Interstellar

WEBVTT
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Ooh, it is the time.
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Actually, the my clock's a little fast, so I was gonna say it's like three minutes fast.
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So we're in the future.
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We were actually on your time.
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It is time travel.
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Greetings and our salutations and welcome to the Imbibe Cinema.
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The Imbibe Cinema podcast is brought to you by the Blue Whiskey Independent Film Festival, otherwise known as Bwiff.
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I'm Jonathan C.
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Leggett, along with my co-host Trisha Leggett, as well as our producer, Michael Noens.
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I'm trying to figure out how I'm gonna edit that.
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John's trying to keep me on my toes.
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I think you should just like after this make him do multiple takes of it, and then just kind of lead in with every take, and then he'll finish the sentence in the end.
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So it'll be like a big, like suspenseful.
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I mean, I'm I'm I'm true to form uh on my second drink, but apparently this one's hitting a little harder than Robert.
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I'm gonna help you a little, I'm gonna help you a little with the math, sweetheart.
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They were both doubles.
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They were both doubles.
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So that's not one.
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But I'm not I'm not farther through the You're two drinks in.
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They were in one drink.
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We'll get into the science before we get this.
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Nobody was looking to this podcast to hear me say anything intelligent about science.
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Well, there goes a bunch of our demographics.
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Oh boy.
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All right.
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We are also pleased to welcome back our esteemed guest, Pete Geither.
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Yes.
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Uh Pete requested after we had done uh predestination that this be one of the next films that we did, and we are so uh super excited to be discussing tonight's 2014 Epic Adventure Interstellar.
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Oh my god, it's from 2014.
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Same year as Predestination.
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Holy crud.
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It doesn't feel as that it doesn't, yeah, it doesn't feel BC.
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Before children?
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Yes.
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It it was a thousand percent was B C because otherwise we wouldn't have gone to the theater.
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No, we couldn't have seen it.
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Correct.
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You're right.
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Uh Pete also found the cocktail uh for us.
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And uh Pete, if you if you would like to take the honors uh of why this cocktail needed to be uh and what is in the ingredients.
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Well, in in the movie in Interstellar, um, we of course have lost all almost all the crops uh due to the blight, and Earth is facing potential starvation, and about all that still can grow is corn.
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Uh the okra has died out, which would be bad if we had to make an okra drink.
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But uh uh so with corn being the main thing, it it seemed right to have a corn-based uh cocktail.
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And uh bourbon has to be at least 51% corn.
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And some of the bourbons, like redemption or uh which is what I'm having, uh makers are like at 70 plus.
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This is why John's so corny.
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And then there's this wonderful Mexican elote liqueur called Nixta.
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Uh and so the drink is a shot of bourbon, a shot of Nixta, and four or five splashes of chocolate bitters.
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And it is really tasty.
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Yes, it is dangerously tasty.
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I might not make it through the intro, dangerously tasty.
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Give him, give this man a water.
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But it seemed it seemed right to have a corn-based drink.
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So yeah, yeah.
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I I sort of cobbled it together from a number of uh drink recipes out there.
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Well, okay, so this is a Pete Geither original.
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Kinda, kinda.
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It's it's an adaptation.
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We'll call it that.
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Okay, and what's what's it called?
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The Cooper.
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Ah I like it.
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So uh look for this episode's recap link uh in our show notes, where you'll also find a written summary of our discussion along with the picture and the ingredients to make your own The Cooper uh at home.
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All right, now now uh uh Pete again, this this uh I will state this cast, uh I use cast as podcast uh not cast of lingo.
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No, not not the cast of the movie.
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Right.
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Yeah um but uh this this one was was pretty much your brainchild uh uh from from start.
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Uh what is it about this film uh that immediately grabs you and makes you want to discuss and and help uh those viewers uh uh appreciate this film more?
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Well, I think in part it goes back to when I was growing up, I was a huge fan of hard science fiction.
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Yeah.
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I read Isaac Asimov, who was not only a science fiction writer, but a scientist.
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So the key thing was that in the science fiction, there were things that were posited that we didn't weren't able to do yet.
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Yeah.
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You know, faster than light travel or whatever.
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But then within that framework, everything else would be scientifically accurate.
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Uh, and that was sort of the basis of hard science fiction.
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And it's something that I've always loved.
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I mean, I like fantasy too, but I really get into the whole hard science fiction aspect.
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And uh on a podcast earlier this uh season for Hail Mary, Project Hail Mary, you also talked about how the science informed that.
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Uh and Andy Weir has been very big on science in terms of what he's doing.
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So um, but this is like on steroids.
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Uh it goes, it goes incredibly beyond.
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Um, and part of it is because of a guy named Kip Thorne.
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If you look at the listings in the movie, he's listed as executive producer.
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Yeah.
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But he was actually one of the first two people involved in this film.
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Yeah.
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Okay.
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He was uh he was dating producer Linda Obst, who also did Contact.
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Okay.
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And she came up with the idea that they should work on creating a movie that deals with gravity and black holes, because that was his specialty.
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Ooh.
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Uh, Kip Thorne, he specializes in black holes, gravity, and related areas, and won a Nobel for his work with gravitational waves.
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So the whole idea was let's write a movie that deals with those scientific aspects of gravity waves, of black holes, and all of that.
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And they spent years working on it.
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They brought on uh Jonathan Nolan, uh, Christopher's brother, uh, as a writer.
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And he worked on writing it with them.
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And then um the the studio that they shopped it to got Steven Spielberg on it.
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Right.
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And so Spielberg was attached to it uh until Paramount couldn't work out a deal with him.
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So it went back into obscurity for a few years.
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And then Christopher came on board and got Paramount and Warner to work together to come up with a contract so that he could do it.
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So basically, you have a movie that started out entirely written by a scientist.
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Okay.
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And I mean, not writing part of it, but but the creation of it.
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Yeah.
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Uh through that.
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And then even when Christopher came on board, Christopher would come to him about every aspect.
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Yeah.
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Uh, you know, how would this work?
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You know, what and and the science even changed during the process of the years that Kip Thorne was working on this, so that he was able to even make some uh adjustments and improvement.
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There's uh I read he he wrote a book, The Science of Innerstone, which is an entire book about the science behind this movie.
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And that is the book that I am meant to bring with me because I have it.
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What?
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Yeah, you it's awesome.
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I I I read it.
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It is it is awesome.
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It is there are parts of it where I'm just going, okay, that's totally over my head.
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Yes, no idea.
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And and and but but the great thing was he every step in the book, he would identify the thing that he's talking about as either true, an educated guess, or speculation.
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Right.
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Okay.
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So but but none of it was going to be untrue.
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So everything was either true or speculative because they just don't know yet.
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Well, and black holes themselves were theorized a long time before like the math proved it.
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And then we didn't actually see one, we just knew that they could exist because the math.
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And then I don't think they actually had a the first picture of one is 2019.
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And wormholes are also proven by the math.
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Okay.
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Right, right.
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Uh, and the kinds of wormholes.
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So that was all part of it.
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So my goodness, all these packages linky together.
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Yeah.
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Math.
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Yeah.
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Now it even got to the point where during the filming, the cinematographer would get together with uh Kip Thorne to find out what the wormhole would actually look like.
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So they would get the visuals correct.
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Oh my.
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Yeah, my understanding of that is they based all of the visual effects of the wormhole off of mathematic equations.
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Oh my.
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So basically, Kip Thorne was like, Scientifically, this is how it should work.
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And they were like, All right, let's make a visual representation of that.
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Good great.
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And then wait, and a wormhole is also referred to as the Einstein Rosen.
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Yeah, Einstein Rosenbridge, yes.
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Yes.
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Uh and yeah, because we we get into a whole bunch of stuff with Einstein being involved because now we get into dimensions.
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Yes.
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Um, which becomes a huge part of this story as well.
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Yep.
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Um, and it it really gets in.
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This is this is where Jonathan's head's gonna start exploding.
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So I just need to to to prep you for that.
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I'm I'm um well well lubricated for it.
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Are are you familiar with the uh book Flatland?
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No, I am not.
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It was um it was a little thin book published in 1884.
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I fell in love with it when I was a kid.
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You're not that old, Pete.
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It is, yeah.
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I well, it had already been out for a while.
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The Romance of Many Dimensions by Edwin Abbott.
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Yes.
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Exactly.
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And it is a book about creatures who live on a two-dimensional plane.
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And so we try to understand a two-dimensional plane, and that helps us understand the difference between a three-dimensional and a two-dimensional.
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So, a two-dimensional plane, you got a square, a circle, all living on this flat piece of paper.
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Yeah.
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And how would you be able to interact with them?
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Because you're a three-dimensional being, you know, your voice waves would not be two-dimensional, yeah.
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So that wouldn't work.
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You might be able to jiggle the paper or something like that that would affect them, but you wouldn't be able to interact with them as a three-dimensional being.
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Now you take us as a three-dimensional world universe, then you have to add the fourth dimension, which is time.
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Yep.
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And because of Einstein, we realize that time is not a separate dimension.
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But time is linked to our spatial dimensions in space-time.
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Right.
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Because of the fact that that mass and gravity actually affect time.
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So they they can't they they can't be separated, they are all part of it.
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So now if you imagine that our three-dimensional wor universe plus time is that flat piece of paper that we were imagining the two-dimensional beings living on, okay, just for the purpose because we can't look outside of ourselves, we don't have the ability.
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Right.
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Well, if we are that flat piece of paper at a three-dimensional level, four-dimensional level, then that space outside of us is basically the bulk, is what they call it, which they refer to that in the film.
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Yeah.
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And that's the scientific term for it, which is fifth dimension or the dimension outside of our universe.
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Yes.
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And that is where gravity and black holes and uh and all of that interact with the bulk.
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So the idea being is that fifth-dimensional creatures, if they existed in the bulk, they wouldn't know how to look at us or talk to us or anything any more than we could know how to talk to a two-dimensional character.
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But in this particular conceit in the movie, they could create this four-dimensional tesseract library box.
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And the one way that they can interact with our universe only in one way, and that is through gravity waves.
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Yes.
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So actually, there's no people traveling in time in this movie.
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There is time dilation, but all that can affect early Murph is gravitational waves.
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Yes.
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And that is what he is doing in the library.
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So that's the whole science thing.
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The library is like you said, it's like all it's all one location, but it isn't.
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It's it isn't because if you make the coordinates, uh, you have to have time be part of those coordinates.
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So it's really several places because the time is different.
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Yes.
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Earth is well, Earth is spinning, Earth is also moving through orbit.
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I mean, yes, there is the the the coordinate, but like at least what what Cooper is is explaining is is all the the they couldn't create ways to communicate in all these different locations.
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All it is is one room throughout time, and that that is how he is able to the you know jump back to a certain point in that room's time and do Gravity X and then jump to a different time in that same line.
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He's not actually jumping to that other time.
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He is able to see it the same way that we can see a star that existed millions of years ago through the light that is coming to us.
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And so we can see the past, but the past cannot see him.
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The only thing that can cross the barrier is gravity, and that's what he's using in that space through the way he's hitting that to make books fall or to make the the watch change or to make the dust come down.
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Yeah.
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I the fact that he ends up programming an entire equation into a watch.
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Uh I mean, don't get me wrong.
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It's all the way.
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He has help, but at the same time, like it it's it's gonna take her like you know, twenty something odd years to to decode ones and zeros from a watch.
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No, because find out where the starting point is.
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Well, and and to the point, like the thing that kind of I mean, this is maybe going away from science a little bit for a moment, but uh the whole running theme of love and how that transcends time is a very interesting thing.
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Transcends space and time.
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Yeah, that's right.
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The the thing that they keep coming back to, uh even in that like one line where Tarz is like, how do you know she's gonna come back for this watch?
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Like you're putting everything in this watch.
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Like, how do you know?
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Because I gave it to her, and that's just yeah, that's just he's he's gambling the whole thing on his love for his daughter and his daughter's love for him.
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It's the power of love.
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Yeah, if we didn't write off love as curious, um as a you know, a selfish motivation, like it uh uh that is un uh whether consciously or unconsciously biasing you uh in in a way that's not looking at the greater picture, which is how they treat Anne Hathaway when she says, I I I there's something greater pulling me there.
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I know we have to go there.
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And imagine if they had gone there, would would the other would the scientist be alive?
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Yes, he would have.
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Because they wouldn't have taken 30 something well, they definitely wouldn't have lost all the uh the equipment.
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Or or two of their guys.
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Like two of the team.
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No uh they were already going to the water where they lost one of their team because he sat there staring at things for way.
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No, no, no, it's not his fault.
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It I mean, uh yeah.
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But um what I'm saying is it is a total human reaction, it is not unbelievable to freeze.
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I mean, you can uh I anybody uh can freeze in a moment of panic.
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Absolutely.
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Yeah, no matter how much you're trained for it, like you never know.
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They could also have believed her earlier and not even gone to the water planet.
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True.
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Probably not, yeah.
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That and it was the closest one, but it was also the one with the colour.
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There was also the whole discussion about the fact that that it was going to be a time suck, and it was going to hurt their ability to and hurt his ability to get home.
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Yep.
00:17:52.960 --> 00:17:59.039
And as Brandt says, like we should consider time a resource like we would with fuel and anything else.
00:17:59.440 --> 00:18:03.599
But if they had made that decision, then humanity might have been doomed.
00:18:03.920 --> 00:18:04.480
Yeah.
00:18:04.720 --> 00:18:06.079
That's true.
00:18:06.960 --> 00:18:27.519
Because nobody would have been able to send the signal back to the library for Murph to discover how to solve the problem of getting the the people off Earth and become eventually the fifth dimension residents.
00:18:28.079 --> 00:18:37.119
Oh, but do they become the fifth dimension residents or does Brand's new population doctor No, they don't become well the there's a whole group, like she has a whole like nursery.
00:18:38.240 --> 00:18:40.559
Cooper thinks Cooper thinks it's it's them.
00:18:40.720 --> 00:18:41.920
Well, yeah, but which them?
00:18:42.319 --> 00:18:44.160
Pete from a bootstrap.
00:18:44.480 --> 00:18:44.799
Oh.
00:18:45.680 --> 00:18:46.880
Now we get this.
00:18:46.960 --> 00:18:48.319
It happened, so it happened.
00:18:48.559 --> 00:18:50.480
So it happened because it happened.
00:18:50.880 --> 00:18:51.119
See?
00:18:51.920 --> 00:19:01.599
No, and you're right, and uh, we we all agree, and uh that is an obvious statement in this film to make, and we're so glad that you're not scared.
00:19:03.599 --> 00:19:04.079
Wow.
00:19:05.519 --> 00:19:11.200
Despite the fact that there is no actual time travel, it is a closed loop.
00:19:11.519 --> 00:19:13.359
It is a closed loop, so yeah.
00:19:13.920 --> 00:19:21.519
It is, it's like a closed loop, but it's it's only a closed loop because the fifth dimensional beings can see it all at once.
00:19:22.160 --> 00:19:24.880
Yes, but let's which ones are the fifth dimensional beings?
00:19:25.039 --> 00:19:28.240
Is it the people in our universe that managed to get off of Earth?
00:19:28.480 --> 00:19:31.279
Or is it the people we grew in the new planet?
00:19:31.519 --> 00:19:36.720
It's that like or do they like that's a future, but that was my question.
00:19:37.039 --> 00:19:43.519
Well, Cooper thinks it's Burf's group that becomes the fifth dimension, but I don't think anybody knows.
00:19:43.759 --> 00:19:48.640
Yeah, it doesn't necessarily or if in fact it is humans that did it.
00:19:49.279 --> 00:19:49.680
Yeah.
00:19:49.920 --> 00:19:51.200
It could have been other beings.
00:19:51.519 --> 00:19:53.839
Yes, other beings are probably nicer than we are.
00:19:54.559 --> 00:20:04.000
The one reason to think that it might have been is because it was necessary for humanity to survive.
00:20:04.559 --> 00:20:09.759
That's applying our sense of emotion and moral like it it's like the different planes.
00:20:10.079 --> 00:20:15.519
Like who knows how uh anybody else in the universe would behave.
00:20:15.680 --> 00:20:20.079
We can't say that they would uh have the same set of values or whatnot that we do.
00:20:20.559 --> 00:20:26.400
But then also in reality, how many people would be like for the future of the species?
00:20:26.640 --> 00:20:29.839
And how many people would be like, no, for for the people I love?
00:20:30.079 --> 00:20:47.839
Like it's very hard to find somebody who I think I mean, especially in our current world, it it really does feel like people who think about the future of the species, um, if we had more people who did that, then we wouldn't have the problems with the climate we currently do.
00:20:48.160 --> 00:20:55.680
The one thing that you guys had mentioned before we we started rolling um was corrected textbooks.
00:20:56.160 --> 00:21:00.400
And then I I gave every single one of you a confused look.
00:21:00.799 --> 00:21:05.440
Um, because what is a corrected textbook?
00:21:05.920 --> 00:21:06.160
Uh-huh.
00:21:06.400 --> 00:21:07.519
So, yeah, in the beginning of the movie.
00:21:07.759 --> 00:21:08.400
Such a big moment.
00:21:08.880 --> 00:21:14.079
Yeah, in the beginning of the movie, um, he has a parent teacher conference that he goes to.
00:21:14.559 --> 00:21:16.319
Yes, the moon ending space.
00:21:16.720 --> 00:21:19.200
Okay, that corrected textbook for the corrected.
00:21:19.759 --> 00:21:21.599
She is using his textbook.
00:21:21.920 --> 00:21:25.599
Yes, where it talks about instead of the corrected textbooks.
00:21:26.640 --> 00:21:26.960
Thank you.
00:21:27.119 --> 00:21:36.160
And what's fascinating to me is that when I saw this movie in theaters in 2014, that seemed like absurd and wow, a throwaway.
00:21:37.759 --> 00:21:38.720
Perfect word.
00:21:39.359 --> 00:21:47.039
And re watching the movie earlier today, I was like, what the actual fuck?
00:21:47.200 --> 00:21:49.920
Oh, I was so differently.
00:21:50.240 --> 00:21:53.119
Yes, it did hit differently with the Department of Education.
00:21:53.839 --> 00:21:55.279
I felt just like Cooper.
00:21:55.440 --> 00:21:59.519
I I was like, Yeah, yeah, get go blow up about this, you know.
00:22:00.240 --> 00:22:02.880
This is this is so horribly wrong.
00:22:03.200 --> 00:22:04.799
I got you suspended.
00:22:05.920 --> 00:22:16.720
I love uh this is a little bit into the performance here, but I love how fuming he gets and how it he he does.
00:22:16.960 --> 00:22:21.440
Cooper is not a loud, angry person.
00:22:22.240 --> 00:22:26.000
When he gets angry, he gets real quiet.
00:22:26.319 --> 00:22:26.799
Oh yeah.
00:22:26.960 --> 00:22:33.519
And it's like you can feel the the steam coming off of him.
00:22:33.759 --> 00:22:39.119
And I thought that that was just such a a great choice as an actor.
00:22:39.440 --> 00:23:00.319
Um and I mean to the to the point where you know he he was like uh where he says, you know, he's talking about his wife, um, and how she would be sitting here instead of me because she was always what does he say, the cooler one, the more patient one, the calm headed one, and you're like, oh shit.
00:23:01.039 --> 00:23:03.839
I also really love the so what are you gonna do about it?
00:23:04.000 --> 00:23:12.240
Well, you know, she's been kind of interested in baseball recently, and uh there's a baseball game coming up, and I might get her some ice cream.
00:23:12.319 --> 00:23:12.960
Yeah, yeah.
00:23:13.599 --> 00:23:20.319
Yeah, I'm going to reward her for being smart enough to read past the bullshit.
00:23:21.039 --> 00:23:44.960
And uh I there's something to be said about the corrected textbook, and yeah, it's horrifying, but then also that whole situation what do you do when you know the planet is dying and you know, like the the educated few know that there is no hope, but we have this illusion we have to well, if the world is ending, would do you let the public know?
00:23:45.119 --> 00:23:47.920
Or well, no, because mass hysteria, right?
00:23:48.319 --> 00:23:50.079
And the Michael Caine dilemma.
00:23:50.319 --> 00:23:51.039
Don't look up.
00:23:51.359 --> 00:24:02.240
He knows that without the data that you would get from the actual black hole, you can't there is no escaping their future.
00:24:02.400 --> 00:24:11.359
That he he's already done the equation, and the equation cannot be completed officially until there is that that X data.
00:24:11.599 --> 00:24:22.400
And so he knows that he is sending these guys to the detriment of those on Earth for the betterment of humanity.
00:24:22.720 --> 00:24:25.039
He knows it has to be plan B.
00:24:25.279 --> 00:24:25.519
Yeah.
00:24:25.839 --> 00:24:27.680
It was never going to be plan A.
00:24:28.160 --> 00:24:31.920
Because they they can't solve the equation.
00:24:32.319 --> 00:24:37.200
And it's and yet he knows that he has to make them believe that they can, right?
00:24:37.440 --> 00:24:43.759
Because why would it's such a hard call to make, it's such a difficult decision to make.
00:24:44.079 --> 00:24:59.039
And to like it, he kind of comes across almost like uh the villain in some ways, but at the same time, it's like that you sac you you sacrifice yourself, so nobody else has to live with this, nobody else has to make that call.
00:24:59.359 --> 00:25:20.319
He's taking that burden away from everybody else, and he's he's offering them hope, which means they can live their lives as best they can until which is a gift in itself, but it's such a really tragic character and and such a like uh a great moment when you find out it was all lie, yeah.
00:25:20.559 --> 00:25:22.240
And you find it out in two different locations.
00:25:22.319 --> 00:25:28.880
Like you find it out when he confesses to Murph, and you find it out when they find out Murph tells them with Matt Damon.
00:25:29.119 --> 00:25:30.400
Oh man Matt Damon.
00:25:30.559 --> 00:25:31.359
Matt Damon.
00:25:32.160 --> 00:25:37.680
Oh, what he was the greatest character, man.
00:25:39.839 --> 00:25:45.759
Tell you what, we're gonna take a few moments to fill our glasses and get ready to embed more after this.
00:25:47.759 --> 00:25:50.400
Hey Michael, I got some cool news.
00:25:50.640 --> 00:25:51.680
You got some cool news?
00:25:51.759 --> 00:25:53.039
I love cool news.
00:25:53.200 --> 00:25:54.559
What's the news?
00:25:54.880 --> 00:26:00.319
Our listeners can actually send us a voicemail now, and I'm thinking that maybe this will work better than text.
00:26:00.720 --> 00:26:06.079
You think you think that the reason was because they had to actually like type things where now they can actually speak to us.
00:26:06.400 --> 00:26:06.640
Right.
00:26:06.799 --> 00:26:13.839
The cool thing is now they can actually leave us a voicemail and then we can play that voicemail on the show.
00:26:15.200 --> 00:26:17.200
And then answer that voicemail.
00:26:17.440 --> 00:26:18.079
In real time.
00:26:18.240 --> 00:26:19.039
In real time.
00:26:19.359 --> 00:26:20.720
So almost real time.
00:26:20.880 --> 00:26:21.039
Yes.
00:26:21.279 --> 00:26:22.240
Well subtract.
00:26:22.400 --> 00:26:22.960
Sub real time.
00:26:23.200 --> 00:26:23.599
Sub real time.
00:26:24.480 --> 00:26:25.119
In our real time.
00:26:25.279 --> 00:26:25.359
Yes.
00:26:25.519 --> 00:26:26.079
Not their real time.
00:26:26.240 --> 00:26:26.880
Not their real time.
00:26:27.119 --> 00:26:33.680
But yeah, so they can leave us a voicemail with their film suggestions or what they think that we should cover on the show that we haven't yet.
00:26:33.920 --> 00:26:34.640
Oh, okay.
00:26:34.880 --> 00:26:36.079
I think that would be pretty cool.
00:26:36.240 --> 00:26:42.960
Or they could even like just say, hey, you know, you talked about this movie and you didn't talk about this, and I think you should be talking about this.
00:26:43.200 --> 00:26:44.240
That's more than fair.
00:26:44.559 --> 00:26:46.240
And but then we can address that.
00:26:46.559 --> 00:26:48.079
So yeah, they should totally do that.
00:26:48.240 --> 00:26:49.759
It's audience interaction.
00:26:50.000 --> 00:26:51.920
All right, so so uh, yeah.
00:26:52.319 --> 00:27:04.079
Not only can you leave us a text, but you can also leave us uh uh a full voicemail, and we will be able to uh hear and respond to either your text or your voicemails.
00:27:04.319 --> 00:27:05.200
Perfect.
00:27:05.759 --> 00:27:06.960
I'm Jonathan C.
00:27:07.200 --> 00:27:11.519
Leggett, and I am here along with Trisha Leggett and Michael Noins.
00:27:11.759 --> 00:27:13.680
And our special guest, Pete Geither.
00:27:13.920 --> 00:27:16.160
And we are discussing Interstellar.
00:27:16.400 --> 00:27:24.319
Enjoying this podcast, please subscribe or follow us on your favorite podcast providers to get our new episodes as soon as we release them.
00:27:24.640 --> 00:27:29.519
Rate and leave us a review to help the show reach that larger audience.
00:27:29.680 --> 00:27:35.119
Uh, you can also uh follow Imbibe Cinema on Facebook, Instagram, Threads, and Letterboxd.
00:27:35.359 --> 00:27:35.759
All right.
00:27:35.920 --> 00:27:43.359
So uh I know that uh even before we we had started waxing poetics, uh, we were already starting to talk about the production of this film.
00:27:43.519 --> 00:27:56.079
Uh but I do want to actually take a quick step back um uh on the sense that uh there there was an interesting thing about this film, and I think one was AI, uh Tars and Case.
00:27:56.480 --> 00:28:06.400
Um in the in the sense that I I think the first time I watched it, my brain didn't quite compute what they were.
00:28:06.720 --> 00:28:17.839
Um that they were not only AI, but like the the joke essentially that they are is they are a military weapon that we had created.
00:28:18.799 --> 00:28:44.480
The way that this film uh addresses time that we have not yet lived is very casual, uh in the sense that it's like okay, everything that has come between the point that you're watching this movie in 2020 something or 2016 something, and where it is where the only uh things we have left are okra and corn.
00:28:44.720 --> 00:28:46.880
Um we've had a war.
00:28:47.599 --> 00:29:01.359
We've had a war that was machines, AI uh military machines waging that war to the point that Cooper is is not quite trusting of these two uh beings.
00:29:01.680 --> 00:29:02.319
Even NASA.
00:29:02.720 --> 00:29:07.759
Even NASA NASA was asked to drop bombs on on starving people.
00:29:08.160 --> 00:29:08.559
Correct.
00:29:08.720 --> 00:29:12.240
To ease the the food the mouths uh food.
00:29:12.480 --> 00:29:14.160
We're at least 15 years away from that.
00:29:14.240 --> 00:29:14.799
So yeah.
00:29:15.039 --> 00:29:17.359
Are there any other things that jump out to you?
00:29:17.680 --> 00:29:23.039
I love the the idea of the uh AI in this uh situation.
00:29:23.279 --> 00:29:28.160
There are they are AI you want to hang out with, they are smart and funny, 75% humor.
00:29:28.400 --> 00:29:29.920
The adjustable part.
00:29:30.079 --> 00:29:44.559
I mean, I need to be able to adjust, Alexa, you know, in particular the honesty level that it knows not to be 100% honest honest with humans um because of emotion and whatnot.
00:29:44.880 --> 00:29:50.079
And already and explains in a very comprehensive, almost scientific way.
00:29:51.279 --> 00:29:55.599
Yeah, like it's just you can't do this with humans.
00:29:56.240 --> 00:29:58.880
People can't handle 100% honesty, so yeah.
00:29:59.680 --> 00:30:04.160
So I love that anything more than 90%, people are gonna get pissed off.
00:30:04.319 --> 00:30:04.960
Yeah, right.
00:30:05.119 --> 00:30:11.599
And then it continuously calls back to I mean, Coop and uh Brand say that over and over.
00:30:11.920 --> 00:30:12.720
Honesty level.
00:30:12.880 --> 00:30:13.200
90%.
00:30:13.599 --> 00:30:18.960
Yep, yes, self-destruct in yeah, all right, right after I blow you out the airlock, yeah.
00:30:19.759 --> 00:30:22.960
Well, but it understands 2001 space odyssey.
00:30:23.119 --> 00:30:29.359
As long as we're talking about characters, I do have to make a plug for Mackenzie Foy, young Murph.
00:30:29.599 --> 00:30:32.319
Oh, yes, yes, yes, fantastic.
00:30:32.559 --> 00:30:35.359
I was so engaged whenever she was on the screen.
00:30:35.680 --> 00:30:51.440
Aside from the fact that they look similarly, I do love I love whenever you have a young actor and an older actor that are playing the same character, and they both, at least on this viewing, I don't really feel like one was trying to be the other.
00:30:51.680 --> 00:30:54.079
They were literally complimenting one another.
00:30:54.240 --> 00:30:54.559
That's right.
00:30:54.799 --> 00:30:57.359
To try to be like, we're going to be the same person.
00:30:57.519 --> 00:31:04.640
They kind of borrowed a little bit from each other, I felt, having seen a number of Jessica Chestain films.
00:31:04.960 --> 00:31:09.920
I feel like she wasn't just you know, like like Tom Hanks is usually Tom Hanks in a movie.
00:31:10.480 --> 00:31:12.480
Nicholas Cage is always Nicholas Cage.
00:31:12.720 --> 00:31:12.799
Right.
00:31:13.359 --> 00:31:19.839
And so like I feel like there was there, there was like a little bit of a study between the two of them.
00:31:19.920 --> 00:31:23.039
Yeah, that was very believable.
00:31:23.279 --> 00:31:32.240
And in a way, I think, between um not as clear, but uh between uh Timothy Chalamet and Casey Affleck.
00:31:32.480 --> 00:31:32.880
Yes.
00:31:33.039 --> 00:31:37.200
Um I very much believed that they were the exact same person.
00:31:37.519 --> 00:31:44.400
It was it was heartbreaking when Jessica Chastain Smurf was doing the Did You Know.
00:31:44.799 --> 00:31:45.119
Yeah.
00:31:45.359 --> 00:31:46.000
Oh yeah.
00:31:46.319 --> 00:31:46.880
Yeah.
00:31:47.200 --> 00:31:49.039
Oh man, that hurt.
00:31:49.200 --> 00:31:49.440
Yeah.
00:31:49.680 --> 00:31:52.319
That just that just hurt so bad.
00:31:52.559 --> 00:32:03.359
Well, and I I I love the um the montage of uh videos that you get when he comes back from the water planet where it's Miller's, yeah.
00:32:03.599 --> 00:32:06.640
Yeah, it's all of the time that's missed on all this whole life.
00:32:06.799 --> 00:32:07.200
Yeah.
00:32:07.359 --> 00:32:08.720
And and just snippets.
00:32:09.119 --> 00:32:10.319
30 something odd years.
00:32:10.480 --> 00:32:12.079
And it's heartbreaking.
00:32:12.319 --> 00:32:34.319
And I saw an interview I remember at some point with Matthew McConaughey, where he was talking about how there was like a rehearsal period, like there was something where they wanted to go through this, and he was very much uh about no, I need you need to roll the camera on this because the first time that I experience all of this, you are going to get very raw.
00:32:34.880 --> 00:32:37.599
And then I'm gonna be trying to replicate that every time.
00:32:37.839 --> 00:32:38.160
Yeah.
00:32:38.400 --> 00:32:50.559
And because it was the first time that he would hear all of this, yes, and he really wanted to be in the moment, and so um, yeah, and they ended up rolling it, and he was like, and they used that very first take.
00:32:50.640 --> 00:33:00.960
We did multiple takes, but they used that first take because it was the most raw, which makes the most sense because he was really in the moment, he was present, and yeah, and and it's heartbreaking.
00:33:01.039 --> 00:33:16.400
It's heartbreaking just to uh anything, it's clear in the way that they held on him for so much of it because he he was showing you both sides just in his reaction.
00:33:16.799 --> 00:33:19.359
Yeah, it was emotional, yeah.
00:33:19.920 --> 00:33:31.359
Because even though, like, much like Matt Damon's character, you can know the reality of a thing, accepting it and actually like living it is different than just knowing it.
00:33:31.680 --> 00:33:34.000
Matt Damon is such a good bad guy.
00:33:34.160 --> 00:33:36.160
Yes, he is such a good bad guy.
00:33:36.400 --> 00:33:39.279
He's such a good coward, such a good weasel.
00:33:39.759 --> 00:33:41.119
He did that very well.
00:33:41.359 --> 00:33:43.519
How do you feel about his character being man?
00:33:44.480 --> 00:33:46.240
Like his name being man.
00:33:47.200 --> 00:33:49.440
I do, I I uh I appreciate that.
00:33:49.680 --> 00:33:50.799
I haven't thought of it.
00:33:51.200 --> 00:33:57.200
He was the best of us, and it did it took him years before he broke down.
00:33:57.440 --> 00:34:06.720
And I feel like it it encompasses an arrange of humanity in that way, because he was the best of us and the worst of us, all wrapped in one.
00:34:07.839 --> 00:34:10.000
And uh as man.
00:34:10.400 --> 00:34:20.159
And it also really kind of focuses in on the um that that foible of self-preservation.
00:34:20.559 --> 00:34:31.440
I mean, going back to our discussion in predestination, which people can watch, uh the idea of would you be willing to kill yourself in order to prevent the future from happening?
00:34:31.679 --> 00:34:35.920
And that is a little bit of what he is faced with here, right?
00:34:36.159 --> 00:34:38.480
Uh see, John, you're doing it to other people now.
00:34:38.559 --> 00:34:38.960
They all want to.
00:34:39.199 --> 00:34:39.679
I'm taking that.
00:34:39.920 --> 00:34:42.559
He's he's now now he's gonna say uh he says watch.
00:34:42.719 --> 00:34:44.800
Like you can watch with your ears.
00:34:46.320 --> 00:34:51.280
Yes, our our listeners should watch these movies.
00:34:51.519 --> 00:34:52.000
Oh, good.
00:34:52.079 --> 00:34:52.639
Okay, yes.
00:34:52.880 --> 00:34:54.719
Yes, watch the movie.
00:34:54.960 --> 00:34:55.519
Yeah.
00:34:55.760 --> 00:34:56.960
Yes, very good.
00:34:57.199 --> 00:35:01.440
Now, I I I do have one one science flashback for you.
00:35:01.679 --> 00:35:06.480
Why did the um uh the Indian satellite come down?
00:35:06.719 --> 00:35:07.119
Yeah, good.
00:35:07.599 --> 00:35:08.960
You know, the uh the the the rock.
00:35:09.920 --> 00:35:17.920
Yeah, the one that they chased it come down, the one that they chased down through the cornfields and uh and got so he could use the almost driver cleaning.
00:35:18.400 --> 00:35:18.800
It was a drone.
00:35:19.199 --> 00:35:20.000
Okay, the drone, yes.
00:35:20.079 --> 00:35:21.920
Why did the drone was it a weather drone?
00:35:22.239 --> 00:35:36.480
So yeah it it was it was uh Well he talked about how it maybe this it fried the circuits fried, like just being up there so he also talked about how it was almost like it was seeking a signal of some kind.
00:35:36.719 --> 00:35:39.039
Yeah, because of those fifth dimensional people.
00:35:39.679 --> 00:35:55.760
Think about the fact that all of the combines suddenly went haywire when they plugged into that, lost track of their magnetic connection in terms of what direction it was, and that is because of gravity.
00:35:55.920 --> 00:36:22.159
Both of those things were because the house had been affected by gravity from the fifth dimension from the Tesseract when Cooper was there, a gravity effect into our three-dimensional world that affected the gravitational pull around that house, which affected both that drone and the combines.
00:36:22.400 --> 00:36:22.639
Yeah.
00:36:22.880 --> 00:36:23.679
That is so cool.
00:36:23.840 --> 00:36:28.559
And you know, I didn't I I I don't think I ever because there's so much in this movie.
00:36:29.280 --> 00:36:32.559
I think that's one thing I never really thought too much about after.
00:36:33.039 --> 00:36:33.440
Yeah.
00:36:33.679 --> 00:36:34.400
That is so cool.
00:36:34.800 --> 00:36:36.239
It's it's a big film.
00:36:36.400 --> 00:36:38.159
There's so much going on in it.
00:36:38.320 --> 00:36:52.559
I mean, even even down to the the the world at the end with the baseball field in the the circular uh almost a Dyson sphere, almost like uh that that it that it's in.
00:36:52.960 --> 00:36:57.039
So excited it broke those those poor people's windows.
00:36:57.519 --> 00:36:58.880
Probably happens all the time.
00:36:59.920 --> 00:37:01.360
Happens all the time.
00:37:02.480 --> 00:37:04.159
So excited though.
00:37:04.559 --> 00:37:16.000
Um yeah, but the fact that um the it it it is such an epic and that it's almost two stories, everything on earth versus everything after.
00:37:16.400 --> 00:37:24.960
Um and then the editing on how they put everything together is is just really well done.
00:37:25.280 --> 00:37:35.440
I think it worked, and just like I think that Project Hail Mary's editing worked as far as that aspect of it, even though some may disagree.
00:37:35.840 --> 00:37:52.719
The the thing that really grabs me every single time for this movie, there's a particular moment, and it's not, you know, uh a typical Christopher Nolan booming so loud on top of dialogue that you can't understand.
00:37:53.360 --> 00:37:56.079
Um which I'm not it's not a dig at him.
00:37:56.800 --> 00:37:58.000
It is pretty common, though.
00:37:58.400 --> 00:38:00.320
I actually enjoy that about him.
00:38:00.480 --> 00:38:02.639
It's it's weird, but I like it.
00:38:02.880 --> 00:38:05.920
Um uh I know a lot of other people don't.
00:38:06.159 --> 00:38:09.519
But um it's the thunderstorm in space.
00:38:10.400 --> 00:38:24.159
That's something that I I don't know what it is about it, but since the first moment that I saw it, when you have the the it's when they come out of their their nap, their long nap, and they're approaching Saturn.
00:38:24.320 --> 00:38:30.719
Oh the sound of the earth and a thunderstorm, and then it cuts to and the crickets, yeah.
00:38:30.880 --> 00:38:41.360
And it cuts to the uh the endurance moving past a planet, and you just hear uh a thunderstorm.
00:38:41.679 --> 00:38:49.760
And I I just thought it was just I don't know, there was just something very beautiful about it um that was very contradictory to one another.
00:38:50.719 --> 00:38:54.000
The silence of space and the noise of position.
00:38:54.320 --> 00:38:54.800
There you go.
00:38:55.519 --> 00:39:02.159
Um, but yeah, something about that really just I don't know why, but it hooked its claws in me.
00:39:02.480 --> 00:39:08.400
And it's one of the things that I remember when I think about this movie, I think about that, which is weird.
00:39:08.639 --> 00:39:23.119
Yeah, it's it's fascinating because of the fact that there is no sound in space, and yet, you know, you want to have a sound that's going to bring the audience into the moment.
00:39:23.519 --> 00:39:24.000
Yep.
00:39:24.800 --> 00:39:38.320
And so you have to, as a director, find ways to make sound work in the emptiness of space without the Star Wars just your new explosions that you wouldn't actually know.
00:39:38.639 --> 00:39:39.679
No, no, no, no, no, no, no, no, no.
00:39:40.719 --> 00:39:42.159
Or just John Williams in general.
00:39:43.119 --> 00:39:51.199
To which this film really honors it really like in multiple ways, you do not hear sound in space.
00:39:51.360 --> 00:39:53.360
When they are docking, you do not hear anything.
00:39:53.519 --> 00:39:53.599
Right.
00:39:54.159 --> 00:39:55.119
And it builds suspense.
00:39:55.360 --> 00:39:56.400
Oh, God, whatever.
00:39:56.719 --> 00:40:13.519
When when they after they they uh they dock with endurance and they're they're floating through the ship, and it's currently venting out into space, you're hearing nothing until all of a sudden they close the door and then you hear the alarms.
00:40:13.679 --> 00:40:18.480
Yeah, and then you hear all the because it's now enclosed and there's an atmosphere.
00:40:18.719 --> 00:40:19.199
Oh god.
00:40:19.599 --> 00:40:21.920
Um it's it's very it's quite beautiful.
00:40:22.159 --> 00:40:25.199
Matt Damon's final words are the only thing you hear.
00:40:25.599 --> 00:40:26.559
Explosion silence.
00:40:26.719 --> 00:40:27.760
Very cool stuff.
00:40:28.000 --> 00:40:32.400
It's yeah, it just it's taking that actual reality.
00:40:32.639 --> 00:40:34.320
Again, it goes back to the science.
00:40:34.400 --> 00:40:41.599
It's the realness of it rather than going for the oh, we're gonna make explosions in space.
00:40:42.000 --> 00:40:54.320
Yeah, no, it's it's about the actual realness of it and making the silence work and then contrasting it with sound when you're inside.
00:40:54.639 --> 00:40:54.880
Yeah.
00:40:55.280 --> 00:40:59.360
Christopher Nolan just knows how to to push those buttons.
00:40:59.679 --> 00:40:59.920
Yes.
00:41:00.480 --> 00:41:08.480
And he's he's not afraid to make dialogue versus the environment really compete with one another.
00:41:08.719 --> 00:41:08.880
Yeah.
00:41:09.199 --> 00:41:18.320
And and I I get the the complaint that people have where they're like, I don't understand what they're saying because the environment is so loud.
00:41:18.639 --> 00:41:20.880
But that is done by design.
00:41:21.039 --> 00:41:28.480
And the more that you watch the film, I think you get why it's done that way.
00:41:28.800 --> 00:41:42.320
Well, I mean, I would think uh just without a specific example, I would think that it's meant to make you feel uneasy, it's meant to make you feel anxious, it's meant to make you feel like like lean in, it's meant to get a reaction out of you.
00:41:42.559 --> 00:41:42.960
Yeah.
00:41:43.280 --> 00:41:45.920
Um that's more immersive to the film.
00:41:46.079 --> 00:41:46.320
Yeah.
00:41:46.639 --> 00:41:48.000
This is a really good drink.
00:41:48.239 --> 00:41:48.960
It really is.
00:41:50.079 --> 00:41:50.400
Very good.
00:41:50.800 --> 00:41:52.880
It's gonna make editing so much fun for Michael.
00:41:53.199 --> 00:41:54.000
Dangerously good.
00:41:54.400 --> 00:41:55.920
Yes, it is.
00:41:57.199 --> 00:42:02.480
Pete, is there anything else that that you have going on uh coming up?
00:42:02.800 --> 00:42:26.480
Well, uh, I just want to let you know that I just had a wonderful, amazing exhibit of my photography up in Chicago uh recently, um uh along with the performance, and that is all leading to a uh comprehensive Living Canvas book that will be released sometime, hopefully in 2027.
00:42:26.880 --> 00:42:27.280
All right.
00:42:27.440 --> 00:42:29.039
I'm working on that now.
00:42:29.440 --> 00:42:48.719
Uh, and I'm using the uh the feedback from the exhibit that I just had, and um, there will be an entire hardcover book with photography and history and stories and interviews and all sorts of stuff about Living Canvas, which is my art form.
00:42:48.880 --> 00:42:55.360
So uh yeah, keep an eye on that and uh uh keep in touch with me, and I'll let you know when that's coming out.
00:42:55.840 --> 00:42:59.840
Wonderful! Yay! Well, um, I'm Jonathan C.
00:43:00.000 --> 00:43:02.320
Leggett, and thanks for imbibing with us.
00:43:02.960 --> 00:43:03.599
Cheers.