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with Mallory The prestige TV podcast

1:35

at me and Mallory are both on. Maui's doing

1:37

the crown. Yeah. Or you did the crown?

1:39

In motion.

1:40

I'm still in the white Lotus world.

1:42

Wesley Morris is here as well. You can find him

1:44

under still processing. podcast,

1:46

which is not in the ringer podcast network. As

1:49

well as The New York Times,

1:51

we

1:51

were former Grantland Partners. Yeah.

1:53

Nice to see you guys. Great to

1:55

be with you. Leslie's been here for most of naughty

1:58

November egg cake, new

1:59

r November. a k,

2:02

Neo November, and all the other bad names

2:04

we've made for it. We've done

2:05

three movies. This is the fourth one. Ninety

2:08

November is the best. Yeah.

2:09

It's body heat.

2:11

I'm getting sweaty. Let's do

2:13

it. Kathleen

2:15

told her explaining her body

2:16

chemistry. My temperature runs a couple

2:18

of degrees high around a hundred. William Merritt.

2:21

seem in your body language. Maybe

2:23

you shouldn't dress like that. I don't know what you're

2:25

talking about. You shouldn't wear that body

2:27

together. They're conspiring. Evan

2:30

Walker. nice to make you to fill one

2:32

body

2:32

bag. We're gonna kill him. Watch

2:36

two sizzling stars. And the kind of movie

2:38

you fought Hollywood got how to make.

2:47

Alright. Let's start here.

2:49

erotic thriller, Mount

2:51

Rushmore -- Oh. -- for a little turtle.

2:55

Body heat fiddle attraction. basic

2:57

instinct, unfaithful. Who

2:59

gets knocked off? Unfaithful. That's

3:02

you don't think that's worthy? No. So what's your

3:04

fourth? I like the crazy ones.

3:07

I like the totally off the wall ones

3:09

like some of them include color

3:11

of night,

3:12

final analysis, color of

3:14

night. That's not Mount Rushmore. I'm not

3:17

okay. Not Mount. But this is I got

3:19

it. painful. But you see what I'm saying? Like, it's

3:21

hard to come up with fourth is my point. the

3:23

first attraction of Salem. As we've discussed

3:25

-- Yeah. -- put

3:26

them all out of business. Yeah.

3:28

The genre went on, but it wasn't you

3:30

know, it was building that moment and it peaked

3:32

early. What would you have body heat, fan attraction,

3:35

basic instinct, what's your fourth?

3:36

I honestly like the four you had.

3:38

Yeah. I'm not a big unfaithful person

3:41

we've discussed, you know, if you came on the

3:43

pod, I made you do it. I know. I know.

3:45

It's fine. I don't I don't mind it. There are

3:47

things that I like, but I

3:49

would just I would I'm gonna sit here for

3:51

a second and sit with the with the with the alternatives.

3:54

They're none that are as great. Right?

3:57

Wesley, you don't have to answer. My point is that

3:59

I

3:59

think the first three have to be on every list, and

4:02

then you probably argue about the fourth depending

4:04

on what you like in movies. But body heat

4:06

starts at nineteen eighty one. It

4:08

is the first modern erotic

4:10

thriller. It takes all the stuff that was happening

4:12

in the forties and fifties and sexifies

4:15

it. It's interesting that

4:17

you need a movie you need

4:19

you need something based on an old movie

4:21

to start this genre. Right?

4:24

Like, it is capturing something that's in

4:26

the air of old noir movies.

4:28

But double indemnity was the one that got it

4:30

compared to the most, which was because this is they're

4:32

similar things. Right. I

4:35

think that it is important that you

4:37

have the actual DNA,

4:40

like or something that is that that

4:42

is acknowledging the DNA of

4:44

of the past. Mhmm. Right? Like

4:47

that great period of Hollywood filmmaking

4:49

-- Mhmm. -- where it was in the studio system

4:51

and they were really in it in genre, and

4:53

that is a thing that this movie is calling

4:55

back to. What do we need the most in

4:57

an erotic thriller, Moe? We do we need

4:59

it to feel like the main two characters

5:02

actually probably fucked as soon as the

5:04

filming ended for the day and then went back to

5:06

somebody's trailer. I'm like, let's just finish this

5:08

guy. So

5:08

Absolutely. Yeah. You need

5:10

to feel like you're

5:12

rolling around in the melted cherry

5:15

snow cone with them, you know,

5:17

the sweetness of it, but also the

5:19

stickiness of it. Like, you need that forbidden

5:21

quality, but also the irresistible quality. You

5:23

need to be able to sense immediately that everybody

5:26

involved is making a terrible

5:28

mistake -- Yeah. -- but also believe

5:30

that they would be so swept up in it

5:32

-- Yeah. -- that it wouldn't and that

5:34

all of the very present

5:37

and recurring signs throughout

5:39

the rest of

5:39

the film would be ignored until it was

5:42

too late. Because the sex is that good.

5:44

Yeah. you'd literally kill to keep

5:46

the sex going. That is the question.

5:48

Who would you kill for and why?

5:50

Yeah. And I

5:52

think that is that

5:54

is the primal that is the primal

5:57

energy is the is the death

5:59

drive and the danger zone.

6:01

Right? Like like, if

6:03

those two things are apparent and

6:05

I as a person watching

6:07

this attraction, then

6:10

sex then, I don't know, some kind

6:12

of relationship happen. Do

6:15

I believe that one of those people

6:17

is worth killing for And

6:19

do I believe that anybody

6:21

in this movie is worth dying

6:23

to keep this relationship going? Mhmm.

6:25

and you probably need

6:27

somebody grabbing somebody's dick

6:29

and pulling them across the room. Only

6:31

here would be invented. Only here.

6:33

Yes. Holy cow. Pull the guy's

6:35

dick like he's a dog on a leash. Never saw

6:37

that one in movie theater.

6:39

No. But it's the most honest piece of metaphor

6:41

I've seen in one of these three years. Great.

6:45

Did this movie invent the

6:47

Lifetime Network? Or was that fatal

6:49

attraction? Oh, wow. And I was getting that for

6:51

an answer questions later. I guess we'll do

6:53

it. I mean, can I just see the prototype?

6:55

Right? Well Of no.

6:57

Thousands of cable movies. Because life

6:59

will I actually have a different

7:01

theory about this because there are different

7:04

iterations of what a lifetime movie is.

7:06

Right? Yeah. I think the lifetime

7:08

movie in Well, I don't know. You

7:10

could go back to the forties and sort of see,

7:12

like, a little bit of that DNA. But, like,

7:14

every decade, there is something that

7:16

leads up to, like, the very sort of

7:19

water down version of like

7:22

a a Douglas Cirk movie. By the time

7:24

you get to, you know, the lifetime network,

7:26

But I'm also thinking of, like, do you remember the

7:28

NBC Sunday night movie? Yeah.

7:30

Like, in how a lot of those

7:33

were kind of product fillers, but there

7:35

was a little bit of a social message to

7:37

them. Like, there was one with Melissa

7:39

Gilbert and Joe Penney. I used to watch all

7:41

this. story spelling was in a bunch of

7:43

them too. I mean, name name a TV

7:45

star, but Melissa the one with Joe Penney

7:47

and Melissa Gilbert is the one I remember. I do

7:49

not remember what it was called. but he was

7:51

an abusive husband and she was trying to get out. But,

7:53

like, yeah. The the the whatever

7:56

was between them was so strong that you,

7:58

as an audience, remember, like, I'm

7:59

attracted to Joe Penney so hard,

8:02

but I love Melissa Gilbert because Laura

8:04

Ingalls deserves to get out of an abusive

8:06

marriage. What do I do? I

8:10

think that's the some of that is the

8:12

scene for for lifetime movies because that

8:14

movie basically I don't remember

8:16

what it was called. It's a relationship

8:19

that's gone too far in some way?

8:21

Yes. That the no matter what the training

8:23

wheels have come off. Right. We're rolling

8:25

down the driveway and we don't have brakes anymore.

8:27

Right. all the wheels have come off. We're

8:29

not even in the left. I mean, somehow we're still

8:31

rolling down the driveway. The

8:34

driveway where Ned doesn't see the car and then

8:36

reflects on not seeing the

8:38

car. Oh, dead. Four dead. Four dead.

8:40

Four dead. Outcast every step of

8:42

the way. Now have

8:44

an award named after you on the Rewatchables,

8:47

whether could this movie have used the better

8:49

sex scene in the Mallory Rubin Yeah.

8:51

a great honor to my career here. Well,

8:54

I I would say you're --

8:56

Mhmm. -- you're, like,

8:57

the male hyper junior to the NFL

8:59

draft of of hot

9:01

sex scenes -- Mhmm. -- in Thank you. Our

9:03

rated an n two seventeen movies. Where does

9:05

this body heat? Like, what's going on?

9:07

Fellow child of Baltimore, by the way. There

9:09

you go.

9:11

ah When we

9:12

did American Jigolo, recently,

9:15

we chatted about how

9:18

one of the real surprises of revisiting

9:20

that film is that it's, like,

9:22

largely sexless, actually.

9:25

No. It is in hirely sections -- Yeah. --

9:27

including in his leading man, but

9:29

that's neither here nor there. Don't want.

9:30

and

9:32

And whether that lends itself to the story

9:34

ultimately that they're trying to tell inside that film.

9:36

Right? Well, here, you need

9:38

the overpowering irresistible

9:41

quality. You need to believe when

9:43

Peter says the leading by the dick. Right? Your dick

9:45

is gonna get you into trouble. You're literally being

9:47

pulled across the

9:48

room by it. The

9:50

shattering of

9:53

the window -- Oh. --

9:55

door to enter in the first place,

9:56

the stairs, the floor.

9:59

Let's talk about the

9:59

mattress. You can feel the silk of the

10:02

sheet. They've run out of ice --

10:04

Mhmm. -- to put in the bathtub. We have

10:06

a brief moment discussing a refractory

10:08

period like sex is constant in

10:10

the first half of

10:10

this movie. Yeah. Yeah. He's

10:13

sore. He can't get he can't go

10:15

anymore. She's insatiable. You need

10:16

to believe that Ned would

10:19

stand outside in this

10:21

heat wave for two

10:23

hours while he knows a

10:25

child is inside. He

10:27

knows it's not a night he can be there.

10:30

Looks like he has made his

10:32

way via ocean.

10:33

to the home

10:34

because he's so drenched in

10:37

sweat. But you have to believe that he would stand

10:39

there that whole time. Right? And then you have to believe that

10:41

the first thing that Maddie would say is how

10:43

sweaty and salty he pays. Like, the

10:45

movie is just drenched and

10:47

dripping in sex.

10:49

One of the things that's interesting about the film is, like,

10:51

hearing that there's an even racier

10:54

initial cut -- Mhmm. -- that

10:56

wasn't ultimately released because there's so much

10:58

sex in this

10:58

movie that's like, well, what was in? that.

11:00

It's funny. There's so much sex in this movie,

11:02

but there's never, like, too much

11:04

sex at one time. Everything

11:06

is, like, edited really nicely.

11:08

Yeah. Or it's, like, it's snippet somewhat. It's like

11:10

long snippets, but it's never

11:12

like the stereotypical they're

11:14

rolling around and she climbs on top

11:17

and starts mounting them, like,

11:19

separate like, a Willie Shubanker

11:21

for three minutes. Like, they don't have things like

11:23

that. It's all, like, you know, the side

11:25

of her head -- Mhmm. -- or him rolling

11:27

over or them, like, standing basically

11:29

naked by a window. Yeah. That

11:31

comes later. And I think the thing

11:33

that I love

11:35

is

11:36

the scene where he

11:38

breaks into the house to get her. Right?

11:40

Yeah. And she's just standing there

11:42

watching him do it. Like, come

11:44

get me. Yeah. Come get me. If

11:46

you want me so bad, break

11:48

in here and take it.

11:50

Yeah. And You don't

11:52

need sex when that's what you wanna

11:54

do, but you also kinda want you don't

11:56

need to see the sex. Mhmm. Because

11:58

that is the sex. Right?

12:00

Like, but

12:01

when you see them actually

12:03

do it When you well, you don't see

12:05

them do it. they're about to do it,

12:07

and he let holds off for a sec. Right.

12:09

The the great thing about the one of the

12:12

things I like about this movie in terms of the

12:14

way it's structured the way in terms

12:16

of the way that the sex is structured,

12:18

is that I think you it's 123

12:21

times they're together before you see them

12:24

anything like sex where she is where

12:26

she's Kathleen Turner is performing

12:28

you know, being

12:30

had sex with.

12:31

Yeah. That takes at

12:33

least three times. Right? Yeah. There's the beauty

12:35

of that on the pier, there's the are seen.

12:37

There's

12:37

the initial you're just here to look at the

12:39

wind chimes.

12:40

But even once we know they're doing it

12:43

-- Right. -- it takes three different,

12:45

like, encounters for

12:48

us, the audience, to see them having

12:50

anything we would recognize as

12:52

sexual

12:52

intercourse. Yeah. We're usually, like, with

12:55

them right before or with them right in

12:57

the wake of it. And I think it's really effective. Like,

12:59

there's the the initial sequence that you're

13:01

mentioning, the the kind of, like,

13:02

slow removal

13:05

of the underwear and the

13:07

camera lingers as he's placing the underwear down.

13:10

We have the window standing

13:12

naked in front

13:13

of the window and this, like, okay, post

13:15

coital,

13:16

really swept up in the bliss of

13:18

it. you're always with them right before, right after. And I think that part

13:20

of that's like what you're saying, it

13:23

really quickly establishes the this is just the

13:25

rhythm of their day now. this is the rhythm of their

13:27

day, the rhythm of the week. It's just a part of,

13:29

like, the fabric of their lives together. This

13:31

is a constant thing to the point where they

13:33

can't stay away from each other. if anything is

13:35

disrupted about the husband's routine,

13:37

which it is at some point. Right? With

13:39

Karen being dropped off and it

13:41

throws the schedule out of whack, then immediately.

13:44

It's like, well,

13:45

Do

13:47

we call each other? Do you sneak into

13:49

my office? Like, there's no

13:51

actual understanding of how to interact

13:53

with each other or be together in any normal way

13:56

outside of a stairwell or the

13:58

floor. I love it. It's a

13:59

bathtub. I love it. They're naked a

14:02

lot or, like, Yeah. It seems like they're

14:04

naked and they're very comfortable with the

14:06

two actors being naked with each other -- Yeah. --

14:08

which I think is also unusual for a movie. It

14:10

really feels like this is

14:12

a relationship you're stumbling into. Yeah.

14:14

And nothing feels staged at all. Yeah.

14:16

Even when they're even when they're clogged, they

14:18

they seem naked. Yes. Right?

14:20

And and the thing about the

14:22

routine that you're talking about, I love

14:24

that because, you

14:25

know, in a film theory class or some

14:28

kind of gender studies class, we will be talking

14:30

about the the disruption of the

14:32

domestic of the domestic, like,

14:34

by the introduction of this child. This

14:36

child is a destabilizing force

14:38

in the like, eliciteness of this

14:40

affair. Right? And the and not

14:42

only is the child, like,

14:44

sort of,

14:44

structurally destabilizing force.

14:47

She becomes a narrative destabilization.

14:49

Like, narrative clarification --

14:51

Yeah. -- for the plot. but a but a

14:53

narrative destabilization. Right? Because

14:56

she's the thing. She's the contingency that

14:58

can throw this whole plan out of whack.

15:00

And once she shows up at the end,

15:02

you're kinda like, not only did somebody read their

15:04

Henry James, somebody somebody

15:07

also understands stress,

15:09

where there really wasn't a lot before, but when

15:11

the kid shows up, you realize you care more

15:13

for William Hirst's character than you realized you

15:16

did. And you also kind of hate Dumb

15:18

dead. You kinda hate it. Dumb

15:20

dead. But you also kind of hate the

15:22

kid because she's kind of a child

15:24

actor -- Yeah. -- a little bit. you really

15:26

don't like, anyway, continue.

15:28

Turner set Turner did a great

15:30

playboy interview, which I read off. I

15:32

bet. Oh, yeah. I bet.

15:35

She said she was talking about

15:37

whether lines were crossed or in the filming.

15:39

Mhmm. Which it

15:40

seems like it got pretty

15:43

body on the set. She

15:44

said the truth is you can act sexuality

15:46

to a certain extent. But

15:48

if you were actually being touched, actually

15:51

touching Simmons, there's a gray area

15:53

there because your body is responding. Even

15:55

though your mind is saying, okay, now the

15:57

camera's there. I have to kiss at three quarters. So you're

15:59

thinking that stuff. we are us

16:01

having physical reactions

16:03

because nobody can be petted, touched, and kissed

16:05

without feeling something. I think that was the

16:07

effect on everybody. I'm sure that

16:09

anybody watched got caught up some extent.

16:11

Mhmm. It was just powerful stuff because

16:13

the and she's answering a question, like, a

16:15

couple times when you're filming the scenes of

16:17

William Hart, you ran off like,

16:20

you were so it was so

16:22

powerful. You ran off, like,

16:24

crying. Mhmm. Not

16:26

crying from the

16:27

but just He was so powerful that it

16:29

hit something in her. Mhmm. She wasn't

16:31

married yet. Mhmm. I think they

16:34

clearly had She's, like, twenty seven. She had

16:36

a connection that I

16:39

I don't know. I'd I'd researched as much as I

16:41

could. This is her first film role. Yeah.

16:43

She was a celebrity actress. Yeah.

16:45

And she won this, and she's with

16:47

William Hart, who had made one movie at that

16:49

point. This is when he's doing his

16:51

Altered states was the first one, and his body hate

16:53

and body hate and eye witness. Altered

16:56

states is his first movie. So

16:58

he's Wow. These are

17:00

pretty fresh faces at this point.

17:02

Yeah.

17:02

And and she was just a phenomenon when

17:05

this movie came out. I was like, who is this? And then

17:07

somehow it didn't work for two years after.

17:09

I think

17:09

it was too much. I think maybe that experience

17:11

was too much. And I also think that,

17:13

you know, I think

17:15

think like, what do

17:18

you what do you put this person in? What

17:20

do you ask this person to do after

17:22

this? Well, and also, like, where did she come from?

17:24

Because she's -- Yeah. -- on the

17:26

doctors. so soap opera. But she's,

17:28

you know, like,

17:29

if you're talking to eighty one, it's

17:31

the legacy of the forties and fifties and

17:34

you got Lauren McCall who I think

17:36

she was compared to a lot -- Mhmm. --

17:38

Hayworth -- Mhmm. -- a lot of Turner, all those

17:40

people. And then that kind

17:42

of actress went

17:44

away. Mhmm. I don't really know

17:46

where it moved into, like, a fade down

17:48

away type of -- Yes. -- where the

17:50

neurosis sort of took off? Yeah. Where you were

17:52

attracted, but you weren't There was,

17:53

like, a

17:54

You wore this new baggage to

17:56

it. Right. Yeah. I mean, it brought it back

17:58

to the first theme alone

18:00

is the person who I think nobody talks about from

18:02

the fifties, who was the who

18:05

was that was she was the

18:07

destabilizing star. Yeah.

18:09

Were, like, she was the I mean, all those

18:11

like, Betty Davis was a neurotic. Mary and

18:13

Hopkins was an neurotic. But Betty

18:16

Davis was never I

18:17

would risk my whole life to have sex

18:19

with the baby Davis. No. But

18:21

but, you know, it's funny that you put

18:24

it way because that, of course, the power the mysterious

18:26

power of Betty Davis, was that

18:29

I don't know I

18:31

mean, you'd have to talk to me about her as an erotic

18:34

presence, not that she necessarily was one.

18:36

Yeah. But is she someone

18:38

who you

18:40

know, all the movies are about, like, every movie is a

18:42

is a, like, has a man or two who want

18:44

her. Right. Right? Where she is caught

18:46

up in some kind of sexual shame,

18:50

drama, or she's

18:52

commanding sex. Right? But

18:54

the the her she

18:56

is like, the eroticism of Betty Davis is

18:58

not the appeal. It's the it's the

19:00

power. It's the control. It's the command

19:03

of herself. That in

19:06

tandem with the neurosis that kind

19:08

of takes over in the seventies,

19:10

you know, that you see in Stay Dunaway.

19:12

Stay Dunaway is basically Betty Davis

19:15

goes to therapy and maybe

19:17

stops going to therapy or

19:19

something. Yep. And

19:20

so by the time you get to movie like

19:22

body heat, like Kathleen Turner has the

19:25

option. The thing that I like about this movie is

19:27

it is all those avenues sort of

19:29

leading to to a character and performance like this

19:31

where she knows

19:32

the score. Mhmm. She is

19:34

fully in touch with her sexuality

19:36

as ridiculous as that connect sometimes

19:38

is But she's got the voice too. The voice was

19:40

her calling card. And she has what

19:43

you would look up in the dictionary.

19:45

If you looked up, like,

19:48

sex in the

19:49

dictionary. Yeah. It would

19:51

one

19:51

of the one of the one of the

19:53

the the listings would be for Kathleen

19:55

Turner. Yeah. So Go.

19:58

I think that

19:59

the voice point is

19:59

important because, like, in addition to now, it's

20:02

just being something that's like extricable when

20:03

you think about her and her entire film career for

20:05

this

20:05

is like an introduction for so

20:07

many viewers. It is

20:09

so of a piece with the overall

20:12

visceral quality of the movie. Mhmm. like,

20:14

again, as I think, like, American Jugalot, not to

20:16

constantly mention it, but we just talked about it. It is such an

20:18

interesting contrast with the

20:20

sex in that

20:20

movie. So clinical

20:23

technical, and that's the point. Right? And here

20:24

it's like, you're watching

20:26

it and you can smell

20:28

the cigarettes in every room.

20:30

You can feel the fog

20:33

pressing against your eyeballs. Like, you

20:35

can feel the sweat. You're wearing

20:37

my t shirt. Oh, wow. It's simple. You

20:39

mentioned your clothes wet. Yeah. Yeah. And

20:41

it's like clothing's not just something to be

20:43

removed. It's something you have to peel off of another

20:45

person. Right? And so it's a voice is a part of

20:47

that. It's something that calls

20:48

on one of your senses in a way

20:50

that is, like, overpowering

20:51

an almost like animalistic inside

20:53

of

20:53

the movie. Yeah. Yeah. No. The

20:55

the clothes are, like, something you have

20:58

to peel away to get it fruit. Like, that is the that is

21:00

another way. a couple of things that I've done. I remember

21:02

that remember that long hot summer. I think it was

21:04

called with Don Johnson and Jennifer kind of

21:06

Or the wet or the hot spot. It was a

21:08

hot spot. A hot spot. Yep. Same thing. There's

21:10

been movies that have gone after the sweaty

21:12

-- Yeah. -- the sweaty sexy look,

21:14

but this one mass Wasn't Virginia

21:17

Madison, though, to be clear with Yes. She

21:19

was she was there, Tika. Yeah.

21:21

I was thinking about if you start

21:23

with Turner --

21:24

Yeah. It's

21:26

almost like a championship belt --

21:28

Mhmm. -- that passes from actress to actress

21:30

There is to see where this goes. Well,

21:32

I think Greta Scottie had it for, like, a split

21:34

second there. It's really one year.

21:37

Yeah. She had a couple movies, and

21:39

then that was basically her presumed innocent

21:41

character. Was this -- Right. -- she takes Rusty the lawyer and

21:43

he's just that's it. He asked to have her

21:45

and then his I don't wanna spoil it, but

21:47

that doesn't turn out great, mister Greta.

21:51

Right to Sharon Stone? Mhmm. Yeah. Mhmm. Who

21:53

I think is basically like the younger sister

21:55

of Kathleen Turner. Then we moved

21:58

to

21:58

like Demi Moore to

21:59

disclosure. gonna say -- Yeah. -- by

22:02

disclosure, she has it. Like, she's figured out

22:04

some sort of persona. I

22:06

think Kalle

22:06

Barry had it for a little bit.

22:08

Mhmm. But never got to use it in a way

22:11

that was and it

22:13

was

22:13

never like a she never got to be powerful

22:15

with it. She never got to own it. Swordfish

22:17

was the only one where they she

22:19

makes Swordfish and and they basically

22:21

say, how are berries gonna be tapas and then

22:23

some people like what? I

22:26

went. Right. But that's There's top us in there. Sherwalta

22:28

and Top us Sally Barry, but that

22:30

so she did have some power. It was never tapped

22:32

into in the right role. But, like, think about what

22:34

that is. That's, like, reading, like, a bond girl.

22:36

I know. Well, she she basically that those were

22:39

the parts. Right. She never had her version of

22:41

the body heat. I

22:43

think Rob

22:43

I forgot to mention Robyn Simmons just in

22:46

Boomerang. Yeah. I felt like -- Yeah. --

22:48

tapped into it for now. Jolie was

22:50

the next fine. Oh, yeah. I mean And

22:52

this is like mister and missus Smith, you're

22:54

watching her take Jennifer Aniston's

22:56

husband away during this two hour spy

22:58

movie. Yeah. Like, she's just thrown

23:00

a hundred thirty. Yeah. I think okay.

23:02

Keep going. Scarlet

23:04

Point, especially. Mhmm. Match Point, that's

23:06

basically the whole point of a role in that.

23:08

And

23:08

then it kinda I don't

23:10

never really happens again until

23:13

we're there now with Sydney Sweeney, and I don't

23:15

know what movie it's gonna be. Sydney Sweeney.

23:17

but it will be a Sweeney movie. I I set a

23:19

personal over under for how many minutes in before

23:21

you mentioned the Sydney Sweeney. Oh,

23:24

no. What does see how do you

23:26

do? I I think we're at a minute. I think we're at the

23:27

the the under. Yeah.

23:31

Twenty. He needs her

23:33

body. Yeah. Like something something because

23:35

she's the one that could have the somebody

23:38

being, like, I'm gonna risk it off for Sydney

23:41

Sweeney. Definitely. It's a hard thing though, it's

23:43

because there's been a lot of beautiful

23:45

actresses, but very few of them can

23:47

pull up

23:48

that extra thing. Mhmm.

23:50

where it's like I can get anyone on the palm of my hand

23:52

and you will commit a murder for me. I

23:54

would throw

23:55

in Linde Linde Linde

23:58

Fiorentino. I don't know how

23:59

that

23:59

what she does. Just in that one movie with Peter --

24:02

Last production. -- and Jade also.

24:04

Which Jade? You know, it's bad. Of

24:06

course, it's bad. Yeah. But it's, you know, she still had

24:08

it. Right? And I think she had it in

24:10

a way that really scared men in

24:13

Hollywood. Oh, yeah. Because she never worked

24:15

again really after that. Right. And I

24:17

think it was too much.

24:20

Awesome. And at that point, I mean, what were you gonna

24:22

ask Linda Fiorentina to do a

24:24

romantic comedy? Right. I don't think nobody

24:26

I think nobody I I feel like that is

24:28

a that it's where we never got to the

24:30

bottom of, what the hell happened

24:31

to that career? Mhmm. And I

24:33

think

24:33

it's just pure workplace

24:36

sexism. That's my

24:38

jurisdiction. Yes. So,

24:40

yeah, it's a rare quality. Pal Paul and

24:42

kale is less impressed. Yeah.

24:45

She said that Turner was following the marks

24:47

on the floor made by the actress who

24:49

preceded her. Yeah.

24:51

That's a fair point

24:54

if you grew up watching -- Yeah. --

24:56

actors you just listed. Yeah. What's your point,

24:58

Pauline? That if she was influenced by other

25:00

actors, this is a bad

25:02

thing. But that's like that's kind of part of the

25:04

conversation and the the critical conversation around the

25:06

film in general where even though it's like it's

25:08

broadly a very well

25:11

reviewed

25:11

movie where there

25:13

is a divide, it's it's there.

25:15

Right? It's like, is it too

25:18

derivative or is the fact that it's such an

25:20

intentional owed part

25:22

of it's like brilliance and charm. But the

25:24

people responded to that differently. It was derivative,

25:26

but it also wasn't because none

25:28

of these movies were loaded with

25:30

sex like this. I mean, it's

25:33

basically Well, no.

25:35

This was, like, basically, colorized

25:37

a movie like this. Oh, you made a classic

25:39

forties and fifties movies. Yeah. It was

25:41

it was so much more modern in

25:44

men. Advanced, I think. I think this

25:46

is interesting to think about. This movie

25:48

came out in eighty one. Right. Yeah. It

25:49

is made by a person who grew up with the movies that

25:52

we're talking about. One of those cast and would have

25:54

been, you know But when you say

25:56

eighty one, You also could've told me it came

25:58

out in seventy three or eighty

25:59

eight. Yes. This is one of those movies.

26:02

Right. I don't even know does

26:04

eighty one feel like it's

26:06

remotely present in this movie in any

26:08

way other than no cell phones?

26:10

Only in the

26:13

the way the the way that the

26:15

characters interact

26:16

with each other -- Mhmm. --

26:19

I don't know how to explain it, but there's

26:21

something about the

26:23

kind of loosened understanding of how

26:25

everything is basically out on the table.

26:28

Everybody knows that that that

26:30

Ned sleeps with with

26:32

-- Yeah. -- whatever woman -- Right. Yeah.

26:34

-- back with him. Yeah. I was thinking

26:36

the only thing that feels dated about this movie

26:38

is Ted Hanson pre cheers --

26:40

Yeah. -- kind of like nerdy. What's

26:43

his name? Like Peter. Yeah. Or Lowenstein

26:45

or, like, just it's three years

26:47

later, there's no way you could cast head dancing this

26:49

part. He'd probably be in the William Hart part.

26:51

Yeah. Or he's not in the mood. I mean, it

26:53

doesn't work. It doesn't work. Like,

26:55

I mean, I am attracted to Ted

26:58

Hanson during the period, but not -- Very different

27:00

energy. -- not in this way. He couldn't do what William Well,

27:02

let's talk about our guy, Bill Hertz.

27:04

Yeah.

27:04

Yeah. Dearly departed, just

27:06

an unbelievable run. one of

27:08

the great IMDB runs, altered

27:11

states I witnessed body heat, big

27:13

chill. What

27:14

happened

27:14

to you, Nick? What

27:17

happened to you? Gorky

27:22

Park, kissed the spider woman children of lesser

27:24

god, broadcast news, accidental

27:26

terrorists. Oh, in eight years. Wow. Just the me.

27:28

Fangers. But what happened? What did you what

27:29

happened after that? Just

27:31

I

27:33

I think he had an eight year and then you

27:36

get passed by

27:37

I mean, I'm trying to you remember

27:40

exactly he made. What did he make after

27:42

I can't remember what anything after accidental

27:44

Morris think he was from that period. From

27:46

what Wesley famously difficult. Yeah.

27:48

Yeah. Yeah. I think that was a piece of it. Had

27:50

a long run-in

27:51

the MCU as steady as

27:53

Ross. Boy. Right. Yeah. That's true. If

27:55

you can't deny it, it's a fact. Harrison

27:58

Ford is poised to take over by the

27:59

way. Just I

28:02

swear.

28:02

Wow. Jesus. Yeah.

28:04

Did the day They're ready for phase five of them to meet

28:06

him. I'm just concerned given how often

28:08

he sustains, like, very serious injuries

28:11

on the sets of

28:12

Star Wars and he's, like, hey, Jones movies that

28:14

being in the MCU is, like, not safe for

28:16

him.

28:16

But One thing with with

28:18

Kurt, he does this movie with cast and then

28:20

in his body with a big chill with cast and

28:23

where he plays an impotent guy.

28:25

Mhmm. So he goes from playing, like,

28:27

this sex crazy, basically,

28:29

man toy and body heat

28:31

too, a guy who can't get it up two years later

28:33

with the same director on the run. And then

28:35

accidental tourist -- That's right. -- is is

28:37

with Cass Big Union. Yeah. Yeah. I

28:39

think the thing about William Her It

28:41

there's

28:44

been nobody like him. You know, typically --

28:46

Yeah. -- all the all the actors from

28:48

from from the era in which this

28:51

movie is calling back

28:53

to, they're all Jews

28:55

who were hoping to be William,

28:57

a William Hertz type. Right?

28:59

they were all like fashioned

29:01

by the studios to be

29:03

the waspiest person you could be.

29:06

And so forty years

29:08

after, you know, this great

29:10

anglicization of,

29:12

you

29:12

know, all

29:13

different kinds of ethnicities.

29:16

to, you know, to be these these

29:19

wasps. You finally get a great

29:21

wasp actor

29:22

to

29:23

also kinda be a movie star.

29:26

And

29:26

it's just really interesting to be that, like,

29:28

all of the circles coming around

29:30

on this. Like Kathleen Turner is

29:32

just appear to have had any work

29:34

done to become Kathleen Turner. But

29:36

all these people from from the

29:38

era in which this movie is harkening

29:41

back to, Like,

29:41

the stories that you you can read

29:44

about what what actors

29:46

what people went through to become actors --

29:48

Yeah. -- and movie stars who looked like

29:50

what those people looked like. And then just,

29:52

you know, Kathleen Turner shows up

29:54

and just seems like she

29:56

just fell off the movie star

29:59

truck. Six years

29:59

later,

29:59

this is Coster.

30:01

I've thought a

30:02

lot about Coster in this movie. Couldn't

30:04

do it. It's definitely in it.

30:06

And when Oh, you mean if they make this in

30:09

nineteen eighty seven? Yeah. And I think no way

30:11

out in nineteen eighty one is

30:13

William Burke. I do

30:14

think Kosta ends up taking a lot of

30:16

these Wim William Hirdles look at older. He

30:18

started losing his hair a little bit. Dang hair. He's

30:20

moving to a different hair. That's a huge thing.

30:22

The thing about Coster,

30:25

though? Okay.

30:26

So William Heard in this movie

30:28

is

30:29

very sexy. and

30:31

very magnetic

30:32

-- Mhmm. -- but -- Mhmm.

30:34

-- he's not Kevin

30:35

Coster. Like, specifically, he

30:38

is not Kevin Coster is not one of the five most

30:40

handsome people who's ever been in movies. And I think

30:42

you have to like, obviously, we'll get later

30:44

the the who would be in this movie, you know,

30:46

recasting couch for two and twenty two,

30:48

etcetera. And it's

30:50

difficult to actually find that sweet spot

30:52

where it's somebody who is

30:54

commanding and magnetic enough,

30:56

but also

30:57

like you have to believe would be so swept

30:59

up in this that they couldn't just go move immediately

31:01

to the next there's another point here that is

31:03

very important to your point, which

31:06

is that William Hertz has never played

31:08

a purely good person.

31:10

Right? There's always some

31:13

streak of finality to every one

31:15

of these characters for the

31:17

most part.

31:17

And yet, we're like, think about

31:19

Tom and broadcast news. Mhmm. Like,

31:21

this

31:21

is a guy who is the hero of

31:23

your Morris, essentially. Because

31:26

he's good looking, the movie is

31:28

about how good looking Tom is.

31:30

Mhmm. And yet the thing that

31:32

kind of syncs the relationship between him

31:34

and Holly Hunter is an

31:36

act of ethical corruption. Mhmm.

31:39

Right?

31:39

It's over

31:40

and over again, kids of the Spider Woman is the

31:43

only movie that he

31:45

that he makes during this run where

31:47

I mean, that's not the only one. I think

31:49

Gorky Park is sort of He never made a movie like

31:51

big. No. No.

31:52

No. No. These guys are all

31:54

problematic. He was never the dad in

31:56

home alone. Sean

31:59

heard who

31:59

kept his problems out of the movies. Yeah.

32:02

Yeah. Yeah. Yeah. But yeah.

32:04

I mean, the you know, that's the thing about net this

32:06

film. Right. He he

32:09

already he already is corrupt.

32:11

You

32:11

know what the other thing with William Hart? Right.

32:13

I always felt like he was William Hart

32:15

in the movie. Yeah. Yeah. Yeah.

32:18

Yeah. Like, the role would change.

32:20

Maybe his hair, he had a mustache, or he didn't,

32:22

or whatever. But he -- Yeah. -- it was he was

32:24

never that far away from being

32:26

William

32:26

Hertz -- Mhmm. -- which I think Michael

32:28

Douglas was like that really in anything

32:30

he did except for baby and a snare.

32:32

Maybe watching costumes like that, but they

32:35

you know, Richard Gear is like that unless he's

32:37

evil copper gear. But the most part, he's

32:39

just Richard Gear. Richard Gear, evil

32:41

copper Gear is tapped into something

32:43

essential about Richard Gear. you

32:45

know.

32:46

Kathleen

32:47

Turner.

32:49

She goes from here to the man with

32:52

two brands. Oh, yeah. That's a good Steve Barton

32:54

movie. Yeah. Or she basically pays a parody of this

32:56

body heat character. Mhmm. And

32:58

then romance in the stone. Right. She becomes one

33:00

of the biggest and thank God for that

33:02

movie. Thank God for that. Princess Stone is

33:04

an awesome Because I

33:06

think that everybody all

33:08

three of those guys, Davido, Danny DeVito,

33:10

Michael Douglas, Kathleen Turner, if it weren't for

33:12

that movie, which is Robert

33:15

Demeka's film, their

33:17

careers are different. Right? Like, who knows

33:19

what happens to her? This is a great this is

33:21

a great answered what if. Right? Like,

33:24

we now know what would have

33:26

happened if Like, the right movie

33:28

had come along and exactly the right

33:30

time. It didn't change too much,

33:32

just gave it more of a plot -- Mhmm. --

33:34

and had more of

33:36

a different kind of movie

33:38

passed to operate with it. Both of them are

33:40

great. They're great together. She

33:42

looks awesome. Yeah. I was so in love

33:44

with her in nineteen eighty four.

33:46

Like, just That even got

33:48

Ken over heels. Just absolutely

33:50

in love with her. Yeah.

33:52

Pretty's on her. Mhmm. says the Rumensin Stone

33:55

sequel. Peggy Sue gets married.

33:57

Yep. Julia

33:57

and Julia. Switching channels. It's

33:59

starting to flip a little bit. No. She Then who

34:02

frame Rubin Abbott? And her voice becomes the

34:04

star of an animated movie, which was kind

34:06

of unheard of. She's an national tourist. And then

34:08

finally, the eighties end with her

34:08

with the War of the Roses. Yeah.

34:12

which is such a fascinating movie. It's actually one of

34:14

my wife's favorite favorite movies. I love that.

34:16

And she's awesome in that

34:18

movie. Like, it's awesome. and

34:21

that's the decade of Cathlyn Turner, but I think she's one of the

34:23

four biggest actresses of

34:24

that decade, I would say. Mhmm. Right?

34:28

Mhmm. Mhmm. You'd put

34:29

her you'd certainly put her against anybody.

34:32

I mean, who else

34:33

are they? Goldie Horn? Not Goldie

34:35

Horn's, like, kind of

34:37

fading away by By the end of the By

34:40

the by the eighty three or four And her first half, which I think is

34:42

more seventies though. Her

34:44

start up though, her bank ability

34:47

She's a she's a movie star in the eighties, not the

34:50

seventies. Right? Whoever's on the

34:51

list, Cathlyn Turner's on it.

34:53

Yeah. Yeah.

34:55

That's fair. and just trying to think who

34:56

else? The Colin Card was the voice. Mhmm.

34:58

Yeah. And she had this

35:00

spirit to her. Mhmm. But

35:02

you just

35:02

seem like she seems like a fun egg.

35:04

You get a little crazy. Come over house. Maybe you opened

35:07

in that second bottle wine. I can't believe

35:09

we did that. She also seems

35:11

like a good storyteller. Yeah.

35:14

I don't know why because she I mean, the way she works in War

35:16

Thunder Rose is the way she works in Peggy Sue

35:18

got married. I mean, she's required

35:21

to talk a lot. is

35:24

unbelievable. War of the Roses. Yeah. War of the

35:26

Roses is an interesting movie too because --

35:28

Yeah. -- it really is I

35:29

watched this two years ago. And there's something

35:32

the surprise of it to me is how much

35:34

it is

35:36

about a woman who

35:38

realizes that

35:40

She has married, but she realizes

35:42

she hates

35:42

her husband. She hates marriage. And

35:45

her husband. Yes. But

35:47

I think actually She has a heart attack, and she's like,

35:49

I realized that was disappointed that you lived -- Great. --

35:52

good stuff. But there's every time under

35:54

here. It's everything about

35:56

marriage. She hates the kid. She doesn't hate

35:58

the kids, but she hates the child of traffic.

36:00

The things that you're supposed to do

36:02

and give

36:04

up. Right. classic. I does this is this is the

36:06

stereotype of

36:08

the of the wife

36:10

as as

36:12

like, food oriented business owner. Yeah. Does that begin

36:14

here? Is it is it food that she wants to make

36:17

or is it those statues? I can't remember. because she

36:19

wants to make, like, rest

36:22

piece. It's like food. Baby boom is this is the

36:24

plot of baby boom. This

36:26

is big business. I think they're

36:29

some food oriented thing in that movie where

36:31

Beth Miller and and Lily Tom gonna

36:33

wanna go into hog hallow is where

36:35

they're from, I think. So you're saying, like, the

36:37

woman getting into food as an industry era? That's their that's

36:40

that's one

36:40

of the dreams that women might think of one

36:42

of the reasons every day in

36:46

DaVita. Interesting. You cut out every day he directed it.

36:48

And he just puts himself in it with

36:50

this flashback where he's talking to

36:52

somewhere. Yeah. It's all terrible. He just cut

36:54

off it out. Just give me the

36:56

Just giving advice to an agent. Don't

36:58

need it. Right? Okay. Don't need it.

37:02

And then

37:03

Well, let's let's take a break and then we'll talk about Lawrence

37:06

Castle. Okay.

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safe like simple safe. Alright. So

39:27

Lawrence Castan, just on a fucking

39:29

heater.

39:30

Unbelievable. Mhmm.

39:34

He wrote Empire, strikes back, and raiders of the

39:36

lost ark, and back to back to yours. Not sure if

39:38

you've heard of those movies. Unbelievable.

39:40

Ritz and Direct's body heat.

39:43

He read Continental Divide. This is

39:45

we're only in a three year span here. What's

39:47

Continental divided again? That was the blue sheet movie. That's Yeah.

39:49

I was gonna say, she may Every

39:51

one of those guys wound up making a s like a movie with some major editor in

39:54

this person from this period. Yeah. He

39:56

writes Jedi.

39:59

rights to Direct's Big

40:01

Show, rights to Direct

40:03

Silverado, rights to

40:05

Direct's accidental

40:07

tourist, He does that love

40:09

you to death, grand Canyon, white or

40:12

open French kiss. That's all in fifteen

40:14

years directing. He had a good

40:16

run. He had a very good run. and

40:18

goes down, I mean, despite

40:20

the great director stuff as one of

40:22

the great screenwriters, and now is having the

40:24

renaissance again.

40:25

That's right. Empire

40:28

through big

40:28

chiller. That's all just three

40:29

years. Yeah. Like, that's unbelievable. I

40:30

was gonna ask you guys exactly.

40:33

Is that a typewriter. He

40:33

doesn't even have a computer. He's

40:36

typing scripts. Where does that

40:38

rank among the best starts to a

40:40

career ever?

40:42

What's up there? For a screenwriter and movie maker. I mean,

40:44

I would say like that that first

40:46

five years

40:46

has to rank among anything

40:50

because he's

40:50

writing movies that are the biggest movies of all time and

40:52

on top of it doing body heat

40:55

and big big chill. Not

40:58

just the biggest movies of all time. I think this is like a classic part of the

41:00

the cast in

41:01

essence redefining something fundamental about the

41:03

genre. Yeah. Right? So and, obviously, I'm a

41:05

huge star wars fan.

41:08

So, like, and big shows one of my favorite movies ever and so

41:10

is Raiders. So this is like -- Yeah. --

41:12

this is like an all time iconic stretch in terms

41:14

of people making movies that I

41:16

love.

41:16

But when you revisit

41:18

Empire strikes

41:19

back, in particular, I

41:22

think that it is difficult to overstate,

41:24

especially, you know, we're were forty

41:26

five years into Star Wars is like a

41:28

defining thing in pop

41:30

culture. What

41:32

Kazan did to

41:34

that script and the in the elements that were introduced into

41:36

that script -- Mhmm. -- that would not have

41:38

been there. What is his relationship

41:41

to that screenplay? So

41:43

he came in late. And

41:46

a lot of the darkness

41:50

of

41:50

the movie is,

41:53

like, credited to to

41:55

his

41:55

hand. Okay. So I

41:57

think also though like a figure like Han Solo who

41:59

is

41:59

obviously very well established in Star

42:02

Wars in a new

42:03

hope as like the rogue

42:05

and the smuggler the way that his kind of

42:07

like sexiness emerges in

42:10

empire, like, those were the scenes with Leia

42:12

and Han in

42:14

a hallway.

42:15

on Earth. Mhmm. And

42:16

so there's just like this energy. You know, you

42:18

rewatch a new hope,

42:19

of course, also one of the most important movies ever made.

42:21

And you're

42:21

like, right. This is when we wondered

42:24

if Luke Leia who were siblings were gonna fuck each other. And

42:25

then you watch Empire and you're like Star Wars can be

42:28

sexy. Star Wars is introspective.

42:30

Star Wars

42:32

is dark.

42:32

Star Wars, this is the scene where Luke

42:34

goes into the cave on D'Agaba. And Darth Vader's helmet comes off

42:36

in his vision and he sees his own face.

42:40

Like,

42:40

the things that are there. And it's this did you apply it? It's not

42:42

a one to one, but the neo noir elements too.

42:44

It's, like, because something was central

42:46

-- Yeah. -- to the genre and

42:48

then

42:49

putting that new modern

42:52

contemporary element

42:52

in flavor. What do you

42:54

do with a cliffhanger? Like, what do how

42:56

do you how do you how do

42:58

you re fashion a cliffhanger for whatever was modern in

43:01

nineteen seventy seven? Mhmm. How

43:03

do you take, like, old

43:05

romantic comedy and refashion it for something

43:07

in nineteen seventy seven. Like, this is

43:09

what Superman did so well. Right? Like, you it's

43:12

different because there is

43:14

a darkness there's

43:14

like a darkness the

43:16

the Luke Hahn's or

43:20

Luke Hahn

43:22

Leia situation, but there's still fundamentally, like,

43:26

Luke has ralf pellet me in that situation.

43:30

Right. Right? Like, roof Ralph.

43:32

Luke Skywalker is the Ralph

43:34

Bellamy of that. Well, that if people

43:36

don't know that, Pria. Shubaka

43:38

was initially

43:40

ampotenvii and nonvat related to Empire Strikes. But then he took

43:42

that. He moved it. I think so.

43:46

He the Oh,

43:48

boy. The

43:50

run is

43:51

great. It's I I

43:53

can't imagine how much money he made, but I'm sure it

43:55

was a decent

43:58

amount. Oh, it was pretty sure he did. Okay. But what you

43:59

like, what led him

44:02

to this? Right?

44:04

Like, what what how

44:07

do you get from from writing those two

44:09

movies, you know, raiders of the lost arc

44:11

and and doing whatever he did

44:13

to Empire Strikes Back. I

44:15

mean, it's obvious that they're of a peace with each

44:17

other. Right? Because this

44:18

was this period in which all those directors

44:20

at some point were revisiting What

44:23

the cast and so We saw a piece of turf.

44:25

I think this kind of

44:26

movie just wasn't being made anymore. Right.

44:28

He saw that he obviously had one

44:31

of the

44:31

best eyes for casting

44:34

of anyone

44:34

of the last forty five years. Right? You

44:36

look at, like, how he did the big

44:38

show, how he does this movie,

44:40

the fact that he was all in a castor and he cuts

44:42

castor out of a big chill. And I was like, you know what?

44:45

That castor guy. I'm

44:48

gonna write a movie in making the star Silverado because that's

44:50

how much I believe in the Skycoaster. He's

44:52

Gina Davis, an accidental tourist. Like,

44:54

over and over again, he's just nailing

44:58

people even Grand Canyon, which is a

45:00

pretty flawed movie. Yeah. But if

45:02

the guy asked in that movie very much

45:04

Donald Alfonso. lover is great in

45:06

that movie. Yeah. Kevin Klein, like, he

45:08

always saw the Kevin Klein thing. He says Steve

45:10

Martin as, like, this LA douche bag.

45:12

Jeremy, she was so as the one. You know,

45:14

I just Yeah. I mean -- Yeah.

45:16

-- he was he was always great at, like, I see something in this person, which is, like, one

45:18

of the best qualities you can have. Well,

45:20

that's a great point because

45:24

Okay. Again,

45:24

if you think of like Empire, which George Lucas

45:27

is crafting the story for Lee

45:29

Brackett is originally writing

45:32

the screenplay. Even

45:34

think of Raiders, Spielberg,

45:37

Lucas, etcetera, these are these are

45:39

films where the story is set and

45:41

flushing out the language. the

45:43

dialogue. The arc is the key. Yeah.

45:45

And is

45:46

it Catherine,

45:47

like, he talks

45:49

a lot about character

45:52

as like the thing

45:53

that inspires him. He thinks about the characters.

45:55

He has that idea

45:58

and that's sense of the movie comes to him through the figures. Right?

45:59

So the casting, of course, would be like

46:02

elemental then to unlock that for him. That's one

46:04

of the things that makes body so interesting. And

46:06

so I

46:08

think really riveting to return to. He'll always, like,

46:10

as a self critic or just reflecting

46:12

on his own career, like, identify the fact

46:14

that he's gonna be a character guy, not a

46:17

plot guy. the plot of body eat as

46:19

a mystery. That is

46:21

actually pretty good. Yeah.

46:24

It's it's

46:26

it's it's

46:26

gonna surprise you the first time, but

46:28

also totally track where you're like, yes.

46:30

Nothing here was invented. There's

46:32

no deus ex machina. There's no, like,

46:35

element at the end that doesn't track on a rewatch, and then

46:37

it's very rewarding on a rewatch.

46:39

Well, Bedell, so you have the

46:41

characters. Yeah. The two

46:43

characters are fucking awesome. Like Ned, it's like he thinks he's smarter

46:45

than he is. He thinks with

46:47

his dick. Yeah. His friends being fun of

46:50

him. Like, he by the end of the movie,

46:52

it's a fully complete picture him. And then Kathleen

46:54

Turner's, like, not just the

46:56

performance, but really interesting

46:58

character. It's, like, what's driving

47:00

this person? she hates her

47:02

husband. Why is she with them? She wants

47:04

his money. She goes to this hotel bar or

47:06

wherever that is. Just so these guys

47:08

can hit on her, she could shoot

47:10

them down. she's

47:12

she's planning this whole thing for years in

47:14

advance. Yeah. It's a long time. Yeah. And

47:16

what is her relationship with

47:19

Matt with Oh. Mary Anne and

47:21

and Jim Zimmer. Can we just stop for

47:23

a second to pause on? Do you know Kim Zimmer?

47:25

So she's guiding late, but she looks awesome

47:27

in the family. Yeah. Him Zimmer. Yeah. She looks great. Watch guiding light when I was supposed to

47:29

be The other thing I noticed was how much

47:31

Esther has ripped off

47:34

basic instinct. Yeah. Yeah. Yeah. With the shared sound character

47:36

with some of the Turner stuff, like, even, like,

47:38

having these mystery people in their lives.

47:41

But do you know one

47:43

thing with Kazan? Lucas loved

47:45

him. Yeah. They

47:46

wanted to make this movie, and Lucas

47:49

ends up

47:50

guaranteeing to

47:51

the guy to the production company, the

47:53

lag company. If casting goes over budget, I'll

47:55

guarantee the extra because

47:57

Lucas is like, what does he care? He's got a ton of money, but he's

47:59

like He got the points on the merch. He's

48:02

good. He's he's like, Cas is my

48:04

guy. I got this. He

48:06

goes over So he had big brother George in his corner. He was a

48:08

friend. Unbelievable. Seems like

48:10

George Lucas was a good friend. Yeah.

48:11

No. I mean, it seems like

48:13

we're current themes. Hollywood

48:15

stories about Lucas and Spielberg, like, giving each

48:18

other advice on their movies is just

48:20

delightful to learn about.

48:22

Yeah. Yeah. You

48:23

mentioned the big show is one of your favorite movies. We have not done on the rewatch shows yet.

48:25

It is one of my, I think, nine favorite movies.

48:27

Is this a really Yeah. I fucking love it.

48:29

And I think it's because

48:32

my mom loved it. So we always used to you

48:34

know, it's my mom's generation. It's my

48:36

mom's favorite movie

48:36

of all time. That might be

48:39

one of, like, five movies that I have on VHS, DVD,

48:40

and Blu ray. Yeah. Wow.

48:43

It's in that rare and binary.

48:45

I love them. And what's great about the big

48:47

show is so many people have tried to

48:49

rip it off and everybody's fallen short. Well, all

48:51

of them. Right. Yeah. Nobody has come

48:53

close to pulling it off. Even though

48:55

it seems like hey, these people are

48:57

friends and now they're getting back together for this And nobody's come close. Yeah. What do you

49:00

think is, like, give me an example of

49:02

that. Indian

49:04

summer. Oh, god.

49:06

I didn't that was that's that's wow.

49:08

There's a movie that came out. I think ten

49:10

years ago with Shannon Taylor, it was a

49:12

high school reunion movie. It's a whole bunch people in

49:14

it. Shaining tables. Oh, yeah. I remember that. Hey. I'm Tony.

49:16

They try this all the

49:18

time. They try reunion or a

49:21

wedding or a funeral, and

49:23

let's throw people and there's a history,

49:26

and they never land the plane. You know what's

49:28

interesting about what you're saying is

49:30

during that I think the thing that

49:32

is most attempting to

49:34

be this, but it's very different from it, but the

49:36

vibes are still the same, is

49:38

thirty

49:38

something. Mhmm.

49:40

Where

49:40

That's, like, three, four years

49:42

after the big If you're if you're taking

49:45

all that energy of this

49:47

sort of post, like, post, like, post,

49:49

like, like, post hippie

49:51

baby boom energy baby boomer energy

49:54

and,

49:54

like, applying it

49:56

to, like, real life

49:58

circumstances.

49:59

it be like for these, like, yuppies

50:02

now -- Yeah. -- to to

50:04

be out in the world? And

50:06

the quest in the in the big

50:08

chill that's interesting. Right? The the thing

50:10

that most interest me about that movie, I have a

50:12

lot of

50:12

sort of questions about it. Like, just

50:14

the summit We we won't invite you out right now. You'd

50:17

be careful. The French

50:20

mechanics board is right there. Don't even

50:22

sit here and front. Like, I don't

50:24

know what I'm talking about. There are

50:26

some

50:26

there are some requests made in

50:28

the big chill that are worth

50:30

thinking about like, okay, but a

50:33

lot of those issues are things that kinda come up over the

50:35

run of thirty something. And I'm just thinking about like

50:37

that is the thing that seems

50:40

most like where it's where

50:41

it's energy and, like, the force of that's driving at

50:43

this kind of semi

50:46

nostalgic semi

50:48

like, post radical

50:51

force? Like, what would it mean for these for

50:53

this particular, like, radicalist

50:56

Vietnam era generation to then, like,

51:00

suddenly

51:00

be pining

51:01

for those days

51:04

again.

51:04

This bed's always been

51:05

good for me

51:08

and Sarah. Yeah.

51:12

That's so great. I can't believe

51:14

you. I can't wait to do that movie on this podcast. I can't

51:16

wait to do that movie on this podcast. I can't wait to do that

51:18

movie. is, like, you have

51:21

sex with Mary Kate Place. We'll

51:23

call it even. Just And I'll

51:25

stay in the house. So be downstairs.

51:27

I'm gonna hang out with Jeff Goldboom. You you have sex

51:29

in our bed. And then I mean, you're

51:31

crying the shower.

51:33

Yeah. That was an all time

51:35

a good cry. god. Okay. Go

51:38

on. I just love William her in that

51:40

movie. He's

51:42

he's good. He's

51:44

also the A long time ago, we knew each other for a very short

51:48

time. He's very

51:50

sexy. And I think that, like,

51:52

I think that we should spend one second to

51:55

talk about that because because I'm always thinking with

51:57

these

51:57

movies. Who would I have

51:59

sex

51:59

with? Mhmm. Is it

52:02

both of them? Is it

52:03

one of them? And, like,

52:06

which one? I

52:08

would definitely have I would

52:10

definitely do it with William Hart for

52:12

sure. What's that question? I wouldn't kill

52:14

for him, but he's not who I'm killing

52:16

for. You need him to kill for you.

52:18

I can make that happen. Absolutely. I think I

52:20

can make that happen.

52:22

Nobody had a

52:23

cushioned existence than us.

52:27

This is this, like, the bill with the bill too. It's

52:29

body boy. We've lost

52:32

bill. Nine million dollar budget made

52:34

twenty four million. Yeah. That bad. Because

52:36

it was that much

52:37

of a hit. Okay.

52:38

Roger Everett. On a he Roger

52:41

Everett is dead, but he loves not in

52:43

November. Four stars. Four stars

52:45

for body heat. Oh, wow. He said, quote, women are rarely

52:47

allowed to be bold and devious in the movies. Most

52:50

directors are men. They see women as

52:52

goals, prizes, enemies, lovers,

52:54

and friends. but

52:56

rarely is protagonist. Mhmm. Turner's interest in

52:59

body heat announces that she

53:00

is the film's center of

53:03

power. Mhmm. It's

53:05

sure true. very

53:06

interesting. Most rewatchable scene.

53:08

Oh,

53:09

yeah. We meet

53:11

Maddie. Yeah. She's

53:13

at some concert comes around,

53:15

walks down the aisle toward William Hertz. He's

53:17

locked in, start

53:20

flirting. Mhmm.

53:20

there blurton

53:22

she

53:22

they throw

53:23

just weird sex fueled lines back and

53:26

forth. That's my business. I'm

53:28

married. I

53:30

am. You're calling that

53:32

a concert. Wasn't it like a high

53:34

school? Well, whatever the fuck it was. Very

53:36

embarrassed. There's a nice answer. It was like a

53:38

to Welltower. Of course, she left that's how I knew I

53:40

liked her. She's like, what is this shit?

53:42

It's a hot night out, and I'm listening

53:44

to this Lawrence Wellstuff. No.

53:46

Don't talk about how hard it is. I got a There's

53:49

just a lot of flirting, but a

53:51

heavy heavy heavy flirting. I mean, the

53:53

dialogue in this movie is

53:56

is absurd. you should have said wait. She said she

53:58

says, I'm

54:00

a

54:01

married woman. Yeah.

54:03

And then

54:03

he says, you should have

54:05

said, I'm an unhappy I'm

54:08

an unhappily

54:10

married woman. And

54:10

that's when she says, that's my business. How happily married I

54:13

am. Yeah. I'm a

54:15

married woman. Meaning what?

54:18

Meaning, I'm not looking for company. And you should have

54:20

said I'm a happily married woman. That's

54:23

my business.

54:26

What? How happy I am?

54:28

And how happy is that? You're not too smart

54:31

I

54:31

am.

54:32

I like that new man. What else do you

54:36

like crazy? ugly, corny, and I got home. You don't

54:38

look lazy.

54:41

Yeah. I mean,

54:42

yeah i read It's not

54:44

just one beat. It's like it. Four.

54:46

I like it. Next

54:49

one, the

54:50

bar scene. Mhmm. Oh,

54:52

this is a great one. Wow.

54:55

You alright? Yes. I'm

54:57

fine. My temperature runs a couple

54:59

of degrees high around a hundred I

55:01

don't mind the engine or something. Maybe you need

55:03

a tune up. Don't tell

55:05

me. You have just

55:07

the right tool. I don't talk

55:09

like that. Some

55:11

men once

55:12

they get

55:13

a whiff of it, they

55:15

truly like a hound. My temperature

55:17

runs high about a hundred. I don't

55:19

mind. My engine runs a

55:21

little high. That's

55:23

just like I'm

55:25

i'm a

55:26

smoldering volcano. Yeah. That's a

55:27

great one because she actually

55:30

is telling him what

55:31

she's

55:32

doing and he's

55:35

just too dumb. Yeah. To figure it out. A lot of

55:37

them have tried that seat. You're the first one I've let's

55:39

stay. That's probably a red

55:41

flag. Yeah. Yeah. He's

55:44

great. I'm the first one when she's led today.

55:46

He's I mean, just a I

55:48

mean, I'm gonna say it

55:50

again. Men.

55:52

Yeah. chair through the

55:54

door. Oh, god. Wild stuff.

55:56

Just the way she's standing there and

55:58

the way the camera captures her I

56:01

think it shoots her from inside, but you get at

56:03

least one or two shots from his point of

56:05

view through the door. Well, like, he's like

56:08

as he's trying to figure out how to get

56:10

in there.

56:10

Even by, like, the erotic thriller standard, there's, like, almost

56:12

a horror movie quality to

56:14

that stretch for a second. It's like,

56:17

except I mean, Michael

56:19

Biden. But what to Roger Eberber's point, like, you're watching

56:21

her in that sequence. Okay. But

56:24

Yeah. So

56:26

that's

56:26

a that's a I'm interested in that snippet that you shared from

56:28

our guy, Raj, because, like, in a way

56:30

I agree and think

56:31

that's true, but I you're

56:34

always always occupying

56:36

Ned's point of view in the

56:38

film

56:38

because of the mystery.

56:41

There's one scene

56:43

where, like, suddenly, this is

56:45

I I always don't I never like

56:47

this in movies. Like, when

56:49

do we leave It'd be like, when in fatal attraction do

56:51

we spend time alone with gun clothes? Mhmm. Yeah. Only when

56:54

she's suffering. When

56:56

when are we alone with

56:59

Kathleen Turner. When do we see anything from

57:01

our point of view? It's when

57:02

a it's when the husband come when

57:04

Richard Crannett comes home, then we're alone

57:07

with her. Right. It's

57:07

her trapped

57:09

in domestic. With the with him

57:11

and the the the sneeze. And the sneek

57:13

attack sneeze. Right. Yeah.

57:15

So, I mean,

57:16

there is a way in which the only

57:18

way we can ever understand her is

57:20

is as a as as as Simmons

57:22

sort of pinned down. You know what's interesting? that's in America. Mostly

57:25

the same vibe she has anyway in the

57:27

movie, but you could tell

57:30

she's like, she's

57:31

been short circuited -- Mhmm. -- because she's

57:33

super happy and pleasant, but

57:35

we're just so used to just seeing her

57:37

being on the prowl like a fucking

57:39

mountain lion. Yeah. that all of a

57:41

sudden she's just making small talk with her niece and kind

57:43

of resenting it. It's pretty

57:44

jarring. Well, but like it

57:47

also It also tracks in a

57:49

way that she would be

57:49

that there would be that

57:52

constancy through her character because,

57:54

like,

57:54

she's conning all of

57:56

Right.

57:56

They're all part of the long cop. Yes. That's the phony the

57:58

whole time. Yes. Good point.

57:59

After you saw this movie, do you go

58:01

and buy a

58:04

hundred times and put them all around your pick

58:06

memorabilia. You know all the

58:08

time. I have a couple

58:10

others. I'll

58:12

throw up that's not that big. Next one. We

58:14

didn't have enough

58:14

sex appealing this with, let's bring it

58:17

to make you work. Oh, Jesus. Micky's

58:20

first scene I have as a rewatch, but I also

58:22

have it as the kid cutty pursuit of happiness where

58:24

for best needle drop because all of a sudden Bob

58:26

Seakers in the house.

58:35

lady, you

58:38

can't

58:40

think of little

58:42

music? incredibly

58:43

unique. so very new way. walking out. Yeah. Very weird.

58:45

Yes. You like it. Thank you

58:47

very much. Great stuff. and

58:51

Mickey dropped some gold mines including Are you

58:53

ready to hear something? I want you to see

58:55

if this sounds familiar. Anytime

58:59

you try a decent crime, you got

59:01

fifty ways you can fuck up. If

59:03

you

59:03

think of twenty five, then then you're a

59:06

genius, and you ain't

59:08

no genius. He

59:09

has some great lines of I thought that would have

59:12

been a really good senior year book quote.

59:14

I

59:14

was hard to anyone

59:16

figuring out their high school year book. Well,

59:18

just drop that one and see if anyone notices. Your books are

59:20

pretty tricky. about this for a second.

59:22

Fifty ways you can fuck

59:25

up. And if you

59:27

could think of twenty five of them, you're a genius. Basically, twenty

59:29

five bad outcomes of the crime you're gonna

59:31

commit. Mhmm. I wonder if

59:34

that's accurate. I

59:36

mean, I'll never find out. Fifty. Fifty

59:38

seems like, hi.

59:38

I would've I would've maybe gone ten. I love

59:41

that scene though because

59:41

that's one of many examples

59:44

of these

59:44

pearls of wisdom that can sage kind of art to this. I got

59:46

a serious question for you. What the

59:47

fuck are you doing? It's one of the best --

59:50

Yeah. Yeah. Yeah. -- you gotta try not

59:52

to get famous

59:54

while you're in the act. Like Right. Yeah. Actually,

59:56

something about it. Is that

59:58

the time where he says that and

59:59

behind him are the word is the

1:00:02

word cocaine? Yeah.

1:00:04

Like like like scratched into a into the

1:00:06

wall. So there are two teddy scenes. There's

1:00:08

the first one with second one. Yeah.

1:00:11

Okay. Scratch into it. But

1:00:13

I'm like, what are what are we being told right

1:00:16

now? Anytime we can get an arsonist,

1:00:18

Confucius, I'm in. Yeah. The

1:00:20

Amen. Amen. The murder's fun.

1:00:23

Yeah. Love a good murder in a new

1:00:25

r movie. She comes screams out. He

1:00:28

has a gun. Mhmm.

1:00:30

Yeah. Where?

1:00:32

the

1:00:32

the will assessment.

1:00:36

I like how he walks

1:00:37

in and he sees the

1:00:39

room and the chairs. and it pans around,

1:00:41

and then you see her in the chair, like, how they -- Yeah. -- it's almost

1:00:43

like a reveal. But I love when the lawyer's,

1:00:45

like, would anybody mind if

1:00:48

I spoke I've never heard of that. I've never heard of that

1:00:50

before. I've I've heard Danielle what you

1:00:52

guys are doing. So good.

1:00:54

Yeah. Next one, Danson

1:00:56

and Isaac.

1:00:58

Oh,

1:00:58

Isaac. Drop him by by William Herzplace --

1:01:01

Mhmm.

1:01:01

-- take some incredibly intelligent

1:01:03

advice

1:01:03

and stay away from her.

1:01:05

He's right for once.

1:01:07

Well, I'm

1:01:11

sorry,

1:01:13

guys. I

1:01:15

just can't

1:01:16

do that. Why

1:01:18

not? Oh, from one

1:01:20

thing, did you get a look at

1:01:24

her? that wouldn't be quite so meaningful except that today she started coming on.

1:01:26

I mean, in case she ever heard that lady's about to come into

1:01:28

a great deal of money. The fact is

1:01:31

she invited me out there tonight and I am going and I am

1:01:33

going to keep on going as

1:01:36

many days or nights

1:01:38

or weekends as she'll

1:01:40

have me. med.

1:01:42

Someday your dick is gonna lead

1:01:44

you into a very big hassle. That

1:01:46

lady may have just killed her house

1:01:48

you're not gonna inherit anything by killing me. Besides, maybe

1:01:50

she'll try to fuck me to

1:01:54

death. I

1:01:56

really like this scene. shirtless in front of the freezer. Yeah. That's just

1:01:58

good. I'd like to there's a familiarity with the

1:02:00

three guys that I actually believe. Like, he

1:02:03

he's like -- Oh, god. Yeah.

1:02:05

Oscar. I meant Isaac. I meant Oscar not

1:02:08

Isaac. He walks in and

1:02:09

he just, like, he it's

1:02:11

clear

1:02:11

that those guys have all gotten

1:02:14

drunk together. Oscar's

1:02:14

kind of the straight arrow. Danson's probably done

1:02:17

some things. Really narrow. They're kind

1:02:19

of make making sure that he

1:02:21

hasn't gone down the road cat

1:02:23

things turnover. But they kinda know. Yeah. They know. Yeah.

1:02:25

And they just have to cat and

1:02:27

mouse it. I think that's a really

1:02:29

good thing. He's good in it where he he

1:02:31

flips it. He's like, she just came

1:02:34

in a lot of money. I'd be stupid not to

1:02:36

pursue that. It's like, this is your move. Yeah.

1:02:38

I mean, he's it's so

1:02:40

interesting that he always thinks

1:02:42

that he that he's the smart

1:02:44

one. Yes. Yes. Yeah. Yeah. But she

1:02:46

says to him at the beginning of the movie.

1:02:48

Like, you're not too smart. Are you? Or whatever Everybody

1:02:50

say him. Everybody says it.

1:02:52

It's one of those movies. The seventies are full of these this kind of thing

1:02:55

where, like, everybody has everybody knows

1:02:57

something about the main character

1:03:00

that the main character does

1:03:02

not seem to understand about himself.

1:03:04

The last row

1:03:05

I ever danced and telling

1:03:07

Ned what's going on. and Ned just

1:03:09

started to get that look on his face, like, oh

1:03:11

my god. This is kind of

1:03:13

my worst nightmare, but I didn't think this was

1:03:15

actually maybe happening, but

1:03:18

now it's Mhmm. Where do you guys stand on watching people

1:03:20

lie in movies? Even

1:03:22

though it's a re

1:03:23

I feel I get as squeamish about watching

1:03:25

people lie in movies, I

1:03:28

because I do about having people Yeah. Go ahead and get off. Yeah.

1:03:30

Right. It stresses me out.

1:03:32

I don't like lying in

1:03:34

in in any art because I

1:03:37

am being let in. I'd rather watch

1:03:40

ten thousand murders than see one

1:03:42

lie. Wow.

1:03:43

Because because there's

1:03:45

something about lying it's so human and

1:03:47

we all have done it. Mhmm. Yeah. And to watch

1:03:50

someone perform lying

1:03:52

-- Mhmm. And

1:03:53

for us to know that

1:03:56

they're not

1:03:56

telling the truth, it's

1:03:58

so

1:03:58

interesting and to watch like

1:04:01

how casual William Heard is lying in

1:04:03

this movie. Right? We don't know when

1:04:05

Kathleen Turner's lying. We know she's probably

1:04:07

not telling the truth, but we don't know

1:04:09

when. We don't realize everything's alike. We know

1:04:12

everything. We know every time he's

1:04:14

lying because he's not lying to

1:04:16

us, he's lying to other

1:04:18

people. Yeah. And it's

1:04:20

just so it's such a it's

1:04:22

such a, like,

1:04:23

subtle element of stress in this

1:04:25

movie. It's

1:04:25

a great point. And, like, the

1:04:28

fact that the

1:04:28

long con from the Maddie character.

1:04:31

You know,

1:04:34

we start to to have some

1:04:36

questions like

1:04:38

was the minute we see her pretty early on in the

1:04:40

movie, certainly earlier than Ned, but you're

1:04:42

piecing it together -- Mhmm.

1:04:45

-- data point after data

1:04:48

point. After data point, your

1:04:50

suspicions are mounting. Your anxiety is

1:04:52

mounting. Your heart and stomach are

1:04:54

clenching. But we don't totally

1:04:56

know until, like, two

1:04:58

thirds of the way through, three quarters of the way through. Whereas

1:05:00

every time that is lying,

1:05:02

we not only know but we

1:05:05

see how clumsily. He's navigating those numbers.

1:05:07

There's another

1:05:07

thing though that is an additional

1:05:10

stressor for

1:05:12

me. which is often the people he's lying to?

1:05:14

No, he's lying. Mhmm.

1:05:16

Yeah. And it's

1:05:18

just It's just the worst.

1:05:20

Can I flip this around even more? Oh, sure.

1:05:22

I think this says more about you and

1:05:24

then also me listening to you. Like,

1:05:26

you're a good

1:05:26

person. So when you watch people lie in a movie,

1:05:29

it makes you uncomfortable because it's

1:05:31

somebody like, there's

1:05:32

some sort of human breach. Right? Yes.

1:05:35

whereas I watch

1:05:36

it, I appreciate the lying.

1:05:38

Is that gonna be a bad person? Oh,

1:05:40

boy. Like, whoa. Good liar, this guy. Yeah.

1:05:43

I'm

1:05:43

not horrified. I just think you're a nicer person than that.

1:05:45

I just feel like the lies always

1:05:48

wind up coming back. No. You're

1:05:50

right. You never get a

1:05:52

you hard to get away with a lot. It's that Tony Montana website. I only have

1:05:54

two things. My word and my balls. Yeah.

1:05:56

I don't break either of them.

1:05:58

The big boat has seen

1:06:01

and then the island ending. But the boat

1:06:03

has seen well, the boat has

1:06:05

seen I think

1:06:07

it's rewatchable because there's it's nitpick

1:06:10

central. Oh, sure. And we'll go to

1:06:12

that later. speaking of lying,

1:06:14

but that But holy

1:06:16

shit, it's like, wait, what's going on?

1:06:18

And let's do that later. What do

1:06:20

you have for most throwing the

1:06:22

door through the No. Play class

1:06:24

front door? What do you got, Mel? Oh,

1:06:26

god. I would

1:06:26

also throw the the merry and gazebo scene

1:06:28

in the mix. Oh,

1:06:29

yeah. Yeah. That's a great one. That's a

1:06:31

great one. That's But yeah.

1:06:33

Yeah. And that's a fun one to revisit. I the year book

1:06:35

flipping at the end, very satisfying. Oh,

1:06:38

god. I

1:06:40

I think like my favorite scene is

1:06:42

that

1:06:42

first teddy scene, but I

1:06:43

don't know if it makes sense to pick it because it

1:06:46

doesn't involve like the two

1:06:48

central characters. together.

1:06:50

Yeah. It's a

1:06:52

tough one.

1:06:53

I'm probably going the when they're

1:06:55

at the bar

1:06:56

at the bar together together.

1:06:58

but the losers leering with them and just everything

1:07:00

that happens in that scene, I think, is really good.

1:07:02

I think I like I think there's one you

1:07:04

didn't mention that I like Wesley

1:07:06

did you mention the would we talk about the first scene? The first scene between

1:07:08

the two of

1:07:09

them? Yeah. Yeah. Okay. I think that's number one because

1:07:11

-- Yeah. --

1:07:13

you know, Do

1:07:14

you like, do you wanna lick it off me? I I want you to lick it off

1:07:16

me. Yeah. That's that's probably my pick too that

1:07:18

first time. Also, there's another great exchange

1:07:22

there. And when

1:07:22

he's like, I need someone to love and take care of me. That's my

1:07:24

life. told me and a beater for me. And

1:07:26

she's like, get married. That's so good. And

1:07:29

he's like, I meant for tonight.

1:07:32

Yeah. and she laughs. She's like, oh, this guy's

1:07:34

great. I love it. I I picked the right guy

1:07:36

and I can't wait till he comes. my husband

1:07:38

and then I set him up for murder.

1:07:41

What saves the best? Oh,

1:07:44

boy. The constant themes of

1:07:46

fire heat and sweat and Miranda

1:07:48

Beach. Yeah. This movie starts

1:07:50

out with Yeah. A fire. Mhmm. There's more fires later. Things

1:07:52

are blowing up the whole time. Everyone's

1:07:54

sweating. They just they know what he's doing.

1:07:56

Mhmm. Mhmm. I

1:07:59

really like the there's, like, ten minutes there when

1:08:02

the affair heats up.

1:08:04

And we're

1:08:04

it it was what we Wesley talking about

1:08:06

there's a lot of before after, and like Yeah. -- different levels

1:08:09

of the nakedness. It's just really nicely

1:08:11

done. The score was done by John Barry.

1:08:13

I thought that was good.

1:08:16

Yeah. you know, I gotta

1:08:17

talk about cars, the the nineteen sixty four Corvette

1:08:19

Roadster. Mhmm. It's great. blame her it's

1:08:21

drivin' around. And -- Mhmm. -- I can

1:08:24

beautiful. and

1:08:26

the movie knows it. It knows It's

1:08:28

a good character. Actually makes it a character. Yep.

1:08:30

Yep. It's funny because in big chill, he

1:08:33

has a Porsche. Mhmm. that is also, like, kind

1:08:35

of a character in the movie. This is

1:08:37

the thing about William Hertz. Right? Like,

1:08:39

I mean, there's something

1:08:42

about his his seeming moneyiness

1:08:44

Mhmm. The idea that this character

1:08:46

went to FSU is fascinating. Like, what is his what did he do at FSU?

1:08:52

I think there's just William or Kurt is like

1:08:54

I mean, the opening shot of the movie. Mhmm. He is

1:08:56

having sex with this woman. Yeah.

1:08:58

It's like a Tennessee Williams play. Red.

1:09:02

and he says there's

1:09:03

a fire across the way and he

1:09:05

says my whole history is burning right

1:09:07

now. Yes. Yeah. Or burning up

1:09:10

out there. And

1:09:10

I mean, immediately, we are

1:09:12

put I mean, I I at least

1:09:14

I'm like, oh, I'm watching. I'm

1:09:17

watching a white man suffer. This is

1:09:19

this is some ancient family shit

1:09:21

that he is seeing slip

1:09:24

away. The movie doesn't even

1:09:26

acknowledge any of this. Yeah. But clearly,

1:09:28

at least in this particular

1:09:30

moment, he's lying again. Like,

1:09:33

there's something underneath

1:09:36

all this Like, he's

1:09:38

obviously southern then, right, which I don't know how to feel about that. William Herr because he's like

1:09:40

pure New

1:09:42

England to me. But There's

1:09:46

something there's something about the

1:09:47

movie opening in that way --

1:09:50

Yeah. -- where there's

1:09:53

like, some connection between him and wherever this place we're gonna be is.

1:09:55

Right. And the way everybody knows

1:09:56

him.

1:09:59

Mhmm. Yeah. And and And

1:10:02

then even she that she is this so society

1:10:05

that

1:10:05

he

1:10:08

doesn't have access. Where nobody knows?

1:10:10

Exactly. Nobody knows. And he doesn't know everybody. And that that opening with the fire and the history,

1:10:12

like,

1:10:16

this Not

1:10:17

the subtlest harbinger, but still an effective one that this is a person

1:10:19

who is about to self emulate before our

1:10:21

very

1:10:24

eyes. Yep. What's age

1:10:25

of best Gazebos and Boddhasas? Oh, scary movie characters. Love a

1:10:27

Gazebos. many great Gazebos scenes

1:10:30

in the movies. So

1:10:32

many. double

1:10:35

cock grab in this movie? Oh. Twice.

1:10:37

What's the other

1:10:38

one? See,

1:10:41

when he's they're just lying in bed and

1:10:43

she goes right into the sheet. That's the one

1:10:45

I remember. Oh, the lead other one's by

1:10:47

the window where she pulls

1:10:49

them. Yeah. So apparently, there's a wider shot

1:10:51

there's an open

1:10:51

open mad version of this where

1:10:53

she's clearly holding his dick -- Mhmm.

1:10:55

-- as she's pulling up --

1:10:57

Mhmm. -- that

1:10:58

you can't see on the whatever

1:11:00

the TV thing. I got pre cheers, Ted

1:11:02

Danson, as of what stage

1:11:03

the best. Oh,

1:11:07

yeah. Pre Amy Malone. He's wonderful. He's in a different movie. He's

1:11:09

he's having a blast. Oh, I see his phone.

1:11:11

He's wonderful at one point. Yeah. Like, he's

1:11:13

just has no idea he's about to

1:11:15

be the biggest TV star of

1:11:17

the world. Yeah. I mean, it's there's just a like, he's he's he's great. Like, the

1:11:20

like, again, he's I

1:11:22

don't know what movie he's in.

1:11:25

He's looking at

1:11:26

musical. He's dancing all the time. He's looking at the dancing. What happens? A lot of

1:11:27

movie is a bad play. Right?

1:11:30

There's a lot of just, like,

1:11:34

Like, if

1:11:35

I if I were going to the theater in

1:11:37

nineteen eighty one, this might be a

1:11:39

thing I would see. Like, some of this

1:11:41

movie is is a thing that would be

1:11:43

on stage. Like, LA playhouse

1:11:45

or whatever. Yeah. I have

1:11:47

the quote when it gets

1:11:48

hot, people

1:11:50

try to kill each

1:11:52

other. Not untrue. I

1:11:54

don't know if you've ever in that ninety guy. Ninety nine one Yeah. Get hot. Wow.

1:11:59

God. Ebert. Ebert's talking

1:12:01

about the smart dumb thing and he says it's

1:12:03

important that the man

1:12:06

not be a dummy. He

1:12:09

needs to be smart enough to think of

1:12:11

the plan himself. One of the brilliant touches of Cassidy's screenplay the

1:12:12

way he makes Ned think he

1:12:14

is the initiator of Maddie Walker

1:12:18

plans. Mhmm. But he's actually not.

1:12:19

Yeah. He's just being

1:12:20

accepted. Mhmm. And duped. It's up.

1:12:23

In other words, it's best. awkward

1:12:25

three person dinners. I like that scene a lot. When they have to pretend they don't

1:12:27

know each other, but now you have to eat

1:12:30

and what is that

1:12:32

about? I

1:12:34

like us. You don't like us. What? I

1:12:36

don't believe this one. Like, what? Who

1:12:38

I mean, I wrote this Come

1:12:41

join us. Does does a husband really

1:12:43

really ever ask another man to join him

1:12:45

and his wife for a stranger at nineteen

1:12:47

eighty one in

1:12:50

Miranda Beach. I just And when

1:12:52

when she gets up to go to the bay, when

1:12:54

she's like, oh, I guess I just have to

1:12:56

go talk about pantyhose with

1:12:58

these girls that don't exist. Right. And they're

1:13:00

stuck at the table together. The first thing he says

1:13:02

is I'm a kill a motherfucker. Yeah. He comes near

1:13:06

my wife. Yeah. Like, Man, I'm

1:13:08

gonna go find John Rambo. What's your credit?

1:13:10

But let me just say I'm the

1:13:13

only person Wesley I

1:13:15

I mean, Mallory, I don't know

1:13:18

if you wanna walk this plank

1:13:20

with me, but

1:13:20

it's one AM -- Mhmm. -- your

1:13:22

doorbell rings. Okay. It's Richard

1:13:24

Krena.

1:13:25

Do you let

1:13:27

him in?

1:13:27

What do you Are you are you

1:13:30

asking Mallory if she finds Richard Credit attractive?

1:13:31

No. It's beyond

1:13:35

that. Super. Deepgram. Who is Deepgram than

1:13:38

hell? Not in November. It's

1:13:41

really startling out

1:13:44

of control. But this is

1:13:45

what they gave us in the early

1:13:47

eighties. Think about who we were being asked to think about as alternatives to

1:13:49

William Hertz, Richard

1:13:52

Krenner. Mhmm. Richard

1:13:53

Crenna. Like, think about a movie. Think about American gigolo. And, like, what

1:13:55

Bill Duke's function is in that movie? Mhmm. Bill Duke is

1:13:57

the one who's having

1:13:59

all

1:13:59

this x. Yeah. Yeah. I

1:14:02

mean, like Richard Crena is Kathleen Turner's husband. I don't care why she married him.

1:14:05

He's gonna have

1:14:08

some expectations. And they're obviously

1:14:10

doing it because they do it once in the movie. Well and because she needs to keep them in the room longer

1:14:12

because they've got

1:14:15

the the scheduled time I

1:14:17

think when he's gonna go down through there.

1:14:20

laundry, I see. Understood. Really like that. I'm just saying, I have always

1:14:22

found Richard Credit. I'm very attractive. Whether he's wearing a beret. Mhmm.

1:14:27

or a pair of dumb glasses. Just let it keep keep it

1:14:29

okay though. Keep it moving. I respect

1:14:31

the take. Ugh. Yeah.

1:14:32

Why not?

1:14:33

Mallory's not walking out there

1:14:35

with me. That's fun. No. I love it.

1:14:37

Okay. I think it's great. I don't need to She says it's

1:14:39

great. More for me. More for me. I

1:14:44

love it. Any

1:14:45

other would stage the best? I think there's a great

1:14:47

moment. There's a kind what what is

1:14:51

age the best that you can see in

1:14:53

this movie is a kind of lightness. There are all

1:14:56

these great

1:14:58

little touches in this film. And one of them happens early

1:15:00

when they're when the two of them are

1:15:02

picking each other up, and he goes into

1:15:04

the men's room to get

1:15:06

a paper towel to wipe the

1:15:08

that, like, he'll never get it off her her

1:15:10

dress. Right. But he get to get the water ice off her dress. And there's a kid in there. Yeah.

1:15:13

And he's smoking in

1:15:15

the bathroom. Mhmm. It's just the

1:15:17

randomest thing. Like, what's that kid in there doing? Is he hiding

1:15:19

from his parents and having a cigarette? Is he waiting for the

1:15:20

right guy to come in to, like,

1:15:23

have his own body heat? Like

1:15:27

and and her turns around and says something

1:15:29

to him. I couldn't catch what it was.

1:15:31

But it was like it

1:15:33

was something like it

1:15:35

was something familiar. Right? because,

1:15:36

again, this guy knows everybody. You think it was

1:15:38

like a Miranda Beach. It's a little lit? Yeah. A little

1:15:41

Can't smoke it in

1:15:44

the bathroom. But I think that kid was waiting

1:15:46

for something. Like, he was either hiding or waiting. Mhmm. And, like,

1:15:49

then we never see him again. And she's gone when

1:15:51

he comes out. Mhmm. Mhmm. It's just a great little moment, and this movie

1:15:53

is full of things like that, like this stuff with

1:15:56

the waitress. Morris

1:15:58

know,

1:15:58

all that writing with the with

1:15:59

the Sassy waitress -- Yeah.

1:16:02

-- who eventually isn't there anymore.

1:16:05

Randgold

1:16:06

Stellus -- Yeah. -- with blueberry pie that clearly is blueberry pie. So it's been ahead of picking

1:16:09

nits. Yeah.

1:16:12

Your books You

1:16:14

know? Yeah. Your book's really coming

1:16:16

through. You're from Brazil. Can I

1:16:18

send a letter from jail for your

1:16:20

book and they'll just send it to

1:16:22

you? I I guess so. the

1:16:24

true name, your intention

1:16:26

to become a con

1:16:27

artist, right there

1:16:30

as a mission statement. That's

1:16:34

deep. That's deep. It's real deep. I think the setting too, because, like, isn't there something about how this was

1:16:37

gonna be

1:16:40

in Jersey?

1:16:40

Like, can you imagine this

1:16:42

movie in Jersey? I suppose On the shore. On the Jersey shore? There's something

1:16:43

I guess, like, you know, up there, Maryland,

1:16:45

so there's a humidity in the mid Atlantic

1:16:47

certainly, but there's something

1:16:51

There's

1:16:51

a gothic. There's a gothic. Yeah. That's

1:16:53

that's that's that's the focus of the

1:16:55

air. Yeah. That feels like it

1:16:57

just, like, has to be Florida. Yeah. My only

1:16:59

other would say the best was

1:17:01

how many movies since I've

1:17:03

just kinda

1:17:04

stolen from this movie.

1:17:06

Mhmm. Like even, like,

1:17:07

the sweatiness factor, you know, and, like, wild things

1:17:09

was that Matt that goofy bad dylan,

1:17:11

did these Richard's movie,

1:17:14

Nev Campbell. Kevin

1:17:15

Bacon. But it's like it it tries

1:17:16

to do the same thing. It suits. We're

1:17:19

in Florida. It's fucking sweaty here.

1:17:21

People get horny. But that movie knows that body heat

1:17:24

exists. That's what I mean. Right. People Oh,

1:17:26

there it's grabbing from it. Heaven's

1:17:29

prisoners with Baldwin. It's another in the world.

1:17:32

No. Terry has It's like he has

1:17:34

a nice big sweat patch on his back.

1:17:36

Let's take a break and we gotta hit

1:17:38

some more categories. This

1:17:40

episode

1:17:41

is brought to

1:17:43

you

1:17:44

by

1:17:46

MGM. Following the critically acclaimed call me by

1:17:48

your name, director Luca Guarmino

1:17:50

reunites with Timothy Charlemagne on

1:17:53

Bones and All. a story of first love

1:17:55

between a young couple learning to

1:17:57

survive on the margins of society.

1:18:00

Also starring Taylor Russell

1:18:02

and Mark Rylance, Bones and

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a Green Dot

1:18:39

Bank member FDIC. Okay. The denim thieves

1:18:41

Benny Hanoi word for scenes doing location.

1:18:44

Yeah. I love

1:18:47

the hotel bar. Yeah.

1:18:49

That she's in. That's the right

1:18:51

answer. How, like, short it is. I just they don't make hotel

1:18:52

bars like that anymore.

1:18:54

Mm-mm. Like the eight seaters,

1:18:58

Yeah.

1:18:58

With, like, just little corners and little

1:19:00

nooks and crannies to it. Yeah. Good

1:19:03

one. Really enjoy it. The

1:19:05

diner. Diner's

1:19:05

good too. Yeah. I like his apartment, I think, is really cool too. So --

1:19:07

Yeah. -- so he really -- Yeah. -- made sense

1:19:12

to those. the great Shack order

1:19:14

award for the most cinematic shot. I like I like the ending I thought was cool

1:19:16

with how it turns around

1:19:18

and you can kind of

1:19:22

and it reveals, like, oh, we're in,

1:19:24

like, Hawaii. Next, oh, she fucking did it.

1:19:26

But they don't reveal it right away. She's

1:19:28

just on a chair. Mhmm. Yeah. And then

1:19:30

it tilts and then you can Did this reinvent that shot?

1:19:33

The cutaway to the

1:19:35

beach getaway? Maybe. I mean,

1:19:37

they they stay there in trading

1:19:39

places, like, two years later. I don't

1:19:41

remember I mean, I'm sure that somebody will write to

1:19:43

one of us and be like, well, actually, here's fifteen before

1:19:47

nineteen one, but Like, it's such a cliche

1:19:49

now. Like, white Lotus is essentially the whole show

1:19:52

is the -- Yeah. That

1:19:54

-- is the is the getaway.

1:19:56

Right. List like, it is literally

1:19:59

the the retreat away from whatever crime we've committed in some other

1:19:59

place. The other great shot

1:20:02

girdle is probably the door through

1:20:04

the chair

1:20:06

when

1:20:06

it cuts to her, and she's just in there,

1:20:09

and she's looks like she's just been electrocuted,

1:20:11

and she's just kinda waiting for her to

1:20:13

make a move. I like how

1:20:15

that's filmed. My I would offer a shot when

1:20:19

he is waiting is

1:20:21

waiting

1:20:23

for the bomb to go off.

1:20:25

And he's in the car and he's looking

1:20:27

in the rearview mirror.

1:20:29

Mhmm. but

1:20:30

he's also

1:20:31

looking at himself. Yeah.

1:20:33

It's just

1:20:34

I mean, this isn't like the

1:20:36

best shot movie. Yeah. There are

1:20:38

some good shots, and and that is one. And then more hurt is doing two doing two kinds

1:20:40

of looking at the same time.

1:20:42

Mhmm. And I I love it.

1:20:47

to butcher's girlfriend award for the week, like, of the film

1:20:49

you mentioned earlier, the the very obvious

1:20:52

child

1:20:52

actress says

1:20:55

Denise. Just NAV from

1:20:58

a soap opera. She's the worst. The Mallory Rubin Award, did this movie

1:21:01

need a better

1:21:04

sex scene IIII

1:21:06

mean, the sex scenes in this movie are definitely at what stage the best. Yeah. So we're gonna say no.

1:21:12

Wow. Right? What's edge edge to edge

1:21:14

the worst? The Ned's beard at the end. As you know, I hate nothing more than fake beards.

1:21:16

Yeah. Is it fake? I

1:21:18

it just looks like they I

1:21:22

think it's real. I think it's a real

1:21:24

beard. I just don't know what what are we doing here. And

1:21:26

then we didn't need to go into it, but there was

1:21:28

some

1:21:28

some

1:21:31

tough William Hertz stories, post death.

1:21:33

Maybe not the

1:21:34

most awesome guy. No.

1:21:36

What

1:21:37

it Like

1:21:39

That's whatever. Okay. Ron Burgundy flute a

1:21:41

word, best time for a pee break.

1:21:43

I have an unusual answer for

1:21:46

this one. I think after the

1:21:48

murder, The whole process

1:21:50

of dumping the dead body and setting up the arson could have been such a more fun four minutes.

1:21:52

Yeah. You see, he could

1:21:54

pee, not miss anything. It's like,

1:21:58

hey, Ned dump the body. Go get

1:21:59

make some popcorn. I didn't eat

1:22:02

it either. Was there a better

1:22:05

tire for this movie now? No.

1:22:07

Best quote, you're not

1:22:08

smart. I like

1:22:09

that in a man. It's pretty tough

1:22:11

to tough. It's kind of the theme of the

1:22:13

movie.

1:22:13

What do you have? Yeah. It's not, hey, lady

1:22:15

you wanna fuck. faultry.

1:22:17

No? Hey, the lady. You wanna

1:22:20

fuck. It's

1:22:24

emergency time.

1:22:24

emergency time Oscar

1:22:27

says that. Oscar says that

1:22:28

to to I can't wait to send that

1:22:30

to that lawyer. My actual pick is

1:22:32

the one you meant you mentioned

1:22:34

already in in the initial meeting, be get married.

1:22:36

Yes. I just need it

1:22:39

for tonight.

1:22:39

Steven

1:22:40

Acevedvedvedas, take a word.

1:22:42

Here were our best actor's nominees that year.

1:22:45

No. Katherine

1:22:45

Hepburn wins for

1:22:47

On Golden Fund. No

1:22:50

comment.

1:22:50

Diane Keane for Reds.

1:22:52

Marshall

1:22:53

Mason, only when I laugh, get the fuck out

1:22:55

of here. Susan Serena, Atlantic City fine. Meryl Streep,

1:22:57

the French lieutenants will

1:22:59

be fine. I get

1:23:02

my girl Kathleen in there. Marsha Mason, take a hike. Oh. Take a hike. Don't do that to Marsha Mason. Take

1:23:04

a hike. Marsha Mason. Only when I laugh. Get

1:23:06

out

1:23:06

of here. Do you think that should be in

1:23:10

academy award nominated acting for

1:23:12

four months. Didn't say it

1:23:13

was a warm take. I said it was a

1:23:16

hot Oh my god.

1:23:18

I'm blown away. How does take?

1:23:21

Alright, Marsha. Wow. Okay. Fuck a month, sir. this. III like

1:23:23

Marsha Mason in that mediocre movie, but go

1:23:25

on. I think, Catherine, what are

1:23:28

I doing? by

1:23:31

Katherine Hepburn. Get out of here. Oh.

1:23:34

You know how you do it.

1:23:36

Yeah. Like, that's the Legacy Oscar.

1:23:38

fourth Oscar. Legacy Oscar. Oh, four

1:23:41

for a person who's already

1:23:43

got three. Yeah, get out of here.

1:23:45

No way. Bye. There's just

1:23:46

an atrocious casting whatever for this movie.

1:23:48

an atrocious casting whatever

1:23:50

for this movie Christopher

1:23:51

Reeves. Whoa.

1:23:54

Was offered the

1:23:57

role of William

1:23:59

Hertz character.

1:23:59

Yes, daddy. He turned it down and said he

1:24:02

didn't think he would be convincing as a CD

1:24:04

lawyer. he

1:24:07

knows his shit. Superman

1:24:09

can't do that. Superman

1:24:11

who, by the

1:24:14

way, what Christopher Reeves is the person

1:24:16

who told me I was gay.

1:24:18

Like, called you?

1:24:19

Oh, I mean, he told

1:24:21

me. he straight up he

1:24:23

came into my living room. Oh, wow. He didn't actually tell Gotcha. I

1:24:28

mean, Listen. He actually

1:24:30

told the thing. Came into my living room in nineteen

1:24:33

eighty whatever the

1:24:36

weather day. Superman

1:24:38

came on that it was the ABC Sunday night movie whenever the first time that

1:24:44

was. I was there for

1:24:46

it and I knew I was probably four years old. Mhmm. And I watched that movie and I was like, there's

1:24:51

no going back. Yeah. I will

1:24:53

I will dabble with the middle of the margot litter. I

1:24:55

loved margot litter, but I

1:24:58

knew that there was

1:25:00

something especially

1:25:02

in Superman two Mallory Perine,

1:25:05

like, gets him in

1:25:07

the water and he's, like,

1:25:09

he's weak. And she's trying to, like, she's

1:25:11

cheating on Lex Lothor to, like, get

1:25:13

him back to life. Yeah. Valerie Prine,

1:25:16

by the way. Great

1:25:18

looking. But it was clear to me.

1:25:20

Mhmm. And there was no turning back after that. I

1:25:22

was upset for life. So Christopher Reeb, but he

1:25:24

would have been a disaster. No. That's a

1:25:26

it's a bad one. No. you had any overacting because I didn't. I actually

1:25:28

think this movie is really well acted. Unless

1:25:30

you wanna say the little the the

1:25:31

niece Mallory is gonna

1:25:34

go around. What do you got

1:25:36

Mallory? Go

1:25:36

ahead. Just trap

1:25:38

it. Want

1:25:38

a proper setup. This is the ruffalo hana Rubenak cartridge overacting on.

1:25:46

Krena. acting.

1:25:47

I think it's Richard

1:25:49

Krena. Yeah.

1:25:50

It's my man, Rich. He's

1:25:52

got his big dramatic I would kill

1:25:54

motherfucker. Yeah. Yeah. You're right. Alright. He's been This is too much. I can't wait for this next

1:25:57

one. The best

1:25:59

that

1:25:59

guy award goes

1:26:02

to Oscar, aka j Preston, the judge

1:26:04

in a few good men.

1:26:06

Yeah.

1:26:06

I believe I've earned it.

1:26:11

You will address me as

1:26:13

judge. Yeah. Yeah. I mean

1:26:16

-- Perfect. -- Jess

1:26:18

up. He's

1:26:18

wonderful in this movie. He's great.

1:26:20

Like, what a great part. And I went into

1:26:22

his IMDB and he just got shit parts

1:26:25

for all the eighties. I mean, there probably

1:26:27

were no parts, but do you I was like, what how was this guy just in, like, Jack,

1:26:31

Vegas? quincy.

1:26:33

Like, he's just doing the fucking rounds. It always

1:26:35

makes me wonder why the directors who

1:26:38

hire actors like this

1:26:41

especially black actors who are good and, like, get

1:26:43

to go really deep into a movie that could have cast

1:26:46

anybody

1:26:47

in them. Yeah.

1:26:48

anybody in them yeah Why

1:26:50

those people don't keep working with

1:26:52

that director? It could be the

1:26:54

story could be anything. But why

1:26:57

doesn't somebody be like, wow. Oscar was good.

1:26:59

Let's get him in something else. Instead, he's just I

1:27:01

don't know. But I'm telling you that's the

1:27:04

way racism in Hollywood

1:27:06

works. Like, were you just Yeah. Like, that guy had a meaty,

1:27:08

meaningful part in a in a hit

1:27:10

movie -- Yeah. -- and didn't

1:27:12

get anything out of

1:27:14

it. Is it racism?

1:27:17

at

1:27:17

least back in the eighties. Is it racism or is it just

1:27:19

a lack of parts that people would even think of j

1:27:21

a

1:27:24

Preston for? That

1:27:24