0:01

Well, hello there and welcome

0:04

to a brand new episode of

0:06

the Confused Breakfast

0:09

Podcast.

0:20

Oh

0:25

yeah. Do you remember the pure joy of a trip to

0:27

the video rental store as a kid? You're darn tootin'. The

0:29

excitement of walking down the aisles, browsing the names

0:32

of the artwork, and finally picking out the movie we're

0:34

going to take home with you. You betcha. Sure,

0:36

it's hard to beat the ease of the modern era and streaming

0:38

platforms where you don't even have to leave your couch,

0:41

but there was something truly special about making

0:43

that trip in a snowstorm. Thank God

0:45

you got the true coat sealant. Picking

0:47

a movie out by hand and watching when you got home.

0:50

On

0:50

this podcast, we revisit and dissect some

0:52

of our favorite childhood movies from that magical

0:54

era to see if they still move us the way

0:56

they did as kids. I'm your host Mike Schulte

0:59

and joining me as always, two funny

1:01

looking dudes in a general kind

1:03

of way, more than most people even. Sean

1:05

Prior and AJ Vance, how the heck are you? Very

1:08

good. I'm excited that we're

1:10

getting out of this winter hell

1:13

finally and moving into some better

1:15

times.

1:16

Well, I just came out back way brainerd and

1:20

decided to stop on by and just see what's ... Do you mind

1:22

if I sit down? I'm carrying a load here. Well

1:26

boys, on today's episode we

1:28

discuss the number 171 highest

1:30

rated movie on IMDB, a movie

1:33

that won two Oscars and is considered

1:35

to be a perfect film on every

1:38

level by none other than Tom Hanks. A

1:41

movie that should have been called Brainerd.

1:43

We're of course talking about 1996's Fargo. Well

1:47

damn dang it, ladies and

1:49

gentlemen, it's time for another nostalgic

1:52

journey to the past with The Confused

1:54

Breakfast. Sit back, relax

1:58

and enjoy.

1:59

you are in the world. Take

2:01

it away boys. Well if you are

2:04

new to this podcast we'll be reviewing Fargo

2:06

scene by scene with a modern eye but in order

2:08

to get there we got to go backwards in time we

2:11

got to talk about it with pure nostalgia so

2:13

we can strip it away. We got to talk about the first time we

2:15

saw this movie what our rating was. Sean

2:17

let's go with you first man. Cool um I

2:20

was just getting into like Tarantino and

2:22

everybody Scorsese. Scorsese. Scorsese.

2:25

Oh my

2:26

god. I

2:29

yeah I was getting into all these filmmakers

2:31

and my stepmom showed me this

2:33

movie by the Coen brothers and was I

2:36

like said it was like kind of a quirky kind of violent

2:39

funny kind of thing like those other directors

2:42

kind of have. And

2:44

I loved it. I watched it

2:46

over and over again studied it and then

2:48

subsequently watched all the rest of the Coen

2:50

brothers movies I'd have to say at the time I'd

2:52

probably say that this was a eight.

2:55

A eight AJ

2:56

what about you man? Uh eight um.

2:59

What's what's your rating there uh eight?

3:02

Um so Fargo

3:06

was I

3:10

tried guys like when I was a kid I tried

3:12

I tried to watch it I tried to watch it. Have you seen Fargo?

3:14

Yeah yeah do I'll watch it tonight?

3:16

No totally totally no yeah I got it I got

3:19

it downloaded.

3:20

Um like

3:24

I I watching this I

3:26

can say that I have watched this before I know this

3:28

is going to be a shocker of like oh man Adrian's

3:31

seen it. I have seen enough of it to say

3:33

I've seen it. That being said it was

3:35

always a chore for me as a kid to try

3:37

to make it through this. Most the time um

3:39

I

3:40

would be watching this and I'd

3:42

make it to the point of him sitting down with the

3:44

couple and well you see that true coat

3:46

you gotta get that true coat on there you know that's

3:49

about where I started to like fall off

3:51

because I was just like I

3:53

don't I don't know I don't

3:55

know what's interesting about it I don't know I'm I'm

3:58

not involved it's quite It's not

4:00

exciting to me that kind of thing so honestly

4:02

like I'm probably gonna give this like Like

4:06

a two point a two point eight two

4:08

point eight. I'm kind of with you, dude. I Finally

4:12

broke my streak of movies.

4:14

I haven't seen wow okay good geez

4:16

no this I remember watching

4:18

this like renting it and going

4:21

oh, yeah people been talking about it,

4:22

and then it's kind of funny They got these funny accents,

4:25

and then somebody's like killed all of a sudden What's

4:28

going on and then fell asleep like

4:30

I could never I could never truly

4:32

like watch this in one sitting It just seems

4:35

so boring to me back again or yeah,

4:37

and something maybe something about like the wintertime and like

4:40

Like I tried to watch I watched

4:43

it multiple times and never really saw the whole

4:45

thing all the way through In one

4:47

sitting you know so I'm gonna call it a four

4:49

for myself

4:51

Nostalgically okay Josh

4:54

Miller as our executive producer

4:56

fine young gentleman there. He chose this movie.

4:59

He said morning guys I'm riding this review from

5:01

the road the girlfriend and I are on a two-week

5:04

road trip from Texas to Washington State

5:06

and back Selling my motorcycle

5:08

and pick up our dog van my dad's old minivan

5:11

and a side-by-side We are in an area

5:14

Airbnb in Amarillo Am I Rio

5:16

and Marilla watching it tonight the girlfriend

5:18

has never seen it. I'm pretty stoked We were doing

5:21

Fargo kind

5:21

of crazy. It hasn't been done yet. It's probably

5:23

been 20 plus years since I've seen it I

5:25

remember liking it not loving it I really

5:28

enjoyed the first couple seasons of the TV series

5:30

if I remember right I don't think the Coen's really

5:32

had anything to do with the TV series I

5:35

kind of feel that all the Cohen flicks are regularly

5:37

good to great, but for me lack the ability

5:39

to rewatch That's not a knock on

5:41

the quality of the product though They have a style

5:44

and a pace that I've always enjoyed and I feel

5:46

that they're amazing at casting and getting

5:48

the score in The soundtrack just right my

5:50

only real memories of this

5:51

movie is William H Macy as Jerry Lundergaard

5:54

and having to get that true code. I'm

5:56

always like Macy Or I've

5:59

always liked Macy and I

5:59

always thought this was his best role until

6:02

I finally watched shameless. Francis

6:04

McDormand's accent and the wood chipper scene

6:06

are about it are about it. Speaking

6:08

of wood chippers, have you guys seen Tucker and Dale

6:10

versus evil? You bet I have. Of course he has.

6:13

I'm looking forward to this rewatch, though. My nostalgic

6:15

score is a seven point five. So

6:18

not too great overall nostalgic. We're talking

6:20

five point five eight.

6:23

Five point five eight. Nostalgically, guys,

6:26

is going to take us five

6:28

point five eight. That's a

6:29

bottom. Like right around 10 from the bottom.

6:32

That's just above Tremors. Just

6:34

below Bill and Ted's Excellent Adventure.

6:36

Nostalgically, I think that was it for

6:39

Harry Potter. I think it was about the exact same.

6:41

I didn't I didn't fill it out yet. Maybe it was.

6:44

I don't know. Maybe it was. Actually, Harry Potter

6:46

was a five point six three. So this is slightly

6:49

worse than Harry Potter. Goodness. It makes me

6:51

logically. Nostalgically. OK. We'll

6:53

see what happens when we dissect this with the modern

6:55

eye. But first we got to talk to Sean about

6:57

learn all the pertinent important details

6:59

of the movie. Sean, what do you got, man? I got produced

7:02

by Ethan Cohen, Eric Fehner and Tim

7:04

Bevin. Music by Carter Burwell,

7:06

casting by John Lyons. Cementography

7:09

by

7:09

Roger Motherfucking Deacon. Cinnamon

7:12

photography, cinnamon. Cinnamon by John

7:14

Lyons, cinnamon, tiger sugar, written,

7:16

directed and edited by Joel and Ethan

7:18

Cohen

7:19

cast William H. Macy, Steve Buscemi,

7:21

Peter Stormare, Kristen Rudrod,

7:25

Harv Presnell, Tony Denman,

7:28

Steve Reavis, Larry Brandenburg,

7:30

John Carol Lynch, Steve Park and Francis

7:33

McDormand. After the

7:35

Coen's first five films being made

7:37

mostly as small budget indie films,

7:40

Fargo marked the duo's first major studio

7:42

hit. Casting for the role of Jerry Lundergaard

7:44

was made easy when William H. Macy came in

7:47

to read the role, but the directors were

7:49

unsure about him. Macy would pester the filmmakers

7:52

driving to every audition they had for the

7:54

role and auditioning again.

7:56

Macy said he was born to play this role in

7:59

his persistence. off having worked with the

8:01

directors before Francis McDormand was a shoo-in

8:03

for the role of March.

8:05

Fargo was filmed in the winter of 1995 in

8:07

the Twin City area of Minnesota and

8:09

Pambini County, North Dakota. This

8:12

was the second warmest winter in record making

8:14

this film. The crew had

8:16

to travel to the northern parts of the state to get

8:19

a snow covered ground. So it was like

8:21

a, like anything you do when you try and film

8:23

something like, we'll just go to Minnesota. Oh, they'll have

8:25

plenty of snow. Plenty of snow. It's like, nope, you got

8:27

to move production. You're the revenant. You're following

8:29

it around like storm chasers. Pretty much. Yeah.

8:33

Although the film states that this is based on a true story

8:35

and the Coen brothers themselves have given

8:37

different answers as to what it's actually based on.

8:40

The most recent explanation given is the only true

8:43

story in Fargo is that it's a story.

8:46

Other speculations claim that the film is based

8:48

on the murder of Hallie Crafts whose

8:50

husband killed her and dispose of her body in a wood

8:52

chipper. Fargo was released

8:55

on March 8th, 1996 on a budget

8:57

of seven million. The film made 60.6 million

9:00

at the box office was nominated for

9:02

seven Academy awards. And as Mike said, winning

9:05

for best screenplay and best actress

9:07

and has secured an

9:09

FX television series. That's

9:11

all I got for now. Well you guys know this

9:14

podcast. You know us. You

9:16

love us. You know that we need your help. We're just three dudes

9:18

putting out weekly content and

9:20

we can't do it without your support. So

9:23

things like sharing things like

9:25

supporting us on social media. Those are the best

9:27

things you can do for us. One thing that I'd really

9:30

love for you to do the trolls are out any time.

9:32

Anytime something on TikTok makes people mad.

9:35

They just come to our they just come to our Apple

9:37

podcast Spotify and they're like one star. I

9:39

hate those guys. Yeah. So this

9:41

is your annual call to be like hey go hit that five star.

9:44

Bump us up a little bit. You've been listening. Just

9:46

hit the five stars. Say some nice words. That's

9:49

nice guys. Real nice guys. That helps. Contrary

9:51

to prior belief that does nothing to the algorithm like people say it just makes

9:54

us feel nice. Yeah. It's

9:56

very true. It might not be Minnesota nice but we're Iowa

9:58

nice. Yeah.

9:59

And what's better who

10:01

knows and the only other thing you can do is hit that

10:03

patreon.com slash confused breakfast

10:05

That is where you get more from us you get bonus weekly

10:08

audio content that is riveting You

10:10

get to vote on upcoming movies you

10:12

get a private discord server where we're gonna start doing

10:14

movie watch parties Uh-huh, it is all at patreon.com

10:17

slash confused breakfast

10:20

up next we go to AJ He

10:21

does the research first for ratings and reviews

10:24

critics and fans alike. What do you got man? There's

10:27

some pretty bloody scenes

10:29

in this We'll

10:37

see here 94%

10:40

Whoa certified fresh where you

10:42

think that is you think that's top ten you think that's

10:44

number one number two I think it's got

10:46

to be I

10:47

is it number five just outside

10:49

of top two It's number 11 of all

10:52

the movies we've done that is tied with

10:54

saving private Ryan and speed interestingly

10:56

enough Well, yeah, same movies. Yeah,

10:58

they're basically the same basically Ryan

11:01

is basically speed. See you get

11:03

it Audiences

11:05

agree 93% on from

11:08

Rotten Tomatoes and 8.1 on IMDB Listen

11:12

to this group of the movies we've done that is tied

11:14

with jaws big Lebowski stand

11:17

by me

11:17

and Jurassic Park Fuckin

11:19

a good company that is some pretty fucking

11:21

good We talk about how if you can get over a seven

11:23

to the seven point one you're good movie. Yeah, you're getting the

11:26

eights Shit, you're just

11:28

about a masterpiece. You're doing real darn tootin

11:30

darn tootin Richard

11:33

Corliss

11:34

did not like tootin about this movie He

11:37

gave it a 40 out of a hundred Richard

11:40

Corliss at time said all attitude

11:42

and low aptitude

11:44

Let's see who gave us some more salon

11:48

Again back to salon back

11:51

The wigs in this though,

11:54

it just just don't it just

11:56

doesn't work to the extent that the joke

11:58

is on us the audience

11:59

and the decadent

12:02

taste we've acquired for flashy violence,

12:05

it works. You

12:08

know what? They made a movie and

12:11

I watched it. Hey,

12:14

there was this movie. Have you seen it? Yeah, I have.

12:16

Cool, let's not talk about it anymore. That's great. All

12:18

right, Roger Ebert gave this 100 out

12:20

of 100. Oh, wow. They

12:23

were big fans of this. Siskel and Ebert

12:25

were big fans. Isn't there a famous story that they

12:28

looked over at each other like, this is a good movie.

12:31

Like in the middle of the movie. They

12:33

basically like ET touched. And

12:36

we're like, This is why we do what we do. This is

12:38

what we do. This is what we do it for.

12:40

Just

12:43

so happy. Just clutching their heart.

12:47

Wow, what a movie. What a performance. Those

12:51

Colby brothers did it again. A camera does like a single

12:53

pan for a character and he just looks over, he's like. That's

12:59

good. That's their

13:01

full house intro. It's them watching Fargo.

13:07

Gun shot goes up, popcorn goes. What

13:09

are we doing here? I don't

13:10

know. It's the tomato meter, keep going. 100 out

13:13

of 100. Roger Ebert, Chicago

13:15

Sun-Times, rotates his story through satire,

13:18

comedy, suspense and violence until

13:20

it emerges as one of the best films

13:22

I've ever seen. Damn.

13:25

The best films that he's ever

13:28

seen. I was wet in the

13:31

theater watching this. My popcorn

13:33

was drenched. I don't know what that

13:36

means. Well, look

13:38

here, Anders 28 said

13:40

Roger Ebert said,

13:43

said

13:46

best films I've ever seen. Anders 28

13:48

said one of the worst movies I've ever seen.

13:52

One out of 10. This movie must be

13:54

one of the most annoying films I have ever

13:56

seen. The characters in the

13:58

movie are incredibly stupid. I'm talking

14:00

an absolutely annoying way. Seeing

14:03

Fargo was a total waste of time

14:05

and money. 20 out

14:07

of 44 people found that helpful. Oh, wow. I

14:10

just wanted to let you guys know. Good for them.

14:12

Yeah, I think so. 10 out of 10,

14:15

though, I could watch it every day. Yeah.

14:17

Said Boyo 2 in 1998. 1998, that'd

14:21

be DVD times, right? Yeah,

14:24

you're getting there. You're there? OK. Oh, yeah. That'd

14:26

be like, oh, I got the combo player so

14:28

I could play VHS and DVD. Yeah.

14:30

Oh, yeah. Oh, yeah. You got the you got the combo there,

14:33

huh? Oh, wow. That's a good combo. Yeah.

14:35

Yeah. You can do well someone can go weather today.

14:37

I think cold front is coming in. Same timer. OK,

14:40

yeah.

14:40

You got a same timer.

14:43

Wow. That's what they call them. DVD

14:47

and VHS. Dual same

14:49

timer. Oh, you got a same timer. Oh, you

14:52

got a dually, huh? You get that up in a brainer up

14:54

there.

14:55

You got the Walmart up in brainer.

14:57

Yeah. Oh, wow. You got one of them dually. Well, I

14:59

got duallys on the truck, too. Yeah. Just in case

15:01

you get caught out in the snow. You're going to need that. You

15:03

got the sandbags in the back of that truck there.

15:06

Yeah. Yeah. Yeah. All right. This is what the episode

15:08

is going to be. Congrats. Apologies

15:11

to everyone that lives in North Dakota and Minnesota.

15:13

Yeah.

15:14

Yeah. Riveting.

15:19

Wow. Wow. You guys are really

15:21

getting creative. Hey,

15:23

Jay. Hey, Jay, read the fucking review.

15:26

Let's go. All right. You only get one more. Go. I

15:29

really mean that, too.

15:30

And I will admit it helps that it's barely 90

15:33

minutes. Should have won best

15:35

picture over the overhyped

15:37

the English patient. But McDormand should

15:40

have lost to Brenda Blython secrets

15:42

and lies. Love to the soundtrack. Love

15:44

to the end. Love to the accents. Yeah.

15:48

I can watch this movie over and over again.

15:50

But Brendan Breglison.

15:53

Breglison? Was

15:55

that what we said? Yeah, it doesn't matter. No,

15:58

I don't. You're right. It does.

15:59

I'll

16:02

just give one one out of ten here. Angry Kirby

16:04

had this to say, snore,

16:07

if people think this is

16:09

good, there is no hope for mankind.

16:12

This was October 24th of 2004. One

16:15

of the most boring and overrated movies I have

16:17

seen. The plot is confusing and not interesting.

16:20

The jokes are not funny and the movie is

16:22

bad.

16:23

Why could anyone like this? I don't know.

16:27

There's no question mark. Two

16:29

cops investigate two murderers in two

16:32

murderers in Canada. It is

16:34

not funny and it doesn't have a great anything.

16:37

The movie is bland and easily forgettable. Why

16:40

is this rated so high?

16:41

The world may never know. I

16:43

will ask Mr. Owl. Don't

16:45

waste. What is going on? Don't

16:48

waste any of your life on this. Watch

16:50

anything else instead. If you like this

16:52

movie, I suggest you see more movies.

16:55

The jokes are not funny. I like that one. The

16:58

plot is boring. That is it. Bottom

17:01

line, bad movie. I give it zero out of

17:03

ten. That was a one out of ten rating. Wow. Although

17:06

he said he doesn't like this movie, he kind of took a joke from

17:08

it and he just says the jokes are not funny and plots kind

17:10

of boring.

17:11

End of story. Hey

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to the show.

18:56

Well, boys, it's

18:57

time to start our tour of movies

18:59

named after US cities. We live

19:01

in Cedar Rapids. Check. Yeah, let's

19:04

head to the next closest Fargo.

19:06

We can make the drive in our 1987 Cutlass

19:08

Sierra, maybe make a few pit stops

19:11

to see some family restaurants to check on the

19:13

frick of sea. See how it's tasting. Oh,

19:15

geez. Yeah. Oh, yeah. It's winter.

19:17

What else are we going to do? You betcha. Here we go.

19:20

All right. All right. Why?

19:35

The scene

19:35

one Jerry Londegard is desperate for

19:38

money and travels to Fargo, North Dakota to

19:40

the higher two criminals to kidnap

19:42

his wife. He gives them a new Cutlass Sierra

19:44

and promises them half of the $80,000 ransom. He

19:47

says he intends to extract from his father-in-law

19:49

Wade. He returns home and Wade is over for

19:51

dinner and Wade treats Jerry terribly. Meanwhile,

19:54

the two criminals make their way to Minneapolis with stop

19:56

and brainer for some fun. We see Jerry during

19:58

the day at his car sale.

20:00

job.

20:02

Based on a true story what

20:04

do you guys think about this sort of gimmick I think

20:06

they're making fun of this gimmick

20:09

and like if you put it based on a

20:11

true story on like infinity war

20:13

people are gonna be like wow really oh

20:17

wow we have to go see this look it

20:19

up you know I think that's exactly

20:21

what they're trying to intend to

20:23

do

20:25

and to the point where it fooled

20:28

a lot of people fooled a lot of people like be like oh

20:30

well I know that stretch of road I'm gonna go look

20:32

for that money and people actually did. Is that

20:34

right? Yeah. People are nuts. Yeah

20:37

well it I think it adds to it

20:39

I think it and it adds to you know the way a

20:41

Coen brothers movie is just made in general

20:44

and if they write they they present

20:46

it in a very

20:48

realistic way like it could have happened

20:50

yeah but I don't though I don't know if you would ever

20:52

present it as such like

20:54

the line that got me in that

20:57

what they present there at the beginning and

20:59

they say out of respect for the

21:01

dead yeah I don't

21:04

think you'd ever present it that way yeah out of

21:06

respect for the dead the names have been changed but everything

21:08

else is true oh it's real true and it's just like

21:11

you wouldn't say it that way unless

21:13

you're like being on the joke right but they committed

21:16

to this yeah and I mean they they I don't

21:18

think they even told the crew

21:20

or cast or anybody until is like well

21:22

into production that it was not based

21:25

on true events this movie

21:27

is

21:27

so good at conveying winter

21:30

time yeah like you I think we did

21:32

our top five winter movies and I can't remember if

21:34

this was number one on somebody's list but I mean this

21:36

is like this is one of the movies

21:39

you think of when you think of winter definitely you can feel

21:41

how cold this movie is in

21:43

fact I the coldest I've ever been in my

21:45

life was in Minnesota

21:47

like something's different about up there and how

21:50

cold it gets and you just like you

21:52

feel this right away but then they juxtapose

21:54

it you see that car driving you're like yeah fucking free

21:56

I hate in winter driving but then they get into

21:59

this bar

22:00

And there's something so undeniably

22:03

cozy about a bar in wintertime. Yeah.

22:06

Oh yeah. Like I want to go to this bar.

22:08

My wife's like, that's kind

22:10

of a rough place. I'm like, no, I want to go. No. I

22:13

mean, they're playing Big City by Merle Haggard. Hell

22:15

yeah. It's called King of Clubs. The King of Clubs.

22:18

I want to go. I love it because,

22:20

and we've talked about these bars

22:22

all the time. That's exactly where you want to go. The

22:24

wood paneling and the dim lights

22:27

and the low lights

22:29

over the tables. Cold outside, but it's warm

22:31

in here. That's right. And the

22:33

beer keeps on flowing. Yeah. You

22:35

know? Yeah. You love this

22:37

type of bar. I love this type of bar. I love the score

22:39

by Carter Burwell. Oh yeah. It's

22:41

just huge and booming. And

22:43

it doesn't seem like a story like this warrants

22:46

this kind of huge, booming score

22:48

to

22:50

it.

22:52

But I think it lends to the fact where it's just

22:54

like the

22:55

minuscule kind

22:57

of meaningless

22:59

life of everyday Midwestern.

23:03

But there's just outstanding circumstances

23:05

that happen. It's like playing on that.

23:08

Where it's like the mundanity is what we talk about

23:10

in Coen Brother movies a lot. Where

23:13

the one little thing could be outstanding to

23:15

a mundane life like it is in the Midwest.

23:18

And I think the score perfectly kind of encapsulates

23:21

that feeling of like

23:23

a murder happening. And I guess small town is like

23:25

whoa. Whoa. Shit. Like

23:28

it's the big town problems

23:30

coming to a little town.

23:32

Little town. That's why people move

23:35

to small towns. And people in small towns

23:37

are always happy to say

23:39

it. Well,

23:40

if you want big city, then go to

23:43

Twin Cities. You

23:46

can go to the Twin Cities. Go up to Twin Cities. You can

23:48

go on up to Minneapolis if you want that kind of stuff.

23:50

But you come here to get away from it. We don't

23:52

want any kind of stuff coming down here. That

23:55

kind of stuff. That happens all the time. But

23:57

then once you have those big disruptors and

23:59

even like.

23:59

the police force is like taken

24:02

aback by this to some degree is like I guess

24:04

yeah it's kind of a kind of a crazy thing but no

24:07

everything about this movie is the

24:09

opposite of incredulous

24:11

yeah right you know what I mean like everything

24:13

about it is and they're literally

24:17

sitting in this bar openly discussing

24:19

this kidnapping

24:21

the absolute politeness about

24:24

like of Jerry he's like oh shep

24:26

told me this time I'm sorry guys I'm sorry

24:28

I'm so sorry he's peed three

24:30

times I had my coffee filled six times

24:33

yeah I had to go my coffee six times

24:35

you did say something Sean on the

24:37

fifth element you said that

24:39

that nobody smokes cigarettes better

24:41

than Bruce Willis yeah but

24:43

then we do this movie and Peter Stormer

24:46

it was sitting there just lifeless

24:49

staring at Jerry smoke coming out of his

24:51

nostrils not even moving a muscle I think

24:53

he might be my new favorite smoker honestly he's

24:55

chain-smoking the entire time and the way he's

24:58

holding his cigarette is like weird it's

25:00

like

25:00

the butts right here it's going into his hand

25:03

pretty much you know and I love

25:05

when he's just like sitting back

25:08

dejected and be like whatever I'm just you know

25:10

but then Jerry says something yeah and he

25:12

leans forward to him he's like

25:16

you know I'm so intimidated very without

25:18

saying a fucking word what does he say 16 lines

25:21

in this movie like 15 16 lines he has so intimidating

25:25

Cohen saw him on in a play and we're

25:27

like you need to be in our movie please I

25:29

do want to take that further I think he could have played Corbin

25:31

Dallas in the fifth element hang all right yeah

25:33

really don't you think they kind of like

25:36

a platinum air oh my god I think he hit no he should have

25:38

been fingers

25:41

and fingers prominent role instead

25:44

of Vin Diesel oh

25:47

you calm down over there

25:50

oh

25:50

Jesus gonna get our nerd

25:53

dumb canceled what give

25:55

me your card and cut the corner off your nerd card

25:57

what do you guys think about Wade

25:59

in this movie

25:59

like his first introduction. Watch

26:02

this gopher hockey. Oh, hey, Wade. Where

26:05

are you watching? Gophers. Gophers. Gophers.

26:07

Oh, who are they playing? Doesn't answer. Just

26:10

he's an asshole. Dude,

26:13

I've met and dealt with people like this. If we were on a train

26:15

to go punch a face, I'm on board. That's

26:19

what I'm talking about. I think this is a valid

26:21

if you're going with Wade. I think it's 100% valid. I

26:24

deal with people like this all the time. They're

26:27

generally, yes, they are a little bit older.

26:30

And they are so stuck in their ways,

26:32

or they just don't care to listen to

26:35

anything that you have to say. You could be literally

26:37

telling them great information or

26:39

important information, and it just falls off

26:41

their head.

26:43

Doesn't even hit.

26:45

Doesn't do anything. Doesn't listen to anything.

26:48

It drives me nuts to watch

26:50

him interact with Jerry, but

26:52

with everybody. And Jerry is the perfect pawn

26:54

for this guy. Jerry, we can

26:57

talk more about his character as

26:59

we move along. But yeah, Wade, I definitely

27:01

agree with you. I delivered plumbing supplies

27:03

to people who are just like, oh, yeah,

27:06

well,

27:07

if you drive like that, you're not going to be

27:09

doing this. I don't need a dad. I

27:12

already have a dad, man. Why don't you just shut the fuck

27:14

up and let me do my job? That kind of thing. I

27:16

definitely know what you're saying. I

27:18

can't stand people like this. Like

27:21

what you said, they're trying to

27:22

explain something to them, but they're just like, nah, nah,

27:26

they have to come up with the idea themselves. Exactly. Correct.

27:28

They have to come up with the idea themselves. And

27:31

the dialogue is perfect,

27:34

I think, between these two, where he

27:36

says,

27:37

he's like, well, what were you wanting

27:39

to put up there? He's like, $7,500, $1,000, that's $750,000.

27:45

That's a lot of money. He's like, what do you want to put

27:47

up there? He's like, yeah, well, we were going to put a lot up there.

27:49

Yeah, I know it's a lot. It's

27:51

really smart. You're not listening to me. You're not

27:54

paying attention. And it's like, no, I'm

27:56

saying we want to put a lot there, like a car lot there. And

27:58

he's like, oh, I had some car lot.

27:59

my day. Yeah,

28:02

they went up though and they didn't do anything. It's just

28:04

like, what are you talking about? Lost a lot

28:06

of money. It wouldn't turn out to be a good thing. It's like, you're

28:08

not even paying attention. You're not listening. Yeah,

28:10

you're not listening. And he's very hard

28:12

to

28:13

listen to, I will say, you know,

28:15

but I, and that's, I feel so bad

28:18

for Jerry throughout this whole

28:20

movie because he is stuck

28:22

in this way. You know, he, he,

28:25

he doesn't have a backbone whatsoever and

28:27

cannot get through to anybody. And it's, I'll

28:29

say a lot of his fault. Do you think, do

28:32

you think Jerry always sucked

28:34

or do you think like Wade drove

28:36

him? Probably. I mean, he's probably been de-masculated

28:39

throughout his life with this family, honestly,

28:42

not, not in Jean or Scotty or anything,

28:44

but yeah, probably with Wade

28:46

and all his relatives, he has to deal with on that

28:48

side. You got to think about it. He's, he's literally,

28:50

he deals with him every single day because

28:53

he's the owner of the dealership. Yeah, he hired Jerry.

28:55

Yeah. And so that's, that's even more de-emasculating.

28:59

He works for him. Yeah. Going, putting,

29:02

being put in that position for your father-in-law

29:05

as the executive sales manager,

29:07

I think is what his title is, right? Yep. Yep.

29:09

That's not power position.

29:12

Right. If you're doing it for him. Yeah. That's not

29:14

what that is. That's so he can control

29:16

you even closer. Cause if you were just a salesperson

29:19

at that,

29:20

at that lot or something, then

29:22

that's at least you're farther removed from him.

29:25

You know, you don't have to deal with all of his, his

29:27

BS, but he's got to hear it directly.

29:29

Yeah. If he's that close up the, up

29:31

the ladder. And even that line that Jean

29:33

and Scotty never have to worry like that. This could

29:35

be paid for Jean and Scotty. And I was like, yeah, Jesus,

29:38

Scotty never have to. I hate that.

29:40

I hate that so much. That was the moment where I'm like, that's

29:42

my punchable. Yeah. He's brutal line.

29:44

Brutal, brutal. That is, if you're, if

29:46

you're experiencing that your whole life, you may,

29:50

and you don't have a backbone, like you said, you may turn

29:52

to a life of crime. Like, yeah, I mean, it's

29:54

believable. It's throughout this whole movie,

29:56

man. It is just like, God damn, you

29:58

think this is the, a good

31:59

And I love the shots of this of they they

32:02

they pick up the prostitutes

32:04

and it's the shot of them like Having some

32:06

fun in the room and then it's the cut to them just

32:09

Watching TV tonight show it's

32:11

complete mundanity man. Yeah,

32:14

it's like excitement. Okay back to normal I

32:16

you know, I think that this

32:18

is that's the theme for me or this is this

32:20

is the thing for me about

32:23

Maybe Coen Brothers movies in general

32:25

to a degree, but this one especially you know

32:29

turning what would normally be taken

32:31

to a an extreme or

32:34

a fun moment of like or a

32:36

or a very risque moment of

32:38

Picking up prostitutes and then

32:41

you're in all in the same room doing

32:44

that and Taking what would be a very risque

32:46

moment in any other movie and lots of cuts

32:48

and angles and this and that and like maybe it Got

32:50

a little too far top gun blue light Dreaming

32:54

and the blue light and all that stuff and Tom Cruise

32:58

But then instead it's just a single shot

33:00

for about 15 seconds

33:03

and then it cuts away and they're watching tonight's show

33:05

and just adds to the point of like Everything

33:08

is bullshit. Yes, you know what I mean?

33:10

Like

33:10

what can be exciting? It's not exciting Don't

33:13

get caught up in what could be exciting. That's

33:15

not what this is. This is Fargo. Yeah,

33:17

okay We're in North Dakota.

33:20

We're in Minnesota yeah,

33:22

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34:04

off to Miami. No, actually,

34:06

wow, look at that. No, I'm going to Hawaii now. Ooh,

34:09

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34:12

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34:14

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34:16

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34:19

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34:25

Well, let's move on to scene two. So

34:27

Wade and his accountant Stan Grossman steal

34:30

Jerry's real estate plans and offer him a finder's

34:32

fee. He dejectedly goes back to work and finds

34:34

himself in some trouble with creditors on the phone. The

34:36

two criminals kidnap Jean and hit the road

34:38

to take her to a remote cabin. On the way,

34:40

they're pulled over and Grimmsrud

34:42

kills the cop and two witnesses. So

34:45

this true coat scene.

34:47

Is it iconic? This is... I

34:50

think mostly every scene in this movie is

34:53

the best scene in this movie. Oh,

34:55

that's my favorite scene.

34:56

Yeah, like... No, this is my favorite scene. And every

34:58

time I watch it, it changes. I'm like, I can't wait. I

35:00

can't wait for the mic scene. You know? Yeah. This

35:04

scene is incredible. Well,

35:06

you're going to need that true coat.

35:08

I just... Oh, gee, that true coat.

35:10

It comes on the car from the factory.

35:12

You're sitting there telling me this and you told me two

35:14

weeks ago that I was going to walk off with the car right.

35:17

You're just... You told me, come

35:18

on down here. It was ready to pick up. Nineteen-five.

35:22

We said, nineteen-five. You sat right there.

35:24

Told me, nineteen-five. And

35:26

I said, no true

35:27

coat. You're a liar. All these guys are...

35:29

You're a fucking liar. A fucking liar. Oh,

35:32

geez. Well,

35:35

these guys down here, these guys, these are all

35:37

the same. It's so good. It's so

35:39

good. They said, apparently,

35:41

that was actually like a verbatim. Yeah.

35:44

Something that happened to one of the Coen brothers where they

35:47

were the guy on the other end going, what the fuck is

35:49

going on? You told me you weren't going to do that. You told

35:51

me to come down here. And I love this because

35:53

this is exactly what has to happen. I

35:55

mean, it happens in not

35:57

just car sales, but just any sort of broadly...

35:59

retail of any kind where well

36:02

I'll go talk to my boss and

36:05

you go back there and

36:06

you probably stand

36:09

and you banter with one of your co-workers

36:11

for a couple of minutes. You want to go for his game? You

36:13

got any extra tickets? Are you serious? Is

36:17

he saying are you serious meaning like of

36:19

course he doesn't have

36:20

extra tickets or is he saying are you serious like you

36:22

want to come with me? I don't know what he's

36:24

saying. I don't know what's a particular like

36:26

Minnesota thing. On purpose. And

36:31

then he goes back and he's like no

36:34

we never do this. I

36:36

got a deal for you. It's like that's not a fucking deal. It's

36:38

about to come out of your mouth. $100 off of that

36:41

true coat and he's just like

36:42

this is ridiculous. Give me my checkbook. Let's

36:44

get this over with. But that is like cut throat

36:47

sales 101. Shut your mouth. Yeah.

36:50

Like because notice like if he would have kept fighting back and

36:52

like well no listen like we're then they

36:54

would have kept arguing but the fact that he just went dejected

36:56

and just shut his mouth

36:58

the guy eventually goes he talks himself into it fine.

37:00

Just give me my checkbook. That's like sales 101

37:02

man. The annoy them

37:04

until they give you my. In fact you

37:06

try that next time if you're buying a car. Just

37:08

don't say anything. Just sit there and get really awkward

37:11

and just stare at them because they'll keep talking they'll be like well

37:13

well

37:13

maybe we can be 200 maybe we can knock 200 off

37:16

and just be

37:18

like let me ask my boss about 300. I

37:20

bet we can do 300. They'll continue to

37:22

talk to them talk themselves into it because

37:25

because they want to fill the air. Yes.

37:28

Because they're the ones who feel like in their in the awkward position. They're putting on

37:30

the show right now. Yeah exactly and you're not and you're

37:32

not applauding. So yeah. So

37:35

yeah but it's so funny and it's it's such

37:37

a it is an iconic scene and it's

37:40

got to be a Coen brothers thing right. Like the

37:42

repetition of of dialogue

37:44

right. I I think this

37:46

is completely a Coen brothers

37:48

thing where they nail whatever

37:51

character or like whatever kind of like subset

37:54

of America they're trying to portray

37:56

and especially Midwesterners because

37:58

they're from Minnesota. You know, I think

38:00

they they absolutely nail this and

38:03

I think you could even say and I don't

38:05

know if I Maybe expect this from

38:07

you later on like of like maybe scenes not even needing

38:09

to be here like the mic scene We'll

38:12

get there, but I'm just saying like I think it I think

38:15

you do need that I think it completely

38:17

puts you into this realm of these almost

38:20

passive aggressive

38:22

Midwestern Midwestern

38:24

nice kind of thing, you know, and they fucking

38:27

nailed. Yeah, they have actually in their dialogue They

38:29

definitely have that kind of a like

38:32

feeling towards

38:33

Midwestern nice I think yeah, they

38:36

understand the idea of like everyone

38:38

will you present as nice but everyone has

38:40

their own agenda Oh, yeah, and they'll get there

38:43

one way or the other if they're just persistent and

38:45

persistent enough and nice enough to get it

38:47

Yeah, right underneath that niceness is a

38:49

rage right? Dainty

38:52

and ready to say well Fuck

38:54

you. Yeah Liar looking

38:57

liar. So when you get to Jerry's got

38:59

this meeting now with Wade and Stan Grossman

39:01

and

39:02

Like, you know first time you watch this you're like, what the fuck

39:04

like you're really feeling. Sorry for Jerry But

39:07

I have a question for you. Did he did he

39:09

take the 10% virus for you or not?

39:11

Yeah, I don't know I don't think it's just like not

39:14

enough. That's $75,000. Oh, okay 10% of

39:19

750,000 so like does he

39:21

He either takes it and it's not

39:23

it's not enough so he just like whatever he views

39:25

it as like fuck It's not enough or he

39:28

like stands on his pride and goes

39:30

well No, I want the whole deal and then they go well fine

39:32

then you just don't get anything Yeah, they like cut him out

39:34

of it. He may have been too prideful and they just

39:36

said well fine You're cut out that I mean the

39:39

way his life is going that could definitely yeah

39:41

very well be the case I'd be fairly happy

39:43

with 75,000. Oh, yeah, it's there's

39:46

a it's it's really hard to determine how

39:48

much he genuinely needs And there's a point

39:50

on the phone when he said

39:51

it's about it's like the number $320,000 comes

39:55

up

39:56

that he's he must be borrowing against there's

39:58

like embezzlement thing

39:59

Yeah, it is. It is hard to

40:02

tell exactly what he wants this money

40:04

for and what he's going to do with it. Is he paying

40:06

off those debts? I don't think he is. He

40:08

already basically already stole that money. Yeah.

40:10

The 350,000 he stole. Is that right? No, because yeah, he

40:16

pretended like there were cars. Right. Yeah.

40:18

So he already technically has that money. 350,000 right.

40:22

I

40:22

think he's, you know,

40:24

while in debt trying, like paying these

40:26

gangsters,

40:28

some of that money. Yeah. Right. I mean,

40:30

he's got to be using that money. He says, he says in the beginning, he's like,

40:32

I'm in, I'm in trouble and we don't want to talk

40:34

about that. So like, that's a personal man. Is this, is this like a

40:36

gambling thing? He

40:39

clearly loves golf.

40:41

Like, does he

40:43

have like a golf betting problem

40:45

where he's out there on the course like betting thousand

40:47

dollars a hole or something? But I think they

40:50

never touch on it and it's fine. Like you don't need

40:52

to know. You just need to know he's in trouble. You don't,

40:54

you don't need to know. He's in big trouble and he's willing

40:56

to do this. Yeah. And that's the thing

40:58

is like, you don't need to know just like for, for

41:01

somebody like me who wants

41:03

a little bit of explanation, who wants a little

41:05

bit, like I think it would have helped. It would have helped

41:08

me at this point to at least gain

41:10

even a solid number because

41:12

still, and so that must mean then,

41:14

and in the end, like he's asking

41:16

for like a million dollars at that point and he's going

41:19

to give these guys half of 80,000. These can give

41:21

them 40,000. So $40,000

41:24

and a car. And so it's,

41:26

it's the idea of like, we never

41:28

nailed down a number and he must be lying to

41:30

almost every single party at

41:32

this point. Everybody's getting lied to. Everyone

41:35

is a different story to him and he's lying

41:37

to everybody about something.

41:38

Yeah. I, and it's, this

41:41

is one of the most scariest things to me. It's

41:43

almost like

41:45

as scary if not scarier than like my

41:47

fear of like prison imprisonment, um,

41:50

of getting behind on money like this, you

41:53

know, like I've been on hard times before

41:55

and out there, I've been in positions where I'm most like, I could

41:58

just steal something, you know, like

41:59

just the intrusive thought that gets

42:02

in your head. But then for some people

42:04

like Jerry's like that intrusive thought

42:06

gets through and does something like

42:08

this, you know, and and fucks it up

42:11

royally, you know, and gets in like this

42:13

is a very very like that economy,

42:16

you know, of this story is frightening.

42:19

Like if you get behind that far you like you're gonna your

42:21

whole life's fucked, you know, and you

42:23

can definitely see that in his face and that even when

42:26

he does come out of this deal with Wade

42:29

and Stan Grossman,

42:31

the shot of the parking, the

42:34

loneliest shot maybe in cinema history

42:36

that I've ever seen just the one single

42:38

car and like the planters and the way

42:41

it's parked weird. It's it's one of

42:43

the coolest shots I've ever

42:45

I 100% feel

42:46

Jerry in that moment when he's trying to scrape

42:48

like especially I love it's it's fun. Yeah,

42:50

that's funny. Yeah, because he gets in the car. He's like, I'm

42:52

about to leave and he's like, I have

42:55

to scrape the car. I have to get out and

42:57

stay here a little bit longer. Such a Midwestern

42:59

thing. But like, yeah, but then he fucking

43:02

he freaks out. Yeah,

43:04

throws the thing but then realizes he's supposed to pick

43:06

it up. He still has to scrape the

43:09

windows. But you can't even help

43:11

himself. Exactly. It's

43:13

so perfect. And the way

43:15

way Mitch Macy plays it is just incredible.

43:17

Yeah. And so it kind of takes me back again, like,

43:19

and so, oh boy, it's

43:21

just this just took me into a moment because

43:24

now it makes me think that Wade isn't actually

43:26

a bad person. He just realizes how

43:28

big of a shitbag Jerry really is.

43:31

You're humanizing Wade. I just humanize

43:33

Wade. He's just like, this is my only daughter. He's

43:35

like, I she's married to an absolute piece

43:38

of shit. I've seen I've seen through you

43:40

from the get go. Maybe he's given maybe

43:42

he's given him a bunch of money in the past. Maybe

43:44

he's now that he's just fucking blown through.

43:47

Exactly. I haven't thought to like maybe

43:50

that like, Jerry did have a problem

43:52

for something in the past and Wade has

43:55

had to bail him out several times

43:57

before.

43:58

And so yeah, he led that guy. That's

44:00

why he treats him like shit is probably just like okay,

44:03

okay I don't know what my daughter season you

44:05

but you know, I guess you're a good dad and

44:08

you're

44:08

not well, he's not a

44:10

good because at this moment of

44:12

when When they kidnapped

44:14

Jean there when they're talk about it. He

44:17

even says he's like well, how's Scotty doing?

44:19

He's like, oh geez Scotty. He forgot

44:21

about his own son

44:22

He wasn't thinking about Scotty. Yeah, he didn't even think about

44:24

it. Never even crossed his mind The

44:27

the kidnapping scene is fantastic. I

44:29

still it still makes

44:31

me like when watching this where he's in the bathroom And

44:34

he's getting the stuff for his hand

44:36

and he and he stares in the mirror I always

44:38

still like forget that she

44:40

was in there. Yeah, and it's it's pure

44:43

genius of that moment He's like, wait

44:45

a minute.

44:46

She's in the shower. I'm kind

44:48

of following Carl right

44:50

Steve is in these right? Yeah, he took off You

44:52

kind of following him through the whole scene and then the the

44:55

cameras locked off right there and it's Carl

44:57

takes off to presumably outside and you're

45:00

like why are we staying on Peter Storm air for

45:02

right now? And it's just like and then it does that it's

45:05

so brilliant. That is just like Pure

45:08

cinema. Yeah

45:15

Did you know did you notice that Playboy

45:18

in the bathroom in the reading

45:20

rack No, that's

45:23

probably their only bathroom in the house, right? So

45:28

is that Scotty's playboy I hope so kind

45:30

of weird that it's just right out in the middle of nowhere though You

45:32

know, he likes the articles. Yeah Good

45:36

writers in their forms well

45:40

When they take her away and

45:42

it's the tags

45:43

Again, this is like this repetition of dialogue.

45:46

That's my tags. I'll

45:48

take care of it. It's just the tags It's the

45:50

tags. They say like tags like 900 times

45:52

in this in this scene and like I

45:55

just don't understand what it is It's like just

45:57

to drill it home. It's

45:59

it's like a

45:59

It's like a red herring of dialogue. We

46:02

want you to focus on the tags.

46:03

Okay? Okay. What else

46:06

is going on? I don't know. It's just like, there's

46:09

a part that, there's parts of it that I appreciate. There's

46:11

parts that are very frustrating to me. Yeah. So

46:14

I don't know.

46:14

I feel when he says like, don't

46:17

worry, I got this. It's just the tags.

46:19

I feel like almost kind of like safe. I'm

46:21

like, okay. He's gonna get this. Like

46:24

he's got this. Okay. And then

46:26

he shows him that 100 and he's like, oh, we can

46:28

take care of this right here in Brainerd. Didn't

46:30

you think he's going to do it? Are you a fucking

46:33

idiot? And yes, he is. I'm

46:35

just like, how bad

46:37

could you have fucked this up? And like, that's,

46:39

that's the thing you go to. He's like, I'll take care of it. It's just like,

46:42

you could have done anything. Any number

46:44

of things. Anything else. And then Storm

46:46

Air notices it and he's like, I mean, pops

46:49

that guy in Carl's

46:51

or Steve Buscemi's reaction. I love, because

46:53

it's, I love the rear view reflection

46:56

from the headlights of the cop on his eyes.

46:58

He's like, whoa. Like

47:01

he's never really seen that kind of violence up

47:03

close before. Oh, daddy.

47:06

Whoa. And then Storm Air just like with

47:09

a cigarette in his mouth. Like no, no big deal

47:11

to him. This is a, even

47:13

like a Cohen brothers kind of thing as well because

47:15

they do this in blood simple. This kind of crying

47:17

that happens on a highway and the

47:20

reflection of headlights in

47:22

the background. And then there's like people going

47:24

by. And one

47:26

thing about that person who does goodbye in

47:29

the red coat, that is, I forget

47:31

who that, I think it's

47:33

like their assistant editor or something like that on

47:35

the film. Prints? Yes, exactly.

47:39

That's it had the print symbol in the credit. I

47:41

saw that. That was like, I don't, I

47:43

had to go back and look. It had to be like a Minnesota thing.

47:46

Like, cause they're from Minnesota, but yeah. This is an

47:48

incredible scene. I it's, it's

47:51

completely rolls the

47:53

plot along Now

47:56

there's dead people. Oh man. There's

47:58

dead people in this simple.

47:59

napping thing cool we'll get some money you know. Situations

48:02

change Jerry. Yeah. Yeah.

48:04

Don't you think like if you're if you're Gene

48:07

in the back seat of here

48:08

don't you just yell ungod

48:11

like flip the thing off and yell

48:13

at the top of your lungs the minute that cop

48:15

gets next to the car.

48:17

Yeah I mean I don't

48:19

know. Well because well no and this is

48:21

we'll get a little deep here they do say that like

48:23

hopefully this

48:24

doesn't happen to someone but like I

48:26

think about it a lot that they're basically like if you ever

48:29

get kidnapped

48:30

somebody's like gunpoint like like okay I

48:32

got a gun on you you got to get in this van they

48:34

basically say that no matter what

48:37

whatever is gonna happen to you later on in

48:39

that van is going to be worse it's gonna

48:41

be the fucking shittiest thing ever. Don't ever go to a second

48:43

location. Just just literally

48:46

take your chances and just run at

48:48

that point even though they have a gun on you you might get

48:50

shot and killed

48:51

but like it's gonna be better than what happens

48:53

down the road and that's the same thing for Gene

48:56

almost like she could have just freaked out here

48:58

and maybe gotten saved especially

49:00

like killed but it's still better from

49:03

her home scream your fucking ass off

49:05

you know try anything don't yeah I think

49:07

last podcast boys say it a lot really don't ever go

49:10

a second location you're done you're either

49:12

dying here or getting away like that is

49:14

it

49:14

yeah not to bring it down but hey

49:16

maybe save maybe save some lives. Confused

49:19

breakfast trying to save lives. That's all we're trying to do all

49:21

right we don't want you to get taken away.

49:26

All right so the following morning brainard

49:28

police chief Marge Gunderson investigates

49:31

the crime scene this leads Marge visiting

49:33

Jerry for questioning Marge

49:35

also has an awkward meeting with Mike Yanagita

49:38

a former high school classmate. Carl is

49:40

with another call girl Minneapolis hotel room

49:42

when Proudfoot enters and attacks him. Carl

49:44

then calls Jerry and orders him to deliver the ransom

49:47

immediately Wade insists on bringing

49:49

it and meets Carl at the parking garage. Carl kills

49:52

Wade but not before Wade shoots

49:54

him in the jaw.

49:56

Don't you just love

49:58

old Margie.

49:59

My G, is this one of the greatest characters in

50:02

cinema history? Like one of the most empathetic

50:04

and lovable characters in cinema history.

50:07

It's so amazing to me. Like at first,

50:10

I'm thinking like, oh, she won the she

50:12

won an Oscar for leading role and

50:14

she's not even she takes 33 minutes for

50:16

the leading role, even gets into the movie. And

50:19

I remember the first time I saw it going, yeah, it's like

50:21

it's funny. Like it's like it's kind of funny how she

50:23

talks, but she's just this dumb

50:25

lady. But you really

50:28

realize like this movie takes you on a trip from

50:30

beginning to end on seeing how truly

50:33

smart she is. She's very good at her job. And

50:35

she's just got that Minnesota nice

50:38

up front in pleasantries. But inside

50:40

of her brain, it is working like a fucking

50:42

machine, especially when she talks to Jerry

50:44

and he like kind of turns on

50:46

her a little bit later, you know, and gets a little

50:49

snippy with her. She's like her like, oh, yeah,

50:51

just so you know, if you do a lot check or whatever and he's like, you

50:53

know, do a lot. She's like,

50:55

no need to get snippy with me, sir. Like she realizes

50:57

at that point, it's like something's wrong here. Yeah,

51:00

you know, she's very smart. You're right. She

51:02

she fully deserved the Oscar for this.

51:04

Absolutely. It's fantastic.

51:06

It's like this this blind

51:08

drive of the

51:10

character like of.

51:14

Of what people do in these situations,

51:16

they get the call. They got to get up. Oh,

51:19

yeah, yeah. It's just got to get up. Well, you got

51:21

to eat something. I'll make you

51:23

some eggs. Now you don't have to. You can still

51:25

sleep it. Well, you got to get out of here.

51:28

You got to have breakfast. I eat your breakfast. And

51:30

he makes the eggs. I really liked reading

51:32

about these

51:33

types of scenes because

51:36

there are moments that these

51:38

conversations and it's very true.

51:41

Probably most of the time, the other person who's like talking

51:43

about police work or talking about what it is

51:46

and the Cohens, I believe, said to

51:49

who plays the

51:50

what's the norm? John

51:52

Carol Lynch. Yeah. So he doesn't care

51:54

about any of this. Yeah. He's just waiting for it

51:56

to be done. That's all you need to know. He's

51:58

like, oh. And it like clicks, it's like,

52:01

and again, it's just the, his look,

52:04

his look is about as good as anything too. When

52:06

he's just sitting there and he's like. He

52:08

takes her plate.

52:12

That

52:16

stuff is, that's the stuff that

52:18

I

52:18

get taken aback by. And you know,

52:21

those are the little things. And then again,

52:23

being able to leave it, leave the camera

52:26

on and like, you end up cutting

52:28

it out and she comes back in,

52:30

Proler needs to jump. Okay. You

52:33

know, they consciously did that, right? They

52:35

consciously made that decision because

52:37

that's exactly how it feels all the

52:39

time. Because, and that's exactly

52:42

the way it is in the Midwest. When we go through

52:44

things, something comes up. Well,

52:46

you just got to deal with it. Yep. That's

52:48

just the way it is. Perfectly captured. He just loves his

52:51

wife, wants to make her breakfast when she gets up

52:53

and paint his stamp things,

52:56

you know? And then go fishing. Go fishing.

52:59

It's so simple, but then there's a murder

53:01

she's investigating. You know, it's such

53:03

a good juxtaposition. It's the simple life being

53:05

interrupted by,

53:07

what something is very, very big and serious.

53:09

Like triple homicide at this point. And

53:13

that's what,

53:14

but they're still, well,

53:17

I brought you some lunch. You know that kind

53:19

of crap. I would be

53:21

so mad

53:22

if at my job, somebody

53:24

just kept using my name with

53:26

dumb questions. Yeah. Like

53:29

I know it's pleasantries, but my God, like

53:31

if somebody was just like,

53:32

what are you doing over there, Mike? You fixing your microphone,

53:35

Mike? Oh, you got the cable on their mic. What

53:37

do you think about the episode, Mike? What do you think there,

53:39

Mike? We know that we're

53:41

the only two people here. I know who you're talking

53:44

to. You don't have to say my fucking

53:46

name in every question. It goes

53:48

back. It goes back to that like kind of

53:51

getting to know somebody and oh yeah,

53:53

you know, you want to, you want to kind of get to know people

53:55

and break down those walls. And so use their name.

53:58

People love hearing their names.

53:59

use their name a lot and that you have always you've met

54:02

somebody who does it over over the top

54:04

oh yeah and they and it becomes annoying

54:07

not

54:07

not pleasant I totally agree

54:10

it's very frustrating to talk about the cinematography

54:12

in this and like the color palette of this like

54:14

a lot of the

54:16

like snow obviously is like very very white

54:18

but it's almost like a gray white and

54:21

then you mix that with the with the Reds

54:23

in this movie like the blood especially even that jacket

54:25

of that victim laying in the snow there

54:28

is so bright you know like all the

54:30

Reds are very heightened in this and I

54:32

like that about it and then everything else is just kind of muted

54:34

or like if they're in like a family setting

54:36

or like a bar it's like a lot of comforting

54:39

yellows you know I it's very very

54:41

cool choice Roger Deakins obviously is one

54:43

of one of our greatest director

54:45

of photography's of all

54:46

time the Deeks yeah Deeks triple

54:49

Deeks gotta have them Deeks triple

54:51

Deakins what would you guys I

54:53

love how

54:54

I love that all the funny looking

54:57

describe descriptions of Steve Buscemi you

54:59

know I just kind of funny looking you know that

55:01

that role was written for Steve

55:03

Buscemi right like I mean they knew it was Steve

55:06

Buscemi and it's funny cuz that's how

55:08

you did like that's how you describe Steve Buscemi

55:10

yeah like if you

55:12

saw Steve Buscemi walk in you

55:15

didn't know who he was and you had to like report

55:17

him as stealing something and they're like

55:19

can you describe what he looks like

55:21

how do you describe Steve Buscemi

55:23

kind of funny looking like

55:25

him but he's very squirrely guys

55:28

smaller yeah yeah well his face it's

55:30

kind of funny looking funny looking I fucking

55:33

love that cuz it's it's just spot-on like in a

55:35

weird way or just just a general

55:37

kind of way yeah kind of way oh

55:39

and so you were so

55:42

you were having sex with the bigger fella where

55:44

you guys from well actually I'm from

55:46

I'm from up like by White Lake go bears John

55:50

Candy moment yo yes oh man

55:53

it's like is that John Candy's like daughter

55:55

or something like I thought it was hilarious

55:57

go bears this is my

55:59

here Wade I don't know what to tell you and

56:02

like he gets shut out of this deal completely

56:04

and it's just it's so heartbreaking to

56:07

see this I fucking but then

56:09

I got also going back I think a little

56:11

bit

56:12

where he's kind of rehearsing

56:15

what he's gonna say to Wade on the phone after the

56:17

kidnapping geez Wade oh how god

56:20

oh wait it's terrible oh my it's

56:24

Jean it's your daughter Jean Wade it's it's

56:27

my wife it's my wife it's your daughter

56:29

daughter it gets on the phone

56:33

oh wait oh yeah Wade Gunters Wade

56:36

Wade so fuck you don't

56:38

you don't need that at all but

56:40

you do that is that is the Coen

56:42

brothers right yes this movie is pure concentrated

56:45

unfiltered yeah if you like if

56:47

you want to like what's the what's a Coen brother movie

56:49

like watch Fargo watch

56:52

it you'll have fun and I think I think William H

56:54

Macy kind of came up with that little bit about

56:57

and that when he's

57:01

got to over prepare for this yeah and he

57:03

when the Coen brothers heard this they're like oh

57:05

yeah that's that's great we'll just he

57:08

didn't do a bunch of any ad-libbing either

57:10

though beyond that or like writing or anything

57:12

like that apparently all the little stutters

57:14

that William H Macy does is Jerry Lundergaard

57:18

basically written in that script

57:20

yeah like he tried to stay it to

57:22

it to a T and he's apparently he did very good at that

57:24

I love when he calls finally to hold a

57:26

Carl and he's like well how's

57:28

my wife doing

57:30

how's Jean who's Jean as you my

57:32

wife I don't

57:34

even know her name it's just like Jesus

57:36

Christ like that yeah you you

57:39

you put your wife to these

57:41

wolves basically like you

57:43

didn't think something wrong was gonna happen blood has

57:45

been spilled Jerry it's been spilled Jerry and

57:48

there's just this constant and maybe maybe

57:50

this is a Midwestern thing too I don't know there's

57:54

something about me not paying attention but maybe it's

57:58

just a thing where it just seems like there is

57:59

just a constant disconnect of

58:02

information being passed back and forth

58:04

between

58:05

every single character, much like

58:07

how I was saying, like Jerry's just

58:10

lying to everybody and telling everyone a different lie.

58:12

I don't think anybody actually listens to anybody.

58:15

Who's Jean? My wife, the person you kidnapped.

58:18

Like nobody's listening to anybody about

58:20

anything in this movie. But

58:22

it just keeps spiraling along somehow. I

58:25

have a question for you.

58:27

When Margie meets Mike,

58:31

is she like,

58:33

is this like an old love interest of her? Because

58:36

she looks really nice and

58:38

she's like very wanting to make sure she

58:40

looks nice before meeting him. Like, is this

58:43

like a, is this a meetup? Like

58:46

an old flame? I thought that too. I

58:48

don't think so. I think Margie's just

58:50

the nicest person in the world and kind of

58:52

wants to see an old friend and

58:55

get to know him a little bit. See how he's doing

58:57

with his life so far. I think they, if that was

58:59

the case, I don't know why they put the,

59:01

like her making sure she looks all

59:03

nice. So you think you think they've boofed

59:05

in the previous. She may have been going

59:07

there to boof. Okay.

59:10

See, I mean, I see. I don't know if she went,

59:12

is going there. Pregnant thing throws that

59:14

theory quite a bit. I don't know that she's going there to

59:16

do that, but I do think it's kind of one of those things

59:19

that if you're, if you are going to see,

59:21

if

59:21

you are going to see, like,

59:25

even if it's like a class reunion or something, you're

59:27

going to see people that you used to know from

59:31

previous, previously in your life, you're

59:33

going to make yourself look a little bit nicer. You

59:35

know what I mean? You want, you don't want to show

59:37

up like looking like a total scrub. Margie

59:39

really let herself go. Oh man. Margie

59:41

doesn't look very good. You know, that kind of stuff. And

59:44

I think, I think it's, I think it's that more

59:46

so than anything. Okay. Well,

59:48

and a lot of people would talk about this not really needing to be

59:50

in there. Like we're seen in the movie. Like why

59:52

is this here? I bet you feel differently about that.

59:55

I think it's completely 100% valid

59:57

that this is here. One, it is fucking hilarious.

59:59

He's great this guy is so like

1:00:02

you down here on the triple homicide. Oh, can

1:00:04

you talk a little bit about it? It's like oh not really okay

1:00:09

An accent with a Minnesota nice accent

1:00:16

Good place to eat around here. Oh, hey, well, I got

1:00:18

you. Is there a good place to eat around here

1:00:19

the Radisson?

1:00:21

Uh-huh. Is it reasonable? And

1:00:25

then it sure again if The

1:00:27

Radisson it's like and it's like oh,

1:00:29

yeah, you know, it's it's a Radisson so it's

1:00:32

pretty good I always like to it's pretty

1:00:34

good. I always liked it. I like this so much

1:00:36

like just so much But goddamn no, I

1:00:38

think I'd rather you sit over there. This

1:00:40

is definitely Needs to be here because

1:00:42

I think it is

1:00:44

paramount to Margie

1:00:47

as a character. I really think

1:00:49

that she is depth She's so okay

1:00:52

with going to a crime scene like not just thought

1:00:55

I was gonna barf She's just pregnant

1:00:57

and looking at a crime scene looking at three dead bodies

1:01:00

and she's like, oh looks like that's a defensive wound

1:01:02

Like jolly about it. And then the

1:01:04

only time she's like kind of shocked by

1:01:07

Like anything is that Mike Leidor?

1:01:10

Yeah, and that's it I think it's because

1:01:12

it is the only thing that surprises her. Yeah,

1:01:15

you know,

1:01:15

she knows what she's getting into all along

1:01:18

the way Oh triple homicide, huh? Oh

1:01:20

Well, all right. I'll be down there. Oh,

1:01:23

well, where's our other one? Where's the trooper at? Oh,

1:01:25

he's up the road there. Oh, okay. Well might

1:01:27

as well go take a look at that trooper

1:01:28

that kind of stuff You know, it's like that. No point

1:01:31

is she shocked by this because she knows to what to expect

1:01:33

It's true bombs. I'm okay. Cool and I'm a cop so it's

1:01:35

fine But then it's like what I didn't expect

1:01:37

Mike to be lying to me about literally

1:01:40

everything he said Yeah, that's why people say it's

1:01:42

it's paramount to the movie because that is the moment

1:01:44

where she realizes that like

1:01:46

people lie and

1:01:47

And and what if Jerry's lying to me?

1:01:50

Yeah, it's sort of the moment That's when she goes back

1:01:52

when she talks to the girl on the phone and real

1:01:54

life finds out Mike was lying about everything Then she immediately

1:01:57

goes back to Jerry

1:01:58

with like more force this time It's like

1:02:01

it's it's almost imps one of the

1:02:03

most important scenes of the movie. Yeah, it's to help get this

1:02:05

done Yeah, cuz she goes and talks to Shep

1:02:07

which I imagine Shep is a mechanic

1:02:10

at the dealership Yes, yes, and then and

1:02:12

so

1:02:13

it talks to Shep and Shep's not

1:02:15

giving a lot But

1:02:16

it's but he is also he's lying So

1:02:19

he's like well, I can't imagine that you wouldn't

1:02:21

remember somebody calling you at 3 a.m Having

1:02:23

a conversation and then so there's another

1:02:26

lie and then it goes back again. Well now I'm now

1:02:28

I'm back at the dealership I'm going back to Jerry

1:02:31

and

1:02:31

Now catching him in this lie, right? Yeah,

1:02:34

you're right. It's like from there. She starts seeing

1:02:36

all the lies Yeah Yeah And this is where it gets like

1:02:38

so much out of hand where Wade

1:02:41

feels like he needs to take it upon himself to go Collect

1:02:43

the money from them himself and like as he's

1:02:45

leaving Jerry's like Damn it.

1:02:48

Like yeah, so it could be dangerous but

1:02:50

like, you know, he got himself into all this shit

1:02:53

and I just love Steve Buscemi's performance

1:02:55

on in this Movie so much especially

1:02:58

when Wade shows up like who the fuck are you? Yeah

1:03:01

It's like starts out kinds of who the fuck are you? He's

1:03:03

like, okay. My goddamn daughter. Who

1:03:05

the fuck are you? Wait,

1:03:07

just so pissed off and fed up with this

1:03:10

like a happy nice passive-aggressive

1:03:12

Minnesota Midwestern kind of things I

1:03:14

want to get the fuck out of here get my money

1:03:17

and we're done Well, yeah, and well

1:03:19

wait Wade on his way is doing the rehearsal

1:03:21

thing to

1:03:22

kind of he's like kind of Like

1:03:25

Jerry was doing and And

1:03:28

I thought that was kind of funny and he pulls up and he

1:03:30

really just kind of sticks to his own script

1:03:33

as opposed to Yeah, you know trailing

1:03:35

off and ends up

1:03:38

That's his demand. Yeah, it is That's

1:03:41

uh again There's a point where I end

1:03:43

up just feeling really bad for Wade actually

1:03:45

now now when I think back on everything

1:03:48

We've been talking feel bad for everyone. Yeah, that's a

1:03:50

good point and something about I respect for

1:03:52

the dead. Yes Something about

1:03:54

these fucking parking garage

1:03:56

attendance like dying on mountains.

1:03:59

They're like

1:03:59

I know you were just in there for five seconds, but you

1:04:02

got to pay the four dollars and this motherfucker

1:04:04

Like we don't see him die when he comes out. He's

1:04:06

like open the fucking gate that guy

1:04:09

Was like, well, I'm gonna need you to pay your ticket. Yeah,

1:04:12

and that's why I got killed you think that's what

1:04:14

happened Oh, yeah, you think you just had a bad

1:04:16

previous experience with the other attendant and

1:04:18

he's like He gives him a chance.

1:04:20

He's like all these guys The

1:04:23

fun game, you know, he's like well, oh what happened

1:04:25

to your face there? I'm gonna need you to I need your ticket

1:04:27

or else I can't open it pop. Yeah Like

1:04:30

so these motherfuckers they're dying on dying

1:04:32

on hills that oh, yeah that if I was a parking garage

1:04:34

attendant and that fucker drove in I'd be like go

1:04:37

get out of here good that button. You're good Yeah,

1:04:39

see you later and Jerry's literally following the trail

1:04:42

of chaos Like as he goes along

1:04:44

and I love the shot of him when he's on

1:04:46

top of the garage and he just sees Wade's

1:04:48

body Stays there for a second and then

1:04:51

up comes the trunk. I'm like goddamn He's

1:04:54

just he's still like at this point

1:04:56

go to the fucking police, you know I

1:04:58

still need to keep this ruse going,

1:05:00

you know, it's he's digging himself deeper.

1:05:02

Yeah, he no point Will he just

1:05:04

call it? Yeah, you know and so he disposed

1:05:07

of Wade's body somewhere you would think yeah, or

1:05:10

is this kept it in the trunks That

1:05:13

what happened well, maybe I'm digging a hole anywhere.

1:05:15

No, maybe I maybe I kind of

1:05:19

Maybe I missed that or something Involved

1:05:22

so he pops the trunk open. He pulls Wade in

1:05:24

basically and that's what happened. Okay cleans up

1:05:26

the scene. Okay I see interesting,

1:05:29

but then literally like a psychopath

1:05:31

goes back to work and that's

1:05:33

the thing

1:05:34

and when he gets home

1:05:36

Stan Grossman called Stan Grossman called

1:05:38

twice twice. You want to call him back? I

1:05:40

think I'm gonna go to bed You're gonna call

1:05:43

Stan Yeah,

1:05:45

he just he he is just

1:05:48

He's he's sociopath at this point Like

1:05:51

he's he's shut down completely like

1:05:53

he's blocking all this out and then he ends up going

1:05:55

like you said goes back to work Yeah,

1:05:57

well seen for Marge goes back to visit Jerry,

1:05:59

but he flew

1:05:59

on the way to Moose Lake, Carl discovers

1:06:02

the briefcase contains one million dollars.

1:06:04

He removes 80,000 to split with Gar,

1:06:07

Gar, Gar? Gar? Gar. Then

1:06:10

buries the rest in the snow alongside the highway

1:06:12

at the cabin, Carl is killed by Gar.

1:06:15

Okay, so once again, this

1:06:16

is another one

1:06:18

of the best scenes in this movie. Exactly what

1:06:21

you're gonna say. None of the main characters in it at

1:06:23

all. It's just the police guy goes

1:06:25

to the guy who is doing the most

1:06:28

Midwestern winter thing and. Getting

1:06:31

the ice out of the way. Getting the slush off the driveway.

1:06:34

So you think I'm a jerk, he says, only you don't use

1:06:36

the word jerk. Says the last

1:06:38

guy that called me a jerk is dead now, so I don't say nothing.

1:06:40

So he says, what do you think about that? And I says,

1:06:42

well, that don't sound too good for him then. Yeah,

1:06:45

so he says that guy's dead and don't mean

1:06:48

of old age.

1:06:49

And he says, geez, I'm going crazy out there at the lake.

1:06:52

White Bear Lake? Yeah, well, Eglen and Suedlin, that's

1:06:54

closer to Moose Lake, so I made that assumption. I

1:06:56

made that assumption. Oh yeah. Oh sure.

1:07:00

This is just one of the best scenes

1:07:02

in cinema history. My God, I

1:07:05

love this so much. That's a rando too, right? Like

1:07:07

the guy that he's talking to,

1:07:09

he's not an actor. I don't see him

1:07:11

in anything. And that's the thing also about the Cohens

1:07:13

is that they have these side characters who

1:07:15

are in one scene, but they're so

1:07:18

good. They seem so real.

1:07:20

I know this guy. I've

1:07:23

talked to him randomly before. Like

1:07:25

a no country for old man when Javier Bardem goes

1:07:28

into the, I think it's like the trailer park thing. And that

1:07:30

guy's like, that girl, you know what I'm talking

1:07:32

about, that he's just like, I'm

1:07:35

not giving you any information about our residents

1:07:37

or whatever. She's so stuck about

1:07:39

it. But he's a psycho killer,

1:07:41

and he's the only one to bring him down.

1:07:44

That performance is so good. And I

1:07:46

think just like it

1:07:49

ruminates of how well this

1:07:52

world is and how believable it is.

1:07:54

And like these side characters really fulfill

1:07:56

that. And this whole conversation is so

1:07:58

Midwestern, so.

1:07:59

Minnesota it's so fucking perfect

1:08:02

and adds so much to it even

1:08:04

the cops are even the cops are Everybody

1:08:06

knows everybody. Yeah. Oh, hey, how are you? Hey

1:08:08

mr. Mr. Hare or whatever his name is mr. Mr

1:08:11

Mar and he says it's

1:08:14

oh, yeah. Well, how's it going? Yeah, so I was supposed

1:08:16

to be get a lot colder tomorrow You have

1:08:18

to end it. I mean they didn't talk weather

1:08:21

so they they need to get that weather conversation

1:08:23

in to end their conversation All right,

1:08:26

and like if you if you had sent me the scene

1:08:28

if I've never seen it you said hey new

1:08:30

letter Kenny season Here's the trailer That

1:08:34

that is it. You just want this genius

1:08:36

repetition of lines and and presented

1:08:38

that this fucking letter Kenny all in one

1:08:40

shot, too It's so

1:08:43

good, man

1:08:44

And that's that's again for some reason

1:08:47

that it's my it is my favorite

1:08:49

moment in this entire movie And it is very

1:08:51

short and I already made mention of it before But

1:08:54

when he says now I saw I made that assumption

1:08:57

and the story Cuz

1:09:00

he's just waiting for him to keep going he's like, okay. Well

1:09:02

then that's all I just wanted to get your stammer calling

1:09:04

in I appreciate your time. Yeah, you're

1:09:06

probably right. It's probably nothing there. Mr. Mayor,

1:09:09

but I you know, they appreciate you calling it I called

1:09:11

it in so I called it in and

1:09:13

the story That's

1:09:16

my favorite And

1:09:21

you have to when you're talking whether you have

1:09:24

to look up and look around as

1:09:26

if you can see the cold front Yeah, right. You

1:09:28

have to do it the blue the big blue lines

1:09:33

There's the warm front with the spiky The

1:09:36

red one. Yeah. Oh, yeah, that's about

1:09:38

to clash probably get a little snow coming here Yeah,

1:09:41

I know that apparent. Do you guys watch the TV series

1:09:43

at

1:09:43

all? Yeah, I've seen the first like

1:09:45

three seasons or so So I

1:09:47

have not but I like to think

1:09:49

of what movies like this always

1:09:52

leave things open-ended and you get to believe like

1:09:54

What you believe so so Buscemi's

1:09:56

character Barry's that briefcase It's

1:09:59

good thought a couple months, so like some

1:10:01

random fucking farmer is going to find this shit kind

1:10:03

of deal. But I know that apparently in season one,

1:10:06

they like add that storyline

1:10:08

in there. Someone finds the briefcase. They have had it, has

1:10:10

really mentioned it as this other story that's

1:10:13

not connected to this at all is going on. I

1:10:15

kind of want this to be the start of no

1:10:17

country for old men to like, like it just keeps,

1:10:19

it just keeps getting passed along this briefcase. That's

1:10:22

great. That'd be amazing. Cool. Like just

1:10:24

a ever everlasting McGuffin throughout the

1:10:26

Coen brothers. That'd be amazing. My

1:10:29

question here is, why would

1:10:31

Carl

1:10:34

want to stick with the car? I don't

1:10:37

know. Basically, Carl's demise

1:10:39

was pretty much borderline over this car.

1:10:42

Carl's demise was going back. Maybe

1:10:45

he thought like, I'll just tie up this loose end and I can be

1:10:47

gone. But instead, he tries to give him

1:10:50

his truck and he's got, and

1:10:52

he's like, I'm taking that cut with the Sierra.

1:10:54

Okay.

1:10:55

Well, why, why again,

1:10:58

literally die on that hill of taking that

1:11:00

car when he's got,

1:11:02

he's just going to go back and get that million dollars.

1:11:04

He can go get a different car from a

1:11:06

used car lot and move on. He could have, he could

1:11:08

have showed up and go and listen, dude, like I, I,

1:11:11

I, here's the $80,000. I just want

1:11:14

to live. I got shot. I got it. I

1:11:16

got to go. Yeah. I'm going to take this car. You keep $80,000. Like

1:11:19

I'm the fuck out. Yeah.

1:11:20

Why, why, why let $40,000 be the reason, but

1:11:26

you've got a whole suitcase of $920,000. This guy's

1:11:29

a psychopath. He just killed, he just killed

1:11:31

Jean. And that's dude, I, I think

1:11:34

lost over after watching this movie. I

1:11:36

don't know how many times, but like this

1:11:38

time I'm like,

1:11:39

doesn't Jean live? And like this time,

1:11:42

like they just show her body quick and there's blood

1:11:44

on the stove. And he's like, he just, he

1:11:46

just got out of hand again. I'm like, Oh, she was

1:11:48

shrieking.

1:11:49

She just, he just wouldn't shut up

1:11:51

or something like that. I was so shocked. There's to be like,

1:11:53

wow. And then like on the car ride as we'll get

1:11:55

to later, she's just like, and that's, that's who that's

1:11:58

a London guards wife.

1:11:59

I'm like, I don't know, that

1:12:02

just broke my heart. Yeah. Because

1:12:04

she did nothing wrong. Yeah,

1:12:06

I know. And I think that's,

1:12:08

you know, most of these people

1:12:10

really did nothing wrong. Yeah. Except

1:12:13

for Jerry. Yeah. And that's

1:12:15

really, and obviously, well, these two cold-blooded

1:12:18

murderers, but how left? Who knows what

1:12:20

they've done previously. But that's

1:12:22

the thing. And that's what I think makes it so sad,

1:12:24

or like, you know, like, yeah,

1:12:27

makes it just basically

1:12:29

a sad story. Yeah, and you're right, it's just so glossed

1:12:32

over. Yeah. And even like the filmmaking.

1:12:34

Carl doesn't care. He's like, oh, you killed her, whatever. The

1:12:36

filmmaking makes it a point to be

1:12:38

like, oh, yeah, she's dead.

1:12:39

Kind of? And you're like, she's

1:12:42

just, what way? I had a note that said, is she dead? Yeah.

1:12:44

And then the last time I watched it, I go, oh, yeah, she's dead.

1:12:47

Yep, and then I just looked it

1:12:49

up, confirmed, because they have a body count

1:12:52

that you can find for this movie. And yeah,

1:12:54

she's one of the seven people that

1:12:57

by the end of the movie is dead.

1:12:59

Well, boys, final scene, Marge drives to Moose

1:13:01

Lake, sees the Sierra, then discovers and

1:13:03

captures Gar. Shortly afterwards,

1:13:06

Jerry is arrested at a motel outside Bismarck,

1:13:08

North Dakota, and Marge returns home

1:13:10

to her life with Narm. Narm.

1:13:13

I've seen previous to this where she visits Jerry

1:13:16

for the last time. And

1:13:18

there's a point where like he does get upset.

1:13:21

And he's like, well, I'll just go do a goddamn

1:13:23

lot check. Do a lot of count now. If it's so important

1:13:25

to you, he's like, are you gonna go right now? Well,

1:13:27

you're darn tootin'. And he leaves,

1:13:30

and then she's kind of there alone. And Marge gets

1:13:33

done arguing with Jerry, and she's alone in his

1:13:35

office. She's very serious at this point, and is

1:13:37

looking around the office, then sees a picture of Jerry's

1:13:39

wife. And then she kind of like gets

1:13:41

a little smirk on her face. She's like, oh.

1:13:43

Nice family, man. My stomachs have a nice family, you know?

1:13:46

That is the epitome of Marge. Right

1:13:48

there. Very serious chief, like police

1:13:50

woman, and takes her

1:13:53

job very seriously, and is serious with this asshole

1:13:55

she's dealing with at this point, and

1:13:58

then sees a picture. She's like, oh.

1:13:59

the epitome of her character and I think that's

1:14:01

why she won best performance. I think

1:14:04

it's I think it's even in that same scene the

1:14:06

way she's like he's playing the scene and

1:14:08

she's like how do I work

1:14:10

this? How do you get an outside line? And it stays on

1:14:13

her for just a little bit too long and it's

1:14:15

so perfect. Looking at that like yeah.

1:14:17

It

1:14:20

almost feels improvised how good that

1:14:23

scene is. For sure. Well,

1:14:27

I, the

1:14:31

scene of her driving and

1:14:33

she's going around, oh I just figured I'd take a quick spin

1:14:35

around the lake here and I won't be heading out back

1:14:38

soon.

1:14:38

And then when somehow

1:14:41

for like the moment that she sees the

1:14:44

tan Sierra,

1:14:46

I think that's what they call it. Well tan,

1:14:49

there it is, there it is. Like for some reason

1:14:51

like that got me like, oh gosh, like

1:14:54

this is scary. It's kind of scary

1:14:56

at this point.

1:14:57

For her to see the car

1:15:00

and then the guy on the other line is like, all right

1:15:02

Margie, we'll just take it easy. We're going to send someone

1:15:04

else out there. Okay, and that's the only

1:15:06

way we'll get someone out there.

1:15:08

But in that same tone

1:15:10

of like, okay, well just take it easy.

1:15:13

We'll get someone else out there to help you and

1:15:15

her going through that. And

1:15:17

it is a very, it is a very eerie

1:15:20

approach at this point after

1:15:23

we see what happened between

1:15:25

Carl and Gar and then her

1:15:28

walking up on that. You're hearing

1:15:30

it. Yeah, it's getting louder

1:15:32

every cut that it makes. And I think you

1:15:34

just try to convince yourself that

1:15:36

that's probably not what it is. No, it is fine.

1:15:39

He's just got a, he's drilling an ice

1:15:41

fish in here. Right, right. That's one of those things. He's

1:15:44

sawing down a tree to get that far away. Yeah, yeah, yeah,

1:15:47

yeah. Cold winter,

1:15:47

cold front's coming in. That's right. It's

1:15:51

so menacing and so iconic, that

1:15:53

fucking foot sticking out of there. Again,

1:15:57

huge spray of bright red.

1:15:59

blood on the on the on the clear

1:16:02

as day white snow you know. It

1:16:04

doesn't work if that isn't snow. I mean come

1:16:07

on it doesn't right? It has to be snow.

1:16:09

It's so good and then this the the

1:16:11

scene he's just getting mommed the

1:16:14

whole way to jail. She

1:16:15

was like so why would you do that young man?

1:16:18

But it's also I think this is the scene

1:16:20

where she definitely deserved the

1:16:22

best performance for this where she's

1:16:25

just like oh you all that for

1:16:27

a little bit of money huh? Seven

1:16:29

dead people and it's such a nice

1:16:32

day. Like it's not really

1:16:34

a nice day. It just gives me chills and yeah

1:16:36

but like she thinks it's a nice day. I know and

1:16:38

that's what I love about her. Yeah

1:16:40

I love her so much and she's that

1:16:43

that that is

1:16:44

that and the scene previous that I was describing

1:16:46

is the epitome of Marge. Yeah I

1:16:48

feel like that foot sticking out of the wood

1:16:50

chipper is is basic. It just looks

1:16:52

like a... Is that your prop?

1:16:54

Yeah yeah it

1:16:57

looks like it looks like an unused Metallica

1:17:00

CD cover or something.

1:17:02

You're just like okay but

1:17:05

it's again I love it. Master

1:17:09

of wood chips. Master

1:17:11

of chippers. Like

1:17:14

I just think that

1:17:16

we get another piece of repetition

1:17:19

from the Coen brothers. They're just never afraid

1:17:22

to reuse ideas and scenes

1:17:24

and we see that with Marge shooting

1:17:26

at Gare from while he's running on

1:17:28

the lake pretty much on that frozen lake

1:17:31

when Gare was doing that to the guy trying

1:17:33

to escape the car crash initially. True. You

1:17:35

know and so it's just again it's just they

1:17:38

don't mind giving these little reminders of

1:17:40

how things panned out previously and

1:17:44

yeah and then and then finally we get to see

1:17:46

Jerry and I don't

1:17:48

know that just seemed a little lackluster

1:17:50

to me. It fully circles

1:17:52

how sad and pathetic his

1:17:55

life has become. It's heartbreaking. Yeah it is. It's

1:17:57

heartbreaking this scene and he's like screaming

1:17:59

like a little child. or like a like a like

1:18:02

a hyena getting netted in the

1:18:04

wild or something. You know, it's just like

1:18:06

God damn it. He's in his underwear. Oh, yeah. Oh,

1:18:09

yeah. Okay. I'll

1:18:11

be there in a minute. Okay. He's still

1:18:13

and he's still such an idiot. They got they his alias is apparently Mr. Anderson

1:18:15

Anderson and they're like Mr. Anderson

1:18:18

who

1:18:19

like he doesn't even he doesn't even remember

1:18:21

his fucking alias. This your burgundy cutlass

1:18:23

out here. All right. Yeah.

1:18:25

And but like I think this is the cut of

1:18:28

the movie. The fucking

1:18:29

moment where they like drive

1:18:31

it home. You've got this sad

1:18:33

pathetic Jerry getting arrested

1:18:36

and in just like his life is nothing

1:18:39

and immediately

1:18:41

to norm on the bed. Yes. Who's

1:18:43

just like in a warm

1:18:45

bed. He has the greatest

1:18:47

relationship with his wife who is

1:18:51

mostly solely based on food. That is

1:18:53

their relationship. But they get along. That's a love

1:18:55

language. They don't argue about what restaurant to go

1:18:57

to. Exactly. They fucking

1:18:59

know. And like Norm. Norm

1:19:02

is like this anti stereotypical

1:19:04

male who's like not the breadwinner of the family.

1:19:07

He's an artist and he fucking loves

1:19:09

his wife and his I had that

1:19:11

moment with Molly where like she was

1:19:13

like a month from giving birth to her

1:19:15

and it was kind of like here

1:19:17

it goes. We're almost there. You

1:19:19

know like like it's a beautiful juxtaposition

1:19:22

to fucking shit ass Jerry's life to

1:19:24

like Norm. I started. I

1:19:27

started tearing up especially when Marge

1:19:29

has her line. She's like heck Norm you know we're doing pretty

1:19:31

good. We're doing pretty good. It's just. I

1:19:34

guess. Hey you know if anything's

1:19:36

gonna put it into perspective it's Jerry

1:19:39

getting arrested for embezzlement and murder. Yeah I'd say you're

1:19:41

doing pretty good. I think you're doing okay. It's a three it's only

1:19:44

a three cents damn. Just being a normal human. It's a three

1:19:46

cents damn. It's

1:19:48

wonderful is what it is. Oh for Pete. It's

1:19:51

wonderful.

1:19:51

You think so Marge? Nah. Cause

1:19:54

they're awesome. You want some potato chips? The

1:19:57

hot salute wheel got the 26 cents.

1:20:00

I don't know much about John Carroll

1:20:02

Lynch. I just know he's been in a lot of things, right? The

1:20:05

thing that blew my fucking mind though,

1:20:07

is that he's twisty the clown in American Horror

1:20:10

Story. Oh, shit. I didn't know that. That's crazy.

1:20:12

That is him. That's terrifying. He plays

1:20:15

that terrifying clown. I know he's

1:20:17

one of my favorite performances he's in.

1:20:21

Zodiac. Oh, yeah. Yeah, he's

1:20:23

so good. Oh my God. Yeah. Yeah. Damn.

1:20:26

I since we're finishing

1:20:28

up on

1:20:30

him and Marge, and I

1:20:32

loved it because there was another piece of info

1:20:34

that said that John Carroll Lynch

1:20:37

and Marge,

1:20:38

sorry, Francis

1:20:41

McDormand came up with their little backstory

1:20:43

kind of by themselves. They came up with that together.

1:20:46

The Coen brothers asked them to do that to just kind

1:20:48

of get into their characters. And I think that

1:20:50

they came up with is that they were

1:20:52

both police officers. And

1:20:54

Margie was actually a better police officer.

1:20:57

And so with the child

1:20:59

coming, one of them, they had to decide who was

1:21:01

going to quit

1:21:03

and like kind of stay home. And you got

1:21:05

your art thing too. Norm went to painting and

1:21:08

doing that stuff and Margie

1:21:10

stayed because she was a better cop. That's

1:21:13

cool. So it's like Norm

1:21:15

does have this very dejected kind of a presence,

1:21:19

but at the same time, he still in the

1:21:21

end seems happy, just seems tired. Yeah. You

1:21:23

know what I mean? Yeah, so I do really like

1:21:25

the relationship. I think that it ends on such a

1:21:27

great point of them together in

1:21:30

bed and they're

1:21:32

doing good. We're doing all right. And we're happy

1:21:34

two more months. It's a beautiful

1:21:36

ending. It really is. And that's our

1:21:38

actually real quick. We got to do prop though. Don't we? Yeah. Here's

1:21:42

a prop. I'm going to tell you what my prop is. I'm

1:21:45

thinking about wearing robes a

1:21:47

lot more now. I want Norm's like

1:21:49

weird flannel robe that he has on

1:21:51

in the beginning of the movie. We're sitting in the kitchen. Okay,

1:21:53

something about that color scheme. I'm like I could I could

1:21:55

wear that Cohen Brothers and robes man. I want to dude.

1:21:58

I want to rope. I want Norm's.

1:21:59

I'm gonna break into the Minnesota

1:22:02

Library of Congress or wherever the fuck this thing

1:22:04

is because it's somewhere in Minnesota and grab

1:22:07

that wood chipper

1:22:08

And take it inside of our studio

1:22:10

inside the studio You

1:22:13

know what I you know what there's

1:22:16

there's something about

1:22:18

All

1:22:20

the Marketing stuff and

1:22:22

so when she pulls up to that Hardee's

1:22:25

I want that hardy's like signed

1:22:27

like like the whole board Yeah,

1:22:30

the whole board right behind you. I just think it's

1:22:32

so funny like looking at

1:22:34

that stuff Hello from now. Hello

1:22:37

and her and and I just think about

1:22:39

that But

1:22:43

you have her pulling through a hardy's on

1:22:45

her because that's what you end up doing I just

1:22:47

want to get out of Minnesota or get out of

1:22:49

Minneapolis. Let's just get out of the city

1:22:52

before we

1:22:52

stop for some food You know

1:22:54

what I'm talking about well Let's just wait we'll

1:22:56

get out of town and then we'll stop and she

1:22:58

finds us hardies in a small town and

1:23:01

is and then she's Eating it and she just looks

1:23:03

completely just like

1:23:06

It's whatever. Yeah, it's whatever. Yeah,

1:23:08

but there's something about that sign man.

1:23:10

Oh,

1:23:11

yeah All right dudes. We have dissected this

1:23:13

with the scene by scene analysis.

1:23:15

We got modern-day ratings to give Sean

1:23:18

I think I'm gonna let you start. What do you want to give

1:23:20

this modern-day rating? I think this movie

1:23:23

is an absolute fucking masterpiece

1:23:25

and

1:23:26

Just about

1:23:27

a perfect movie, you know, I think there's a handful

1:23:29

of perfect movies out there Like, you know, you could say

1:23:32

Shawshank Redemption maybe like even

1:23:34

Halloween jaws

1:23:36

Fargo is a perfect movie. I

1:23:38

was shocked to

1:23:40

Rewatch this and see that it was only

1:23:42

an hour and a half I'm like, I remember

1:23:44

this movie being a way longer and it's just because

1:23:46

when I was younger I just didn't have the patience for these

1:23:48

kinds of movies and This movie

1:23:51

flies by I think like I said Almost

1:23:54

every scene is my favorite scene and

1:23:56

it changes upon every rewatch that

1:23:58

I do the casting is perfect Francis

1:24:01

McDormand deserved this. I think it's performance of a lifetime

1:24:03

and William H. Macy deserved

1:24:07

an Oscar for this movie. He needs an

1:24:09

award for just acting in general and

1:24:11

because of this role, I don't

1:24:14

see him at all in this role. I see Jerry.

1:24:17

Even though you know it's blank face William

1:24:19

H. Macy obviously he's right there. I only

1:24:21

see Jerry. I only see this pathetic person.

1:24:24

Filmmaking is incredible. I think it's an

1:24:27

absolute masterpiece. I'm gonna give it a... I'm

1:24:31

gonna go 8.9. 8.9 AJ? What

1:24:32

about you? So I give this movie

1:24:41

all the credit in the world for the

1:24:43

directing, the writing, the production

1:24:45

of it. I think the cast

1:24:47

is really great and everything. There

1:24:49

are just points

1:24:52

in like with with Coen Brothers movies that

1:24:54

they are a... I can't

1:24:58

do the thing that somebody I think mentioned is

1:25:00

like I could rewatch this every single day.

1:25:02

I could watch this every day. I was

1:25:05

reading people saying like oh I'd watch it and it's

1:25:07

only 90 minutes so it makes it real palatable.

1:25:10

I'm just sitting there thinking like I couldn't.

1:25:13

I could not watch this every day. This is for a certain

1:25:15

time

1:25:17

and you should take the time to appreciate

1:25:19

the movie not have it on the background. It's

1:25:22

not an incredibly rewatchable movie to me

1:25:24

if I'm being completely honest.

1:25:27

I think technically and everything about

1:25:29

it about making a movie it's wonderful.

1:25:32

It really is. However I don't want

1:25:34

to sit down and watch this movie like every

1:25:36

all the time. I really don't. It's whether

1:25:39

it's because it's honestly

1:25:41

just kind of depressing or if it's

1:25:43

because although it's a fast movie

1:25:45

I feel like it paces very slow. It's

1:25:48

just the way I feel about it. So that

1:25:50

being said it's a wonderful movie and

1:25:53

it deserves all the credit in the world. However for

1:25:55

me it's just not it's just not

1:25:57

something I need to keep revisiting. So I

1:25:59

That being said, I think I'm going to go ahead and give

1:26:02

this a

1:26:03

seven point

1:26:06

one. Seven point one for

1:26:08

AJ. Interestingly enough, I

1:26:11

own this DVD in a dual DVD,

1:26:14

Raising Arizona and Fargo. Oh, yeah,

1:26:16

so do I. Very nice. Very nice. Very nice.

1:26:19

Oh, look at us. Ah, DVDs. DVDs.

1:26:22

Oh, me. We're combo brothers. Sorry.

1:26:27

I find this these were two movies that

1:26:30

I watched

1:26:31

initially was like, well, I don't

1:26:33

really get it.

1:26:34

And then two movies because of this show, the

1:26:36

rewatch where I've been like, fucking love these movies,

1:26:39

both of them. I actually feel like they're

1:26:41

on par with each other doing the same thing, telling

1:26:44

a great story, making me laugh,

1:26:45

making me be like, what the fuck? I love

1:26:47

them both equally. I gave Raising Arizona

1:26:50

an eight point one.

1:26:51

I'm going to bump this up to an eight point two.

1:26:54

I think Fargo slightly better. And we got

1:26:56

executive producer Josh Miller who chose

1:26:58

this movie. He says after rewatching

1:27:01

it, my memory proves me right. It's a good movie,

1:27:03

not a great movie. I think it's fair to say

1:27:06

that the nostalgia of this movie is better than the actual

1:27:08

movie. But isn't that kind of the point we're

1:27:10

going for? I'm not trying to be overly critical.

1:27:12

It's much better done without any substantial

1:27:15

faults compared to higher rated movies. I

1:27:17

still love Macy's Jerry. I love the

1:27:19

story of how badly he wanted this part

1:27:21

so much that he threatened to kill the Coens

1:27:23

dog. McDormand's part

1:27:26

while well done. I don't know if I agree

1:27:28

that it was Oscar were they OK? I do like

1:27:30

the way the Coens film their movies. They have a distinct

1:27:33

style feel like Lynch movies, Fairly

1:27:35

movies. Hell, even Michael Bay films will see

1:27:37

you in May. I just we will.

1:27:40

They're big wide shots. They're writing and

1:27:42

dialogue the way they score. Overall, I think

1:27:44

they hit their stride with this one. I still

1:27:46

think their best work is brother where art, though. I

1:27:49

don't see myself racing out to watch this again, maybe

1:27:51

in another 20 years. I don't own it on

1:27:53

Blu-ray or DVD, so that might say

1:27:56

something. But if someone wanted to watch

1:27:58

it or asked, should they watch it, I would give.

1:27:59

a quick and solid. Yes. My modern

1:28:02

day score dips a little, but not too much. 7.1, just

1:28:05

like AJ. So that is a 7.8 three

1:28:10

for a modern day rating, which

1:28:12

you know, might be a little bit lower than

1:28:14

you thought, but that's going to tie it. Ready

1:28:16

for this?

1:28:17

Number 35, that's going to tie with monster

1:28:20

squad. Hmm. Whoa. Uh,

1:28:22

just for a little more perspective, American psycho

1:28:24

is slightly better than that. And,

1:28:27

uh, plane strains and automobile, automobile slightly

1:28:30

less than that. Yeah. This is where that falls. This movie should

1:28:32

be at least an eight

1:28:34

overall on our show. Where does, where does

1:28:36

raising Arizona fall into that? Raising Arizona

1:28:38

was higher. That was an 8.17. Wow. Okay. This

1:28:42

should be at least an 8.2. Yeah. We're

1:28:44

going to riot. Okay. I think our fans officially

1:28:46

are going to riot. People are pissed. But

1:28:49

this is the kind of movie that you're either like fucking

1:28:51

perfect masterpiece or it's okay. I think

1:28:54

it just depends.

1:28:55

Sorry, Sean. You have to go back and give it a 10. Yeah,

1:28:58

that's fine. Yeah. Well,

1:29:01

we hope you enjoy this episode. Thanks for tuning in and

1:29:03

being here next week. We got a bonus top

1:29:06

five movies from 1999, following that

1:29:08

up with big trouble

1:29:10

in little, we're finally doing it. Big

1:29:12

trouble in little China.

1:29:15

Also, if you're new to the podcast, go back this time last year,

1:29:18

Tommy boy. Oh man.

1:29:21

Oh, just saying. If you want to, if this was

1:29:23

a little dark for you, go back to Tommy boy, give

1:29:26

it a listen. I've been quoting Tommy boy recently.

1:29:28

I don't know why I might just go back

1:29:30

and listen there. And don't

1:29:32

forget we have a voicemail cost at three one nine

1:29:34

eight zero four ninety five ninety six. Leave us some

1:29:36

feedback like today's caller. All right

1:29:39

guys. I just got done listening

1:29:41

to the fifth element

1:29:43

and it's the final straw that

1:29:45

broke the camelback. I can't do it anymore, guys.

1:29:47

I love you, but I

1:29:49

have almost crashed so many times

1:29:52

with how hard I laughed at

1:29:54

you guys. The thought

1:29:56

of the fifth element breaking into

1:29:58

song and singing summer. night killed

1:30:01

me and although it was an easy

1:30:03

joke from a comedic standpoint the

1:30:05

one you missed was

1:30:07

the actual line from the song did

1:30:10

she put up a fight and in my mind

1:30:12

the song stopped Bruce Willis goes yeah

1:30:15

she held a gun to my head I

1:30:17

almost hit four cars right off bat

1:30:20

you gotta kill me I love you 10 out of 10

1:30:22

give it up. Took you some little ride

1:30:24

there huh? You thought he was gonna quit. You

1:30:26

know the straw that finally broke the camel's back you

1:30:29

say Vin Diesel.

1:30:30

That's it. Was in fifth element he wasn't

1:30:33

finger. He wasn't fingers. His

1:30:36

name's Dominic Toretto and he's

1:30:38

all about family. He can only play one character

1:30:40

in any movie. And he cannot

1:30:43

change his voice. No and he cannot

1:30:45

change his voice. He doesn't do that okay

1:30:48

but you do in fact

1:30:50

leave us reviews and five star reviews even

1:30:53

though you might hate us for saying Vin Diesel was

1:30:55

in the fifth element. That's completely fine but make

1:30:57

sure you write a review about it okay

1:30:59

and you can tell us all about

1:31:00

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1:31:04

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1:31:08

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1:31:11

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1:31:19

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1:31:21

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1:31:23

can also go to that same damn website and see where

1:31:25

this movie was wrongfully done and

1:31:28

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1:31:30

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1:31:32

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1:31:34

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1:32:03

That's it. Don't you know? You

1:32:05

betcha. You betcha. That was a good episode with

1:32:07

cold fronts coming in too, I think. Darn tootin.

1:32:09

Darn tootin it is. Are we square? We're

1:32:12

square. Are we

1:32:12

square?