52:06

of view from the phone of the dots on his

52:08

face And you realize like how much like that

52:10

it takes up more of the frame than his face does

52:13

It's just like what the import of those is

52:15

Park Genwick Yeah,

52:19

he says yes, I like Alfred Hitchcock, but

52:21

honestly I wasn't thinking of vertigo. He's

52:23

a director coming among them podcast

52:28

of I

52:31

think everyone basically is interviewing him being like

52:33

is this like a vertigo thing are you doing vertigo? I'm sure

52:35

to go and he's like yeah, sure. I love vertigo.

52:38

Yeah, but no that wasn't my conscious

52:40

like influence here Yeah, he says

52:42

brief encounter the David Lee in film Is

52:46

more what he's thinking

52:47

of in terms of vibe like yeah

52:49

romantic vibe Is weirdly

52:51

more brief encounter a little bit? Yeah,

52:54

and then again, of course this song that

52:56

is so crucial to him

52:58

And then read the ending Because

53:01

this movie has kind of an iconic ending He

53:04

says I have been trying to put that as the

53:06

end of a movie first. So like 30 years And

53:10

I finally figured out how to do it Like

53:13

a person being like I'm not just gonna commit suicide

53:15

I'm going to put a hole in the earth and put

53:17

a lid on it and you will never see me again.

53:20

I will evaporate

53:22

Like that idea of complete kind

53:24

of like closed loop. Yes

53:27

Yeah, and so he sort

53:29

of he was he thought about putting

53:31

an epilogue on the film where you see

53:34

the detective again

53:37

As the sort of like shell of a person and he was like

53:39

no no no like we'll just end it right there He's

53:42

shelled out on that beach. Yeah,

53:44

you think he just kind of is like alright. I'll son myself After

53:48

a while I guess she's gone. Maybe I'll dip

53:50

that's my favorite kind of ending though Is just what

53:52

the fuck is this character gonna do with the rest of their

53:54

life? God what now you

53:56

know? Right, I

53:58

don't want to see it

53:59

But I'm never going to stop thinking about

54:02

what is this guy? How is he feeling

54:05

a month from now? You know? Right.

54:08

So, yeah. OK, so yeah, let's talk

54:10

about the plot of the movie. Guy falls

54:13

off a mountain. Go. Go,

54:16

go, go hit me. Point

54:18

of view from dead man's eyes. A couple

54:20

of times we see like weird dead

54:23

people's point of view of like ants crawling on

54:25

eyeballs, which

54:26

is an what the heck?

54:28

I'm very glad you don't like that. I

54:30

know. I'm just saying I personally don't like when ants

54:33

crawl on my eyeballs. I like in the

54:35

movie. That's good technique. You

54:36

say you don't like POVs? No,

54:39

this is another person I was talking to. But you were

54:41

around. You were standing nearby. OK, do you like

54:43

POVs? Yeah, we

54:44

used well, I think. I mean, once again, it's like Park

54:47

is such a sensual filmmaker

54:49

and sense based

54:52

filmmaker that I do think when

54:54

he's doing POV shots, it's for a real

54:56

reason.

54:58

In the running, the POV shots. Yes.

55:00

Like on their show. I don't even know how they shot it,

55:02

but it's like on their back. He is also

55:04

the king of I don't know how they did this shot. Like

55:07

every every one of his movies has like five shots

55:09

where you're like,

55:10

I can maybe game out how you did

55:12

this, but it's too complicated to imagine. Yeah.

55:15

Or you're doing visual effects, which this movie has

55:17

a lot of

55:18

that are so seamless and

55:21

subtle like, you know, that I'm not even thinking

55:23

about them until the camera fucking goes through a wall or

55:25

something. And then you're like, oh, I guess Jesus. I

55:27

read a thing he said that he like deliberately

55:31

tried to do many of

55:34

the text sequences from the POV

55:36

of the phone.

55:38

Which he doesn't do in like, I feel like so you're seeing

55:40

like someone's dumb face like with like illuminated.

55:43

Right. But it's just like right. Because

55:45

for that, it is sort of like it's a shot reverse

55:47

shot. Yeah. It's a conversation.

55:50

Sure. You know, you need to read their faces.

55:53

It's just this one device in between the two

55:55

of them, basically. It's the same.

55:57

He does the same with the phone when he.

56:00

He's on the stakeout and then

56:02

suddenly he's like inside of her house and

56:05

her voice is over the phone But

56:07

he's in the room with her right? It's

56:10

like he's so invaded. He's

56:12

so inside of her space, but also that's

56:14

how he has to think about everything Like

56:18

being with like as a detective

56:20

right right he's invading

56:23

right. It's that It's a little pervy.

56:25

I mean he's getting his rocks off on it, but you also just

56:27

imagine I imagine at least that's his basic

56:29

technique of like someone's telling you a story you

56:31

place yourself in it right right

56:34

you run through The simulation in your head,

56:36

and you go does this make sense is this plausible

56:38

right right right?

56:40

Because a guy has

56:42

fallen off of a mountain

56:44

that he climbed on correct He was

56:46

an immigration officer right and

56:49

his wife was a Chinese immigrant right

56:51

She's got scratches in the back of her hand right

56:53

they later discover She also has bruises in several

56:55

parts of her body right a pretty odd tattoo.

56:58

Yes His initials

57:00

yes, which he also stamped on everything

57:02

he owned

57:03

yes A real kind of

57:05

branding property sort of

57:07

vibe creepiness yep and

57:09

so If

57:12

you're a detective You

57:14

probably are like she pushed him

57:16

off the thing mountain right seems kind of open and movie

57:20

over and You

57:24

know I'm seeing this film I haven't seen a Park

57:26

John look film since the handmaiden blew my mind

57:28

well none of his head by the way don't fucking make It sound like that

57:30

you were special in that regard I'm

57:32

sitting at the IFC Center at my press screening

57:35

and rubbing my hands together I'm like great a mystery

57:37

and

57:38

we got that early shot of

57:40

him and his sidekick climbing

57:42

up the mountain Horizontal

57:45

oh yes doing like the fucking out of West

57:47

Batman shop On this like

57:49

winch yeah, and the guys like why

57:51

where we're not going up the road like a

57:54

car Yes, and he's like this is

57:56

how the body went the other

57:58

way, but you know I think like that's his

57:59

notion of like we have to we should follow

58:02

the body. Now be my human backpack. Back

58:04

off. Yeah. It's so funny that

58:06

they're doing it in tandem. Yes. And

58:08

the one guy is strapped to the other guy. Yes. If

58:11

you asked me to do that, I would resign my commission

58:13

from the fucking like Busan police.

58:16

I'd be like, no, I will not do that.

58:20

That's when I really started to love this movie.

58:22

That's the thing with Park is like so funny. 10 minutes

58:25

into his movies, you're like, yeah, I'm ready for a mystery. Sure.

58:28

Who did it? Me, not the wife, I guess,

58:30

red herring. And then he's like, okay, these

58:32

guys are climbing up a mountain. And I'm like, I've never seen anything

58:35

like this. Yeah. Right.

58:37

Right. The fuck is this? That is

58:40

the most quietly bizarre human behavior I've ever seen. And

58:42

it will happen 10 times in each of his films. Right.

58:45

Yeah.

58:45

So, yeah, so they start staking

58:48

her out and he

58:50

falls in love with her. And he likes what he sees.

58:54

But you're also sort of getting the idea that he is

58:56

a deeply odd individual himself. He

58:58

has this marriage that

59:01

seems kind of loving, but also bizarre.

59:03

They're like 16 years in. And

59:06

they're kind of like, they're still going good, huh? What's

59:08

your name again? Like, they kind of have this vibe

59:11

of like,

59:11

yes, this is a marriage, right? What

59:14

we do where we sort of see each other sometimes. It

59:16

feels like, I'm sure we've all had

59:18

this thing, but when you have like friends who have a

59:20

roommate who spends half the week working in a

59:22

different city and

59:24

you're like, what's your roommate like? You're like, I talked to

59:26

him two days a week. He's cool. You

59:28

know, it's just kind of in and out.

59:29

But then they have sex as well. I just think it's

59:31

such a good choice to not have it be like

59:34

it is like a horrible, loveless, dead,

59:36

cold. Right. Like they've got

59:38

nothing for each other anymore. No, they're like kind of good friends. They're

59:40

kind of good pals, but then he's like, all right, back to my city

59:43

apartment where I have like pictures of murder

59:45

everywhere. Yes. While I make my noodles.

59:47

Like I'm just like. There's that moment where she scolds him.

59:49

It's like, do

59:50

none of the fucking murder pictures

59:52

here. That's city shit.

59:54

Right. Yeah. Um,

59:58

so there's that he's got that marriage. He's got his weird. murder

1:00:00

apartment and

1:00:02

he starts buying

1:00:05

Tong Wei fancy sushi

1:00:08

when he interviews her which looks really good.

1:00:10

I mean the food in this movie, the

1:00:12

like movement from like sushi

1:00:14

to corn dog is such a nice

1:00:16

little thing. Yeah see that's, I'm not a sushi guy but when that corn dog

1:00:19

came on screen I went oh boy

1:00:21

do you have like sushi? Loops in my tie. I

1:00:23

don't like the sushi. No? Never?

1:00:26

I'm not a seafood guy. I'm not a seafood guy. Do you

1:00:28

like sushi?

1:00:29

Yeah and the sushi specifically I

1:00:31

was like I'm gonna murder somebody.

1:00:34

I just like when he brings it in and

1:00:36

the cops will murder somebody for that sushi. You

1:00:38

know there are other ways to get sushi right?

1:00:40

I don't know not this kind of sushi. You

1:00:42

know the cops were like oh he got like the good sushi.

1:00:45

He got like the $35 sushi not the like you

1:00:47

know $14 right? He got like

1:00:49

the good stuff. I do this for all my murder

1:00:51

suspects.

1:00:53

So yeah so he starts having

1:00:55

these exquisite meals with her while he's also

1:00:58

just trying to figure out her deal. And

1:01:00

what else is going on with her? She's a caretaker

1:01:02

to an old woman.

1:01:04

She's got an airtight alibi they

1:01:06

find out pretty quickly because of the old woman because

1:01:08

of the schedule. She was there.

1:01:11

Yeah she was caretaking.

1:01:15

What else is going on? She says the woman is her grandmother.

1:01:18

Right.

1:01:19

Yes. There's another case they're trying to sell

1:01:21

because the whole thing with the chainmail glove which

1:01:23

is also early which is also another. So Ben

1:01:25

has had a tab open from basically the

1:01:28

moment the episode started. He's been looking

1:01:30

up different chainmail gloves on Amazon. That's

1:01:33

correct. Oh wow. I didn't know about this.

1:01:35

Did you guys know about this? No. So

1:01:37

there's a whole there's tons of these products.

1:01:40

It's it's so that you don't buy

1:01:42

these products. Chainmail

1:01:44

gloves. Okay. It's for like

1:01:46

Madeline-ing. Yes. Yes. Right.

1:01:50

Like we could call those right. Shocking

1:01:52

oysters. Right. Like

1:01:54

you see any kind of meat processing that makes sense.

1:01:57

They're slicing like fish fine.

1:01:59

I think I need a two X one. It shows someone handling a

1:02:02

chainsaw. Yeah. And

1:02:04

the whole thing get by the blade. Wow. Yeah.

1:02:08

Yikes. The Amazon listing. I'm sorry.

1:02:11

What were those three sounds? Could you repeat? I

1:02:13

think you know those. Wow. Wow.

1:02:16

Yikes. I heard them. I

1:02:18

heard them. But don't you agree? I

1:02:20

do agree. I also feel like I have to measure

1:02:22

my palm. I'm just wondering if I need an XL

1:02:24

or a double XL. I got kind of

1:02:26

regular sized hands. I think they're

1:02:28

probably go bigger than smaller smaller. It's

1:02:31

not going to give. No. Are

1:02:33

there child size chain mail gloves? It's too small.

1:02:36

I don't know. I don't know how dainty you want

1:02:38

to go. Pretty. Apparently

1:02:40

the actor like sort of talks to a couple

1:02:42

of friends of his

1:02:44

who were policemen, right? He's like, I'm playing

1:02:46

a cobbly and one retired cop is like, I have, you know,

1:02:50

when I've got, I got a chain mail club.

1:02:52

Oh, no way. And

1:02:54

so specific. Yeah.

1:02:55

That's the thing. I mean,

1:02:57

when he's chasing this guy, which is this sort

1:02:59

of an unrelated case, this, this, this, this scene, right? This

1:03:02

big chain, they get to a rooftop. The guy produces

1:03:04

a knife and instead

1:03:05

of like drawing a gun or I think maybe they

1:03:08

don't have guns in Korea. There's one gun that the other, his

1:03:10

partner has, doesn't he have a, and

1:03:14

they shoot guns off the top. The

1:03:16

first right. They're shooting gallery. They do. Yeah.

1:03:20

So cops have guns. I think South Korea has

1:03:22

incredible guns. I think South Korea has incredibly strict

1:03:24

gun control generally. So it's

1:03:26

more, I guess more common for a guy to produce a knife.

1:03:29

He just very slowly and deliberately takes out applies a chain

1:03:31

mail club. And he's like, well, I guess

1:03:33

it's the classic battle of hand versus knife.

1:03:36

Yeah.

1:03:36

So I can just grab the blade. Yeah. Like,

1:03:39

but it's also on the heels of my

1:03:41

favorite chase scene I've ever seen in my entire

1:03:43

life,

1:03:44

which is like up those stairs. And

1:03:46

it's so exhausting and it's

1:03:48

so slow and nothing about

1:03:51

it is suspenseful. And yet it's like brilliantly

1:03:54

suspenseful. Yeah.

1:03:55

And what's funny is like the moment of him

1:03:57

having to take out the glove and put it on. could

1:04:00

be sold as like this

1:04:02

slow sort of stare down intimidation

1:04:05

thing. But it's basically he has the

1:04:07

time to do it because they're both so

1:04:09

winded. They're both

1:04:10

panting. Okay, okay, okay. He's hanging his

1:04:12

eyes. Right. I got a knife.

1:04:14

The perp pulling the knife is him

1:04:16

kind of saying like, so just

1:04:18

give me like 90 seconds to catch up now

1:04:21

that you know the knife's in play. It's so

1:04:23

good. But yes, I agree. I love

1:04:25

that the chase sequence is trying to be realistic.

1:04:27

It's trying to be like, so clumsy. It's like you

1:04:29

saw it. Yeah. Yeah.

1:04:32

I just, I personally would wear

1:04:34

a chain mail vest. I

1:04:37

don't think I would have enough faith in myself

1:04:39

that I could catch

1:04:40

knife with hand before it touched

1:04:42

other body. Why not go full suit of armor?

1:04:45

That is what all cops should be wearing

1:04:47

at all times. Lumbering her in. While

1:04:49

running up stairs. Well, no, on

1:04:51

horseback of horse. Yeah, Lance

1:04:54

in hand.

1:04:57

Ben. What's

1:04:58

up, Griff?

1:04:59

Gotta say I'm a little jealous.

1:05:02

Why? I don't know if you've noticed, but Mr.

1:05:04

Sims has been cutting us out of that sweet ad

1:05:06

read fun. You're right. It's

1:05:09

just been, he's been doing some solo

1:05:11

ads. So Mr. Sims, solo

1:05:14

ads. Yeah. And we all know

1:05:16

doing the ad reads is the most enjoyable part

1:05:18

of the podcast. It's so fun. It's the

1:05:20

juice at the end of the squeeze.

1:05:22

Yeah. Sometimes they're even better

1:05:25

liquids than juice to drink

1:05:27

to start off your morning, Ben.

1:05:29

Because you know what? Yeah. Surprise.

1:05:32

Our sponsor today is AG1.

1:05:34

This is an ad read. Oh my God. And it's just you

1:05:36

and I, David's not allowed to talk. Oh boy.

1:05:39

Ben. Yeah. AG1 is the

1:05:41

daily foundational nutrition supplement

1:05:44

that supports whole body health.

1:05:46

I drink it every day.

1:05:47

And I gave AG1 a try because my body

1:05:50

doesn't function on the rag. It's

1:05:52

not a very, a

1:05:54

well operating piece of machinery,

1:05:56

I would say.

1:05:58

You know, I'm out here. I'm taking. gummies,

1:06:00

I'm taking pills, I'm taking supplements,

1:06:03

I'm drinking this and that,

1:06:05

mixing up some witches brew to

1:06:07

try to keep myself upright.

1:06:09

But but AG1 is a single

1:06:11

solution that supports my entire body

1:06:13

and covers my nutritional basis every

1:06:15

day. I want a better gut health because my

1:06:18

gut health was about as bad as it could possibly

1:06:20

be. Out of all the people I know you have one

1:06:22

of the worst gut health.

1:06:24

Yeah, when I have a gut feeling about something it's

1:06:26

catastrophic. It's

1:06:29

really the most dangerous

1:06:31

application of that term imaginable.

1:06:33

Boost and energy, I don't sleep well. Immune

1:06:35

supports all of these things. These are all, look,

1:06:38

I hate to take in all these different things. I want a single supplement

1:06:41

that tastes great. I drink it in the morning before

1:06:43

having a cup of coffee, before recording

1:06:45

the podcast. It makes me feel ready

1:06:47

to take on my day. It makes me feel ready to go. It

1:06:49

makes me feel vaguely normal.

1:06:52

Then I'll tell you a true story. Okay,

1:06:55

AG1 sends a free product in the mail.

1:06:57

Set us up right. Send a big box, powder,

1:06:59

a bottle, water bottle,

1:07:01

kind of shaker to put the powder in every morning.

1:07:04

A little scoop. Yeah. Scoop, there it is.

1:07:06

I take it with me on the plane

1:07:09

to Edinburgh. I was in Edinburgh

1:07:11

for the Edinburgh French Festival. An

1:07:14

American guy turns next to me and goes, see

1:07:17

someone else cares about their health. Wow.

1:07:19

And I go, what? And he goes,

1:07:22

yeah, I'm with you, man. And then this

1:07:24

guy just starts shooting strays at Scotland

1:07:27

and their food and was

1:07:29

like, smarter you to bring AG1. That's gonna be

1:07:31

the last green thing you eat for the next month.

1:07:34

Damn. I know this guy, an

1:07:36

assassin, a cultural assassin.

1:07:38

I mean, that's, it's honestly,

1:07:41

it's funny. It's

1:07:43

funny that he was perhaps

1:07:45

being overly critical, but he's

1:07:48

not wrong that AG1's a great product. And

1:07:51

this is why ad reads

1:07:52

are so fun. This is why there's this

1:07:54

stuff like this. Real organic, personalized

1:07:58

story, anecdotes and David.

1:07:59

would never let us tell that plane story.

1:08:02

He would be like, enough, enough guys. Come on.

1:08:04

Come on. I got to go.

1:08:07

But we are taking our sweet,

1:08:09

sweet time, giving a premium ad read

1:08:12

to AG1. Thank you for making

1:08:14

my body good. Thank you for making some

1:08:16

random guy respect me on a plane.

1:08:19

Thank you for sending me that little green scoop.

1:08:22

My AG1 is delivered to me every month. It's

1:08:24

been super easy to make it a daily habit. I

1:08:26

also get the single serving AG1 travel

1:08:28

packs, perfect for getting complimented

1:08:31

on a plane. So I never have to miss

1:08:33

a day. I just mix the powder into

1:08:35

ice cold water. I drink it first thing each

1:08:37

morning. That's it. With

1:08:39

AG1, taking good care of my body each day

1:08:41

is really that simple.

1:08:43

Look, here's, here's the call to action, Ben.

1:08:46

Okay?

1:08:47

If you want to take ownership of your health,

1:08:49

try AG1 and get a free

1:08:52

one year supply of vitamin D and

1:08:54

five free AG1 travel packs

1:08:56

with your first purchase. Go to drinkag1.com

1:08:59

slash blank check. That's drinkag1.com

1:09:03

slash blank check.

1:09:04

Check it out. Some

1:09:09

other things. Actually, some other details

1:09:12

I want to talk about. He has so

1:09:15

many pockets. This

1:09:18

is again, apparently a park idea. Like

1:09:20

the sort of wet wipe detective idea. Like he would be

1:09:23

filled with little things, you know,

1:09:25

like a walking vending machine of a man who's like,

1:09:27

because he's like, I can plan for anything, right?

1:09:30

Like it's his concept. Are you sending me more chain mail

1:09:32

now?

1:09:32

Okay. Now it's a vest.

1:09:35

Chain mail vest. How much does that cost?

1:09:37

It's a hundred bucks. A hundred dollars. That

1:09:39

guy looks ready to go. You know

1:09:41

what? What? That's not a bad price

1:09:44

for a chain mail vest. Well,

1:09:47

the shipping though, you know, cause it could be kind

1:09:49

of heavy. Yeah. Very heavy. Yeah.

1:09:53

I think you should get it. I think it would be a

1:09:55

good look for you. The chain

1:09:57

mail met my expectations. That's what one review

1:09:59

says. from Mr. Han. What were

1:10:01

your expectations though? That's what

1:10:03

we need to discuss with Arthur. There's a guy wearing it on the

1:10:05

subway. I don't know how it would feel about

1:10:07

that. The model in

1:10:09

the listing Ben posted is very much in a fighting

1:10:12

stance. Yeah. So

1:10:15

yes, Park, yeah,

1:10:17

just like the idea of this guy being filled with pockets,

1:10:20

and of course, yes, there's a J-Mung going up in his pocket.

1:10:22

The eye drops as well. Since

1:10:25

he's trying to see the world more clearly, that's

1:10:28

very crucial.

1:10:29

Brendan said an interesting thing about the pockets.

1:10:31

He said that his wife

1:10:34

is always struggling to find something in his pockets,

1:10:36

whereas his mistress. She always knows where

1:10:38

everything is. She understands him

1:10:41

on some inherent level. Or she just

1:10:43

studied the pockets. Yeah. Well,

1:10:45

that's the mind fuck of knowing

1:10:47

this woman the whole time. You're like,

1:10:49

wait, are you in love with me? Or are you just like, you're just the most

1:10:51

incredible time to bear it out. You're just a pocket spinner on my

1:10:53

pocket. I mean, there's a tweet that I have repeated,

1:10:55

which is that someone was like, I love that movie. It

1:10:57

was about a lady is so hot that a detective

1:11:00

forgets how to do his job.

1:11:04

Yeah, basically. Because

1:11:07

yes, I think what I

1:11:09

loved about the movie the first time I watched it is

1:11:11

I was like, I am going to watch a movie about a man

1:11:13

who is sort of, you know, we like

1:11:16

detectives because we like that they can fix things,

1:11:18

right? You know, the whole myth of like policing on screen,

1:11:20

right? They're going to come in and they're going to like

1:11:22

untangle the confusing stuff. They make sense

1:11:25

of the chaos. And this is a weird, strange

1:11:27

murder case. And he'll figure it out. And instead, like he only

1:11:29

baffles himself more the more he tries to

1:11:31

figure things out because he's so involved. He adds

1:11:34

more complications. Right.

1:11:36

And what

1:11:39

he realizes about her

1:11:43

is that, well,

1:11:45

a bunch of things. One, she killed her mother, right?

1:11:48

Yes. A sort of,

1:11:51

you know, an ethical, you know, she

1:11:53

did unionize her mother. That's more now about one of his colleagues says like, look,

1:11:55

there's a pattern. And then she basically immediately

1:11:58

fesses up to like, these were the circumstances.

1:11:59

her mother was ill. Might have been the original

1:12:02

decision to leave. Mm hmm. Right.

1:12:05

Right. Right. Right.

1:12:07

Right. Um.

1:12:10

Deciding. Before, and then her mother

1:12:12

told her to like climb a mountain. Mm hmm.

1:12:15

Right. Because she's had some attachment to Korea

1:12:17

and she was like, I want you to climb this mountain.

1:12:19

Uh, like that, like there's all these like little dangling

1:12:22

things. Her family's mountain or something.

1:12:24

But that's a heritage. Like her grandfather or something.

1:12:26

Right. There's

1:12:29

this possible sense of ownership of this

1:12:31

mountain to some degree. Um,

1:12:33

yeah. But she doesn't like mountains.

1:12:35

She said something about mountains or. Um,

1:12:38

um, um, um, um, what she say. She says

1:12:40

the ocean is for blank people

1:12:42

and mountains are for blank people.

1:12:45

I don't remember what the descriptors are, but it's like

1:12:47

benevolent. Is the quote page not very

1:12:49

good? No. I was hoping it might be better.

1:12:51

Me too. Um, oh yeah, there's nothing. Um,

1:12:54

but I'm Chinese. My Korean is insufficient.

1:12:57

Great. That's a great quote. Um, it's

1:12:59

just Griffin. It's also true

1:13:01

about me. Um, but she does

1:13:03

whatever he like, she's officially ruled.

1:13:06

It is officially ruled a suicide this death.

1:13:08

Yeah. And then he, their, their relationship

1:13:10

continues. Cause it's only after that that he figures out

1:13:13

that she did it right. Yes. Correct.

1:13:16

The case is closed. Right. Um, and he

1:13:18

figured out that she did it because there's

1:13:20

a cell phone that she gave the old lady, but

1:13:23

said she climbed 138 flights. I

1:13:25

just think it's so funny. Yes. That's

1:13:28

great. Just like a zero, zero, zero. Yeah. And

1:13:31

didn't really climb a lot of flights. And then there was that one day

1:13:33

the murder day, you climbed like kind of like a mountain of

1:13:35

stairs. It's weird. And then she

1:13:37

also realizes that he

1:13:38

realizes rather that that is not

1:13:40

her grandmother and that

1:13:43

the woman doesn't know what day it is. So the alibi is

1:13:45

meaningless. She doesn't know anything. She can

1:13:47

barely tell people apart or whatever. Right.

1:13:50

But she loves the mist. She loves that song.

1:13:52

She does love that song. Things

1:13:55

like this that are like fundamentally

1:13:58

about can you trust this? person

1:14:00

or not, right? Looking at close-ups

1:14:02

of actors, delivering lines, and placing

1:14:04

yourself in the head of the person who

1:14:06

is having to make the judgment calls. I always

1:14:09

find so interesting because world's

1:14:11

most basic-ass thought, all acting

1:14:13

is lying, right?

1:14:15

And good acting basically boils down

1:14:17

to how convincing of a liar is someone,

1:14:20

right? And like method

1:14:23

acting, this term that is thrown around so much

1:14:25

and that often is misconstrued and most people

1:14:28

practice that are not actually really connected

1:14:30

to the idea of what it was at the beginning. And our doofuses.

1:14:32

And our doofuses, right,

1:14:34

was mostly just this idea

1:14:36

of like can we create a method

1:14:39

to make it feel like we are lying less,

1:14:41

right? To some degree, to one degree

1:14:44

or another. Not you have to convince yourself you

1:14:46

are this person, but how do you bring

1:14:48

the lie closer to yourself so the truth is more

1:14:50

on the surface.

1:14:52

But it does still all come down to how

1:14:54

well can you lie? Are you lying

1:14:56

convincingly because you're making it close

1:14:58

to something that's the truth? Do you just

1:15:00

know how to perform the truth? What

1:15:03

is all of this?

1:15:04

And so often in noir movies like this,

1:15:06

someone is playing unreadable.

1:15:10

Like that is the aggressive vibe they are

1:15:12

putting out there, right?

1:15:14

Whereas I feel like Tong Wei to a certain degree

1:15:16

is playing honest.

1:15:19

I don't think she is playing suppressing a lie.

1:15:22

No, not well, no. But it's hard to know.

1:15:24

It's hard to know, but it doesn't read that way.

1:15:26

Like she's not sort of playing mysterious.

1:15:28

She's playing like I have an inner life

1:15:30

that I haven't totally given you all

1:15:33

of the information about yet. You understand

1:15:35

that she's not. There's stuff

1:15:37

she's holding back. She is also a genuinely

1:15:39

wounded woman. Like she is the

1:15:41

victim of abuse.

1:15:43

She is somewhat justified in

1:15:45

pushing this sort of dorky husband

1:15:47

off a mountain. Just a hilarious

1:15:49

way for him to die.

1:15:51

I mean, you know, YouTube

1:15:54

channel about it, right? But there's that

1:15:56

moment where you see it. You know, him going like,

1:15:58

boing, boing. You're kind of like, kind

1:16:01

of rocks. The boiling noise was really,

1:16:03

I feel like, maybe not necessary.

1:16:06

He does like a end of Robocop

1:16:08

Dick Jones fall, basically.

1:16:11

A full-tip it, stop motion fall. But

1:16:14

it's just, I feel like it's just more important.

1:16:16

It's not like who did

1:16:18

it or why it even happened. It doesn't really

1:16:21

matter. You can figure that out immediately. It's

1:16:23

that like him

1:16:24

actually convincing himself that she didn't do it and

1:16:27

then realizing she did it completely ruins

1:16:29

his brain. He's just like

1:16:31

everything I've built this brain to be is no

1:16:33

longer functional if I can't

1:16:36

figure that out. Like if I fuck this up. If

1:16:38

I can't trust my instincts in my job

1:16:40

that I've honed so sharply. It's like he's

1:16:42

a chef who can't smell things anymore.

1:16:45

He's just like, I'm broken. I don't have a palate

1:16:47

anymore. He's just unshattered. A palate for crime.

1:16:49

Wait a second. I have a great idea for a TV

1:16:52

show. A palate for crime. A

1:16:54

man smells crime. You

1:16:56

did Perry Mason for HBO.

1:16:59

When you're on a thing like that where you understand

1:17:01

like, cause I

1:17:04

think one of your many strong

1:17:06

suits as an actor

1:17:08

is that you're making a face

1:17:10

like you hate that I'm about to say anything complimentary.

1:17:13

I am not. You

1:17:15

are very good at like knowing what

1:17:18

project you're in and matching

1:17:20

the tone and the style of the thing you were in. Cause

1:17:22

I think you have a tremendous amount of like,

1:17:27

genre tone range.

1:17:30

Thank you.

1:17:30

But something like that where

1:17:32

you understand like, an audience is watching

1:17:35

this as a mystery. Yeah. Right?

1:17:38

This is the way it needs to operate. Yes. Are

1:17:40

you trying to play with

1:17:42

an awareness of the

1:17:45

genre you're in or are you just thinking

1:17:47

about like playing the character as written? Do

1:17:49

you know what I'm saying? Yeah. I mean, I feel like

1:17:51

when the writing is really good, it sort of evokes

1:17:54

something. Regardless of whether you like

1:17:56

put on top of it, the idea of a genre.

1:17:59

Yeah. if you allow

1:18:01

it to move you in a certain

1:18:03

way, it sort of elicits the,

1:18:06

I'm sure you feel that way too, writing

1:18:08

will open up a certain delivery

1:18:12

or a certain space or

1:18:15

a quietness or whatever. What's the

1:18:17

hardest thing to do is to act

1:18:20

bad writing. Oh yeah. When a script

1:18:22

is really good, even if it's complicated, you're

1:18:24

like, well, it makes sense. Yeah, totally.

1:18:26

And now what is the bad writing you guys

1:18:28

have acted, we'll go through the IDP.

1:18:32

90, 90, 8.9%.

1:18:34

I mean, come

1:18:36

on. You've been doing some good stuff. Wow. But

1:18:38

like, is that, does it, this

1:18:42

is my question, I guess. Do

1:18:43

you really just try to trust the instincts

1:18:45

of like, if this is well written enough, I can just play

1:18:48

this as it is and

1:18:50

just invest in it emotionally

1:18:52

and honestly,

1:18:54

or working on like that show in particular,

1:18:56

are you like, I know an audience is gonna

1:18:58

be reading every scene I'm doing, trying to figure

1:19:01

out whether or not I'm on the level and

1:19:03

do I need to play with that, like a

1:19:05

game

1:19:05

sort of. I think sometimes you

1:19:07

do, sometimes I do, but I also just

1:19:09

try to play the honesty, the truth of that moment.

1:19:12

And I think we were sort of saying this about Teng Wei

1:19:14

too. She's not like,

1:19:16

she's one of those actors and

1:19:18

I don't feel like I'm this, but I really

1:19:21

revere and also I'm jealous of,

1:19:23

like especially women who can do so

1:19:25

little and you're like,

1:19:28

you could watch them forever because

1:19:31

their

1:19:31

face and their presence is compelling

1:19:34

enough. And I think this is also what

1:19:36

this character,

1:19:38

the detective does is project onto

1:19:40

her a lot. And

1:19:43

she is sort of this wonderfully

1:19:46

open actor who also has

1:19:48

all of this shit going on so that you

1:19:51

can project a lot onto her. And

1:19:53

that's sort of the, you know what I mean? Yeah,

1:19:55

yeah, yeah. There's the thing they set up early. She

1:19:57

like laughs inappropriately early in the movie.

1:19:59

that she says like, I'm sorry, I sort of

1:20:02

like laugh as a nervous response when I don't

1:20:04

feel comfortable with my Korean.

1:20:07

And it's the opposite of what you expect someone to

1:20:09

do in a movie like this, where it's like, oh,

1:20:11

their give is something that makes them seem more dangerous.

1:20:14

Right. Rather than something that deflates

1:20:16

the stakes of the situation. Yes. It's

1:20:18

so disarming where it does feel like her performance

1:20:21

is kind of playing against the genre

1:20:23

of the thing. Totally. Like, I don't...

1:20:25

But what's weird is that she's not acting like

1:20:28

a femme fatale. No, and I generally

1:20:30

don't enjoy those performances. Like, I'm kind

1:20:32

of like, wow. It feels like an idea

1:20:34

of a woman that is just like serving

1:20:37

a purpose to the men's

1:20:39

story. But this one feels like

1:20:41

she has like a whole other thing going

1:20:43

on that we're not privy to. And

1:20:45

like a whole like, yeah, like a life that

1:20:48

isn't just like... Right.

1:20:51

Not just as a man perceives her, like

1:20:53

throughout the movie or whatever. Right. Like, that's the boring

1:20:56

version of this. No, she sort

1:20:57

of like tells him who she is in a

1:21:00

lot of ways. But he's like, dang it!

1:21:02

He's like, no, you're actually the... Like,

1:21:04

he's like the conflict between

1:21:06

what he wants to think she is and what

1:21:08

she's actually... Right. And he wants her to probably

1:21:10

be more hard. She's easier

1:21:12

to handle as like, oh, a

1:21:14

wronged wife who got her revenge.

1:21:17

It's like, great. That's a story

1:21:19

I tell as a cop all the time. Like, yeah. Yeah.

1:21:22

Yeah. It does feel like pretty early on,

1:21:24

he's like, if she did this, she

1:21:26

must have done it for reasons. And

1:21:29

not motive, right? But like, it

1:21:31

feels like this must have been somewhat justified,

1:21:35

even if I don't condone it as actions.

1:21:38

It does... It feels like pretty quickly he rules

1:21:40

out the idea of like, is she some like psychopath...

1:21:43

Black Widow. Right. Master

1:21:45

manipulator. Yeah. There's some larger

1:21:48

thing going on here or she is on the

1:21:50

level. Right.

1:21:52

Where are we in the plot now? Well, 13 months

1:21:55

later... Great. Right. He,

1:21:57

broken as a detective, has decided to move in with

1:21:59

him.

1:21:59

which is a decision a lot of married couples make

1:22:02

to move into Kep. Not the decision

1:22:04

to leave, decision to stay. Sure. Become a

1:22:06

white guy. But he makes the decision to leave her. He's like,

1:22:08

I cannot be around you. Like,

1:22:10

you clearly are throwing my radar off. And he like starts a YouTube

1:22:12

channel and a podcast and writes

1:22:15

a cookbook that's all just about how much he loves his wife. Yeah,

1:22:17

he's gone crazy. Yeah. I

1:22:20

would say he's living with her in Ipoh, right?

1:22:23

This sort of seaside town. Yeah.

1:22:26

Away from the big city because most of them sit

1:22:28

in Busan, which is the second-based city in Korea,

1:22:31

South Korea. And

1:22:34

he's depressed and he's not sleeping. And

1:22:36

then one day at the fish market, who does he

1:22:38

meet?

1:22:40

But Tong Wei, her new husband,

1:22:42

a real fool. Yes.

1:22:46

I mean, instant moron, right? Like,

1:22:48

one of these guys are like, oh, Jesus. Like, what

1:22:50

is this twerp? I can't believe we forgot

1:22:52

to mention, because it is set up earlier.

1:22:55

I mean, this is when he's like, it's really hitting him hard

1:22:57

after the time jump. But

1:23:00

this movie is in the detective dormer

1:23:02

canon of sleepy

1:23:04

cops who can't go to sleep. Oh, yeah. He

1:23:07

can't sleep. Yes. The film Insomnia

1:23:09

is what is what Griffin is referencing with Christopher

1:23:11

Nolan. Have you ever seen Insomnia? No. In

1:23:14

which Al Pacino is in Alaska. Oh, I actually

1:23:16

have seen Insomnia. Yeah. Yeah. And

1:23:19

it's just. I think it was shot in Canada. Yes. It

1:23:22

was shot in Canada. That is right. But it's

1:23:24

all. They didn't bother to go to Alaska. They were just going

1:23:26

like, I got to take a nap.

1:23:28

Being a method acting, I think he

1:23:30

was like, I'm not sleeping. Yeah. I think

1:23:32

he didn't sleep. Yeah. It also feels

1:23:34

like he reads tired in the movie. And not

1:23:36

in the bad way, but he's good. I would not

1:23:38

be surprised if Pacino did an interview tomorrow and

1:23:40

said, like, I haven't slept since 2001.

1:23:44

You know, Insomnia. Yeah. Yeah.

1:23:47

They filmed it in British Columbia.

1:23:50

Stewart, British Columbia. Did you audition for

1:23:52

that? No, but I would

1:23:53

have been a little. I was a little young. Yeah. But

1:23:56

I didn't David. I had never put this together that you. are

1:24:00

the victim in Eastern Promises.

1:24:03

I am. I thought you were saying

1:24:05

that to me, and I was like, I'm not. No.

1:24:09

We were watching the game the other night. Yeah. Brendan

1:24:11

was like, oh, that's your rapist. And I was like,

1:24:13

what? He's like, from Eastern Promises. Like,

1:24:15

oh, yeah. Oh, he's in the game?

1:24:18

He's in the game. Wait, who is it? Fuck.

1:24:20

He's like that. He's a great actor. But

1:24:23

yeah. Because you're mostly dead in that movie. I'm only

1:24:26

dead in that movie. Right, right. Are you seen?

1:24:28

I'm a diary. No, I'm just like a voice. I'm

1:24:30

a Russian. And my name

1:24:32

is Jantiana. That's

1:24:35

why I got the plan. No

1:24:38

one can say that their name is that convincingly,

1:24:41

unless it's true. Those were talking. Armin

1:24:43

Mueller. Yeah, yeah, yeah. Mueller Stahl.

1:24:45

Oh, right. Yes. Spoiler alert for

1:24:47

Eastern Promises. Are you not good? End the game. And

1:24:51

also any movie he's ever in, God bless him.

1:24:54

But that actor plays villain. Yeah, yeah, yeah. Nice.

1:24:58

That's like one of your first credits though, right? Or

1:25:00

movie credits. I don't know. First

1:25:01

movie credits for sure. It was

1:25:03

very fun. I know that you're in

1:25:05

Ginger Snaps too. You do? Yes.

1:25:08

I don't remember why I know that. I thought I have seen Ginger

1:25:10

Snaps. I've seen Ginger Snaps one many times.

1:25:12

A real squeak-wool. Oh shit. You

1:25:16

guys turned into chipmunks? We did. Were

1:25:18

monks? Were monks.

1:25:21

Were monks. They're monks. It's

1:25:23

a metaphor for womanhood. You know, you turn

1:25:25

into a chipmunk. Yeah.

1:25:27

Wait, how did this come up? Oh

1:25:29

yeah. You were pointing at me saying I was the victim

1:25:32

in Eastern Promises and I wasn't. I was just the victim

1:25:34

of enjoying that movie. Yeah. Guilty. Exactly.

1:25:38

You're actually the perpetrator. Right, exactly. I'm

1:25:40

having a great time. God, I love

1:25:42

that movie. That movie rules. That

1:25:44

movie rules.

1:25:45

That movie has some similarly like very,

1:25:48

very human fight sequences where

1:25:50

you're like, skin is going

1:25:52

to be actually pierc- like actual

1:25:55

piercing skin.

1:25:56

Right. Vigo probably could have done with a chain mail glove

1:25:58

and he might have. They're coming in with a- I Put

1:26:04

the chain mail if I was looking I

1:26:09

wouldn't roll the dice on that One

1:26:14

place for chain mail to be put if

1:26:16

you were totally new does that what it would be so

1:26:18

I Want my eyes?

1:26:21

I don't know don't get my eyes You

1:26:23

want a chain mail? Yeah,

1:26:27

there you go sure Be

1:26:29

able to see yeah, you

1:26:31

know yeah, no you're right a trite As

1:26:37

a film fan sure um so

1:26:39

okay, so he runs into her

1:26:41

Classic I love this anytime

1:26:43

in a movie where the dynamic is he's

1:26:46

losing his mind and his wife is sort

1:26:48

of like

1:26:49

Isn't this I think I've seen this girl's picture

1:26:52

like this is one of your cases You

1:26:54

know she and you're you as

1:26:56

the viewer are trying to parse like how much does the wife know

1:26:58

that he's melting down? Right now right she's back.

1:27:00

Yeah, right like that. He like these ghosts

1:27:03

just come to haunt him. Yeah

1:27:04

Pressed all the eyes of the fish. I'm

1:27:07

just realizing when we're talking about eyes and

1:27:09

seeing Right right she like

1:27:11

squishes all the eyes of the fish to see which one's

1:27:13

fresh Something

1:27:14

about that right eyeballs guys Squishing

1:27:26

No, but yeah, not only like in

1:27:29

the same way I love that the marriage

1:27:31

is not lifeless joyless right

1:27:34

I love that the wife is not just like Unbearably

1:27:37

suspicious and jealous

1:27:38

no the only thing she's stressed about is him

1:27:40

smoking. Yeah, right. That's the nightmare.

1:27:42

Yeah Yeah, yeah, what's

1:27:45

that? There's the bit where he? Comes

1:27:48

in from outside, huh,

1:27:51

and he's wearing just a parka shirtless

1:27:54

over boxers sure

1:27:57

and He clearly has been

1:27:59

smoking And she asked him why he

1:28:01

would have gone outside and he has some line about

1:28:03

like men like me need the mist of the air

1:28:06

Fucking mist again. Yeah, yeah, I

1:28:09

do love I would love to I

1:28:11

kind of like the look of where they move I like that

1:28:13

seaside vibe. Yeah, go to the fish

1:28:15

market all the time for sure. It's good for you Well,

1:28:17

and they say some eyes the way partially and Luke said

1:28:19

that it was like he couldn't set the whole movie

1:28:22

in this misty Right city because it

1:28:24

would be too boring. He said so that's

1:28:26

why they that in the second half we go into

1:28:28

the

1:28:29

Okay, that makes sense And

1:28:32

also right our man now has like

1:28:34

full-on sleep apnea has been outfitted for

1:28:37

a mask Right. Yeah,

1:28:39

I mean he can't sleep. No, there's also that

1:28:42

thing about Sun. She says something about

1:28:44

like Sun bathing for

1:28:46

half an hour a day and

1:28:47

not closing your eyes. Yeah

1:28:49

is again eyeballs guys But

1:28:52

it's a weird. Yeah

1:28:54

there's all these like Natural

1:28:57

remedies for like what he there's something about

1:29:00

his virility and like snapping turtles,

1:29:03

right? Sure. Yes You

1:29:05

know, that's another case that's happening,

1:29:07

right and they're trying to show how

1:29:10

normally there's not murder

1:29:12

It's you know, they're investigating

1:29:15

An elf shell turtles, right? Right

1:29:18

stolen, right? They got dropped on

1:29:20

the road or whatever Yes,

1:29:22

but those are supposed to help with men

1:29:25

older men's

1:29:27

Testosterone yeah

1:29:34

He wants to raise some shell like is that a thing

1:29:36

I Understand that in

1:29:38

many cultures they're like, yeah You got to eat like a

1:29:40

tiger's paw to get your you know boner back

1:29:43

or whatever But it's like are there people who

1:29:45

are like I did it it worked, you know, like, you know Like

1:29:47

I don't know what to tell you man before I fucking

1:29:49

tiger like it was just Yeah,

1:29:52

there's a giant fucking

1:29:54

market for all this kinds of

1:29:56

stuff. Is it just like people totally

1:29:58

sold on podcast?

1:29:59

these days unfortunately. Wait

1:30:02

a second. Those are all above

1:30:04

board. Today's spot first is Tiger

1:30:06

Bones. We

1:30:09

have hawked boner pills on this show so

1:30:11

much. You've hawked them? Hawk them. We've

1:30:13

hawked them. Do

1:30:14

you guys have to try the things you hawk? They

1:30:16

were always explicit that we did not have to try the

1:30:18

boner pills. Usually you do have to

1:30:20

try. But we eventually stopped.

1:30:22

But so many ad reads.

1:30:25

Yeah, I feel like there were so many like, you know? I

1:30:27

don't even know how much I hear them anymore,

1:30:30

period. It did feel like there were like

1:30:32

five years of podcasts. The podcast industry

1:30:35

solely being financed by boners, or

1:30:37

lack thereof. Yes. Right. Yeah.

1:30:39

Right.

1:30:40

But now they're back. They're back, baby. Boners

1:30:42

are just back. America is just at

1:30:44

attention. Guys, the boners are having the best week ever.

1:30:48

Hot boners summer 2023. Look,

1:30:51

yes. He has been mentally cucked by

1:30:53

life. Yes, he is in a ruined state

1:30:55

still. She comes back one

1:30:58

day into him seeing her. Her husband is dead.

1:31:00

It's the fucking same thing is happening again. He's

1:31:02

died in a very dramatic manner, this time in a pool.

1:31:05

The water's been drained. This guy is

1:31:07

like a lot too from

1:31:09

the first meeting. Like he's just coming

1:31:12

on too strong, laughs too hard, makes

1:31:14

too many jokes. Dog guy, right? Yeah. Where's

1:31:16

the fucking Oswald Cobblepot coat? He's

1:31:20

just a lot of dude. Yeah, he's a dork. Yeah.

1:31:23

Didn't we see her get beat up before

1:31:25

any of this plays out? By Slappy.

1:31:28

By Slappy? Yes. Don't we? Because

1:31:30

the timeline is kind of mixed up right

1:31:32

throughout. Am I wrong in that? Right.

1:31:35

And then she takes her wig off and she's just

1:31:37

like, that was the agreed upon amount of time.

1:31:40

Right.

1:31:40

But I'm saying this takes place before her

1:31:43

now new husband gets murdered. Correct. Right?

1:31:46

Because we're basically like, what is going on? And

1:31:48

we truly have no idea. Because that was

1:31:50

the thing. Sorry. Yes, we missed this. Slappy

1:31:53

was asking her. And he's not

1:31:55

to be clear the ventral leukas dummy from Goose

1:31:58

mother is the one she's

1:32:01

taking care of, right? Yes. And

1:32:04

his mother invested her

1:32:06

life savings in the fucking husband,

1:32:09

right? And he

1:32:11

lost all the money. And so Slappy becomes like

1:32:13

a potential killer. Yes.

1:32:16

Right, he is a suspect.

1:32:18

His character

1:32:20

origin story is funny too, though. And

1:32:22

he's like, I just slap, I slap,

1:32:24

I slap, I slap. Something like-

1:32:27

You can't help but slap. Yeah. Well,

1:32:29

he doesn't punch. He doesn't punch or hurt your

1:32:31

hands. Yeah. Guys named Slap for

1:32:33

longer. Smart. Also,

1:32:36

anytime anyone tried to say his name, he would slap

1:32:38

them first. They're like, I guess we're just gonna call you Slappy

1:32:40

now. If no one can even get your fucking name out.

1:32:44

He is also, I think, supposed to be a Chinese

1:32:46

immigrant as well, right? Like that is,

1:32:48

there are some nuances that are, I think, tougher for

1:32:51

us to detect because they come out through accents.

1:32:53

Yes. And like Western viewers don't understand

1:32:55

like, oh, that person's talking differently than this person.

1:32:58

Any Korean viewer would immediately recognize that. The

1:33:00

way she talks, her Korean apparently,

1:33:02

is supposed to sound,

1:33:03

the way Park Jeon-Wook describes it is like sort of Shakespearean.

1:33:06

Like she's supposed to sound very classical in

1:33:08

a way that kind of would hurt your ear. Like she's

1:33:10

trying to- Because

1:33:11

she watched period films to learn it. Does

1:33:13

that seem where she describes something as solitary?

1:33:16

When basically she means like only?

1:33:19

Right.

1:33:20

It's a little flowery, exactly. And

1:33:22

he laughs at it and she doesn't understand why because it's

1:33:24

like, it's not actually incorrect but no one

1:33:26

would say it that way.

1:33:28

So he says he did it. He's

1:33:31

like, I did it. Right? He gets caught. I don't

1:33:33

know. I mean, that happens pretty quickly even

1:33:36

though Haejoon, the director

1:33:38

detective is like, no, no, no, no, no, I'm not getting

1:33:40

fooled again. She did it. Like she kills- I've

1:33:42

seen my Hitchcock movies. This is some fucking strangers

1:33:44

on a train ship. What's the arrangement you guys

1:33:46

have? Yeah. And then he finally

1:33:49

confronts her on this mountain

1:33:51

of destiny. Yeah. Which

1:33:53

I will say, I

1:33:54

don't know if I would go there. Well,

1:33:56

well, this is the thing. Do you go back to your

1:33:58

boring white- God bless. She seems like a nice

1:34:01

lady. I'm not saying I wouldn't talk to Tong Wei anymore.

1:34:03

I'm just saying I'd maybe pick the location Oh,

1:34:05

you're saying maybe I don't want to see you on Pretending

1:34:10

I would be like locks I

1:34:13

would yes, I would see her we go to Russ and daughters

1:34:15

We would not go

1:34:16

to a appointment afterwards immediately

1:34:18

after that you had to get to yeah, and I'd

1:34:21

say like David Can you just like text me at 1245 just to like

1:34:23

yeah? Yeah

1:34:27

so

1:34:28

And she's like I still have the phone because he'd

1:34:31

given her this phone with you Did the hundred and thirty

1:34:33

eight flights or whatever and said like destroyed.

1:34:35

She's like I still have it. Yeah

1:34:38

Great thing to say not dramatic at all this

1:34:40

whole confrontation scene which is so I'm

1:34:43

the deepest part of the scene

1:34:48

Plays out while she's wearing like the headband

1:34:51

with the light on it.

1:34:52

Yes, right I was like is this

1:34:54

this is this the Sun he's meant

1:34:57

to look in well for 30 minutes a day That

1:34:59

actually doesn't help with his no

1:35:02

sadness does help with his brain, but

1:35:04

I'm worried about the actor I was like that

1:35:08

For both of them yes for her to just

1:35:10

have to keep her head at a certain angle So

1:35:12

that she wasn't blinding him the whole time during the scene

1:35:14

blending the camera right yeah, or him

1:35:17

having to like

1:35:18

Be blinded it's a

1:35:20

lot. That's the hardest scene for me I

1:35:25

mean she's basically like

1:35:28

Here's this phone you can get me like I want to

1:35:30

fix here sure right you can you

1:35:32

can still solve the crime Mm-hmm, and he's like

1:35:34

here I want to fix you and my fixer mean make

1:35:37

out with

1:35:38

sure love sex fuck

1:35:40

sex I want to do a

1:35:42

little bit of fuck sex well first. I want to take your

1:35:44

grandfather's ashes Oh yeah, toss

1:35:47

them out get him out of here get him out, and

1:35:49

then let's smooch

1:35:52

And then we are kind of in the end

1:35:54

game In the beach game,

1:35:56

and there are so many sort

1:35:58

of things I have to entangle about

1:35:59

this right like but is there anything else

1:36:02

we're missing? Oh can I just

1:36:04

shout out to she young

1:36:07

Kim please who is this

1:36:09

great little character who comes in

1:36:11

and she's his new partner and

1:36:13

I loved her the second she walked on

1:36:15

screen I was like this is this is my girl

1:36:18

I love her so much she's apparently

1:36:20

a comedian she's also in a dance

1:36:22

group yeah like five something

1:36:25

she seems yeah I just love her

1:36:28

I thought I thought that casting was so

1:36:30

interesting like she's

1:36:32

so obviously a comedic force

1:36:35

right right I mean I would have fun

1:36:37

with you know just

1:36:39

a TV show about his him trying to be

1:36:41

a broken ass cop in in you know

1:36:44

fishtown yes

1:36:46

not to be you know right

1:36:48

like I do love right it's like new partner

1:36:50

this should be like a reinvigorating moment for

1:36:52

you yeah and he's just so

1:36:55

done he's like so out past

1:36:57

the point of no return

1:37:00

yeah but I mean I just

1:37:02

and I also just like maybe one season every year at the

1:37:04

end of every season the way Teng Wei shows

1:37:06

back up again with a new husband and then he dies like

1:37:08

I swear I didn't do it yeah that's sweeps

1:37:10

and just like new highlights she's

1:37:13

the the sideshope Bob of the show

1:37:16

right right once the season there's a new

1:37:18

plan to kill Bart

1:37:20

so she basically

1:37:22

confesses yeah or

1:37:25

he figured you know like she did not kill

1:37:27

her husband she but she gave slapping

1:37:30

the pills the sort of death

1:37:33

pills that used to kill her grandma right

1:37:35

and knew he would kill her husband

1:37:38

yes

1:37:39

right wasn't it that she killed his

1:37:41

mom and he said if you if

1:37:43

something happens to my mom I'm gonna kill your husband

1:37:45

right right yes right

1:37:47

right she visited the mom in the hospital yes

1:37:51

and right she knew that would be right that's the chain

1:37:53

of events that's that was kind of like untangle

1:37:56

right it was it was basically forcing,

1:38:00

it

1:38:03

is a weird or that's just strangers

1:38:05

on train thing.

1:38:06

Where it's like, well, it's the other person. She found

1:38:08

someone to do the crime for her. Because her new husband

1:38:10

cheated the mother out of all

1:38:13

of her savings. Because he invested,

1:38:15

I mean, it seems like he was just a scam artist.

1:38:18

Yes, exactly. But she just recognized

1:38:20

he's volatile and vindictive enough.

1:38:23

If I push, he will respond.

1:38:25

The other thing that's happened is he

1:38:27

found a recording of the cop

1:38:30

saying, I love you on

1:38:32

her phone. He's like, I don't remember saying that. And

1:38:35

she's like, well, man, you were fucking in

1:38:38

it. Because you did.

1:38:42

And she says, I started

1:38:44

loving you when you stopped loving

1:38:46

me, basically. And

1:38:49

so he goes to the beach to find her. And she's

1:38:51

a bear yourself in the sand. She's dead. To

1:38:54

make herself his unresolved case.

1:38:57

Right. But it's

1:38:59

a she go in beach dig hole. Very

1:39:03

dead. I want to say like thrill of the suicide

1:39:05

by beach thrill of the chase thing. Right.

1:39:08

But it is this thing with like with attraction, romantic

1:39:11

interest and all these sorts of things where it's like

1:39:15

sometimes you can have the person who makes

1:39:17

complete sense for you.

1:39:19

But the fact that they are so deeply

1:39:22

knowable and understandable to you and