0:00

My friends, The Great Experiment.

0:03

The greatest trick, trick, trick. Headed.

0:06

Trick, trick. Would you look at that? The

0:08

greatest trick, trick. You

0:12

people, your old astronauts are some kind

0:14

of star. Trick, trick. The

0:17

greatest trick, trick, trick, trick.

0:20

Welcome to Greatest Trek. It's a new Star

0:22

Trek podcast from the makers of The Greatest

0:24

Generation. I'm Adam Franica. I'm Ben

0:26

Harrison. Celebrating the holiday

0:28

season, very unusual way today.

0:30

Yeah. By

0:33

taking some time off. That's not

0:35

us. Something

0:37

that does not come natural to either of us

0:41

is winding down. But we've been

0:43

real full on throughout this

0:45

last quarter of the year with the

0:47

tour and everything. So we thought

0:49

we'd treat the friends of DeSoto, especially

0:53

those that listen to Greatest Trek, to

0:55

a little treat from deep

0:57

in our past, deep in the

0:59

bonus content feed. We are pulling

1:01

something out from behind the paywall and

1:04

into the light, which they say is

1:06

the best disinfectant. Hmm. Yeah,

1:10

we looked high and low through

1:12

our entire bonus feed and we were thinking, what

1:14

makes a great holiday

1:16

episode of all the things

1:19

we've got back there? Really,

1:21

it felt like heat was the most

1:23

holiday feeling movie

1:25

recap that maybe we've ever done.

1:28

We do try very hard to make the

1:30

case that heat is a holiday

1:33

film. You'll hear us attempt to make

1:35

that case over the course of the

1:37

next five hours, which is how

1:41

long this episode goes. Yeah, it

1:43

took quite as long as the movie heat, but it's

1:45

pretty long. I

1:48

like that we tried to match that up. Yeah, I think this is a really

1:51

fun one. I mean,

1:53

you and I reference heat all the time

1:55

on and off, Mike. I think we

1:57

talk about heat more than most

1:59

people. So if you haven't seen the movie

2:02

definitely one you want to watch before listening

2:04

to this But

2:06

yeah, it's a hell of a

2:08

film and I think this is

2:10

one of our one of our

2:12

finer bonus pod Episodes one

2:14

little heads up. It is a violent

2:17

movie about criminals in

2:19

Los Angeles so, you know lots

2:21

of cops and robbers and shoot

2:23

them ups, but also specifically there's a

2:27

Suicide attempt in the film. So if

2:29

that's a tough issue for you, please be

2:31

forewarned before Waiting into

2:33

this one. Do you want

2:36

to forewarn people about every instance of

2:38

troubling behavior in this? Almost

2:41

three-hour movie it could we should

2:44

almost record another episode content warning

2:46

heat. Yeah That's

2:50

a great way to introduce a great

2:52

great movie one of our favorites an Experience

2:55

we hope fod's enjoy

2:57

this holiday season hearing

2:59

us from almost five years ago Yeah,

3:02

and this intro has gone on almost

3:04

as long as the episode itself So

3:06

I think we should wrap it up

3:09

But yeah Please enjoy this bonus episode

3:11

that you wouldn't have gotten to listen to if

3:13

it weren't for our Generosity

3:16

and the generosity of the FOD is to

3:18

make the bonus feed possible. They

3:20

did this. No, I think it's us being generous this

3:22

time Mmm for

3:24

once Here it is heat Here's

3:32

to the finest The

3:46

LAPD police

3:48

Department you

3:51

just got me Okay,

3:57

motherfucker hello and welcome

4:00

Welcome to a very special,

4:02

donors-only holiday episode

4:04

of The Greatest Generation,

4:07

Heat Edition. It's

4:09

a podcast about heat by a

4:11

couple of guys who have made an embarrassing

4:13

number of jokes about heat recently. I'm

4:16

Ben Harrison. I'm Adam Franica. The real

4:19

edge case for a holiday film here,

4:21

Ben. Yeah,

4:23

I mean like... This film is

4:25

to the holidays probably as celebrating

4:27

the holidays in the LA probably

4:29

feels, right? Yeah, yeah. It's

4:32

not a holiday movie. It's just a

4:34

movie that we've been talking about the

4:36

most lately and I think we

4:38

just thought it would be... It's

4:40

the one that we were most eager to record

4:43

a For Funsies pod about. You

4:46

know, it really made me feel

4:48

like our origin story for Greatest

4:50

Gen goes like you and

4:52

I sort of feeling each other out

4:55

on next generation trivia and references

4:57

and jokes and stuff. And

4:59

I feel like lately this has happened with

5:01

heat all over again where I had

5:04

no idea you were such a big fan

5:06

of this film that I'm a huge fan

5:08

of and so we've been sort of dancing

5:10

around all of these movie quotes and stuff

5:12

over the last few months. It's been a lot of fun. It

5:15

has, it has. I think

5:18

the one thing I hope comes out of this

5:20

is that the friends of DeSoto out there listening

5:23

take into the world the knowledge

5:25

that heat is a Christmas movie

5:28

and try and pitch people on

5:30

that at house parties or bars or

5:33

just wherever people are likely to bring

5:37

up die hard. Just

5:39

bring up heat instead. Man,

5:42

1995 is

5:44

when heat came out and

5:48

this was one of those first films for

5:50

me that came on the two tapes. It's

5:53

meaningful because it was like

5:55

that fucking masonry brick of

5:57

VHS. Boy,

6:00

pack a lunch, right? Almost three hours

6:03

long. If you're unfortunate enough to

6:05

watch it pan and scan style, which I think a

6:07

lot of us did for the first several times if

6:09

we weren't able to see it in a theater, it's

6:12

a totally different movie when seen in widescreen.

6:16

And there's a really great re-release

6:18

that happened this year, Ben, on

6:20

puree that is pretty wonderful.

6:23

The director's definitive edition, right? Yeah.

6:26

Yeah, that's the version that I watched for the

6:28

purposes of this pod. And it's really gorgeous. Myself

6:30

as well, yeah. One of the few films that

6:33

is worthy enough to be owned on physical media,

6:36

I think, is this

6:38

film. I don't have too many DVDs, but this is one

6:41

of them. There's

6:44

just nowhere in my apartment

6:46

to even put a

6:48

physical media item. There

6:51

might be a cardboard box in

6:53

my closet from when we moved with some

6:55

DVDs in it that seem

6:57

too valuable to throw away, but also will

7:00

never get played again. Yeah.

7:02

Anyway. I basically have

7:04

eight Sylvester Stallone films and heat.

7:08

I'm drinking some eggnog to

7:10

enjoy the occasion. Oh,

7:12

boy. That's going to thicken up the

7:14

throat nicely as we go. Yeah. Yeah.

7:18

Well, I think that that's another part of this beloved

7:21

holiday tradition of ours is that

7:23

every year we put a new

7:26

weird movie episode in the

7:28

donor feed and I fight

7:31

through eggnog mucus to

7:33

deliver my half of the podcast. Well,

7:36

our membranes are working overtime, Ben,

7:38

for the both of us because

7:40

I'm working through my seasonal holiday

7:43

cold, a tradition unlike any other.

7:45

Oh, boy. Yeah. It's been working through

7:47

my head lately. And I'm drinking something

7:50

to combat it. It's something that

7:52

my wife and I tend to

7:54

pour for our friends after we

7:57

gather for a dinner during the holidays. It's

7:59

a... I don't even know if

8:01

it has a name. It's pretty simple. It's just a

8:04

shot of coffee, a shot of rye

8:06

whiskey, and then basically pour

8:08

over hot cocoa Like

8:11

the best hot cocoa you can find you just sort of

8:13

mix it in into that

8:15

with some hot water and It's

8:18

a nice little pick-me-up. Wow that sounds

8:20

very festive. It's that sweet heat Ben

8:22

Yeah, and a little little spiciness from

8:24

the rye. Yeah, yeah I

8:27

could see that being delightful. Well, we have three hours of

8:29

movie to talk about do you want to get into this

8:31

bad boy? I sure do. Let's

8:34

pop in the first tape Ben This

8:44

movie is beautifully cinematograph

8:47

by Dante Spinatti and written

8:49

and directed by Michael Mann

8:51

and one

8:53

of Dante Spinatti is

8:56

of the cinematographers currently

8:58

working one of my favorite when it comes to

9:01

nighttime footage like the They

9:04

shoot at night a ton in this film and

9:06

yeah, there's very little Trickery

9:08

with that, you know, they're not doing like

9:10

day for night or anything like that It's

9:13

it's night and using lots of like interesting

9:15

available sources and stuff And I

9:18

just think Dante Spinatti is great

9:20

at it Yeah, he's like

9:23

he's got a bit of a weird

9:25

rep more recently with his nighttime stuff

9:27

because I think as of Making

9:30

collateral with Michael Mann. He

9:32

got really interested in using

9:34

high frame rate digital cameras

9:38

For his nighttime stuff. So like in collateral, it

9:40

looks real Video like

9:42

BBC footage. Yeah at

9:44

nighttime Which

9:47

you know like he's one of

9:49

the few people that is making that

9:51

decision on like a really interesting artistic

9:53

basis But right this this film is

9:55

spectacular all the way through in terms

9:57

of what it looks like and we

9:59

open up on this like, this

10:01

scene of a subway train pulling

10:04

into a station, you know, just really putting

10:06

us in the place of Los Angeles. I

10:11

mean, it almost goes without saying,

10:13

like when you think of LA, you think of their

10:16

vast and great subway system. Yeah, yeah,

10:18

the public transit here is really second

10:20

to none. Michael Mann is

10:22

kind of obsessed with using the LA Metro

10:24

though, like it plays a big role in

10:26

collateral too, at the end. You know, getting

10:28

back to Spinati a little bit, the

10:32

anamorphic lens is kind of a character

10:34

in this film, as much as anyone

10:36

else. And I think a lot

10:38

of people who aren't aware of the performance

10:41

characteristics of a lens like this are,

10:43

would think that it's out of focus. And

10:47

especially in the nighttime scenes, may

10:49

think that it doesn't look great.

10:51

And I think it's interesting when you talk about

10:53

Spinati's career and he's pivoted, as he's pivoted into

10:55

digital, you know, like you give

10:57

up a look like this

10:59

in favor of something sharper. Right.

11:02

And it's really a product of its time, this mid

11:05

90s to late 90s aesthetic, with

11:07

an anamorphic lens. I mean, so

11:10

many great films were made to look

11:12

this way. It's really nice to revisit this

11:14

look again. Yeah. And

11:17

correct me if I'm wrong, but like

11:19

an anamorphic lens is literally shooting a

11:21

squished image onto like a four

11:24

by three piece of film

11:27

and then they process it later optically

11:29

to be wide screen, right? It's

11:31

true. And they are, I mean,

11:36

it's obvious for someone like me to say who

11:38

isn't a professional, but they are

11:40

extremely hard to focus in general. And

11:44

on a Hollywood film, you're having

11:46

professional focus pullers. Yeah. I've

11:48

never messed with an anamorphic lens in my

11:50

entire film career. So they

11:52

are, they're pretty difficult to work with,

11:54

but the results are really beautiful. Speaking

11:58

of beautiful results. So this is a, like

12:01

he gets off this subway, this is the

12:03

Nero character, gets off this

12:05

subway, he's wearing an EMT

12:08

jumpsuit, walks through like

12:11

the back door into an ER and it

12:13

is like a fully functional ER.

12:15

It is not a set, it's

12:18

like definitely a real emergency room.

12:20

It is thronged with people,

12:22

there are people like writhing,

12:24

bleeding on gurneys. This

12:28

is an incredibly expensive thing to put

12:30

together for a scene that just establishes

12:32

this guy is at a hospital. Right.

12:36

Like almost any other filmmaker would

12:38

just have him walk by a

12:41

sign that says hospital and then

12:43

like hop into the ambulance and steal

12:45

it. You really feel

12:47

like you're in good hands right away in this

12:49

opening scene. It feels a lot like Goodfellas and

12:51

they walk through the kitchen

12:54

area on the way to

12:56

that dinner. I mean De Niro

12:58

quietly skulks his way through the

13:00

hospital on his way to the ambulance. It's

13:03

great. The film starts with these

13:05

vignettes sort of like setting the scene for

13:07

where all of these chess pieces are to

13:10

congregate. Yeah and it also kind of establishes

13:13

this superpower he has of just walking through

13:15

a space looking like he belongs there, which

13:17

he uses a bunch of times in this

13:19

movie in a really fun way. Yeah,

13:22

if you notice De

13:24

Niro's character always wears

13:26

gray and it's

13:28

a choice he makes in order to blend in

13:31

with his costume. I mean in

13:34

his ambulatory jumpsuit notwithstanding.

13:39

But not speaking of blending in, Val

13:41

Kilmer rocking a real

13:43

flashy ponytail in this movie and

13:46

he's somewhere in Arizona or something

13:48

buying some

13:51

explosives from a guy. Is this

13:53

the last time someone looked good in

13:55

a ponytail? Because god

13:58

damn it he can fucking rock

14:00

that yeah I mean it

14:02

went to man bun after this I think yeah

14:05

unfortunately he's

14:08

buying these explosives I think I think this is

14:10

the guy that played the blood-sucking

14:13

lawyer in Jurassic Park Oh

14:16

what we'll have a coupon day

14:19

or something blood-sucking

14:23

lawyer I do yeah he

14:25

got eaten off the the toilet by

14:27

the T-Rex great

14:31

scene great moment fun stuff

14:33

I like it's very eye-catching in the scene

14:35

is the only scene in the movies and

14:37

because he's just the guy that sells the

14:40

the explosives he was

14:42

shooting this concurrently with Batman forever

14:45

no shit yeah I thought

14:47

was great you know it's hard to

14:49

miss Val Kilmer's lips in this scene

14:52

they fill almost the total almost

14:55

the entire frame good

14:59

old Brady demolition yeah he's

15:01

got some of the best lips in in

15:04

Hollywood and and I mean his

15:06

Batman was like probably

15:09

the most identifiable outside of the cowl

15:11

right just because like who else has

15:13

lips Bruce Lane thing

15:15

for lips yeah as we

15:17

go around the horn here we we

15:20

we finally meet Al Pacino's character yeah

15:22

who is he's having some some

15:25

morning sex morning sex from

15:27

behind you don't want to go morning

15:29

breath to morning breath in that situation

15:32

oh yeah you think that's what it is I kind

15:35

of think so well that's it's an

15:37

interesting take you don't

15:41

you don't make strategic choices based

15:43

on the breath situation I'm

15:45

just no morning

15:47

is not is not a typical a

15:50

typical time of day for me hmm maybe

15:53

they cut out a scene where I said how about

15:55

if I eat your ass and then

15:57

after that she was like no no I don't want to be face

16:00

Because she got a... ...great

16:02

ass! Oh,

16:05

I love how we're coming out of the box here, Ben.

16:09

Give me all that pornographic Pacino. I

16:14

want to suck on your toes, baby! And

16:18

then she just doesn't want to kiss him after that, because it's

16:20

a little gross for her. Yeah. Uh,

16:23

his lady friend here, Justine... Is

16:26

that his lady friend? That's his wife! That's

16:28

his special lady, Adam. I call

16:30

everyone that, though. Yeah,

16:34

third wife for Vince and Hannah here.

16:36

Third wife and, uh, adoptive, uh, I

16:39

guess, stepdaughter. Yeah. Natalie

16:41

Portman, who is, uh, around

16:44

the house having a bit of a meltdown,

16:46

because she's trying to get ready for her

16:49

biological dad to pick her up. And

16:52

Natalie Portman's biological dad, I don't think we ever

16:54

see, but he is kind of a character in

16:56

this movie, because he is

16:59

really making his

17:01

daughter's life miserable. And you

17:04

know, Pacino's not really doing anything to make up for

17:06

that, but he does get to go around going like,

17:08

does this guy know how

17:10

much is fucking his kid up? Natalie

17:13

Portman makes some choices here that I

17:15

wanted to discuss with you briefly. I

17:18

think the main question I have

17:20

about her character is, does she have

17:22

special needs or is she autistic? Because

17:25

I sort of got that feeling from

17:27

her behavior throughout the film. Oh,

17:30

that's interesting. Like

17:32

being super fixated on one threat

17:34

or whatever. Yeah, I kind of

17:36

got that. Um,

17:39

I don't know. That's

17:41

an interesting take that I'd never

17:44

considered. I mean, the style

17:47

of parenting in this movie is

17:50

so alien to anything I've ever

17:52

experienced. And I think that's, you

17:55

know, there's definitely people that are

17:58

like this. and

18:01

kids that have to grow up with parents

18:03

that are like so fucking narcissistic

18:05

and focused on themselves that they can't put

18:07

the paper down to help the kid get

18:09

ready for a day out

18:11

with dad. But yeah, like I

18:14

feel like there are so many variables different

18:16

about this family dynamic that I don't know

18:19

that I would make

18:21

a diagnosis one way or the

18:24

other on Natalie Portman's character. Yeah,

18:27

that's one thing I really shouldn't

18:29

be doing is armchair diagnosing people

18:32

in that way. But I think she's

18:34

in the film so little and she's

18:36

making such specific choices about her behavior

18:38

and and how she acts

18:41

out her her conflicts that that

18:43

is that was where my mind went

18:45

the first time I saw this film

18:48

and that is endured with with

18:50

subsequent rewatches. I mean she's clearly

18:52

very traumatized by some

18:55

set of things that has has befallen her

18:58

already and and

19:01

she's she's not in a good way. I love

19:04

all this cross-cutting Ben we meet all

19:06

of our characters bang bang

19:08

bang we go and after this we go

19:10

straight into Wayne Grove. Yeah and

19:13

Wayne Grove Wayne Grove

19:15

really makes an entrance like but the

19:17

camera kind of lingers on this like

19:19

outdoor mural for a moment and then

19:22

it becomes clear that there is a door in

19:24

this mural and he kind of bursts through he's

19:26

been taking a dump at

19:28

like a taco stand or something and he's

19:30

like putting a shirt

19:32

on so he had it off while he was in

19:34

there for some reason. You

19:36

can tell he's a bad guy with how he treats

19:38

a retail employee too like you don't just bang your

19:41

cup on the counter to get a refill. Yeah he

19:43

bangs his cup and gets the refill and then runs

19:45

away the second he sees

19:47

the big green tow truck you know he doesn't even

19:49

wait for it. Yeah yeah

19:52

at the wheel of the tow truck

19:55

is Chirito he's the the Tom Sizemore

19:57

character. one

20:00

of his great roles, I think. Yeah.

20:03

I mean, I think that this was

20:05

not an easy time in this dude's

20:08

life. No. But

20:11

held it together to put

20:13

in a fucking great performance. And

20:16

I think Wayne Grove is right there for it. Like

20:19

he is, like

20:21

this first scene where they meet each other and Wayne

20:23

Grove is like chatty but he's

20:25

doing a thing of like repping

20:28

how hard he is and how

20:31

much he loves to pull big jobs

20:35

and like wants to be a part of the

20:37

crew. And when Sizemore is not

20:40

impressed by that and is like basically just

20:42

utterly dismissive of it, that

20:45

moment where Wayne Grove pulls off the crappy

20:48

wraparound gas station

20:50

sunglasses that he's wearing and just like

20:53

dagger eyes to Churrito,

20:56

fucking great moment. There's

20:59

so much about Wayne Grove that's familiar

21:01

to me and that's one of the

21:03

elements is like nervously nicely

21:05

chatting with someone trying to get in

21:07

with them. And

21:09

he does it later in the diner scene

21:11

when he offers them the pie after he

21:14

fucks up the heist. Like

21:16

he goes over the top nice when

21:19

he's fucked up and like that hit

21:21

me. Yeah you don't

21:23

love to see a lot of yourself

21:26

in Wayne Grove. You don't. But

21:29

there it is. This

21:32

heist is like happening before

21:35

you realize it's happening. Like

21:37

Wayne Grove is getting picked up

21:40

and then like we're in the heist and

21:42

like you don't even realize that that's what

21:44

it is. Like you have Danny Trejo in

21:46

a car on the radio saying like 100%,

21:48

the right on schedule. And

21:51

then like the ambulance pulls across

21:53

a road and an armored car

21:56

pulls up and then this giant

21:58

green tow truck slams into it

22:00

from the side. This is

22:02

somewhere down under the overpasses that go

22:04

by the Los Angeles Convention Center. And

22:09

there's like, you

22:11

know, there genuinely are a bunch of car lot

22:13

like, you know, cars for

22:15

sale down in that area. So like, this is,

22:17

I don't know if they like

22:19

made this used car lot for the film

22:21

or not, because they do mess up most

22:24

of the cars in it, in the scene.

22:27

But yeah, they put those

22:29

explosives on the on the doors of

22:31

the tipped over armored car, and

22:34

blow the doors off and pull the three

22:36

guys out. Do you think

22:38

that this is standard practice to have three

22:41

dudes in an armored car, two of whom

22:43

are just like sitting at a card table

22:45

in the back not strapped in or anything?

22:48

I think it is. I mean, back when I worked a

22:50

retail job, I used to be fairly

22:52

close to when those drops would happen, like

22:54

when the armored car would pull up and

22:57

the guys would come in and do the

22:59

cash drop. Yeah. And I mean,

23:01

in my recollection, there were always three. Wow.

23:04

I mean, I can't speak to whether or not there was a

23:07

card table in the back. Yeah, I just

23:09

feel like OSHA would have some thoughts on

23:11

like not wearing seat belts in the back

23:13

there. Yeah. But I guess

23:16

if it's good enough for like school

23:18

buses, it's probably good enough for armored

23:20

cars in terms of road safety. Of

23:22

course, playing a school bus is real

23:24

good, man. It's

23:27

kind of absurd to call a three

23:29

hour movie hyper efficient. But

23:31

getting to this point is really,

23:34

really expert exposition. Yeah.

23:37

Like we've used the credit scenes not

23:40

to get to know our characters in

23:42

a nice slow way and understand their

23:45

their thinking and their motivations. Like we are

23:47

we're in media race. Like we're we're

23:49

in the heist plan as

23:51

soon as we fade up. And like they kind

23:53

of post game how the heist works instead of

23:56

instead of pre gaming. And like that's yeah, that's

23:58

such a cool way of doing it. doing

24:00

it, because a lot of

24:03

heist films will pregame the

24:05

heist, and they'll shoot it. They'll show

24:09

you the heist go down as they're talking about

24:11

how it would go, but then they do the

24:13

real heist and a bunch of things change. This

24:16

is fun because we just get to see the

24:18

heist, but then later on Pacino shows up on

24:20

the crime scene and they kind of talk through

24:22

their theory of the

24:25

case. But the heist goes more or

24:27

less according to plan. They get their bonds

24:34

out, but then Wayne Groves really

24:36

got a death's head with his hockey mask

24:39

on. The way

24:41

his hockey mask shadows his eyes

24:44

makes them totally black in a way

24:46

that's unlike all of the other guys, all

24:49

of the other dudes on the heist, you can

24:51

see their eyes and you can see

24:54

them contemplating things, but

24:56

Wayne Groves' mask is totally dead inside. Yeah,

25:01

and the way they do this a couple

25:03

of times in the film, the way they

25:05

go shot, refer, shot with characters dead center

25:08

in the frame looking at the camera, they

25:11

do that with Wayne Groves and one

25:13

of the armored car occupants before

25:17

he's killed. That moment is

25:19

so scary, so uniquely scary

25:22

for its time, I think. Yeah, and

25:24

I think that the sound design of this really

25:27

helps the loudness of

25:30

the guns is so

25:32

fucking off the charts

25:34

compared to when they're talking.

25:36

We have the

25:38

same model of television,

25:41

so we can actually compare notes

25:43

here. I had my volume at 56

25:45

or 60 or something like

25:48

that and there

25:50

were times in the movie where I was struggling to

25:53

hear people and other times in the movie where I

25:55

was like, fuck, this is loud. Yeah,

25:58

agreed. I had to do it. dive

26:00

for the remote and knock it

26:02

down a little bit. Yeah, especially

26:05

when it goes down and Wayne Groh

26:07

kills the dude. Churrito

26:11

wheels around and wastes the

26:13

second guy who's going for a pistol

26:15

in his ankle holster and

26:17

then they execute the third guy, which

26:20

becomes very interesting to Pacino later. Once

26:22

it escalated into a murder 1B for

26:24

all of them after they killed the

26:26

first two guards, they didn't hesitate. Pop

26:29

guard number three because what

26:31

difference does it make? Why leave

26:33

a living witness? Michael Mann did

26:36

a thing for all of the gunfight scenes

26:38

which he recorded the audio on

26:40

set. Like

26:42

none of this was

26:44

put in later and I think it's what makes

26:46

the sound of this film so unique. You

26:49

want to fuck with me? The

26:59

way everything echoes around the overpasses

27:01

and in that bank heist scene

27:03

off of the buildings. Oh, spoiler

27:05

alert. Yeah. If

27:09

you haven't seen this movie, you shouldn't be here. They

27:16

make their getaway and they stole an

27:18

ambulance. They all pull off their

27:20

one season. DeNiro

27:23

is ready to beat up

27:25

Wayne Groh in the back of the

27:28

ambulance. I don't know why he doesn't choose

27:30

to just do that. They've

27:33

already got three bodies at this point. You're

27:37

advocating that they shoot him and dump him there?

27:40

Yeah, you're already burning the

27:42

ambulance. Just take Wayne Groh out.

27:44

You put the little milk container

27:46

full of gasoline.

27:51

Given what a liability Wayne Groh is later on,

27:53

I think that

27:55

would have been smart. But you miss

27:57

out on the most withering glance. Daniro

28:00

is capable of giving to another human

28:02

being. Yeah,

28:05

the, so we

28:07

see Daniro meet up with John Voight, who

28:10

is like a totally unbelievable

28:13

page boy haircut and

28:15

mustache in this film. He looks like

28:17

what a lifetime of playing blackjack and

28:19

chain smoking cheap cigarettes does to a

28:21

man long term. Like

28:23

I feel like you and I have seen

28:25

this man before, mostly in a casino. Yeah,

28:28

and mostly in a casino, like not on

28:30

the strip in Vegas, but like a terrible

28:33

casino, you know, somewhere

28:36

depressing. Yeah,

28:39

this guy is a Nevada zip code that is

28:41

not Las Vegas or Reno. Out

28:45

in the boonies. Yeah, he's like wasted an hour at

28:47

7-11 playing a slot machine. John

28:53

Voight plays Nate and he's kind of

28:55

the guy who has the

28:57

jobs and the solutions after

28:59

the fact. Like if you're

29:01

looking to do a heist, he's probably got

29:04

some ideas for you. If you're looking for

29:06

ways to leave the country, he's also that

29:08

same guy. He's kind of a fixer. He's

29:10

like Craigslist, but for heists. Right.

29:14

And yeah, like they've got these bear bonds

29:16

and he's like, hey, like I just found

29:18

out that these bear bonds actually belong to

29:20

this one guy Van Zant. He's

29:23

going to collect insurance on these, but he's also a criminal.

29:26

So maybe we can just make a

29:28

deal with him. That sort of

29:31

gives him that other facet, right? I feel

29:33

like in crime films, you often get this

29:35

character and he's like, he's

29:37

flipping your jobs to do, but he doesn't

29:39

really have ideas of his own. But

29:42

Nate has ideas. He's like, you know, I know you

29:44

already knocked this thing over

29:46

and you made this money, but we

29:48

could actually make more with

29:50

this great idea. I have some of the back then said to

29:52

go into the street. That's an extra three hundred twenty thousand. Try

29:56

it out. I wonder like, does he

29:58

have other crews that he also interact? acts

30:00

with, like is this his only

30:02

work? There's like other times

30:04

in the movie where you see him like at a party or

30:06

something or whatever, like

30:08

man, like what

30:10

does this guy's like day to day

30:12

life even look like? Does

30:15

he have an office? Like when he

30:17

gets a call on like hey I

30:19

need like new passports and travel plans

30:21

and I need them tomorrow, does

30:24

he like have to go like hey guys sorry I

30:26

have to leave the party and go forge some documents?

30:29

Like what does he do? I don't

30:33

know you only ever see him on the phone in

30:35

this movie. It feels like. It's really true. This

30:38

is when Pacino shows up at the

30:40

crime scene and we get to meet

30:43

the rest of the squad.

30:46

This is like I think

30:48

they're the homicide detectives

30:51

but we also see them in

30:53

an office marked MCU which I imagine

30:55

stands for Major Crimes Unit. Yeah.

30:58

So a little unclear exactly

31:01

what their role is but there's some kind of

31:03

super squad in the police

31:05

department and he

31:07

does that super cool thing where he

31:09

drives up to the crime scene but

31:11

they like lift up the tape so

31:13

that he can drive under it. That's

31:15

a real power move like everybody

31:17

else has to park outside the tape but he gets

31:19

to drive right up. Can

31:23

you believe how hard it is to park around

31:25

here? All

31:28

the other officers have to

31:30

valet their car. Yeah

31:33

and then they'll validate but only for the first half

31:36

hour and this is like they're gonna be out here

31:38

a while. Speaking of

31:40

efficiency this is the scene where you

31:42

understand how great Vince and Hannah is at

31:45

his job. He rolls up

31:47

on the scene and immediately has

31:49

these guys pegged for the professionals that

31:52

they are because he himself is

31:54

a police professional. Recognize the MO?

31:57

MO is that they're good.

32:00

He's like standing in the middle of it

32:02

and like he just, you know, pointing at

32:04

things. Stolen out of Fresno two weeks ago.

32:06

The yellow pickup truck out of Whittier did

32:08

before Yester's. They introduced the rest of his

32:10

crew here briefly and, God,

32:12

I love the guys who work

32:15

with Hannah. Yeah. I

32:17

think you and I do Bosco lines back

32:19

and forth quite a bit, but I think

32:22

Drucker is low-key like... Drucker

32:24

is fucking great. He might

32:26

be my favorite guy in this film. He

32:28

has got such great lines and great reads

32:30

of those lines. Yeah. Yeah.

32:33

Drucker played by McElthe Williamson. I mean, if

32:35

you're ever going to be called a jag-off,

32:37

you want to be called that by McElthe

32:39

Williamson. We've

32:42

got Kazzalz played

32:44

by Wes Stuette. And then

32:46

who's the guy with the like surfer

32:48

haircut? Yeah. God, he is

32:50

so familiar. He

32:52

looks like the kid from

32:54

Home Improvement. He looks like Zachary

32:56

Ty Bryan. I

33:00

really doubt it's him though. There would be

33:02

incredible casting. Yeah. I

33:04

mean, I think that that show

33:06

was on the air at the same time as this

33:08

movie came out. So

33:11

I really doubt it. In

33:14

the diner scene, is that the guy who plays

33:16

Newman who is looking at

33:18

them? Oh, Wayne Knight

33:21

now. Yeah. Because that's

33:23

another, we need a name for this.

33:26

Guys we see little

33:28

glimpses of that look so much like

33:31

actors who recognize but probably aren't. Right.

33:35

Yeah. I mean, like he's like... Could have been.

33:38

Yeah. It's like, because if you got Wayne

33:40

Knight for that, you would give him

33:43

lines. Yeah, you'd have to. Because it's Wayne Knight. Yeah.

33:46

Yeah. Like when they start to beat Wayne

33:49

grow up in the booth in the diner,

33:51

there's just like a trucker sitting

33:53

there eating a sandwich and

33:55

reading a paper and size

33:58

more like leans over. and just a

34:01

thousand words him with this

34:03

look. The

34:05

guy just looks back at his paper. I

34:09

love how threatening this scene is just

34:11

by virtue of its blocking. So you've

34:13

got Wayne Grove sitting next to the

34:15

window and you've got Chorito

34:18

across from him. But the

34:20

guy sitting next to Wayne Grove gets up and

34:22

makes room and so they have him totally boxed

34:25

in against the window. Like

34:27

there's something, like it's

34:29

so subtle but the way that

34:31

they place people in the frame

34:33

it just makes things like

34:35

this feel so much more dangerous. It's a

34:38

fucking diner. How dangerous can it be? This

34:40

is the same day like maybe

34:43

hours later after the heist. Like

34:47

De Niro has had a chance to

34:50

meet up with their handler

34:53

but this is them

34:55

meeting up to go over the split

34:57

apparently. You

35:00

imagine that Wayne Grove walked in not knowing

35:03

that he was in as much trouble as

35:05

he is and he's definitely

35:07

like trying to make nice. You

35:10

don't think he helped them garbage bag

35:12

the inside of that trunk? He's like, so what

35:15

are we going to put in here later guys?

35:19

You guys want to go deer hunting or? He's

35:23

probably tipped off when Trejo gets

35:25

out of the booth and Chorito

35:27

like comes around the side and

35:30

sits at the next table over so that if

35:32

Wayne Grove makes a move Chorito

35:35

can grab him. When

35:38

they drag Wayne Grove outside to dispense

35:40

with him I think this

35:43

is the weakest scene in the film

35:45

for me because you know

35:47

up until now we're made to believe that

35:49

Macaulay and his crew are the most professional

35:52

and they have this

35:54

incredible crime intelligence but to let

35:57

him slip away here by rolling

35:59

under a a couple of cars. Yeah, it's

36:01

a little weak sauce. It's hard to believe.

36:03

They had no time because they were on

36:05

a clock, which means they knew our response

36:07

time to a 211, had

36:09

our air immobilized, entered, escaped

36:13

in under three minutes. I think you're right. Like,

36:15

I think that part of what's so

36:18

fun about this movie is how terrifying

36:21

these guys are. Like when you do

36:23

the math on like what they're willing

36:25

to do to take these big

36:27

scores. Like Wayne Grove

36:29

is a psychopath and a killer and

36:33

he's got a bloodlust. He's terrifying

36:36

on that level where he wants to

36:38

do it for the killing people part

36:40

of it, but they

36:43

want to do it for the taking money part of

36:45

it and they don't care at all about the killing

36:47

people part of it. They just think of the killing

36:49

people part of it as like a necessary evil at

36:52

best and like at worst

36:54

they don't even think it's evil. I think

36:56

of it as like an inconvenience. You know?

36:58

Right, right. It makes such a big mess

37:00

and like when guns go off it's loud

37:02

and people can hear it. Yeah, and yet

37:05

one of the magic tricks of this film

37:07

is like you know the

37:09

Macaulay character and his crew are bad

37:12

guys, but they are

37:14

so good at what they do you have to

37:16

root for them. They're not saving cats. They're

37:19

actually doing murders and yet you're like just

37:22

as much interested in seeing them

37:25

succeed as anyone. Right. It's

37:28

well done. I think it's

37:30

also partly because Pacino is

37:32

such a mess. Right. You

37:35

know he is the good

37:37

guy that is trying to

37:39

stop the crimes, but he's also

37:42

making everybody in his life totally miserable.

37:45

Yeah, he's not squeaky clean. After

37:47

this diner scene we get the

37:49

connective tissue that makes this film

37:51

canonical trek which is Ashley Judd.

37:54

Yeah. You know Robin Lassner? Of

37:56

course. The work around here has been so sensational I decided

37:58

to make her a mission specialist. Congratulations.

38:00

Thank you, sir. She's the wife of

38:03

Val Kilmer's character and she's

38:06

rightfully upset that Val Kilmer's

38:08

take on that on

38:11

that robbery was $8,000. This

38:15

scene horrifies me every time. Like he

38:17

pays off a number of bookies and

38:19

then like the total take is $8k.

38:23

He's lucky at anything.

38:25

I mean he's got

38:27

a house. He's living in like

38:29

a pretty nice ranch style house in

38:31

the valley somewhere. He's definitely

38:34

had it where he didn't

38:36

burn it all on bad

38:38

bets. But yeah,

38:41

one of the main things

38:43

about his character is that he is a

38:46

degenerate gambler and

38:48

basically not

38:50

fully in charge of his own life. De

38:53

Niro takes a lot of responsibility for

38:55

him in a

38:58

way that is like really interesting and kind

39:00

of like surprisingly intimate given De Niro's

39:03

ethic in this film. Yeah, it's

39:05

really paternal. It's super paternal but

39:07

it's also like you know that like there's another

39:10

shoe that could always potentially drop which is that

39:12

get out of there in 30 seconds and we

39:14

hear the heat coming around the corner. It's

39:18

interesting that they made Scheherless's

39:20

vice gambling because like

39:23

I don't know why you would ever want to work

39:25

with a person who could potentially

39:28

be manipulated in that way.

39:30

Like a gambler

39:32

is the one person that you could get

39:34

one up over on. Like he's someone you

39:36

could leverage and so if a gambler is

39:38

on your crew, you can

39:40

never feel safe about that. He can

39:42

always be blackmailed. Yeah,

39:45

but they trust him. Yeah. So

39:48

Pacino gets home and

39:53

wifey Justine is not excited that

39:55

he's home so late. I made

39:57

dinner for him. us

40:00

four hours ago. Every

40:03

time I try to maintain a consistent move between

40:06

us, you withdraw. I

40:09

got three dead bodies on

40:12

a sidewalk off Venice Boulevard,

40:14

Justine. I'm sorry if

40:17

the goddamn chicken

40:20

got overcooked.

40:23

I understand her gripe because if

40:25

you've ever cooked

40:28

fried chicken for someone else, you

40:31

want to make sure that that's fresh. Yeah,

40:33

you want it to be piping hot when it gets to the

40:36

table. Yeah, that's

40:38

real aggravating. I don't know if he

40:40

brought it over or she left it there like

40:43

a cat leaving a dead lizard on

40:45

your doorstep. But the

40:48

piece of chicken is just sitting directly on

40:50

the table the entire time that

40:52

they're having this conversation. In

40:55

a way that is like pretty gross

40:57

to me. Like

41:00

don't put your food directly on the table. Yeah,

41:03

put down a coaster. What's a word for a

41:05

coaster but for food? I

41:10

don't know. Pacino

41:12

like really fills the

41:14

space in between words here in a very

41:17

Ricardo Monteban fashion. Mm-hmm. Like

41:21

wow, he is a and

41:23

what's great is like he's acting across a

41:25

stage actor and I wonder how much that

41:28

inspired him to really

41:30

explore the verbal space here like even

41:32

more than usual for a Pacino part.

41:34

He is off

41:36

the fucking chains in this movie. His

41:42

character on paper had a coke habit

41:45

which informed I mean it was never depicted

41:47

in the film, but I think it informed

41:50

the character building that he was doing. Wow. That

41:52

he brought to every scene and you know

41:55

that it kind of makes sense. It's like

41:57

this of his behavior. It's like back to

41:59

the scene. nine of Scarface

42:02

Pacino in this film. Wow,

42:05

that's really interesting. This

42:07

is all still the same day and

42:10

we get one more

42:13

little sequence here which is De Niro goes

42:15

and buys himself a book and then he's

42:17

at a restaurant eating

42:19

at the bar, reading the book

42:21

and young lady tries

42:24

to strike up a conversation with him. This is

42:27

Edie played by Amy Brenneman, one of

42:30

my favorite characters in the film and

42:33

a total innocent. She's trying to be personable

42:38

with him and because of who he

42:40

is and what he does he is like immediately

42:44

suspicious that she is asking him

42:46

questions about what he's looking at,

42:48

what he's interested in. Got

42:51

to work to do. Lady,

42:56

why are you so interested in what I read

42:58

or what I do? Yeah, this scene really it

43:00

hurts to see her

43:02

sincerity treated this way. And

43:05

she's very, very

43:07

hurt by it. Yeah. I

43:09

think so often you get films

43:12

filled with criminals

43:14

or mostly men or whatever

43:16

and you get an artsy

43:18

crafty person and that

43:20

person is just made fun of.

43:23

Yeah. Or like their interests are

43:25

made into a joke. Yeah. But

43:27

they never make fun of Edie's

43:29

career or her interests or anything.

43:32

No. Macaulay is genuinely interested in her

43:34

and what she does and why and

43:36

I think that's great and

43:38

I think that serves Edie's character really well

43:40

and it makes her fully developed. It's such

43:43

an interesting turn he takes in this scene

43:45

too because he has

43:47

been ruthless up to this point. He

43:49

gives the nod to Chirito to take

43:52

out the other two guards in

43:54

that heist scene. He's ordered

43:57

kills on screen and attempted

43:59

to do another murder and he

44:01

was gonna do that himself earlier

44:04

today and now he's

44:06

here in this bar and he's like rude to

44:08

this woman clearly hurts her

44:11

feelings really badly he's in the

44:13

same look he gave Wayne Grove

44:15

yeah you

44:17

can't just throw that around at a civilian man

44:19

well that's kind of my theory here is that

44:22

he's still like really keyed up from what he's

44:24

been through today you know like there's still a

44:26

lot of cortisol in his system or whatever the

44:28

fuck yeah how does

44:30

McCauley unwind? by reading

44:33

about stress fractures and titanium Adam

44:35

I guess so, god but

44:37

like he feels terrible when he hurts her feelings like

44:40

he didn't he doesn't feel a thing about the three

44:42

bodies he left on the sidewalk today

44:45

but when her feelings are hurt

44:47

he feels really bad about it and you know

44:50

their conversation leads to them back

44:52

at her place like checking out the

44:54

view looking she has a spectacular

44:57

view for somebody that works in

44:59

a bookstore part-time and

45:02

to fund her graphic

45:04

design habit I don't

45:06

think that this place would be rentable on

45:09

that kind of income nowadays

45:11

in Los Angeles but uh she

45:13

says she's in the hills above sunset I guess

45:15

that's a totally different place in 1995 than it

45:19

is right now looks like she lives

45:21

at the Griffith Park Observatory yeah and

45:23

like I think rents on that place

45:25

are pretty high now but they used

45:27

to be quite affordable yeah this

45:31

is a from a

45:34

looks standpoint a scene that

45:36

really radically

45:38

shifts from being one of the prettiest in the

45:40

film to one of the worst in the film

45:43

because there's a big

45:46

like wide over the shoulder shot of

45:48

them leaning out over this railing that

45:50

shows the city glittering and

45:52

soft focus in the background spectacular

45:57

but then when it cuts to the the

45:59

single like over the

46:01

shoulder on each

46:03

of them, it's a comp. And they're

46:06

probably against the green screen. They're putting

46:08

a plate of the Los

46:10

Angeles skyline behind

46:14

them. And there's a couple of

46:16

things that they do wrong. One is that the plate

46:19

is not out of focus in the

46:21

same way as the real shot. So

46:24

it's weird that it's a

46:26

closeup of De Niro with

46:28

then two

46:31

miles of distance between him and the

46:33

thing that is behind him, and they're

46:35

both in focus. It's

46:38

like an impossible, like the comp just

46:40

looks bad and impossible on its face. Like

46:42

even if you don't understand

46:46

the optics issues

46:48

at play, like anybody would

46:50

look at this and say, that's a fake,

46:52

that's fake, that's not real. Right.

46:55

And it's a shame. Right, and this happens

46:57

a couple of times in the film. Yeah.

47:00

Like that. It's too bad. But it's

47:02

clear that these two lovebirds, the

47:06

murdering heist man and

47:08

the Auchucks Appalachian graphic

47:11

designer are falling in love with each other. Yeah,

47:14

he's an artist in his own right. Yeah. There's

47:18

one thing in this scene that really

47:20

caught my attention, which is that when she asked him

47:22

where he's from, he's like, I'm from the Bay Area.

47:26

And then like, she

47:30

says she went to Parsons, which is

47:32

a very famous New York design school.

47:35

And I think that if you are from

47:38

New York or have lived in New York

47:40

for any amount of time, you probably would

47:42

have heard of Parsons or seen the huge

47:44

buildings of Parsons downtown. Yeah. Like

47:47

the, I just, I

47:50

can't imagine, the

47:53

thing that's confusing to me about

47:55

it is that, His

48:00

name is Neil McCauley. He

48:02

does not look like his last name is McCauley.

48:05

He does not sound like he's from the Bay

48:07

Area. Like, is his entire

48:09

identity fake? Because

48:11

everybody calls him Neil. Everybody knows him as

48:14

Neil. Yeah. I

48:16

thought for sure he would have used a fake name with

48:18

ED from Jump, but he never does.

48:20

He never does. And like, is she fooled by

48:22

him saying he's from the Bay Area? If

48:24

in fact it's

48:27

a cover identity, is

48:30

he actually supposed to be from the Bay

48:33

Area? And De Niro just like could not

48:35

for the life of him talk like Ben

48:37

Harrison? I think, well,

48:41

I think she says it during the scene

48:43

when they're up on the balcony. Like,

48:47

I think when you're lonely and

48:50

you want to find a connection with someone, I think

48:53

it's very easy to overlook things like that.

48:55

Like a man telling you he's from the

48:57

Bay Area when obviously he has a Brooklyn

48:59

accent. Like, she's doing the math

49:01

in her mind to try to turn this into a

49:03

real thing, and she's willing to overlook that stuff in

49:05

order to do it. Yeah. Just,

49:08

it is one of many, many, many

49:10

films of New York guys walking

49:13

around LA like, Hey, I'm from Los

49:15

Angeles here. Ridiculous.

49:20

Anyways, next morning, your

49:23

boy Al Pacino shows up. And

49:26

one of the things that they talked about at

49:28

the crime scene is that they've got to check

49:30

with all of the normal fences around town about

49:32

like who is going to help the

49:35

crews that stole these bear bonds

49:38

actually move them. And he rattles

49:40

off four names. So presumably there

49:42

are four people that

49:45

are intimately known to the LAPD in

49:47

Los Angeles that will fence bear bonds.

49:49

Who's moving the bear bond? Check the

49:52

usual fences. You and I will check

49:54

Cusimano and Torrina. I want you to take

49:56

Goldstein and Alfaro. And they've

49:58

heard back from All But One, this guy. by

50:01

Tarina and

50:03

they show up at his dog

50:05

fighting ring slash chop shop and

50:09

just kind of barge in there

50:11

and everybody clears out. And

50:15

Tarina, played by Ricky

50:17

Harris, is also a fucking great

50:19

character because he's like super slippery

50:22

but also he's got the gift of gab and

50:24

he's like clearly got a

50:26

charisma that plays in lots of

50:28

contexts but when he's getting bad

50:30

cop, worse copped by Drucker

50:33

and Hannah it does not

50:35

work for him. Like

50:38

the amount of fear in his performance like

50:41

really boils to the surface over the course

50:43

of the scene in a fun way. I

50:46

really love his performance. What happens

50:48

here pays off later because his

50:50

brother Richard is played by Tone

50:52

Loke. Yeah. Albert

50:54

doesn't say anything in the scene, hardly anything

50:57

in the scene later with his brother because

51:00

he does so much great character work

51:02

here. Like you're sort of coasting on

51:04

him and so like it's

51:07

so dialogue heavy here to pay off

51:09

the non-dialogue acting that he does

51:11

later. It's just really well done. It's

51:14

well conceived because there's a set up

51:16

and a payoff. It is a ton

51:18

of fun and he's got a lot

51:21

of gall in the scene and

51:24

it becomes clear that that

51:26

runs in the family but he

51:28

knows that they've got him dead

51:30

to rights and the way

51:34

that De Niro walks out of there

51:36

after having agreed to meet this

51:39

guy's brother the next night is

51:42

fucking delightful. We

51:45

talked a little bit about

51:48

using anamorphic lenses but there's a

51:50

lot of telephoto lenses happening

51:52

here and this is one of those scenes where you

51:54

see it like shooting far

51:56

across the wrecking yard into Pacino

51:58

as he leaves. Yeah. Like, it's

52:00

just such a unique look. Yeah,

52:03

it looks fucking awesome. And interestingly,

52:06

like, the next cut is also

52:08

a very telephoto shot. It's De

52:10

Niro getting kind of a pitch

52:12

for another heist that they're going

52:14

to consider. This guy, Kelso,

52:16

is one of my favorite minor characters

52:18

in the film, because, like, he's

52:22

clearly a genius. But

52:25

he also seems like in

52:27

his eyes and his mannerisms, as

52:30

threatening as anyone else in the film. Like, I

52:32

feel like he could kill Macaulay in the scene

52:34

if he wanted to. Yeah. I mean, he's in

52:36

a wheelchair too, and somehow that effect is there.

52:39

I love the moment, like, he pitches him the

52:42

job and he tells him what the heist is

52:44

worth. And when

52:46

Macaulay accepts it, Kelso

52:48

says, congratulations. And

52:50

I love that moment and that word in

52:53

that moment. It's so great. Yeah,

52:55

it's like you just sold him a car. Yeah.

52:57

You know? He's

53:01

handing him the keys to his shiny

53:03

new 1995 model bank robbery. Unfortunately,

53:07

Val Kilmer's character is going to get $38 from

53:09

this bank heist, given

53:13

how much he owes to his bookie.

53:15

Yeah. This scene is also fun because

53:18

there's cross-cutting between this scene and

53:20

John Voight, who's kind of off

53:22

in the distance. Yeah.

53:24

I guess he drove with Neil over

53:27

to meet this dude. And

53:29

he's on the cell phone talking

53:31

to Roger Van Zant, who

53:34

is played by

53:36

William Fitchner. And

53:39

this is the dude who owned

53:42

those bearer bonds, and they

53:45

are proposing to sell them back to him.

53:48

I like this actor quite a bit. I

53:51

think my favorite role of his, aside

53:53

from this film, is the bank manager

53:55

in The Dark Knight. When

53:59

the Joker... is pulling

54:01

the bank heist in that film. He's

54:03

like the bank manager that has a

54:06

double barrel shotgun that walks out and

54:08

starts shooting at them, yelling like, you

54:10

know whose money you're trying to steal?

54:13

It's like almost exactly the same role, basically. Like

54:16

guy in a suit who is connected

54:19

and doing organized

54:21

crime shit. He's great,

54:23

he's in a lot of things. How do you get

54:25

that as your type? Like he

54:29

was a real mid to late 90s that guy. Yeah.

54:31

I loved him in Go as the

54:33

guy who was hooked on confederated products.

54:37

Almost everything in this house is

54:39

from confederated products, from the toilet paper

54:41

to the candles, to the ham. Speaking

54:44

of that guy, his little right hand

54:46

man, Hugh Benny, is played by Henry

54:48

Rollins. Yeah. And

54:51

like a pretty funny

54:53

role for him, I think. It's

54:55

just like tough that wears

54:57

like a suit jacket over his mock turtleneck and

55:00

is like working in this office,

55:02

but obviously his muscle. I

55:05

love how they use him here. What if you

55:07

get like a temp job as a receptionist in

55:10

this office and you see that guy walking around?

55:13

I love not casting him

55:15

as a skinhead or something. Like actually

55:17

casting him as a white collar guy,

55:21

a guy behind a guy. I think that's great. Yeah.

55:24

Well, Neil gets home from his

55:27

bank heist meeting and finds

55:29

Val Kilmer sleeping on his

55:31

hardwood floor in his unfurnished

55:33

house, which is by the beach

55:35

somewhere. Did you get a load of Val Kilmer's

55:37

fucked up elbow in this scene? Oh.

55:41

I don't know if he did. Oh, man. Please

55:43

cue up this scene and

55:45

take a gander at his left

55:47

elbow. Oh, wow. Which has a

55:50

grapefruit sized knot in it. Damn,

55:52

what the hell? Evidently,

55:54

he fucked it up while filming the doors.

55:57

He did a crowd surf scene and then

55:59

a The stunt guy didn't catch him,

56:01

and so he whacked it, and

56:05

his elbow's never been the same. Wow.

56:08

Yeah. I hit my

56:10

elbow really hard riding my bike a few years

56:12

ago, and it was bad

56:15

enough that I had to go to an

56:18

urgent care and get it stitched up and

56:20

x-rayed and stuff. But

56:23

that looks nasty. That looks like a real

56:25

bad one. That looks like

56:27

you need custom shirts. It's

56:30

so weird. I like

56:32

that Neil calls Ashley Judd.

56:35

The first thing he does is not wake

56:37

up the friend that has invited himself into

56:39

the house, but

56:41

calls Ashley Judd and he's like, what

56:44

was the fight about? Why is

56:46

he sleeping on my floor? Like

56:49

not really your business, right? No,

56:52

but serves the character and us

56:54

in relating them to each other.

56:57

I feel like few films would have

56:59

the confidence to stop the

57:01

story right now and introduce

57:03

us to someone totally new

57:05

and then not return

57:07

to them for another 40 minutes. And

57:10

that's what happens in this next scene. We

57:12

get to meet Donald Breeden, who's played

57:14

by Dennis Haysbert. Yeah. And he's

57:16

showing up to his first job

57:19

after being released from prison. He

57:22

walks into this diner.

57:24

This is like his work

57:27

release type of job. Like he's on

57:29

probation, presumably in his PO has set

57:31

this up for him. The

57:33

chef at the diner is Bud

57:36

Court, who's fucking great in this movie.

57:39

He really sinks his teeth into a

57:42

kind of villainy that is

57:46

like, he's kind of the most

57:48

detestable villain in the film because

57:51

he seems to have no joy in his life.

57:56

And he's just a cog in

57:58

the wheel. is just

58:01

totally happy to be that. Yeah.

58:03

It's weird, you know, like he's, he never

58:07

kills anybody. Like I would say that

58:09

like he and Wayne Grow are the

58:11

two people we are asked to hate

58:13

the most by this film. And

58:16

I don't know why a guy who

58:20

runs a diner and provides

58:22

work release opportunities for people

58:24

on probation is that. Like

58:28

he's a dick for sure, but he

58:34

is like the way Bud Court performs

58:37

the character and like the text of the film is

58:39

that he is like one of the

58:41

worst people. He really is. He

58:43

needs to be that so that you

58:45

can understand Donald's decision later. Yeah. Because

58:49

like the thing about Donald is he's got

58:51

that great lady friend and like he's, they're

58:53

really trying to make a good and fresh

58:56

start. Yeah. And what we're doing

58:58

is we're setting him up to make

59:00

a fall later that makes us feel something

59:03

and you can only do that by setting

59:06

him in opposition from this asshole at

59:08

the diner. It's interesting because

59:10

Wayne Grow is also clearly kind of a

59:12

last minute hire for them.

59:15

And yeah, they haven't had a good track record to these. If

59:19

only they had LinkedIn. That's

59:22

right. LinkedIn, official sponsor

59:25

of Greatest Gen. Yeah. I

59:28

mean, they did officially sponsor us once,

59:30

I think. And then never again. They

59:34

were like, big mistake on

59:36

our part. This violates his ass right now.

59:39

Give me all you got. Give

59:42

me all you got. Me and my brother, me and my

59:44

brother, my brother bitches go talk to you. By the time

59:46

I get to freedom, I swear, I swear, man, tonight is

59:48

the best night of the week. We'll

59:52

probably leave right on the

59:54

floor. The next scene

59:57

is De Niro doing a

59:59

little bit of multitasking. Casking he

1:00:01

is talking to Roger Van Zant setting up

1:00:03

a meet so that he can sell these

1:00:05

bearer bonds back to him well also keeping

1:00:08

an eye on Ashley Judd who is Has

1:00:12

checked herself into a motel and is

1:00:14

kissing Hank Azaria. Goodbye While

1:00:16

wearing a garment that

1:00:18

is clearly just thrown on to cover up her

1:00:20

nakedness Well, she says

1:00:23

goodbye to this guy. Maybe the most

1:00:25

unbelievable part in the film is someone

1:00:27

who looks like Hank Azaria Adultering

1:00:29

around with someone who looks like Ashley Judd

1:00:35

Yeah, I don't think Hank Azaria would dispute that

1:00:37

either like that I'm not throwing shade of Hank

1:00:39

Azaria who's great but This

1:00:41

is peak Ashley Judd. She is like

1:00:43

among the most spectacularly beautiful people in

1:00:45

the world and he is not

1:00:48

yeah also

1:00:50

her hair For

1:00:53

being freshly fucked is fairly

1:00:55

unbelievable Yeah, see

1:00:59

did she like spend 30 seconds

1:01:01

doing like the most amazing hair job

1:01:03

on herself or What

1:01:06

are we to believe there? Maybe they

1:01:08

just did it standing up. Yeah, I'm

1:01:10

only I'm only engaging in adultery

1:01:13

if I can do it reverse cowgirl Another

1:01:19

great De Niro using misdirection to

1:01:21

to get something he shoves

1:01:24

the Housekeeping cart into the

1:01:26

window at the at the motel and then

1:01:28

knocks on the door So you just see

1:01:30

like from the inside the room the housekeeping

1:01:32

cart push into the window and then you

1:01:34

hear a knock on the door Ashley

1:01:37

Judd goes to open it and there's

1:01:40

Neil very angry and Brokering

1:01:43

a piece in her

1:01:45

relationship like you're gonna give you're gonna

1:01:47

give Val Kilmer another shot I

1:01:49

can't have this guy at my empty house. Have

1:01:52

you seen his elbow? It's fucking gross I

1:01:55

try to choke down coffee, but I'm just

1:01:57

I got gag reflex looking at that elbow

1:02:00

I don't have a bed for me, let alone

1:02:02

Val Kilmer and his weird

1:02:04

elbow. Hannah

1:02:08

goes to K-town for a meeting

1:02:10

with Richard Torena, which is the

1:02:13

elder Torena brother of the

1:02:16

guy we met at the wrecking yard.

1:02:19

This is a fun little scene

1:02:21

here, Ben, and a part of LA that you

1:02:23

and I have become very familiar with

1:02:25

over the last year or so. The

1:02:28

vibe as Pacino enters here is that he's

1:02:30

down with so many of the people that

1:02:33

work at this club. This

1:02:36

is a familiar territory for him.

1:02:38

The head bouncer guy is on

1:02:41

crutches for some reason and joking

1:02:44

around with him on his way in. Give

1:02:46

me all your money. I don't think you're gonna get

1:02:48

smoked with that shit. It's gonna be you, fool. You

1:02:51

gotta respect somebody's work ethic when they're told

1:02:53

the meeting is tomorrow at 2 AM and

1:02:55

they're like, all right, be there. This

1:03:00

is the other bookend to that scene in

1:03:02

the wrecking yard and it's so great because

1:03:04

Albert is dying. Albert

1:03:07

gave up Richard for this scene and

1:03:09

the information that he's giving to Hannah

1:03:12

is substandard. It is not good. Not

1:03:15

only that, Richard wants a deal. He

1:03:18

wants Hannah to knock over some wrecking

1:03:22

yard competition for him and exchange for this information

1:03:24

that he wants to give him. And

1:03:27

Pacino's character could

1:03:29

not be more irate at

1:03:32

what's happening. I know. How

1:03:34

fucking incautious are you as a guy

1:03:36

who steals cars for a living to

1:03:39

get mad at the police officer that

1:03:41

you're leaking information about other car thieves,

1:03:43

too? The most uncomfortable part of this

1:03:45

to me is that Hannah doesn't get

1:03:47

mad at Richard. He gets mad at

1:03:49

Albert. Yeah, totally. I love that part.

1:03:53

I mean, I think Pacino has

1:03:55

a very singular driving desire in

1:03:57

this film is that he doesn't

1:04:00

waste as motherfucking time! And

1:04:06

this scene really smacks of that. I

1:04:08

don't want to know if I tell

1:04:10

you what you need to know. You're

1:04:12

gonna do what the fuck I need

1:04:14

to get done. The moment in this

1:04:16

scene where it turns around for Richard,

1:04:18

he's like, he's saying that, uh, you

1:04:20

know, he ran into a guy he

1:04:22

used to be in jail with and

1:04:24

he didn't say anything, so he's very

1:04:26

suspicious that something is definitely going on

1:04:28

with that guy. And like, you

1:04:30

know, as far as actionable intelligence goes,

1:04:32

that leaves a lot to be desired.

1:04:35

But Richard Pepper's in the word slick.

1:04:37

He's been telling you, man, this slick

1:04:39

is no motherfucking joke, man. You know

1:04:41

what I'm saying? Say

1:04:44

what, say what? You said slick. What does that

1:04:46

mean? Slick. That's what he

1:04:48

calls people. Slick. He gets

1:04:50

a name out of Richard and that name...

1:04:54

Toreto. Michael

1:04:56

Toreto. Gets them onto the case

1:04:58

in a big way. They've got

1:05:01

the jacket on Michael Toreto. They, uh,

1:05:04

you know, have known accomplices. They've

1:05:06

got, uh, they're, they, you

1:05:08

know, they kick the surveillance into high gear.

1:05:10

And so the game is afoot, Adam, 50

1:05:14

minutes into the film. The game is afoot. One

1:05:17

guy who is playing a terrible game

1:05:20

of checkers against chess players is Van

1:05:22

Sant, who has orchestrated a drop. And,

1:05:25

uh, whenever you do a film in LA,

1:05:27

you must do a scene in an abandoned

1:05:29

drive-in movie theater, Ben. Yeah. Which is where

1:05:31

this drop takes place. And, uh, to say

1:05:34

it does not go well is a spectacular

1:05:36

understatement. Yeah. If you don't shoot a scene

1:05:38

in an abandoned drive-in movie theater parking lot

1:05:40

in LA, you're just going to

1:05:42

look at the shitty condo that

1:05:44

they're building in that space, you

1:05:47

know, six months later and regret

1:05:49

it. So you do it if you have the

1:05:51

opportunity. 1995,

1:05:54

me was maybe the most blown away

1:05:56

by how the driver of the white

1:05:58

truck goes out. in this

1:06:00

scene. So, uh, McCauley

1:06:02

pulls up next to this guy in the white

1:06:04

truck and the idea is the guy in the

1:06:07

white truck is gonna throw the, uh, throw the

1:06:09

cash into the car in order to

1:06:11

buy back the bearer bonds for Van

1:06:13

Sant, except, uh, there's a guy

1:06:16

in the back of the truck that hops out in

1:06:18

an effort to kill McCauley and McCauley sees

1:06:20

this in process and then like squishes

1:06:23

in between the two cars, so that

1:06:25

guy, that guy gets fucked up pretty

1:06:27

bad. Like there's so much about this

1:06:29

scene is like incredibly specific that I

1:06:31

don't understand. Like the guy in

1:06:33

the white, like the white truck itself is

1:06:35

a weird choice. Like the, the crew

1:06:38

cab, you know, wide,

1:06:40

wide wheelbase white pickup truck.

1:06:43

This guy like slips out the back

1:06:45

of the guy. Does anyone drive a

1:06:47

dually in LA? That's so weird. The

1:06:51

guy driving looks like he sells insurance for

1:06:53

a living. The guy that comes out of

1:06:55

the back is he, he just

1:06:57

like looks like so such

1:06:59

a hardened criminal in comparison to

1:07:02

the guy doing the driving that

1:07:05

it's unbelievable. Hard to pick

1:07:07

who goes out worse here. There's

1:07:09

like mid nineties gunfire aesthetic where

1:07:13

the guy you hopped out of the back

1:07:15

of the truck is like held upright

1:07:17

by the bullets. He's being shot by

1:07:19

from, uh, from Val Kilmer on a,

1:07:21

on a, on a rooftop, a half

1:07:23

a mile away. Yeah. But he also

1:07:25

gets run over by, by McCauley's

1:07:27

car, which is great. The guy

1:07:29

in the truck gets it maybe

1:07:32

the worst. So Chorito is waiting

1:07:34

on ground level and catches the

1:07:36

pickup truck driving by and with

1:07:38

a pump action shotgun, just

1:07:41

mutilates the driver. And maybe the

1:07:44

best part of this scene is

1:07:46

the driver ghost rides itself in

1:07:49

a slow motion collision with a concrete wall at

1:07:51

the end. And there's something so much more fucked

1:07:53

up about a collision that happens at like 10

1:07:56

miles an hour with a dead guy at the

1:07:58

wheel then, then it would have been. in if,

1:08:01

like in a lot of action set

1:08:03

pieces, I think you would have set

1:08:05

the truck to flip over and explode

1:08:07

or whatever. But there's something so dark

1:08:09

about the truck just coasting and

1:08:12

then stopping against that

1:08:14

concrete wall. Seriously. They'll

1:08:16

pile into the suburban together having

1:08:19

pulled open the package of money

1:08:21

and found that it's just full

1:08:23

of like printer paper

1:08:25

from Van Zandt's office. Van

1:08:27

Zandt picks up a phone and for

1:08:30

some reason they're in the kitchen

1:08:32

of a restaurant to do

1:08:34

this call. Like there's so many great, like we

1:08:37

just chose to set the scene in

1:08:40

the kitchen of a restaurant for

1:08:43

reasons. And Macaulay

1:08:47

is like one of my favorite lines of

1:08:49

the film. What are you doing? What

1:08:51

do you mean? Forget the money. What am I doing?

1:08:53

I was talking to an empty telephone. I

1:08:57

don't understand. There was a dead man on

1:08:59

the other end of this fucking

1:09:01

line. That line sounds so much

1:09:04

like a dad coming up with a

1:09:06

way to make fun of someone. Like

1:09:09

saying he's talking to an empty telephone

1:09:11

just sounds like someone who's reaching for

1:09:13

an insult. Yeah. I

1:09:15

love that. It seems like it's made up on

1:09:17

the spot is my point. It really does. But

1:09:21

like, nobody can deliver a line

1:09:23

like that better than DeNiro, right?

1:09:27

Absolutely. It's

1:09:29

like maybe the only scene in the film

1:09:31

where Henry Rollins also just looks like

1:09:33

he has no idea what to

1:09:35

do with his hands. Like

1:09:38

it's such a colossal fuck up that

1:09:40

he, like when

1:09:43

he and Van Zandt exchange looks,

1:09:45

it's like they're embarrassed

1:09:47

at how badly that went.

1:09:52

Maybe we're not cut out for this cops

1:09:54

and robbers shit. Maybe we should get square

1:09:56

jobs. This sets up the thing that

1:09:58

happens later too because the The only scenes you

1:10:00

see of Roger Van Zandt are of him

1:10:03

in his workplace. His

1:10:06

collars are crisp and everything is clean. At

1:10:10

every point after this, it's a

1:10:12

growing amount of unhingedness

1:10:15

to him and paranoia that

1:10:17

is really great. Well, it's been a long time

1:10:19

since we've checked in with Wayne Gros. In

1:10:22

case you didn't think he

1:10:24

was the worst human being

1:10:26

of all time already, there's

1:10:28

a scene in which he finishes

1:10:31

having sex with a prostitute

1:10:34

and then murders her. And

1:10:37

then we get the scene where all of

1:10:39

the crooks, aside from

1:10:42

him, are out to dinner and

1:10:44

they're leaving the restaurant.

1:10:50

Because of getting the name Michael Chorito,

1:10:52

the cops are up on almost everybody.

1:10:56

They've got surveillance up on Chorito,

1:10:58

Trejo, and Chris. They

1:11:01

haven't nailed Neil yet, but they're going

1:11:03

to. And it's a

1:11:05

funny scene. I don't know why they would have,

1:11:07

but they just got all of the cops up

1:11:09

on the rooftop of a Chinese

1:11:11

restaurant across the street from the restaurant

1:11:14

they're all eating at to

1:11:18

just look at them in

1:11:20

the flesh to identify

1:11:22

them. One of

1:11:24

the things I love most about this film is how

1:11:27

much symmetry there is between the cops

1:11:30

and the criminals. We get

1:11:32

a couple of family dinner scenes in

1:11:34

this film, and this is one of them, and this

1:11:36

is the one with the gang. We get

1:11:38

another one later with all of the police

1:11:40

detectives together, and I really love those scenes

1:11:42

quite a bit. The

1:11:47

police detective scene is great. It's

1:11:50

a little weird because it's

1:11:52

a very fancy-seeming party. It

1:11:55

seems fancier than people that

1:11:58

work for the city. wood

1:12:01

party but uh that's their

1:12:03

Christmas dinner Ben and that is what

1:12:05

makes this a Christmas movie isn't that

1:12:07

beautiful or didn't you know that

1:12:11

scene with Wayne Gro and the hooker

1:12:13

is maybe

1:12:15

the darkest part of a dark film but

1:12:20

it's I think it's crucial in

1:12:22

showing us that Pacino's

1:12:24

character can have a genuine

1:12:26

human interaction with someone and

1:12:29

the saddest part is that the

1:12:31

one person is able to bond with is the

1:12:33

hooker's mother like

1:12:36

that scene in the parking lot

1:12:38

where they embrace it's like maybe

1:12:40

the the deepest like

1:12:43

the most humanity Pacino's character

1:12:45

is capable of showing and he can't

1:12:48

show it to anyone in his family

1:12:50

instead he shows it to

1:12:52

a grieving mother and I think that's another

1:12:55

great way to describe how

1:12:57

broken he is right because he leaves the

1:12:59

party that the cops are all at to

1:13:01

go work that work that

1:13:03

crime scene yeah and

1:13:06

it's bookended by him spending time with

1:13:08

his wife and you know in the

1:13:10

and that's and that's so intentional like

1:13:13

he goes back to the party and

1:13:15

she's like the last person there and

1:13:17

she's just been sitting waiting for him

1:13:19

and after

1:13:22

he's had this incredibly tender

1:13:24

and gut-wrenching but sort

1:13:26

of you know in a

1:13:29

way beautiful interaction with

1:13:31

the hooker's mother you

1:13:33

know he's he's back

1:13:35

with his wife and she's like what

1:13:38

happened to you and he he

1:13:40

has he's a super smart guy so

1:13:42

he can rationalize all of the reasons

1:13:45

that he is emotionally distant you know

1:13:47

ad nauseum and he really does in this

1:13:49

scene yeah I told you when

1:13:51

we hooked up baby that you were gonna have

1:13:53

to share me with all the

1:13:55

bad people and all the ugly events on

1:13:57

this planet and I bought into that That

1:14:00

scene where he says like, you know, he

1:14:04

needs to be emotionally distant and not

1:14:06

tell her what he works on for

1:14:08

a living because that's what

1:14:10

keeps him sharp is I think

1:14:13

kind of

1:14:15

the first sign that their relationship

1:14:17

is probably irredeemable. Right.

1:14:21

Yeah, and as his relationship to his

1:14:23

wife is falling apart, Macaulay

1:14:25

and Edie are getting

1:14:27

closer. Yeah. That's

1:14:29

an unlikely way. Yeah, because he

1:14:32

blows in a call to her while

1:14:34

he and the buds are out at

1:14:36

a restaurant. It's one

1:14:38

of those scenes where there's

1:14:41

a big group of people around the table and he's the

1:14:44

only person that's not a member of a couple. So

1:14:48

that was probably an awkward dinner for him for

1:14:50

that reason. And

1:14:53

so he wants to get closer to Edie

1:14:55

and he calls her up and they have

1:14:57

a... He sets up a booty call

1:14:59

for later. Yeah.

1:15:03

And he also starts kind of

1:15:05

peppering in the idea that he

1:15:07

might want to take her to the

1:15:12

other side of the planet for reasons.

1:15:15

He talks about New Zealand, right, in this

1:15:17

scene? I mean, it's the

1:15:19

only place to find that iridescent algae, Ben. He's

1:15:24

worried that he's like a mysterious

1:15:28

married man that she's seeing

1:15:30

or something like that. He's like, no,

1:15:32

I don't even have furniture, much less a wife. The

1:15:35

only reason I haven't brought you by is because you

1:15:37

might run into my weirdly elbowed friend. Real

1:15:40

gross out. Ben,

1:15:43

we haven't seen Natalie Portman in a long time.

1:15:46

And here's the thing. Do

1:15:49

you think Hannah is looking for Natalie Portman's

1:15:51

character or does he happen to just be

1:15:53

driving by and he sees her? I

1:15:56

wonder about that too. She's like

1:15:58

literally just sitting on a bus. bench and

1:16:00

he drives by and they

1:16:03

do the super illegal

1:16:06

middle of the middle of the

1:16:08

Boulevard U-turn that cops feel entitled to

1:16:10

do and yeah like she I guess

1:16:13

I don't know ran away from

1:16:15

home a little bit. I

1:16:18

love Natalie Portman and I love her in

1:16:20

this movie but you don't need this storyline

1:16:23

is what I'm gonna say about it like I think

1:16:27

there is there is a ton to care about in

1:16:29

this film and because Hannah's

1:16:31

life is so broken in so many different ways

1:16:33

I feel like this is the fifth main way

1:16:36

that his life is broken. The movie

1:16:38

doesn't place any responsibility for her

1:16:40

at his feet yeah and

1:16:42

I think it should like he

1:16:45

eventually takes some responsibility but

1:16:48

it's when he has no choice

1:16:50

yeah and like he's

1:16:53

he's not her father but he's her stepfather

1:16:55

and he here's what I'm gonna

1:16:57

say like if if you show

1:16:59

him just making his wife miserable and there

1:17:02

isn't a kid involved yeah

1:17:05

he is he never gets like a

1:17:07

save the cat opportunity he never gets

1:17:09

a chance to redeem

1:17:12

himself but like

1:17:14

that's not a good enough reason for

1:17:18

this character to be treated as badly

1:17:20

as she is yeah I think I

1:17:23

mean we're given so much of

1:17:26

her story and yet we're never given

1:17:28

like we never returned to

1:17:30

her later on in the film after her suicide attempt

1:17:33

like we we don't know if she's gonna be okay

1:17:35

we don't know if any of these people are gonna

1:17:37

be okay so why we never we

1:17:40

never go through a beginning middle

1:17:42

and end with her yeah which

1:17:45

makes me question why we are getting a beginning

1:17:47

in a middle yeah

1:17:49

that's it feels unfinished

1:17:51

with her I guess is is my point if

1:17:53

she was gonna be such

1:17:55

a such a focus anyway I don't

1:17:58

know I'm all that is to say as much

1:18:00

as I love heat, I think there are parts

1:18:02

of the film that I

1:18:05

don't love. One part I

1:18:07

do love is the middle heist.

1:18:10

Yeah. They've clocked Churrito going by

1:18:12

a precious

1:18:14

metal stash a

1:18:16

few times, so they've got it in

1:18:19

mind that that's what the gang is looking

1:18:22

at next. And we've heard some talk about this. Not

1:18:25

seen much planning or anything,

1:18:28

but much like the first

1:18:30

heist, we see the gang show up and

1:18:32

just get to work, and they all know

1:18:34

exactly what they're doing. But

1:18:37

this time, Pacino and a bunch of cops are

1:18:40

sitting in a

1:18:42

14-foot cube truck watching

1:18:44

everything on surveillance video. We

1:18:46

get a little round the horn of all these special

1:18:49

weapons cops clinging

1:18:52

to the side of Chevy

1:18:55

Yukons and hiding under

1:18:58

heaps of garbage and stuff. They're

1:19:01

ready to storm this place the second

1:19:05

these guys make their score, and that's

1:19:07

going to be bad news for them.

1:19:10

So Churrito is up the phone pole,

1:19:12

cutting the alarm

1:19:16

connection or whatever. Bell

1:19:18

Kilmer is inside, drilling into a

1:19:20

safe, and Neil goes out to

1:19:23

just stand in the shadows and keep an

1:19:25

eye on the street. One

1:19:30

of the SWAT guys is in the

1:19:33

cube truck with Neil and the

1:19:35

major crimes guys, and he tries

1:19:38

to sit down against the edge of

1:19:40

the truck. He makes a big bump. Neil

1:19:44

hears this bump, and he

1:19:47

just gets spooked. He

1:19:49

sees it for the threat it is.

1:19:51

He walks in, tells Kilmer to

1:19:53

shut it down, and they walk away from

1:19:55

the job. They leave the drill in situ

1:19:57

and get out of there. I'd

1:20:00

like to show up for work at the

1:20:03

precious metals depository the next day and see

1:20:05

like the drill and all

1:20:07

of that gear and

1:20:09

everything is still where it was left. I know

1:20:11

there's like there's a scene a little bit later

1:20:13

where they're walking into where Hank

1:20:15

Azaria works and it's like a big warehouse

1:20:17

and I was like yeah and it always

1:20:20

fools me that they're gonna go look at

1:20:22

like where they were doing the drilling because

1:20:24

you never get that like you never get

1:20:26

a sense of this space at all which

1:20:28

I really like that it's just

1:20:30

kind of like a weird hallway that

1:20:32

has some safes in it or something

1:20:34

right and like they're got

1:20:36

like the crew is gone before

1:20:38

you get to see what they were gonna

1:20:40

steal or anything there's like

1:20:42

a tense moment where the captain

1:20:45

of the SWAT team like really wants

1:20:47

to go you know bust some melons

1:20:49

or whatever and Pacino has to like

1:20:52

talk him out of it. I'm not taking

1:20:54

the heat from my bosses because you let

1:20:56

them go they're not walking. That's exactly what

1:20:58

they're gonna do they're gonna walk. This is

1:21:01

my operation. I have tactical command that supersedes

1:21:03

your rank. They will walk away and you

1:21:05

will let them. This

1:21:07

might be the moment where I kind of part

1:21:09

with Pacino in this

1:21:11

film because I think if you get these

1:21:13

guys off the street for six months. That's

1:21:16

six months of people they don't have a chance to kill. Right

1:21:18

and like the next heist is like so

1:21:22

incredibly bloody that it

1:21:24

might be hindsight 2020

1:21:26

but I think I think if you

1:21:29

can get them off the streets you get them off the streets

1:21:31

right. You know what it's

1:21:33

such a great point that you made but

1:21:35

the film does not make that point after

1:21:37

the after the heist if one person if

1:21:39

Drucker had been like holy shit

1:21:42

man I think we probably should have taken these

1:21:44

guys off the street two days ago like

1:21:47

Drucker would for sure be the one to

1:21:49

say that because I think in a lot

1:21:51

of ways he's like the conscience of the

1:21:53

police squad. No

1:21:56

one would flip that shit to Hannah though

1:21:58

but I think I think Hannah. would

1:22:00

accept it as being the truth. I

1:22:03

think Hannah knows that. Do you

1:22:05

think Hannah wouldn't prefer if that shootout didn't

1:22:07

happen? No, I think

1:22:09

so. I think he would.

1:22:11

Yeah. They do

1:22:14

bust into Hank Azaria's office.

1:22:16

They've brought somebody from the

1:22:18

Nevada Police Department. I

1:22:20

don't know how they had a crime to

1:22:22

threaten him with having to pay

1:22:25

for. They just

1:22:27

happen to know that he stole

1:22:29

a truckload of cigarettes. I love this

1:22:32

scene with Azaria. This is a film

1:22:34

that rarely introduces a character without paying

1:22:36

them off later. I mean,

1:22:40

that scene in the hotel where you

1:22:42

see Azaria in telephoto is like not

1:22:45

the last time, obviously, because you get him here and

1:22:47

then you get him in the

1:22:49

third act. Yeah. It's another

1:22:51

great opportunity for Pacino to act

1:22:54

as kokey as possible. Part

1:22:59

of what makes Drucker so great is he

1:23:02

never acts big. Like

1:23:04

he lets Pacino do that. Yeah, he

1:23:06

is so understated. Well, Pacino is going

1:23:08

like, she's got a great ass

1:23:11

and you got your head all the way

1:23:14

up it. I love that. I love that

1:23:16

they're not trying to compete in that way.

1:23:18

It only makes them both better. What do you

1:23:20

think Drucker thinks of his boss? I mean, I

1:23:22

don't know. I think in

1:23:24

many ways, Drucker is the adult in the room. If

1:23:27

I worked in that unit, I would

1:23:29

probably rarely ever want to talk to

1:23:31

Lieutenant Hannah about anything. I would

1:23:34

always bring it to Drucker. Drucker is kind

1:23:36

of managing up, I think. Yeah, absolutely. The

1:23:40

reason they visit the Marciano character is

1:23:43

because they want to use him and

1:23:45

his relationship with Charlene to get

1:23:48

more information on Chris and the

1:23:51

gang. So they put him to work and

1:23:54

I think they got onto him because

1:23:57

he's been blowing in dirty phone

1:24:00

calls to Charlene for

1:24:02

the last couple of weeks and they're

1:24:04

tapping Chris and Charlene's phones.

1:24:07

So. In the director's cut

1:24:09

that I got Ben, you get to

1:24:11

hear some of those calls. Oh yeah.

1:24:13

And they're just all of him doing

1:24:15

Simpsons voices like. Phone

1:24:20

sex Simpsons voices. Super fun. Have

1:24:24

you ever wanted to have phone sex with

1:24:26

Mo Cislak? So

1:24:32

the gang goes down to the

1:24:34

Port of Los Angeles and plans

1:24:37

presumably plans a job and we get to see

1:24:39

the cops like shooting

1:24:42

shooting those

1:24:44

football microphones at them. Those big like

1:24:46

parabolic microphones that you see at football

1:24:49

games like aiming down at

1:24:52

these guys and then the

1:24:54

second they clear out the cops like go

1:24:57

down to like the spot they were standing to see

1:24:59

what if they can figure out what

1:25:01

heist they're trying to plan. Now

1:25:03

they're of my favorite lines in this movie

1:25:05

because they're like standing

1:25:07

there trying to puzzle through it. They're looking at

1:25:10

all the things that you can see from this

1:25:12

spot and nothing seems

1:25:14

like it's worth robbing. A

1:25:17

refinery in a scrapyard. What

1:25:19

the hell is going on? Pacino starts going like

1:25:21

what are they looking at? What are they looking

1:25:23

at? And Bosco goes. That's what we're

1:25:25

trying to figure out. I

1:25:28

think about that every single day. I've

1:25:32

heard you tell me that line in that

1:25:35

way over and over

1:25:37

again while we've been on tour. Anytime I

1:25:39

ask a dumb question. Anytime we're trying to

1:25:41

figure something out that is in my head.

1:25:46

This is the moment that underscores a

1:25:49

lot of the like professional symmetry between

1:25:51

the cops and the criminals right? The

1:25:53

cops aren't just trying to gather intel

1:25:55

on the criminals. It's

1:25:57

also useful for the criminals to understand.

1:26:00

the cops that are chasing them. Yeah, a

1:26:02

little counter-intel and it's

1:26:04

actually De Niro

1:26:06

up on the

1:26:08

catwalk with a Newtonian

1:26:12

telephoto lens. It's like a Canon A1.

1:26:17

Taking pictures of all these cops, which

1:26:19

he then later gets dossiers on from

1:26:23

John Voight. Oh, from Nate. Nate.

1:26:25

Well, yeah, I know him as

1:26:27

John Voight. Right. They

1:26:29

got made, Adam. They

1:26:32

got made in the shade. We are

1:26:34

halfway through this movie. We

1:26:37

haven't even switched tapes yet. I'm

1:26:40

going to need to make a pee break and another drink.

1:26:43

All right. Well, do

1:26:45

you want to make that here? I think

1:26:47

this is the tape switching moment. I

1:26:50

actually read that the tape switch happens

1:26:53

after the diner meeting. Oh,

1:26:55

do you want to? Not true, but I can't make

1:26:57

it that far. Let's just do it now. Let's

1:26:59

just do it now. LAPD

1:27:05

exchange. Where the fuck did this come

1:27:07

from? Maybe it's a store they're

1:27:09

on here. It's a place, not us. I assume

1:27:11

they got a home. I assume they got a

1:27:13

house. I assume they got us right here, right

1:27:15

now, as we sit. Everything. I assume it all.

1:27:18

But for me, the action is the

1:27:21

truth. Well,

1:27:26

we already knew that Pacino's marriage wasn't going

1:27:28

great, but he

1:27:30

comes home from from his

1:27:32

big fun day and finds his

1:27:35

wife getting ready for a night on the

1:27:37

town. And when

1:27:40

he discovers that it's her night

1:27:42

and he's not invited, he heads back

1:27:44

out and hops in a

1:27:46

helicopter. And in

1:27:50

fairly short order, he has like

1:27:53

swapped helicopter for car and

1:27:56

is pulling meal over

1:27:58

on the house. highway and invites

1:28:02

him out for a cup of coffee. How you

1:28:04

doing? What

1:28:09

do you say I buy you a cup of coffee? Yeah,

1:28:16

sure, let's go. Follow me.

1:28:19

It's a scene that had special intensity for me

1:28:21

because of how much like traffic stops are in

1:28:23

the news lately. Right. They

1:28:25

both are strapped like there are

1:28:27

guns at play and yet

1:28:29

they are so chill when they talk to each other.

1:28:32

You know, like I think meals like a

1:28:34

little bit nervous. Vincent

1:28:37

is like chewing gum. He's like, hey, you want to go get a

1:28:39

cup of coffee? Well, I think there's

1:28:41

no there's no greater privilege

1:28:43

for a couple of white guys then

1:28:45

then pullover privilege, right? Yeah, exactly. And

1:28:48

like, I think that

1:28:50

scene plays differently now, you know? Yeah,

1:28:53

I think that's true. They have

1:28:55

this conversation and it's

1:28:58

pretty wide ranging. Like this scene has

1:29:00

like a bunch of beats

1:29:02

and it's not necessarily

1:29:05

like the obvious Pacino De

1:29:07

Niro scene. Especially

1:29:10

because like the trailer for Heat made

1:29:14

the film about this moment. Like you're

1:29:16

finally going to get Pacino and De

1:29:18

Niro across a diner booth from

1:29:20

each other. Like this is the moment. And I'm

1:29:22

so glad that they made it a

1:29:24

little deeper than what you might think. The

1:29:27

stuff from the trailer is in it, right?

1:29:29

Like this, the idea that I'm a cop,

1:29:31

I'm going to catch robbers. I'm going to

1:29:33

I'm a robber. I'm going to rob robberies.

1:29:36

And like, like we're two

1:29:38

guys that are committed to doing what we do is

1:29:41

in there. Like, you know, they both talk about

1:29:43

like what their

1:29:45

concept of like being normal

1:29:48

or regular would be

1:29:50

like. The fuck is that? Barbecues and

1:29:52

ballgames? And I was like,

1:29:54

oh, cool. I like barbecues and ballgames. I guess I'm

1:29:56

a normal. But they have a

1:29:58

conversation that I don't. tend to have with

1:30:01

even my closest friends, which is like, what

1:30:03

would you like out of your life? They can

1:30:05

really cut to the quick of it. And

1:30:09

Pacino has a surprisingly high

1:30:11

amount of insight about how

1:30:14

miserable he's making the people around him in

1:30:18

this scene. He doesn't quite understand

1:30:21

that he's also making his stepdaughter miserable.

1:30:25

But he

1:30:27

understands that he's making

1:30:29

his wife miserable and that it's his fault for

1:30:32

the first time in the movie. And

1:30:36

De Niro's kind of

1:30:38

on the opposite side of that spectrum.

1:30:40

And he talks about the idea of

1:30:43

being willing to walk away

1:30:45

from anything in his life in 30

1:30:47

seconds flat. He's

1:30:50

really proud of that part of himself

1:30:52

in a way

1:30:54

that, I think in this moment, he

1:30:58

becomes a less likable character. And I

1:31:00

think that's the right thing to happen

1:31:02

here. We've

1:31:05

been kind of a little bit rooting for

1:31:07

him and his gang up until this moment.

1:31:10

And when he talks about the fact that he's

1:31:12

in a relationship but that he

1:31:16

would walk away

1:31:18

from it immediately, it makes

1:31:22

us not like him. And

1:31:25

it sets up the question of is

1:31:27

that true? Does

1:31:30

he say that to the cop or

1:31:32

does he really believe it? Well,

1:31:34

I think you're made to understand the

1:31:36

degree to which that may be true

1:31:38

later on through the choices he makes

1:31:41

nearing the end. The

1:31:44

scene did a lot for me in

1:31:46

painting them as such similar figures

1:31:49

because I don't

1:31:52

know who makes

1:31:54

this case but someone

1:31:57

like Hannah has to sacrifice in his

1:31:59

personal life. life in order to

1:32:01

catch people like Macaulay

1:32:04

feels a lot like how perfect someone

1:32:06

like Macaulay needs to be in order

1:32:08

to be a criminal and not get

1:32:10

caught. They both involve

1:32:13

such great personal sacrifices in

1:32:15

order to maintain the lifestyle

1:32:18

that they're interested in living. A

1:32:21

lifestyle that both of them

1:32:24

come to appreciate in themselves

1:32:26

and each other. Right. They

1:32:29

even talk about the dreams that they have. It's

1:32:32

a really wild scene. Yeah,

1:32:34

I mean Macaulay just won't shut up about

1:32:36

this iridescent algae. He's telling everyone.

1:32:38

Have you done any research on

1:32:41

this movie? Like

1:32:44

both the scene where Neil explains I'm

1:32:46

from the Bay Area and also this

1:32:48

scene make me wonder like was it

1:32:51

Pacino and De Niro when they were

1:32:53

writing the script? Like did they know

1:32:55

who they were writing for? I can

1:32:57

tell you that Pacino and

1:32:59

De Niro were the first choices to

1:33:02

play Hannah and Macaulay but I don't know

1:33:04

if those parts were written specifically for them.

1:33:06

Do you think they flipped the coin to

1:33:08

pick who would play which part? I'm

1:33:12

really glad this is how those parts played out

1:33:14

though. Oh yeah, I am too. I

1:33:16

just think you have him say

1:33:18

like I grew up in Brooklyn in that

1:33:22

scene and so much more of

1:33:24

it would make sense to me. Right,

1:33:26

right. A great

1:33:28

bit of business is happening concurrently to

1:33:30

this which is all of the bugs

1:33:32

and surveillance is being thrown off from

1:33:35

Macaulay's crew as they're having

1:33:38

this diner interaction. Yeah, and

1:33:40

like simultaneously like Pacino

1:33:44

gets back to the precinct and they're like hey they

1:33:46

dropped us so we don't know where they are or

1:33:48

what they're doing anymore and he's like unpack

1:33:52

that for me. Yeah,

1:33:55

like the tails got slipped, the bugs

1:33:58

got... you

1:34:00

know, put on a bus to Santa Clarita.

1:34:03

Yeah. Then Neil

1:34:05

switched cars right after they got their

1:34:07

cup of coffee. So the

1:34:09

bad guys are in the wind. One

1:34:12

bad guy who hasn't

1:34:14

chosen to go into the wind is Wayne Grove,

1:34:16

who takes a meeting with Van

1:34:19

Sant, which also serves to tell

1:34:21

us how desperate Van Sant is to stay alive.

1:34:24

Because aligning himself with Wayne Grove is basically

1:34:26

the worst thing that anyone can do. Yeah,

1:34:30

and Van Sant is also

1:34:33

obviously super shook at this point.

1:34:35

We haven't seen him since the

1:34:38

botched killing meal attempt

1:34:40

that he pulled. But

1:34:42

he's like, you know, he's got three

1:34:45

days of stubble on his face. He's like

1:34:47

in a dirty shirt. He's been sleeping at

1:34:49

the office. He's fucking terrified. Yeah.

1:34:52

And making irrational decisions as a result.

1:34:56

So they have their breakfast meeting

1:34:58

before their big, big

1:35:00

heist. And they discovered

1:35:02

that Trejo has

1:35:05

been compromised by the police. They picked up

1:35:07

his tail again. So

1:35:10

their driver is not in the picture for the

1:35:12

job that they have. And the job has to

1:35:15

happen on this

1:35:17

day because they've already like installed all

1:35:20

the computer circuitry and stuff in

1:35:22

the bank that will enable

1:35:24

them to pull this heist without being

1:35:27

caught on camera and without the bank

1:35:30

calling the cops effectively. So they

1:35:32

happen to be in the cafe that

1:35:35

Dennis Haysbert's character is working

1:35:37

in. And they like, you

1:35:41

know, sitting there. DeNiro recognizes him

1:35:44

from having done bids together

1:35:46

in the past. So he walks

1:35:48

into the kitchen. He's like, hey, you want to walk away from

1:35:50

this and give it all up for a life

1:35:52

of crime? And he's like, yeah, I fucking

1:35:54

hate my boss. Let's do it. I

1:35:57

love how like Robert DeNiro

1:35:59

goes on and on. About thirty seconds flat.

1:36:01

Philosophy: The People: yeah, he never

1:36:03

to our knowledge, tells Dennis Haysbert

1:36:05

Scared to this but he's living

1:36:08

it like heroes ready to drop

1:36:10

that city jab And thirty seconds

1:36:12

are you into else? It's sad

1:36:14

for this character, right? Likes His

1:36:16

Arc is a real indictment of.

1:36:19

Your. Of the way the criminal justice system

1:36:21

works like we don't know what he did

1:36:24

but he's like out and try to make

1:36:26

an honest go of it for himself and.

1:36:29

It's like way city or than it needs

1:36:31

to be and now it's like punitive we

1:36:34

city. I think he still getting punished even

1:36:36

though he's out of jail. right?

1:36:39

I think it's crucial that we don't know

1:36:41

what Donald did to go to prison and

1:36:43

be released. That that makes us root for

1:36:45

him the way we do, like if he

1:36:47

were. A terrible person who was

1:36:50

guilty of a terrible crime. We.

1:36:52

Might feel differently, but. At.

1:36:54

The he in this lady friend a very sympathetic

1:36:56

characters. Then

1:37:02

I have a question for you and that is at

1:37:04

the morning as a. Bank. Heist

1:37:06

a hurt I think would qualify

1:37:08

as like some rigorous physical activity.

1:37:10

What he ordered the diner had i

1:37:13

don't. Think you get the full platter of

1:37:15

Isis and Gravy right? February I was something

1:37:17

like like some cantaloupe. you don't get the

1:37:19

Sizemore Special. Effects

1:37:21

of that A lot about this breakfast.

1:37:24

Watching a heat as often as I

1:37:26

have like that would eat. You.

1:37:28

Just want to go pure protein I bet right?

1:37:30

I guess I in I feel it too much

1:37:33

protein or near full you know. I.

1:37:36

Guess so one. Time.

1:37:38

You see, the. Table. It's pretty

1:37:40

empty, right? Like they don't. There's. They

1:37:43

might just be haven't coffees, I

1:37:45

mean, this is definitely not the type who

1:37:47

saw it's almost worse, not that I was

1:37:49

so when you go to for pastries I

1:37:51

don't think. Will. help adam

1:37:54

a coffee isn't the death sentence

1:37:56

for but stuff for everyone else

1:37:58

that it is for you I

1:38:04

mean those bags of cash look really heavy I don't

1:38:06

want a leaker on my hands. They

1:38:08

recruit their dude, they're like

1:38:11

a couple of brief check-ins with

1:38:13

you know other characters that

1:38:15

we like like Edie and

1:38:18

Charlene but it's like

1:38:20

it's pretty much off to the races like we are

1:38:22

we are now in the heist

1:38:24

for a long time it's a it

1:38:27

is a big extendo sequence and

1:38:29

it's like a it's

1:38:32

it's so weird to watch this now because

1:38:34

like since this since I

1:38:36

moved to LA like the areas that

1:38:38

are depicted in this heist scene are

1:38:40

like places I walk past like frequently

1:38:43

and it's all like downtown LA

1:38:46

which makes it all the more confusing later

1:38:48

when you see like a news report and

1:38:51

they say a Southland neighborhood was hit by

1:38:53

a bank a neighborhood I don't think that

1:38:55

you ever refer to downtown as a neighborhood

1:38:57

I love how

1:38:59

clockwork the heist is it is

1:39:01

it's as clockwork as the first

1:39:04

bank truck heist only only at

1:39:06

a far larger scale yeah

1:39:08

they're still in like 12 million

1:39:11

cash they've got they've

1:39:14

all got jobs like everybody knows what the

1:39:16

plan is like it's a movie

1:39:18

that never shows you the planning it just but

1:39:20

you believe that there's a great plan because

1:39:22

there are always you know

1:39:24

everybody always knows exactly what to do it's

1:39:26

weird that Val Kilmer's character brings his bookie

1:39:29

in with him but I think it just

1:39:31

makes more sense to give the money directly

1:39:33

to him it's

1:39:35

less room to carry yeah crazy Tony

1:39:37

is standing right there with his leather

1:39:39

bound book and this

1:39:42

crazy gold chain just waiting for

1:39:45

waiting for Val Kilmer to pinch you

1:39:47

know few stacks off the

1:39:49

top this is

1:39:52

one of those this is so loud scenes

1:39:55

yeah and I'm surprised that

1:39:57

this wasn't a technique that was a

1:39:59

bit in. by every movie that

1:40:01

followed, very few films choose

1:40:04

to go with this volume with the

1:40:06

gunfire. I don't know if this is

1:40:08

apocryphal or not. I've heard that

1:40:10

Michael Mann is a little bit

1:40:12

hard of hearing and has a lot

1:40:16

to do with how his films are mixed.

1:40:19

Oh, interesting. And that there's, I

1:40:22

mean, this is a consistent thing across his

1:40:24

films. Like I have this less

1:40:27

of the Mohegans and more with

1:40:29

heat and everything after it, like

1:40:32

Miami Vice and the- Collateral?

1:40:35

The Gilleinter movie, Collateral. I mean,

1:40:38

they all have parts where like two

1:40:40

people are talking for, like you

1:40:43

get a five minute scene of two people talking, you're like, I

1:40:45

can't fucking hear this. And then the next

1:40:47

scene is like a helicopter taking off and it's

1:40:49

like ear splitting. Right.

1:40:51

I'm not usually one for

1:40:53

like the midnight normalization mode

1:40:55

on your AV gear. Right.

1:40:58

But a Michael Mann film is one

1:41:01

of the only times I could see that being a

1:41:03

credible way to watch a film. Yeah.

1:41:06

And like whatever the opposite of motion

1:41:08

flow is for the after dark parts

1:41:10

where Dante Spinati shot it on 60

1:41:12

frames per second. Yeah. But

1:41:17

the heist goes pretty well. The Chorito gets

1:41:19

into the car, which is idling on the

1:41:24

corner. And like the

1:41:26

cops like have been sitting

1:41:28

there with their thumb in their ass since everything

1:41:31

got dumped. But like a

1:41:34

somebody comes into their into

1:41:36

their section of the police department is like,

1:41:38

hey, like a CI called in with a

1:41:40

tip about some some kind

1:41:42

of heist that's going on. And

1:41:46

it's actually happening right now.

1:41:49

Like literally right now.

1:41:52

And Benny, we hear Benny

1:41:54

get get name checked in that

1:41:56

scene, which is the Henry Rollins character. I'm

1:41:58

not quite sure how. Wayne Grove

1:42:01

knows about the bank job. Yeah,

1:42:03

that's a question to me too. Unclear.

1:42:06

Maybe he knows through

1:42:08

Nate. Maybe Nate is like the one person

1:42:10

that like really respects Wayne Grove and is

1:42:13

like still giving him lots of information. Boy,

1:42:15

if that's true, that's a terrible look for Nate.

1:42:19

A man who already looks terrible. A

1:42:26

terrible look for a terrible looking man. I

1:42:28

like it. Yeah,

1:42:31

so this enables

1:42:34

them to set up a

1:42:36

late in the game

1:42:39

jump on the

1:42:42

high screw and so and it literally

1:42:44

takes the form of like Neil

1:42:47

and Chris are walking out with giant

1:42:50

black duffel bags full of cash and

1:42:52

you know assault

1:42:54

rifles and Pacino and all the

1:42:56

other cops are like running down

1:42:58

the street with shotguns. I

1:43:02

feel like in in most other bank

1:43:04

heist scenes you get bags of loose

1:43:06

money or bricks of money

1:43:08

of a scale that are manageable

1:43:11

but try to imagine like the

1:43:13

biggest duffel bag you could ever

1:43:15

buy off the shelf. Amount

1:43:18

of bricked cash. This

1:43:20

is an unfathomable about amount of money to

1:43:22

be seen in a in a heist film

1:43:24

at the time or since.

1:43:26

You just never see this much.

1:43:28

I love how they

1:43:31

do it too. Like the like the bricks are

1:43:33

like out on the table and they've got bags

1:43:35

like I don't know how you anticipate this but

1:43:37

maybe there's like a standard way

1:43:39

that you pack it so that

1:43:41

they've got bags that like Val Kilmer literally

1:43:43

is like he like it's

1:43:46

like a fitted sheet over the money you

1:43:48

know. Yeah yeah

1:43:50

you gotta loosen the money to make

1:43:52

it carryable. Right yeah so he

1:43:54

like cuts through the the shrink wrap on the

1:43:56

outside of it because the

1:43:58

cops show up because Vail Kilmer

1:44:00

notices them, he starts opening

1:44:03

fire and it is one

1:44:06

of the most intense gunfights in

1:44:08

movie history. If

1:44:13

you didn't notice how great the sound

1:44:15

effects were in that first high scene,

1:44:17

it is impossible to

1:44:20

ignore in this scene because it really does

1:44:22

sound like it

1:44:24

was, you know, like this is all like

1:44:26

downtown LA, like the Westin Bonaventure

1:44:29

and the, you know, Central

1:44:31

Library and stuff and like you

1:44:33

can hear the fucking gunfire

1:44:35

like echoing off the buildings

1:44:37

and it's

1:44:40

super intense. Yeah, there's

1:44:42

something about that echo that makes the

1:44:46

location of where the shots are coming from

1:44:48

a mystery and it's what

1:44:50

makes the scene so scary to

1:44:53

a bystander or a viewer. Like

1:44:55

all you're hearing is sonically the sound

1:44:58

of the gunfire but because you can't

1:45:00

place it, it's all equally scary. Yeah,

1:45:04

it's a really intense scene. It's a scene that I

1:45:07

thought a lot about from like a

1:45:09

liability standpoint because there is,

1:45:11

you know, like the bad guys are

1:45:13

shooting and the cops are shooting and

1:45:15

there are a lot of civilians just

1:45:17

wandering around screaming and stuff. Yeah. Like

1:45:21

it gets a little implausible at a certain

1:45:23

point because like they

1:45:25

run like one block and find like

1:45:27

a grocery store where people are still

1:45:29

just like happily going about their shopping

1:45:31

business and I think that if you've

1:45:33

heard three sustained minutes

1:45:35

of high intensity

1:45:37

semi-automatic gunfire, you might like

1:45:40