Dead End (1937)

WEBVTT
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Hello, everyone, and welcome to Once Upon a Time
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at the Oscars. The show that takes you through
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every Best Picture nominee from 1927 to today.
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I'm Kyle. I'm Ryan. We return. That's all I've
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got. We return. I was waiting for the rest of
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it. I was very excited. That's what I was going
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for. Well, you crushed it. We are... Return.
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We are return. We are very excited to bring another
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episode to you at the top. I forgot to do this
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last time, so I'm so sorry. You can reach us
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at outiopodcasts at gmail .com. You can also
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follow us on Patreon for a lot of cool benefits,
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including movie reviews that I post so, so often.
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And early episodes, including our exclusive episodes
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of Horror of the Overlooked that we do every
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month. We appreciate any patronage there. But
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we continue our coverage of the 10th ceremony
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year. The Big Ten. The Big Ten. We are reaching
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a decade of movie history here. So I want to
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stop real quick and ask you, how are you feeling
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about a decade? Yeah, I feel pretty good. It's
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nice, you know? Does it feel like we've covered
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a decade so far of history? Yeah, I mean, it's
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been a lot of movies. I think that... Right now
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in real life, I have gotten so much busier in
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the past month or so that every week it feels
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like, okay, we're pumping out another decade.
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You know, it's a lot. So I'm feeling like a wealth
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of knowledge. How about you? I'm feeling as much
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of a wealth of knowledge as I think I can feel.
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It's kind of like I love to humble myself whether
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I know it or not and whether it's intentional
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or not. But sometimes I think I'll be very excited
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about something I've learned. I'm like, oh, man,
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it's really cool. Did you know this? And someone
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will be like, actually, this little detail. I'm
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like, oh, never mind. I should go back to my
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cave. And that's how I feel sometimes with the
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knowledge that I have here, where it's like,
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hey, I know so much, but I haven't read every
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single book. So is that fully true? Yeah. So
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I feel like I have a lot of knowledge, whether
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that be the end all be all. Who's to say? And,
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you know, it's never going to be that for us.
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That's why I always get hesitant when we're like,
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and this is the first movie to do this. I'm like,
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uh, at the Academy Awards, because that's all
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we know. True. So, yeah, you know, that brings
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up a good point. I hope everybody has picked
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up by now, or if this is your first episode,
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interesting choice to start with this. You're
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in for a treat, because this is a pretty solid
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film here. But, like, We were just a couple guys
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that like movies, you know? That should be the
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top of the show every episode. We're just a couple
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guys that like movies. That's it. You spent time
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working at Blockbuster, at MovieStop, you know?
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You go to the movies all the time. You work on
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set. I do that sometimes a lot less frequently
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now than I have. And, to be fair, you've probably
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sold a lot of great movies, and I've worked on
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movies. So there's that. Hey, I've heard Grafted
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was really good. Grafted. Grafted. Grafted. I
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don't know what that is. I don't think I worked
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on that. Wasn't that McKenna Grace? Slanted?
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Slanted. Sorry, Grafted was the Shudder movie.
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I see. I was like, didn't work on that one. My
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bad. Slanted is what I was thinking of. It was
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something Ted, and it was a horror movie. Yeah,
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just like the Bear movie. Anyway, we are talking
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today about another William Wyler film. How are
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you feeling about Wyler now? You've seen two
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of his movies, and you're going to see a lot
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more. I am going to see a lot more. I think that
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it is fair to say that I'm feeling pretty wild
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on Wyler. Yeah. Pretty excited so far. Maybe
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that's because I know what's to come, and it's
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just really exciting to see his style. We talked
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a lot about John Ford in years previous, and
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I was really excited about his evolution and
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what we saw from him, how it felt like he was
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kind of pushing the boundaries a little bit.
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Yes. And I feel like we're getting that from
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Wyler now. We are. My introduction to him, I
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was like, oh, this is Wyler? Okay. But this one
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is more like odd. This is what I was thinking
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with Wyler. So I'm very excited to cover this
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one. This should be really fun. And of course,
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we're talking about Dead End. Now, I want to
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say that when we were going through the list,
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at the beginning of every month, I asked you
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to give me the list of movies, because you have
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it written down in the calendar and everything
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in order. And going down the list, when you got
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to Dead End, I was like, what on earth is this?
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This is not the name of a movie that like, this
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stands out. with all the other movies we talk
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about with the Academy nominations, Dead End
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sounds more grim. It sounds more horror -centric.
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So I wasn't sure what to expect with this. This
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is a different kind of movie than we normally
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get. It is. This is something that we don't see
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a lot at the Academy Awards, and this is something
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that I think we're always surprised to see pop
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up just in the 1930s at this point, in the post
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-production code era. I mean... Just the title
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alone having the word dead in it feels like a
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little taboo. But there's a lot of violence in
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this movie. There's a lot of theming that feels
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like it kind of skirted the code in a big way.
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Yeah, it's also worth mentioning that this is
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a movie that features Humphrey Bogart. It does.
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So when you think a movie called Dead End that
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was nominated for Outstanding Production, Best
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Picture, and it stars... I'll put quotation marks
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around that. Humphrey Bogart. Yeah. You're like,
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I know exactly what I'm going to get. And kind
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of, kind of not. Yeah. And we'll get into that.
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But first things first. Yeah, go ahead. Sorry,
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I can go down the nominations, but what did you
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have? Well, I was just going to see Humphrey
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Bogart. Yeah. What are your thoughts? Well, bro,
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I'm wild about Bogart. I'm bugging out over Bogart.
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Is that better? Bugging over bogey? bugging over
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bogey yeah yeah that's right i get really excited
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when i see humphrey bogart show up well i am
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excited because i know you know maltese falcon
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is not far off like we have a lot of bogart coming
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up we do so when i saw this i got excited because
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i i feel like that's another you know slight
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indication of how things are changing like we
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we don't have a noir yet and we won't for a few
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years but we do have the you know, German Expressionism
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is here. We're seeing directors like John Ford
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inspired by German Expressionism. So now we're
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seeing a little bit more of the performances
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in characters like we will, or from actors, that
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we will see in those movies to come, like Maltese
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Falcon. And this is the beginning of that for
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Bogart. It's not exactly the same thing, but
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it's pretty damn close. And he's like a gangster
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in this movie. He is a gangster. And I love a
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gangster movie. I always have. I know that like,
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I don't know. That's viewed almost as problematic
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to like the crime genre. I don't think so. Gangster
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genre. I don't know, man. I think if you hung
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out with people that maybe were like involved
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in crime, that's problematic. Well, it's just
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interesting. It's a genre where you're usually
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rooting for the villain. And even if they are
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a good gangster, they're still a gangster. You
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know, they're still committing crime to get by.
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So I think there's some controversy there. And
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I think that's why in the modern era we see less
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gangster movies coming out. There was a type
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of, like, idealization. Yeah. During early American
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cinema. Like Public Enemy and stuff like that.
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Yes, exactly. And I think that that has faded.
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Yeah, 100%. So, yeah, I just think that's a controversial
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opinion. Not to the point where people are like,
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you're a bad person because you like Martin Scorsese.
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But, you know. Anyway, carry on. Sorry about
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that. No, you're all good. I am really excited
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to see where this goes with Bogart. I do want
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to say that this movie had, or the coverage that
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I did for this movie, had a series of hell yeahs.
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So I saw the name. I was like, hell yeah. And
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then Humphrey Bogart's in it. I said, hell yeah.
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And then I see that Humphrey Bogart is playing
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a man named Babyface Martin. And I said, hell
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yeah. I was so pumped. So pumped to see something
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like that. Because you're wondering, is he playing
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a gangster? I don't know. And his name is Babyface?
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Right. And you're like, he is either a gangster
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or he just got a job for Gerber. It's got to
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be one or the other. You know, old Martin over
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there, he always eats out of Gerber bottles.
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Yeah. We call him Babyface. That would have been
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great. Try your mash peas today. It's the stuff
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that dreams are made of. Huh? Yeah, pretty good.
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Pretty damn good. Dead End has four nominations.
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Of them, Art Direction. This was for Richard
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Day. Cinematography for Greg Toland. Yeah. Yeah.
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Big fan. Let's talk through Toland. Let's talk
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Toland. Let's talk Toland. Who? Who? So, Greg
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Toland, famous cinematographer of Citizen Kane.
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This is the man that brought deep focus into
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the modern Hollywood era, modern being 1941,
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but you know what I mean. He's done the cinematography
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on so many films, and he's worked with William
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Wyler a lot. He's worked with John Ford a number
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of times. He even shows up in our Horror of the
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Overlooked. He was the cinematographer on Mad
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Love, which you may remember me talking about
00:10:05.340 --> 00:10:08.559
Peter O'Toole. No, not Peter O'Toole, Peter Lorre.
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I was about to say, he was around? Yeah, he was
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not, but Peter Lorre was. And he's just, I mean,
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you watched the movie, Ryan. You saw what he
00:10:17.940 --> 00:10:20.720
does here. It's incredible. Yeah. He's doing
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some real... Just inspired work here. I think
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there is a real testament to the collaboration
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in this movie. Yeah. There's a lot going on with
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cinematography, production design, art direction.
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We'll get there. Third nomination is actress
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in a leading role. This is Claire Trevor, and
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she is playing Francie. And then outstanding
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production, of course, and this is Samuel Goldwyn
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Pictures. Before we go any further with cast
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and everything, do you want to address the elephant
00:10:52.580 --> 00:10:54.860
in the room with Samuel Goldwyn Pictures? Yeah,
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this was something that confused me because I
00:10:57.419 --> 00:10:59.360
was under the impression that Samuel Goldwyn
00:10:59.360 --> 00:11:02.659
was the main producer at Metro -Goldwyn -Mayer
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MGM. It's in the name. And while he did help
00:11:07.120 --> 00:11:10.929
co -found MGM... This was kind of his baby. This
00:11:10.929 --> 00:11:13.970
is where he was actually producing films. So
00:11:13.970 --> 00:11:17.370
the Academy Award, if this were to win Best Picture,
00:11:17.470 --> 00:11:21.049
would actually go to Samuel Goldwyn himself because
00:11:21.049 --> 00:11:23.389
he's producing these movies over at his own little
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personal private production company. So that
00:11:26.850 --> 00:11:29.149
was something that confused me. I think we've
00:11:29.149 --> 00:11:31.789
talked about a couple of his other Samuel Goldwyn
00:11:31.789 --> 00:11:35.379
production films, and we mentioned... That we
00:11:35.379 --> 00:11:36.620
were going to talk about it and we never did.
00:11:36.700 --> 00:11:40.220
So there you go. We've covered it. That's covered.
00:11:40.600 --> 00:11:43.419
So with the cast, obviously I mentioned Claire
00:11:43.419 --> 00:11:46.740
Trevor as Francie. And before you get down this
00:11:46.740 --> 00:11:49.659
list here, I want to ask you, Claire Trevor is
00:11:49.659 --> 00:11:52.700
the only acting nomination from this movie. Right.
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And there are a good bit of cast of characters
00:11:55.440 --> 00:11:58.779
in this. So as you read down these, I want to
00:11:58.779 --> 00:12:00.779
know your thoughts on whether you felt like they
00:12:00.779 --> 00:12:03.490
should be nominated for this. Yeah, and before
00:12:03.490 --> 00:12:05.769
I even read down the list, I will say this is
00:12:05.769 --> 00:12:08.230
really kind of a gangster movie. There are other
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characters in here that you don't normally see
00:12:10.529 --> 00:12:13.730
in gangster films, at least from like the 1930s
00:12:13.730 --> 00:12:17.289
era. There's a lot of heart in this movie. There
00:12:17.289 --> 00:12:22.370
are characters who have like morally driven goals
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and purposes in this movie. But then you also
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do have... humphrey bogart as the gangster so
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with that with that real quick i do want to say
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that i think that it being a gangster film does
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kind of lead the witness of why we don't have
00:12:35.889 --> 00:12:38.809
as many acting nominations yeah uh i think that's
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going to change in the future but i think that
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they there's a reason that the person who was
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nominated was uh nominated before any of the
00:12:45.230 --> 00:12:49.889
others yes i agree uh sylvia sydney plays drina
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joel mccree first appearance here plays dave
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uh Do I want to kind of weave in the story here
00:12:56.389 --> 00:12:59.049
while I do this? Yeah, I think that's a good
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idea. Yeah, so Joel McCree plays Dave, and he
00:13:02.710 --> 00:13:07.070
is the morally good character in this story.
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He's like a blue -collar worker, and he kind
00:13:12.230 --> 00:13:14.690
of keeps an eye on all of the kids in the city.
00:13:14.789 --> 00:13:19.090
He makes sure that Drina, played by Sylvia Sidney,
00:13:19.250 --> 00:13:23.330
is well taken care of. She is safe. She is...
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not being harassed by anybody by the gangs made
00:13:28.480 --> 00:13:32.100
up of tons of children or the police or anybody
00:13:32.100 --> 00:13:34.879
else involved because her her kid brother is
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a member of one of these gangs the dead end gang
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if you will uh the dead end kids the dead end
00:13:41.259 --> 00:13:43.120
kids there you go we'll talk about them pretty
00:13:43.120 --> 00:13:47.240
extensively yes we will so uh he has a romantic
00:13:47.240 --> 00:13:52.539
interest in k played by windy berry That's kind
00:13:52.539 --> 00:13:55.000
of a forbidden love. She is already in a relationship,
00:13:55.340 --> 00:14:00.580
and they never go as far as to decide to live
00:14:00.580 --> 00:14:05.039
a life together. And that kind of tears up Dave
00:14:05.039 --> 00:14:07.919
quite a bit. Humphrey Bogart as Babyface Martin,
00:14:08.039 --> 00:14:10.019
as you said, he is returning back to the city
00:14:10.019 --> 00:14:13.500
to visit his mom and his old girlfriend, who
00:14:13.500 --> 00:14:16.879
is played by Claire Trevor, nominated for the
00:14:16.879 --> 00:14:20.840
role of Francie. Her role in this... Is so small,
00:14:20.860 --> 00:14:24.720
but so important to just the plot and what happens
00:14:24.720 --> 00:14:27.480
with Babyface Martin. And I think that her nomination
00:14:27.480 --> 00:14:30.460
is so well -deserved. Yeah. And then finally,
00:14:30.480 --> 00:14:33.320
we have Humphrey Bogart's right -hand man, who
00:14:33.320 --> 00:14:37.690
is Hunk, played by Alan Jenkins. If one of us
00:14:37.690 --> 00:14:40.929
was Babyface and the other was Hunk, who do you
00:14:40.929 --> 00:14:43.289
think is who? Don't even just go on characterizations.
00:14:43.309 --> 00:14:48.029
I'm going off names. Okay. Well, if it was characterization...
00:14:48.570 --> 00:14:51.409
I do think that I would be babyface. Yes. Yeah.
00:14:51.529 --> 00:14:54.750
I think that's right. Yeah. However. Yeah. I
00:14:54.750 --> 00:14:58.649
do like the idea of me being hunk. I wonder why
00:14:58.649 --> 00:15:03.000
that is. Like, like it's, it's the, it's the
00:15:03.000 --> 00:15:06.000
mouse cartoons of the gangster mice. Are you
00:15:06.000 --> 00:15:07.399
thinking of it in the way of like the incredible
00:15:07.399 --> 00:15:10.740
hunk? Not, not like hunking. Not like, yeah,
00:15:10.840 --> 00:15:13.360
yeah. Not like, oh, what a hunk. You know, I'm
00:15:13.360 --> 00:15:16.019
talking about like. Get them, boys. And then
00:15:16.019 --> 00:15:18.259
I walk in and I'm like, where is he at? Let me
00:15:18.259 --> 00:15:19.940
at him. I'll take care of him. It's that whole
00:15:19.940 --> 00:15:22.179
thing where it's like, you got to meet my friends,
00:15:22.279 --> 00:15:24.740
Hunk and Pipsqueak. Yeah. And like, I'm Pipsqueak
00:15:24.740 --> 00:15:27.779
and you're Hunk. Yeah. Yeah. Yeah. Yeah. I just,
00:15:27.879 --> 00:15:30.480
you know, throw me in, coach. Your baby face.
00:15:30.539 --> 00:15:31.779
And they'll throw me out. I'm going to be so
00:15:31.779 --> 00:15:34.000
real with you, your baby face. Which I think
00:15:34.000 --> 00:15:37.000
by proxy makes me Hunk. But I think that just
00:15:37.000 --> 00:15:39.860
for your handsome appearance. Thank you. And
00:15:39.860 --> 00:15:42.080
you being on screen as much as you are, I think
00:15:42.080 --> 00:15:44.559
baby face makes the most, well. Behind camera,
00:15:44.740 --> 00:15:48.440
as much as you are. That's the problem. I'm behind
00:15:48.440 --> 00:15:50.779
camera. They always point it in the direction
00:15:50.779 --> 00:15:53.200
that I am not. They're pointing the camera, they
00:15:53.200 --> 00:15:55.769
see you, and they're like, oh. The amount of
00:15:55.769 --> 00:15:58.950
times that has happened? No way. You ever hear,
00:15:59.090 --> 00:16:02.250
hey, who invited the 30 -year -old to the party?
00:16:03.190 --> 00:16:05.250
When you got cast as a college kid, and you're
00:16:05.250 --> 00:16:06.830
just like, I don't know, you invited me. This
00:16:06.830 --> 00:16:08.909
is your problem for showing up in a backwards
00:16:08.909 --> 00:16:11.600
hat and a skateboard. Have I shown you that picture?
00:16:11.720 --> 00:16:14.059
Yes, you have. Yeah, I have that exact picture.
00:16:14.460 --> 00:16:18.320
How do you do, fellow teens? That's me. So this
00:16:18.320 --> 00:16:20.879
was also based on a play by Sidney Kingsley.
00:16:21.600 --> 00:16:23.799
Screenplay was by Lillian Hellman. And of course,
00:16:23.820 --> 00:16:26.059
as you mentioned, directed by William Wyler.
00:16:26.200 --> 00:16:30.100
Yes. Sorry, adapted from a Broadway play. Yes.
00:16:30.139 --> 00:16:32.899
I'm so sorry. Broadway play. And that was the
00:16:32.899 --> 00:16:35.809
one by Sidney Kingsley. Which kind of paves the
00:16:35.809 --> 00:16:40.049
way for what this movie is. Because we have talked
00:16:40.049 --> 00:16:41.769
a lot about how there are movies that are made
00:16:41.769 --> 00:16:45.210
from plays and Broadway plays that just feel
00:16:45.210 --> 00:16:48.289
like Disraeli. Yeah. Or even our concerns with
00:16:48.289 --> 00:16:49.750
the previously mentioned movie that we talked
00:16:49.750 --> 00:16:52.710
about, which is... The Life of Emile Zola. Thank
00:16:52.710 --> 00:16:54.809
you. Yeah. I did almost say the story of Emile
00:16:54.809 --> 00:16:57.429
Zola, so thank you for that. Where they just
00:16:57.429 --> 00:16:58.950
kind of place a camera. And they're like, yep,
00:16:59.029 --> 00:17:00.629
this is probably the best place for it. Cool,
00:17:00.730 --> 00:17:04.789
we're done. This... takes this idea on its head.
00:17:04.990 --> 00:17:07.690
And it's a completely different version of a
00:17:07.690 --> 00:17:09.990
Broadway play. And there's a lot that goes into
00:17:09.990 --> 00:17:13.390
this. This is a movie that the only setup that
00:17:13.390 --> 00:17:15.710
you missed in this when you went down the rundown
00:17:15.710 --> 00:17:18.210
here of the movie is that this is set in New
00:17:18.210 --> 00:17:20.250
York City. And this comes at a time where the
00:17:20.250 --> 00:17:23.549
rich elite are looking at ways to adapt their
00:17:23.549 --> 00:17:26.190
lifestyle. And they see that there is a riverfront.
00:17:26.269 --> 00:17:29.190
And they really want to embrace their comfort.
00:17:29.369 --> 00:17:33.920
So they build buildings. in a less than favorable
00:17:33.920 --> 00:17:38.000
neighborhood in poverty areas. Areas of poverty
00:17:38.000 --> 00:17:42.019
is what I want to say. And at this point, now,
00:17:42.140 --> 00:17:44.599
they have a construction that is blocking the
00:17:44.599 --> 00:17:47.079
main entrance, so they're having to exit in the
00:17:47.079 --> 00:17:50.200
back way through these streets where the lower
00:17:50.200 --> 00:17:53.119
class are thriving. And they're just living on
00:17:53.119 --> 00:17:55.940
the streets. They are like... causing problems
00:17:55.940 --> 00:17:58.200
the kids the dead end kids are like you know
00:17:58.200 --> 00:18:02.079
running ruckus around uh we see the clash of
00:18:02.079 --> 00:18:04.559
these two of the upper class and the lower class
00:18:04.559 --> 00:18:07.400
yeah and that's really where we see a lot of
00:18:07.400 --> 00:18:09.259
the dichotomy here the majority of the characters
00:18:09.259 --> 00:18:11.680
that we follow really with the exception of uh
00:18:11.680 --> 00:18:14.920
wendy berry as what was her name k k thank you
00:18:14.920 --> 00:18:18.069
really with the exception of k We really don't
00:18:18.069 --> 00:18:20.769
see too many more main characters coming from
00:18:20.769 --> 00:18:23.869
the upper class. You're right. And that's kind
00:18:23.869 --> 00:18:26.910
of the thing of why I didn't even bring it up.
00:18:26.950 --> 00:18:28.910
It is a very important part to the story. And
00:18:28.910 --> 00:18:32.009
I like that it's kind of in the background. Like
00:18:32.009 --> 00:18:35.009
you're constantly reminded of it. Yes. That you
00:18:35.009 --> 00:18:37.549
are on the streets with these characters. You
00:18:37.549 --> 00:18:41.349
never really go up to the wealthy environments.
00:18:42.990 --> 00:18:45.890
But... you're constantly reminded that they're
00:18:45.890 --> 00:18:49.269
there you know that that the dead end kids and
00:18:49.269 --> 00:18:51.869
uh people like babyface martin like they all
00:18:51.869 --> 00:18:56.490
exist only here in in the dark areas of of the
00:18:56.490 --> 00:19:00.150
city well i also think that there's a i kind
00:19:00.150 --> 00:19:02.009
of took it as there is kind of a middle ground
00:19:02.009 --> 00:19:05.670
and the middle ground is hunk and babyface Like,
00:19:05.690 --> 00:19:07.569
I think that they consider themselves, like,
00:19:07.730 --> 00:19:11.190
that's their way to that lifestyle. Because they're
00:19:11.190 --> 00:19:13.329
also, like, wearing suits, and they, like, appear
00:19:13.329 --> 00:19:14.650
much different than, like, most of the other
00:19:14.650 --> 00:19:17.589
people on the streets there. And they're returning
00:19:17.589 --> 00:19:19.710
to this area. So it's almost kind of like they're
00:19:19.710 --> 00:19:23.150
gracing the city with their presence. Sure. So
00:19:23.150 --> 00:19:25.190
it's kind of like a subtext. It's not really,
00:19:25.250 --> 00:19:27.640
like, talked about or, like... dove in too much
00:19:27.640 --> 00:19:29.720
but that's a way that i took it yeah but you're
00:19:29.720 --> 00:19:32.319
right it's a reminder and there's even a party
00:19:32.319 --> 00:19:34.279
that happens i think the last half of the movie
00:19:34.279 --> 00:19:36.480
in the building where you just like most people
00:19:36.480 --> 00:19:38.380
are looking up and just seeing this party happening
00:19:38.380 --> 00:19:40.420
yeah otherwise there's people trying to get to
00:19:40.420 --> 00:19:42.299
their cars or you know trying to get out of there
00:19:42.299 --> 00:19:44.599
as quickly as possible so there's that constant
00:19:44.599 --> 00:19:47.000
comparison of like they are different than me
00:19:47.000 --> 00:19:48.539
why do they think they're so much better than
00:19:48.539 --> 00:19:51.279
me and this obviously causes a lot of problems
00:19:51.279 --> 00:19:54.460
where people are trying to residents, I should
00:19:54.460 --> 00:19:58.240
say, are trying to achieve something better for
00:19:58.240 --> 00:20:00.660
themselves. Yeah. Or what they assume is better.
00:20:01.119 --> 00:20:03.720
Yeah. And they do that in the way that they know
00:20:03.720 --> 00:20:07.720
best, crime. Right. And that's really, it's kind
00:20:07.720 --> 00:20:10.460
of a cautionary tale because you're seeing a
00:20:10.460 --> 00:20:14.799
lot of the perspective of the city, both in the
00:20:14.799 --> 00:20:18.059
lower class and the wealthy class, through the
00:20:18.059 --> 00:20:22.650
eyes of the dead end kids. Babyface Martin kind
00:20:22.650 --> 00:20:27.569
of serves as an example of what could be. Nobody
00:20:27.569 --> 00:20:30.410
else is really used that way. You don't see a
00:20:30.410 --> 00:20:34.210
successful businessman or anything who has gotten
00:20:34.210 --> 00:20:38.289
to the top by doing well, doing the right things.
00:20:38.369 --> 00:20:41.089
The only one that these kids can cling on to
00:20:41.089 --> 00:20:43.670
is Babyface. So he's kind of like the icon, the
00:20:43.670 --> 00:20:47.869
idol for these kids. And I think that that's
00:20:47.869 --> 00:20:50.299
where the... The whole plot line kind of being
00:20:50.299 --> 00:20:52.880
a cautionary tale and having Dave, played by
00:20:52.880 --> 00:20:56.200
Joel McCree, be the other side of that morality
00:20:56.200 --> 00:20:58.720
coin. Like, that's what you're getting in this
00:20:58.720 --> 00:21:01.819
movie, is what could happen if you choose, if
00:21:01.819 --> 00:21:04.319
you stay with this life, really. Yeah, it's the
00:21:04.319 --> 00:21:09.539
tragedy of decision. And I guess it's fair now
00:21:09.539 --> 00:21:11.440
for us to just kind of go ahead and dive in.
00:21:11.500 --> 00:21:15.140
We both really like this. Yeah. This was a fantastic
00:21:15.140 --> 00:21:18.329
watch. um for a number of reasons obviously the
00:21:18.329 --> 00:21:20.309
acting is great we get to see kind of not the
00:21:20.309 --> 00:21:22.410
birth but kind of the realization of humphrey
00:21:22.410 --> 00:21:26.470
bogart in these gangster roles um this is not
00:21:26.470 --> 00:21:28.470
something we've seen before obviously humphrey
00:21:28.470 --> 00:21:30.289
bogart in this kind of part or really just humphrey
00:21:30.289 --> 00:21:32.990
bogart yeah we haven't seen him at all yet so
00:21:32.990 --> 00:21:35.190
i thought he'd have a little bit more because
00:21:35.190 --> 00:21:38.529
i know him so well we're buddies uh because i
00:21:38.529 --> 00:21:41.650
know of him so well uh i expected to have a bigger
00:21:41.650 --> 00:21:44.029
part in this he's really not the lead you mentioned
00:21:44.029 --> 00:21:48.799
that uh Joel McCree and Sylvia Sidney, as Dave
00:21:48.799 --> 00:21:51.539
and Drina, really are kind of the leads here,
00:21:51.640 --> 00:21:53.480
along with some of the dead -end kids, which
00:21:53.480 --> 00:21:55.500
I'm really excited to talk about here. But the
00:21:55.500 --> 00:21:56.839
main thing I want to talk to you about is kind
00:21:56.839 --> 00:21:58.880
of the opening and the realization that I had
00:21:58.880 --> 00:22:01.440
from the opening. This is a movie set in New
00:22:01.440 --> 00:22:05.099
York. Yeah. And how easy would it have been for
00:22:05.099 --> 00:22:06.819
them to film in New York? Sure, there's some
00:22:06.819 --> 00:22:10.900
complications, but do they have the footage that
00:22:10.900 --> 00:22:12.839
they need? Do they have the ability to run around
00:22:12.839 --> 00:22:15.829
and film everything that they need to? No. So
00:22:15.829 --> 00:22:17.849
what's the alternative? And the alternative,
00:22:17.910 --> 00:22:21.430
I think, is the real winner of this movie. We
00:22:21.430 --> 00:22:23.569
can talk about performances. We can talk about,
00:22:23.569 --> 00:22:25.349
you know, how great the movie works overall.
00:22:25.609 --> 00:22:28.690
But I think the real winner is the production
00:22:28.690 --> 00:22:30.950
design and the art direction here. The opening
00:22:30.950 --> 00:22:33.390
of this movie, I believe, is miniatures. Yeah.
00:22:33.450 --> 00:22:36.470
It is a cityscape of New York. And it pans down.
00:22:36.569 --> 00:22:38.509
And as it pans down, you can see the camera cut.
00:22:38.650 --> 00:22:40.430
And that's where we start seeing, like, this
00:22:40.430 --> 00:22:44.980
vibrant living city. of everyone living in the
00:22:44.980 --> 00:22:48.099
lower class and trying to succeed the best that
00:22:48.099 --> 00:22:50.759
they can, and then the clash with the upper class.
00:22:50.920 --> 00:22:53.799
And I read that they had built this completely.
00:22:54.059 --> 00:22:58.039
Now, pretty large set. That's putting it very
00:22:58.039 --> 00:23:00.799
mildly when I say large set. But it was built
00:23:00.799 --> 00:23:04.099
for the New York slums. Weiler defended that
00:23:04.099 --> 00:23:06.640
all of the trash laying around it... brought
00:23:06.640 --> 00:23:09.019
authenticity. Samuel Goldwyn would walk around
00:23:09.019 --> 00:23:10.960
and be like, why are you guys not picking up
00:23:10.960 --> 00:23:13.420
after yourself? We spent all this money on this
00:23:13.420 --> 00:23:15.559
set. Why are you not picking it up? Wyler was
00:23:15.559 --> 00:23:18.480
like, well, that's what sells it. I dare you
00:23:18.480 --> 00:23:20.299
to go to a slum. I think I'm paraphrasing what
00:23:20.299 --> 00:23:22.420
he said, but I dare you to go to a slum right
00:23:22.420 --> 00:23:24.680
now, look around, and tell me how clean it is.
00:23:24.779 --> 00:23:27.119
And you're not going to be able to. So we have
00:23:27.119 --> 00:23:30.339
to keep it authentic. And they built these sets
00:23:30.339 --> 00:23:32.319
not just for the authenticity and trying to sell
00:23:32.319 --> 00:23:35.029
that as well, but also because... you can't really
00:23:35.029 --> 00:23:36.950
tell from the first half of this movie, but certainly
00:23:36.950 --> 00:23:39.990
from the second half, they are scaling this city.
00:23:40.130 --> 00:23:43.069
Oh yeah. Yeah. There is a sequence between Dave
00:23:43.069 --> 00:23:45.650
and baby face later on that we'll talk about
00:23:45.650 --> 00:23:48.630
where they're like running across building rooftops
00:23:48.630 --> 00:23:51.329
and then up and down fire escapes. Yes. And I
00:23:51.329 --> 00:23:54.210
was like, they built this. Yeah. It's very similar
00:23:54.210 --> 00:23:57.190
to that scene in the Godfather part two, where
00:23:57.190 --> 00:24:01.740
you flashback to Vito Corleone. He. kills the
00:24:01.740 --> 00:24:04.900
mob boss, and then he escapes via rooftops during
00:24:04.900 --> 00:24:07.819
that big parade. Like, that is another example
00:24:07.819 --> 00:24:09.960
of, like, they show the city, they show the scale,
00:24:10.039 --> 00:24:12.380
they show that it's livable because there's an
00:24:12.380 --> 00:24:14.759
event going on, there's an action going on that
00:24:14.759 --> 00:24:17.180
gives personality and character to the city.
00:24:17.599 --> 00:24:20.160
And you get a lot of that here with that rooftop
00:24:20.160 --> 00:24:22.980
chase. Not only is it action -packed, but it
00:24:22.980 --> 00:24:27.619
looks fantastic. And, you know, that's an example
00:24:27.619 --> 00:24:31.509
of the art direction. showing just how massive
00:24:31.509 --> 00:24:34.069
this city is. It feels like it was shot on location,
00:24:34.150 --> 00:24:36.609
even if it wasn't. And that's a huge testament.
00:24:36.890 --> 00:24:38.890
And then the way that Greg Toland shoots this
00:24:38.890 --> 00:24:42.470
film is wild. Yeah, I mean, that's why I said
00:24:42.470 --> 00:24:44.789
collaboration earlier, because it's one thing
00:24:44.789 --> 00:24:46.750
to build it. It's another way. It's another thing
00:24:46.750 --> 00:24:48.970
to shoot it the way that you do. And it's another
00:24:48.970 --> 00:24:51.130
to scale it the way that the actors do. Yes.
00:24:51.710 --> 00:24:53.650
You know, this obviously isn't my double feature
00:24:53.650 --> 00:24:55.950
because nominee for best picture. I thought a
00:24:55.950 --> 00:24:57.640
lot about Marty Supreme. When I was watching
00:24:57.640 --> 00:24:59.240
this movie? I was going to say with the wetting
00:24:59.240 --> 00:25:01.900
the trash. Wetting the trash, making it feel
00:25:01.900 --> 00:25:04.059
lived in for New York City. Yeah. That was Jack
00:25:04.059 --> 00:25:07.759
Fisk, you know, production designer for Marty
00:25:07.759 --> 00:25:11.279
Supreme. That felt very similar to this. And,
00:25:11.339 --> 00:25:12.819
you know, they want to capture that authentic
00:25:12.819 --> 00:25:15.339
looking New York for the time. So how do you
00:25:15.339 --> 00:25:17.319
do that? Is it by leaving trash out like they
00:25:17.319 --> 00:25:20.059
did obviously for, I'm not sure with art direction
00:25:20.059 --> 00:25:21.700
how much Richard Day had to do with that versus
00:25:21.700 --> 00:25:25.309
the production design. Or was it like with Jack
00:25:25.309 --> 00:25:27.490
Fisk with like wetting the trash? Like in what
00:25:27.490 --> 00:25:29.710
way can we make this look truly authentic? I
00:25:29.710 --> 00:25:31.890
bet it was the grips on this. They were just
00:25:31.890 --> 00:25:34.089
leaving their trash around. Yeah. If I know anything
00:25:34.089 --> 00:25:37.069
from a film set. And Wyler was like, hey guys,
00:25:37.250 --> 00:25:38.869
great work making it look authentic. And they're
00:25:38.869 --> 00:25:42.269
like, yeah. You're welcome, boss. Yeah. That's
00:25:42.269 --> 00:25:45.329
what I was doing. Yeah. Are the grips named Babyface
00:25:45.329 --> 00:25:47.869
and Hunk? Why are we doing that? Based on my
00:25:47.869 --> 00:25:51.349
time on film sets. A lot of Babyfaces and Hunks.
00:25:51.390 --> 00:25:54.380
A lot of Babyfaces, a lot of Hunks. What was
00:25:54.380 --> 00:25:56.940
the guy's name from Broadway Melody of 1936?
00:25:57.259 --> 00:25:59.759
Snooper? Oh, yeah, yeah. Snooper. We got a few
00:25:59.759 --> 00:26:01.240
of those, too. There's a couple Snoopers. Oh,
00:26:01.240 --> 00:26:06.839
hmm. A couple of them. Cool. I just, I can't
00:26:06.839 --> 00:26:09.950
tell you how breathtaking this was to me. like
00:26:09.950 --> 00:26:12.690
seeing the set and how much they built out. They
00:26:12.690 --> 00:26:14.930
built the interior of these buildings. They,
00:26:15.029 --> 00:26:17.849
most of them, they built out like the way that
00:26:17.849 --> 00:26:19.950
they layer on top of each other. It wasn't just
00:26:19.950 --> 00:26:22.490
cool. Here's our set that we go and do. And then
00:26:22.490 --> 00:26:24.609
that's separate from this set. There's a shot
00:26:24.609 --> 00:26:27.069
again, towards the end where we see baby face
00:26:27.069 --> 00:26:29.750
on the escape, the fire escape of a building.
00:26:29.869 --> 00:26:32.150
And he's looking down and seeing like a group
00:26:32.150 --> 00:26:34.869
of people panicking in the streets. Yes. So again,
00:26:35.029 --> 00:26:36.769
the cinematography that is beautiful, but it's
00:26:36.769 --> 00:26:39.900
only as beautiful as the design of that. It's
00:26:39.900 --> 00:26:42.140
not, you know, how did we edit, you know, the
00:26:42.140 --> 00:26:43.680
shot that we have on the street and the shot
00:26:43.680 --> 00:26:45.559
of him up there because there are two different
00:26:45.559 --> 00:26:48.099
sets. No, we just built it on top of each other.
00:26:48.380 --> 00:26:51.680
So so cool. Large feels kind of like it's underserving
00:26:51.680 --> 00:26:54.759
what actually happened here, but just a massive
00:26:54.759 --> 00:26:57.039
set that they built. And you just don't see this
00:26:57.039 --> 00:26:59.819
anymore. And that's depressing because you would
00:26:59.819 --> 00:27:01.380
love to think that they're just building this
00:27:01.380 --> 00:27:04.960
whenever they need to. And I got to tell you,
00:27:04.960 --> 00:27:08.440
it was a huge, huge star. For me, like whatever
00:27:08.440 --> 00:27:11.000
the rating was for this, that was a huge star.
00:27:11.380 --> 00:27:14.680
No, for me too. And like you said, it hits you
00:27:14.680 --> 00:27:16.839
right at the beginning with that descending shot,
00:27:17.039 --> 00:27:19.980
looking over, starting up in the high rises and
00:27:19.980 --> 00:27:23.039
the skyscrapers and then moving down into the
00:27:23.039 --> 00:27:27.240
city where most of our characters exist. But
00:27:27.240 --> 00:27:29.799
man, it's everything. There's a moment where
00:27:29.799 --> 00:27:34.299
Drina is, she's... Going up the stairs in her
00:27:34.299 --> 00:27:36.160
apartment building. And she keeps bumping into
00:27:36.160 --> 00:27:38.319
other residents. And there's a guy just taking
00:27:38.319 --> 00:27:41.740
out the trash. And when he drops it into. The
00:27:41.740 --> 00:27:44.480
garbage can. You see it in the foreground. And
00:27:44.480 --> 00:27:46.480
there's like cockroaches coming out of it. And
00:27:46.480 --> 00:27:49.619
Drina freaks out and runs upstairs. But then
00:27:49.619 --> 00:27:53.200
you see. Dave I believe in the shadows. Like
00:27:53.200 --> 00:27:56.380
watching her. And that's him realizing. Not realizing
00:27:56.380 --> 00:27:58.839
he knows this the whole time. Like she doesn't
00:27:58.839 --> 00:28:00.799
belong here. I've got to get her out of here.
00:28:01.119 --> 00:28:03.619
And. I don't know. I think like you're using
00:28:03.619 --> 00:28:06.240
the set to tell a story. You're using the camera
00:28:06.240 --> 00:28:08.920
to tell a story. Obviously, your actors are telling
00:28:08.920 --> 00:28:12.599
the story a lot of times without dialogue. And
00:28:12.599 --> 00:28:15.980
I think that is that is what I look for in a
00:28:15.980 --> 00:28:18.539
movie back in the 1930s. That's what I look for
00:28:18.539 --> 00:28:22.380
in a movie now. You know, show me, show me everything.
00:28:22.700 --> 00:28:25.140
And then if you're going to tell me something,
00:28:25.359 --> 00:28:29.559
make it count. So I agree wholeheartedly. I did
00:28:29.559 --> 00:28:31.980
think when you said, show me, show me, that you
00:28:31.980 --> 00:28:35.500
were going to bust into the cure. So that's just
00:28:35.500 --> 00:28:37.119
where my head went immediately after. So I'm
00:28:37.119 --> 00:28:40.359
sorry I lost you immediately after that. But
00:28:40.359 --> 00:28:42.380
you mentioned the cockroaches. Yeah. What do
00:28:42.380 --> 00:28:46.299
you know about them? Not much. I tried to get
00:28:46.299 --> 00:28:48.799
one on for the show, but they don't last as long
00:28:48.799 --> 00:28:51.480
as you think they do. Well, that's why I'm on
00:28:51.480 --> 00:28:53.619
here. Ladies and gentlemen, please welcome Cockroach.
00:28:53.619 --> 00:28:57.079
Oh, my God. He's here. Get him out. I was going
00:28:57.079 --> 00:29:00.740
to say the door opens, but instead he just. How's
00:29:00.740 --> 00:29:05.319
it going? Yeah, I remember Richard Day. Yeah,
00:29:05.339 --> 00:29:08.880
he kept throwing garbage on me. We're actually
00:29:08.880 --> 00:29:15.420
pretty clean. A bad rep we get us roaches. It's
00:29:15.420 --> 00:29:17.319
a good bit. We should keep that going. Yeah,
00:29:17.319 --> 00:29:18.960
we should do that for the rest of our lives.
00:29:20.319 --> 00:29:23.440
That's what goes viral. Us doing a New York cockroach.
00:29:23.559 --> 00:29:25.680
What can survive a nuclear bomb? Cockroaches
00:29:25.680 --> 00:29:29.539
and our impressions of them. You think our impressions
00:29:29.539 --> 00:29:32.619
can survive a nuclear explosion? We did Jason
00:29:32.619 --> 00:29:36.299
say them last episode. We're doing a random cockroach.
00:29:36.299 --> 00:29:40.180
What if we did the beekeeper, beekeeper two,
00:29:40.380 --> 00:29:43.380
and then beekeeper three, the cockroach. The
00:29:43.380 --> 00:29:45.660
roach keeper. The roach keeper. And it's Jason
00:29:45.660 --> 00:29:49.660
state. Yeah, I'm a roach. That's it. I'm a roach.
00:29:49.660 --> 00:29:52.240
All right. That's there we go. That's it. Yeah.
00:29:52.380 --> 00:29:54.880
You just got to say all right a lot. Yeah, man.
00:29:55.059 --> 00:29:58.220
You're not going to step on me. I'm a step on
00:29:58.220 --> 00:30:02.500
you. And then he does. And then he does. Do you
00:30:02.500 --> 00:30:04.160
think our first celebrity guest that we have
00:30:04.160 --> 00:30:06.339
on here is Jason Statham? I'd be worried. For
00:30:06.339 --> 00:30:09.599
his work on The Meg 2, The Trench. Maybe. Was
00:30:09.599 --> 00:30:12.119
that nominated? Absolutely not. Maybe the third
00:30:12.119 --> 00:30:18.400
one will be. Even Megger. So The Cockroaches.
00:30:18.460 --> 00:30:20.819
So the reason I asked about The Cockroaches is
00:30:20.819 --> 00:30:24.619
that William Wyler really wanted to keep authentic.
00:30:25.619 --> 00:30:28.140
responses from people. Yeah. So he was trying,
00:30:28.220 --> 00:30:30.140
I read it was Wendy Berry that he was trying
00:30:30.140 --> 00:30:32.700
to get like a real, elicit like a real response
00:30:32.700 --> 00:30:35.799
from, but she plays Kay. So I don't know, you
00:30:35.799 --> 00:30:38.230
just mentioned that it was Drina. Who sees the
00:30:38.230 --> 00:30:41.349
cockroaches? So maybe I misconflated something.
00:30:41.450 --> 00:30:43.150
I don't know. I don't know. Either way. I'm pretty
00:30:43.150 --> 00:30:45.849
sure it's Drina. There was an actress that he
00:30:45.849 --> 00:30:48.089
was trying to elicit a response from. Yeah. And
00:30:48.089 --> 00:30:50.490
no matter how many takes they took, they could
00:30:50.490 --> 00:30:52.950
not get the response from her that Wyler wanted.
00:30:53.130 --> 00:30:56.109
So he actually had real cockroaches. Yeah. On
00:30:56.109 --> 00:30:58.589
set. And I think that's what's in the shot, is
00:30:58.589 --> 00:31:01.509
they had the real cockroaches and her response
00:31:01.509 --> 00:31:04.339
is real. to seeing cockroaches not expecting
00:31:04.339 --> 00:31:07.579
them that makes sense so uh i will say in terms
00:31:07.579 --> 00:31:11.859
of like 1930s little stinkers uh directors i'll
00:31:11.859 --> 00:31:14.259
take it yeah i would prefer it over like a norman
00:31:14.259 --> 00:31:16.960
torog or uh i'm trying to remember the other
00:31:16.960 --> 00:31:19.039
director who did some not favorable things to
00:31:19.039 --> 00:31:22.559
get a shot uh demille demille did the the bit
00:31:22.559 --> 00:31:25.799
with the snakes and cleopatra not not ideal yeah
00:31:25.799 --> 00:31:29.279
this one funny enough although the the bit with
00:31:29.279 --> 00:31:34.150
demille where he's like here's a giant boa constrictor
00:31:34.150 --> 00:31:36.849
i have brought the anaconda from anaconda yes
00:31:36.849 --> 00:31:39.069
yeah and then she freaks out and he's like well
00:31:39.069 --> 00:31:40.809
here here's a little gardener snake have you
00:31:40.809 --> 00:31:47.069
heard of beware biona beware biona that's biona
00:31:47.069 --> 00:31:50.190
it's a new movie you know ceaselessly mentioning
00:31:50.190 --> 00:31:54.390
movies from 2026 yeah it's a new movie called
00:31:54.390 --> 00:31:57.910
be beware biona and it's like a giant snake movie
00:31:57.910 --> 00:32:00.329
oh because they called it beware you're like
00:32:00.329 --> 00:32:02.380
of what And if they called it Biona, they're
00:32:02.380 --> 00:32:03.839
like, what about it? You have to know that you
00:32:03.839 --> 00:32:07.509
have to beware Biona. I don't know. It's a snake.
00:32:07.710 --> 00:32:11.190
So. Well, it's a snake. And it's as big as an
00:32:11.190 --> 00:32:13.390
anaconda that didn't go anywhere. This is, and
00:32:13.390 --> 00:32:17.349
as far as we can go with the little stinker directors,
00:32:17.670 --> 00:32:19.349
I approve of this one. Yeah, this one's okay.
00:32:19.349 --> 00:32:21.369
This isn't really hurting anyone. No. Maybe the
00:32:21.369 --> 00:32:24.029
roach. As long as she didn't step on him. Yeah.
00:32:24.230 --> 00:32:27.279
Yeah, I remember Wendy Berry. She went for me,
00:32:27.339 --> 00:32:31.059
but I was too quick. I said, hey, yo. And I bobbed
00:32:31.059 --> 00:32:34.059
and I weaved and then I juked and I jived. And
00:32:34.059 --> 00:32:36.220
I was out of there. That's why I'm only in the
00:32:36.220 --> 00:32:38.900
first 15 minutes. Just regular size cigarette,
00:32:39.079 --> 00:32:41.720
but like regular size cockroach. Yeah. Just like,
00:32:41.759 --> 00:32:45.130
he runs over to smoke it and runs back to the
00:32:45.130 --> 00:32:49.660
mic. Yeah, I remember Wendy Berry. That's pretty
00:32:49.660 --> 00:32:52.460
good. This is a really good bit. That's not my
00:32:52.460 --> 00:32:56.809
responsibility to say. So, look. Before we get
00:32:56.809 --> 00:32:58.930
too into the story here and these characters
00:32:58.930 --> 00:33:01.670
and where they go, I do want to talk about kind
00:33:01.670 --> 00:33:06.269
of an unexpected arrival with this. While all
00:33:06.269 --> 00:33:08.990
this is happening, we see kind of the adult side
00:33:08.990 --> 00:33:13.190
of things. And we see how Babyface, Dave, Trina,
00:33:13.369 --> 00:33:17.869
Kay, later on we will see... Francie. We will
00:33:17.869 --> 00:33:19.829
see Francie, and we're going to talk about her
00:33:19.829 --> 00:33:22.430
for sure. But the other side of the story, really
00:33:22.430 --> 00:33:25.589
half of the story, are the youth. The youth of
00:33:25.589 --> 00:33:30.589
this street and a gang of children, teens really,
00:33:30.710 --> 00:33:33.930
preteens maybe, that have just completely caused
00:33:33.930 --> 00:33:36.910
trouble on the streets. And when we talk about
00:33:36.910 --> 00:33:40.049
Drina, we talk about her brother, whose name
00:33:40.049 --> 00:33:43.170
is Tommy. Thank you. When we see Tommy trying
00:33:43.170 --> 00:33:45.430
to get comfortable here, he's kind of looking
00:33:45.430 --> 00:33:48.930
at these other boys as, well, hey, maybe that's
00:33:48.930 --> 00:33:50.450
the group of friends that I need to find myself
00:33:50.450 --> 00:33:53.289
around to survive around here. And he does, and
00:33:53.289 --> 00:33:55.450
he gets initiated pretty quickly, right? Like,
00:33:55.529 --> 00:33:57.349
hey, I'm going to go steal a quarter. He's like,
00:33:57.450 --> 00:33:59.289
hey, kid, if you steal a quarter and give it
00:33:59.289 --> 00:34:01.250
to me, then you're all right by me. You're in
00:34:01.250 --> 00:34:03.390
the club. Oh, that's not Tommy. Tommy's been
00:34:03.390 --> 00:34:06.470
in the gang. Oh. It's some other kid. I can't
00:34:06.470 --> 00:34:08.829
remember his name. It's like Measles or something.
00:34:09.070 --> 00:34:12.710
He's got a gang name. Hey, either your name is
00:34:12.710 --> 00:34:14.909
Tommy or Measles. Yeah, I think one of the kids'
00:34:14.989 --> 00:34:18.010
name is TB. Another kid's name is Spit? Yeah.
00:34:18.170 --> 00:34:21.030
Yeah. They've all got names. Tommy's the only
00:34:21.030 --> 00:34:23.969
one that's kind of normal. No, no. Them having
00:34:23.969 --> 00:34:25.889
names I'm not concerned about. It's just that
00:34:25.889 --> 00:34:28.909
there's Tommy and then spit and measles. Right.
00:34:28.989 --> 00:34:31.250
Well, I think that's kind of the thing. Tommy,
00:34:31.429 --> 00:34:35.210
while he is a member of this gang, his sister,
00:34:35.329 --> 00:34:39.349
Drina, and Dave being in his life kind of serves
00:34:39.349 --> 00:34:44.389
as a little bit of a hook in him to stay a little
00:34:44.389 --> 00:34:48.150
bit on the morally good side. But he still has
00:34:48.150 --> 00:34:51.730
a run in with with the law during a point of
00:34:51.730 --> 00:34:55.150
this movie. Yes. But yeah, I agree. Like you
00:34:55.150 --> 00:34:58.130
have the the kid element of this movie, which
00:34:58.130 --> 00:35:02.010
I think serves as like the tether point for the
00:35:02.010 --> 00:35:05.940
most of Christmas future. Right? Like, what can
00:35:05.940 --> 00:35:09.019
you become? Yes. The cautionary tale. Exactly.
00:35:09.019 --> 00:35:11.920
Element. And then I think you have Dave and Jarena
00:35:11.920 --> 00:35:14.460
kind of as the in -between. And I think that
00:35:14.460 --> 00:35:17.260
you have Babyface as the end result. Like, this
00:35:17.260 --> 00:35:20.679
is what you can become. Yeah. So you spend so
00:35:20.679 --> 00:35:23.119
much time with these kids, and these kids are
00:35:23.119 --> 00:35:26.280
incredible actors. They are. They feel so real.
00:35:26.900 --> 00:35:29.800
When I first saw them in the opening of the movie,
00:35:30.000 --> 00:35:33.190
I was hearkening back to, like, Skippy. And Skippy's
00:35:33.190 --> 00:35:35.210
a little gang. And there's a lot of little rascals
00:35:35.210 --> 00:35:39.389
in there. That's not what this is at all. No.
00:35:39.449 --> 00:35:43.269
These are really, really, like, hardened, like,
00:35:43.369 --> 00:35:47.210
rough -and -tumble gangsters who just so happen
00:35:47.210 --> 00:35:51.449
to be, like, 12 to 16, maybe. Yeah, I mean, they're
00:35:51.449 --> 00:35:53.369
still, like, learning the ways and everything.
00:35:53.489 --> 00:35:55.789
Like, they're not very good at being gangsters.
00:35:56.250 --> 00:35:59.269
Yeah. They're just more kind of, like, loudmouths
00:35:59.269 --> 00:36:02.630
and ruffians. Yeah, but they'll... They get very
00:36:02.630 --> 00:36:05.250
physically violent with people. They do. They
00:36:05.250 --> 00:36:08.989
say some awful things that I did not expect in
00:36:08.989 --> 00:36:11.250
1937. And it's important to remember that they're
00:36:11.250 --> 00:36:15.730
playing parts in this. And this catapulted the
00:36:15.730 --> 00:36:18.070
Dead End kids. And they're named for this movie,
00:36:18.150 --> 00:36:21.150
right? Dead End. Yeah. But they have become very
00:36:21.150 --> 00:36:23.690
successful, right? I mean, there's a number of
00:36:23.690 --> 00:36:26.309
members throughout the years, but they made,
00:36:26.409 --> 00:36:32.150
I read through here, 89 films? What? What? doing
00:36:32.150 --> 00:36:34.750
what i mean maybe this is more like you know
00:36:34.750 --> 00:36:36.510
some members were in movies together like it's
00:36:36.510 --> 00:36:38.449
not like the dead end kids is a complete gang
00:36:38.449 --> 00:36:41.110
we're in 89 films but like they would like go
00:36:41.110 --> 00:36:43.670
on to star in like 89 films collectively and
00:36:43.670 --> 00:36:46.190
a number of those i think like five or six were
00:36:46.190 --> 00:36:49.170
as the dead end kids really they would be in
00:36:49.170 --> 00:36:51.690
these movies it's like the brat pack I mean,
00:36:51.690 --> 00:36:55.070
seriously, like 21 years of like films that they
00:36:55.070 --> 00:37:00.030
did. I think from 1937 to 1958 is when we saw
00:37:00.030 --> 00:37:02.909
that happen. So, I mean, this is kind of the
00:37:02.909 --> 00:37:04.869
crazy thing is that they go on to become what
00:37:04.869 --> 00:37:07.809
you mentioned, Little Rascals. Like it is a comedic
00:37:07.809 --> 00:37:11.849
act by the closer to 1958. But it's really important
00:37:11.849 --> 00:37:13.949
to note and like underline what you just said
00:37:13.949 --> 00:37:16.050
here, which is that that is not this film. This
00:37:16.050 --> 00:37:19.230
is like a stark drama. And the characters are
00:37:19.230 --> 00:37:22.619
fun. Sure. But they are not like a comedic act
00:37:22.619 --> 00:37:26.639
in the film. So I wanted to point out, too, that
00:37:26.639 --> 00:37:30.139
this was a really big deal because they went
00:37:30.139 --> 00:37:33.099
by a number of names, East Side Kids, the Bowery
00:37:33.099 --> 00:37:36.280
Boys, and they were causing so many problems
00:37:36.280 --> 00:37:38.960
on set. Not just with Dead End, but as they became
00:37:38.960 --> 00:37:41.460
more popular, they just kind of ran through sets.
00:37:41.539 --> 00:37:44.059
They would drive golf carts through walls and
00:37:44.059 --> 00:37:46.840
stuff. They would knock over a bunch of stuff,
00:37:46.920 --> 00:37:49.639
cause a lot of problems on set. So inevitably,
00:37:49.960 --> 00:37:52.960
they were sold to Warner Brothers. Yikes. So
00:37:52.960 --> 00:37:55.519
the entire collection was sold to Warner Brothers
00:37:55.519 --> 00:37:57.539
because Samuel Goldwyn was like, I just can't
00:37:57.539 --> 00:37:59.340
deal with this anymore. Right. I'm not dealing
00:37:59.340 --> 00:38:02.079
with these boys. Get them out of here. So whether
00:38:02.079 --> 00:38:03.880
you know them as the East Side Kids, the Bowery
00:38:03.880 --> 00:38:07.119
Boys, or the Dead End Kids, this is a really
00:38:07.119 --> 00:38:10.420
strange legacy that starts from this movie. Yeah.
00:38:10.579 --> 00:38:14.880
I want to see at least one more film that they
00:38:14.880 --> 00:38:17.440
do. I'll pull one for you. Yeah. I want to know
00:38:17.440 --> 00:38:21.710
what comes next. Because this really is... I
00:38:21.710 --> 00:38:23.869
think having them just in this one film, it feels
00:38:23.869 --> 00:38:27.090
real. When you start to sprinkle them in, especially
00:38:27.090 --> 00:38:30.650
for comedic purposes, I think they lose a lot
00:38:30.650 --> 00:38:35.110
of their luster. Yeah. But, man, here, like you
00:38:35.110 --> 00:38:37.329
said, there are some funny moments in this movie.
00:38:37.429 --> 00:38:40.269
There are some funny lines, but this is not a
00:38:40.269 --> 00:38:42.690
comedy at all. There is a funny moment that I
00:38:42.690 --> 00:38:45.070
enjoyed kind of early on where Drina is walking
00:38:45.070 --> 00:38:47.230
through the city, and she's talking with Dave.
00:38:47.630 --> 00:38:50.630
Dave is painting for one of the local restaurants.
00:38:51.110 --> 00:38:54.429
And he was paid like $25, which is a lot there,
00:38:54.550 --> 00:38:58.110
to paint because he's trying to make like a big
00:38:58.110 --> 00:39:00.650
deal. And there's a line that's mentioned of
00:39:00.650 --> 00:39:03.130
like the name of the restaurant is like Shea
00:39:03.130 --> 00:39:06.969
something. And Dave says like he doesn't know
00:39:06.969 --> 00:39:09.210
what it means. It's just something that he knows
00:39:09.210 --> 00:39:11.250
means a lot to the people up there. So he thinks
00:39:11.250 --> 00:39:13.170
they're going to come in and eat there foolishly.
00:39:13.289 --> 00:39:14.969
The thing that I thought was really funny about
00:39:14.969 --> 00:39:17.960
this is. Continuing our conversation from last
00:39:17.960 --> 00:39:21.780
episode about the life of Emile Zola and Alfred
00:39:21.780 --> 00:39:25.400
Dreyfus, his final performance that he has, one
00:39:25.400 --> 00:39:27.559
of the final ones of him leaving the cell, and
00:39:27.559 --> 00:39:30.460
all that being wordless from him. Yeah. The funny
00:39:30.460 --> 00:39:32.380
side of that is this one, and that's right before
00:39:32.380 --> 00:39:35.420
Dave tells her about how the owner of the shop
00:39:35.420 --> 00:39:37.599
doesn't know what it means. He knocks on the
00:39:37.599 --> 00:39:39.920
glass, the owner of the restaurant. He knocks
00:39:39.920 --> 00:39:42.300
on the glass to Drina, and he looks at her, and
00:39:42.300 --> 00:39:44.559
he points at the sign, and he's like... and kind
00:39:44.559 --> 00:39:47.219
of like holds his hands up like this and uh she's
00:39:47.219 --> 00:39:49.440
like uh -huh and like nods and he kind of almost
00:39:49.440 --> 00:39:51.320
does like a little like ah you know like his
00:39:51.320 --> 00:39:53.659
his hands like that just walks away i thought
00:39:53.659 --> 00:39:55.719
this was so funny because it kind of shows like
00:39:55.719 --> 00:39:58.059
that not everyone there is like living this like
00:39:58.059 --> 00:40:00.699
hardened life and very upset but this guy's just
00:40:00.699 --> 00:40:02.800
an opportunist yeah and he's just trying to be
00:40:02.800 --> 00:40:04.400
like hey you think they're gonna like that huh
00:40:04.400 --> 00:40:06.860
yeah they'll like it and like walking away yeah
00:40:07.170 --> 00:40:08.710
And that was the last that we heard of this guy.
00:40:08.829 --> 00:40:11.610
Like, that's what makes this feel so lived in.
00:40:11.610 --> 00:40:13.789
Right. This large set has so many people. He's
00:40:13.789 --> 00:40:17.389
just a New Yorker. Yeah. That just, I love that.
00:40:18.070 --> 00:40:21.469
How do I, how do I not bring up Marvel every
00:40:21.469 --> 00:40:23.630
episode we talk about? You get to a point in
00:40:23.630 --> 00:40:25.650
the Marvel universe where it's like, oh, these
00:40:25.650 --> 00:40:28.289
superheroes exist and they save people. Who?
00:40:28.489 --> 00:40:30.849
You know? You never see them. Who save anybody?
00:40:31.090 --> 00:40:34.650
It's Loki, I'm forgetting, but he compares people
00:40:34.650 --> 00:40:37.369
to ants. Yeah. What is a boot to an ant or something
00:40:37.369 --> 00:40:39.889
like that? Exactly. Yeah. But you really do get
00:40:39.889 --> 00:40:42.210
to a point where you're seeing these huge heroes
00:40:42.210 --> 00:40:45.369
fight and all of this, but you never see just
00:40:45.369 --> 00:40:48.730
the regular citizen. And that's like a big bombastic
00:40:48.730 --> 00:40:51.389
example of that. But it's the same here. You
00:40:51.389 --> 00:40:53.170
know, like if you want New York City to feel
00:40:53.170 --> 00:40:55.429
lived in in your gangster movie, just throw in
00:40:55.429 --> 00:40:57.250
the guy who's opening up a restaurant and having
00:40:57.250 --> 00:41:00.900
hired your main character to paint for him. There's
00:41:00.900 --> 00:41:03.639
a very interesting performance that I promise
00:41:03.639 --> 00:41:08.139
was absolutely inconsequential and accidental.
00:41:08.699 --> 00:41:12.019
But pretty early on when there's a boy, I forget
00:41:12.019 --> 00:41:15.179
who, that's taking his brother and sister out
00:41:15.179 --> 00:41:18.219
in a carriage. And he's kind of bouncing them
00:41:18.219 --> 00:41:20.039
around and everything. That's the new kid. That's
00:41:20.039 --> 00:41:21.920
the new kid. When he's bouncing them up and down
00:41:21.920 --> 00:41:23.639
like the carriage on the street, like just sitting
00:41:23.639 --> 00:41:27.380
down, the gang of boys, the dead end kids, they
00:41:27.380 --> 00:41:29.820
start running around. And when they're running
00:41:29.820 --> 00:41:33.139
past the carriage, the little boy in the carriage
00:41:33.139 --> 00:41:36.219
is looking at them with glee in his eyes. And
00:41:36.219 --> 00:41:38.719
he's very like smiley. And he's just like looking
00:41:38.719 --> 00:41:41.199
at them like amazed. And I thought like that
00:41:41.199 --> 00:41:43.960
was just this kid is just like, look what's happening
00:41:43.960 --> 00:41:46.400
around me. Yeah. But in the movie, it's so easy
00:41:46.400 --> 00:41:48.559
to read that as like, well, that is what everyone
00:41:48.559 --> 00:41:51.639
is looking up to. Like that is that is the best
00:41:51.639 --> 00:41:54.530
possible scenario on this dead end street. is
00:41:54.530 --> 00:41:57.190
what if i can do that what if i can run around
00:41:57.190 --> 00:41:59.489
with my friends and just like have fun and not
00:41:59.489 --> 00:42:01.750
have any rules yeah and i thought that was you
00:42:01.750 --> 00:42:03.469
know everyone kind of has what they're looking
00:42:03.469 --> 00:42:05.210
up to like what they're trying to achieve in
00:42:05.210 --> 00:42:08.110
this area and that was just a little subtle thing
00:42:08.110 --> 00:42:09.989
that i thought kind of read into it probably
00:42:09.989 --> 00:42:12.550
entirely accidental but still very cool that
00:42:12.550 --> 00:42:14.690
that's captured on screen well yeah i think that's
00:42:14.690 --> 00:42:16.809
kind of the thing this is the new kid in the
00:42:16.809 --> 00:42:20.219
neighborhood and all he wants is friends He doesn't
00:42:20.219 --> 00:42:22.539
know that these friends could be a bad influence.
00:42:22.719 --> 00:42:24.960
All he sees is a bunch of kids running around
00:42:24.960 --> 00:42:27.500
and playing. He wants to be a part of that. And
00:42:27.500 --> 00:42:29.880
then if you keep going with this cautionary tale,
00:42:29.980 --> 00:42:32.340
you see eventually what that could become. And
00:42:32.340 --> 00:42:35.880
that, in turn, is Babyface Martin. So to move
00:42:35.880 --> 00:42:38.260
forward with the plot a little bit, Babyface
00:42:38.260 --> 00:42:41.500
Martin comes back to see his mother and his old
00:42:41.500 --> 00:42:44.460
girlfriend. And when he does interact with his
00:42:44.460 --> 00:42:47.840
mom, she wants nothing to do with him. She is...
00:42:48.159 --> 00:42:50.780
Cruel, but rightfully so. She does not like the
00:42:50.780 --> 00:42:53.280
life that he has chosen. She doesn't like that
00:42:53.280 --> 00:42:55.920
he is a criminal, that he is a gangster. And
00:42:55.920 --> 00:42:58.679
she tells him that. And the things that Babyface
00:42:58.679 --> 00:43:01.420
Martin says to his mother, it's one of those
00:43:01.420 --> 00:43:05.440
moments where you see this man trying to stand
00:43:05.440 --> 00:43:08.940
up for himself and be tough when this woman is
00:43:08.940 --> 00:43:11.940
laying into him. But even when he does that,
00:43:12.000 --> 00:43:19.320
she's like, I don't care. Like, I killed. And
00:43:19.320 --> 00:43:22.559
she says, I bet you did. I bet you did. And you
00:43:22.559 --> 00:43:24.679
know what? Fine. If that's what you want to do,
00:43:24.760 --> 00:43:27.699
fine. She's just over it. She doesn't want anything
00:43:27.699 --> 00:43:30.159
to do with him. She is so disappointed in her
00:43:30.159 --> 00:43:33.739
son. And that puts such a toll on Babyface Martin
00:43:33.739 --> 00:43:37.059
that that shifts his mentality and his mindset
00:43:37.059 --> 00:43:40.079
for the rest of the movie. He then goes to visit
00:43:40.079 --> 00:43:43.440
his old girlfriend, Francie, who was really just
00:43:43.440 --> 00:43:45.960
kind of a kid the last time he saw her. Right.
00:43:46.269 --> 00:43:51.230
and he as was dave yeah dave was as well uh babyface
00:43:51.230 --> 00:43:54.550
martin is a little bit older in this yes but
00:43:54.550 --> 00:43:58.030
uh dave was like running in the same circle as
00:43:58.030 --> 00:44:01.010
uh babyface was yeah before he became babyface
00:44:01.010 --> 00:44:03.449
which becomes that that two sides of one coin
00:44:03.449 --> 00:44:07.789
kind of element but when he sees francy again
00:44:07.789 --> 00:44:09.869
played by claire trevor who was nominated for
00:44:09.869 --> 00:44:13.300
this role he finds this scene That's kind of
00:44:13.300 --> 00:44:17.320
her only scene. He discovers that she has been
00:44:17.320 --> 00:44:21.380
surviving on the street by also turning to a
00:44:21.380 --> 00:44:24.460
life that, just like his mom doesn't approve
00:44:24.460 --> 00:44:27.179
of him, he doesn't approve of her. She is now
00:44:27.179 --> 00:44:31.500
a sex worker. And he is so disturbed by this.
00:44:31.579 --> 00:44:34.079
He's like, why? Didn't you try? Didn't you try
00:44:34.079 --> 00:44:37.119
to do something else? Why? Oh, what does he say?
00:44:37.280 --> 00:44:40.059
Something like, why didn't you starve first?
00:44:40.320 --> 00:44:43.090
You know? You had to turn to this like this is
00:44:43.090 --> 00:44:44.929
the worst thing that could have happened and
00:44:44.929 --> 00:44:47.869
she should have just died of starvation instead.
00:44:48.230 --> 00:44:52.329
And her performance here, I do think genuinely
00:44:52.329 --> 00:44:54.570
is the best performance in the entire movie.
00:44:54.809 --> 00:44:58.190
That's true. I think she's fantastic. She feels
00:44:58.190 --> 00:45:01.750
we talk about this sometimes where a character
00:45:01.750 --> 00:45:04.929
and an actor feels like this. This isn't the
00:45:04.929 --> 00:45:09.070
1930s. This is an actor far beyond this period.
00:45:09.269 --> 00:45:12.860
Timeless. Yeah. And that is who Claire Trevor
00:45:12.860 --> 00:45:16.320
is in this movie. She's fantastic, and she weighs,
00:45:16.559 --> 00:45:21.400
again, on Babyface and gives him more fuel to
00:45:21.400 --> 00:45:24.639
motivate what he does moving into the plot of
00:45:24.639 --> 00:45:27.539
the film. You know, we talked on The Life of
00:45:27.539 --> 00:45:32.119
Emile Zola how the role of Alfred Dreyfuss is
00:45:32.119 --> 00:45:34.800
so small, but it did receive the supporting actor
00:45:34.800 --> 00:45:38.519
win. Right. Not just the nomination. I guess
00:45:38.519 --> 00:45:41.199
the question that we have on that is, in terms
00:45:41.199 --> 00:45:43.179
of whether a supporting actor gets the nomination,
00:45:43.480 --> 00:45:46.340
the question is, how good are you? Right? Because
00:45:46.340 --> 00:45:48.360
there's more time that Alfred Dreyfuss is on
00:45:48.360 --> 00:45:52.119
screen and Emile Zola than Francie is here. But
00:45:52.119 --> 00:45:53.480
I think we can both agree that the performance
00:45:53.480 --> 00:45:56.980
that... Claire Trevor? Thank you. Don't want
00:45:56.980 --> 00:45:59.940
to say Louise. The performance that Claire Trevor
00:45:59.940 --> 00:46:04.420
is giving as Francie here is one scene, but it's
00:46:04.420 --> 00:46:07.099
absolutely dynamite and it is imperative. To
00:46:07.099 --> 00:46:09.579
the story of Babyface. Right. And the story of
00:46:09.579 --> 00:46:12.039
this street. Because again, the main character
00:46:12.039 --> 00:46:14.920
of this movie is not Babyface. No. We have time
00:46:14.920 --> 00:46:18.159
before and after the character is introduced
00:46:18.159 --> 00:46:22.780
that we see a lot happening. So is she integral
00:46:22.780 --> 00:46:25.659
to the story? Absolutely. Like she is in this
00:46:25.659 --> 00:46:28.659
performance is so, so, so good. Yeah. I think
00:46:28.659 --> 00:46:32.260
what's cool about this movie is. Nearly every
00:46:32.260 --> 00:46:35.820
character feels like a catalyst for another character's
00:46:35.820 --> 00:46:37.639
motives and actions. There's not a throwaway
00:46:37.639 --> 00:46:40.440
character in this movie. No. You know, there's
00:46:40.440 --> 00:46:43.780
the guy who's getting people to paint for the...
00:46:43.780 --> 00:46:46.619
Yeah, but again, he sells the city. Like, he
00:46:46.619 --> 00:46:48.599
sells that there is a community living here.
00:46:48.659 --> 00:46:50.539
And that's the thing. Like, you have the catalyst
00:46:50.539 --> 00:46:54.159
for the plot, but then you also have the truly
00:46:54.159 --> 00:46:56.480
supporting characters who are sprinkled in for
00:46:56.480 --> 00:46:59.900
the atmosphere. And just everybody is important.
00:47:00.340 --> 00:47:03.360
In some way or another. The doorman, the judge,
00:47:03.679 --> 00:47:06.280
like there's some people that are, you know,
00:47:06.280 --> 00:47:08.960
they have lines, but they're not like super important
00:47:08.960 --> 00:47:12.760
to the story. Right, yeah. Ultimately, Babyface,
00:47:13.000 --> 00:47:15.659
after all of this heartache and these discoveries
00:47:15.659 --> 00:47:18.239
that the people that he used to care about don't
00:47:18.239 --> 00:47:20.239
care about him or have turned to a life that
00:47:20.239 --> 00:47:22.719
he doesn't approve of, which is very ironic for
00:47:22.719 --> 00:47:25.840
his character, he decides that he is going to
00:47:25.840 --> 00:47:30.329
take his rage out on Dave, correct? Correct.
00:47:30.449 --> 00:47:34.429
Yes. So he devises a plan. He knows that there
00:47:34.429 --> 00:47:39.250
is a wealthier boy in the neighborhood who was
00:47:39.250 --> 00:47:42.130
recently beat up by the kids. And Dave kind of
00:47:42.130 --> 00:47:46.250
went in and rescued him from the children in
00:47:46.250 --> 00:47:49.710
the dead end kid gang. And Babyface decides,
00:47:49.929 --> 00:47:52.030
OK, well, we're going to kidnap him then. And
00:47:52.030 --> 00:47:54.690
we're going to cause like real problems. We're
00:47:54.690 --> 00:47:57.159
going to lure Dave in. Right? That's the plan?
00:47:57.219 --> 00:47:59.260
He's luring Dave in? No, wasn't there, they were
00:47:59.260 --> 00:48:01.800
going to take out the judge because they were
00:48:01.800 --> 00:48:03.880
trying to get, like, the doorman away from the
00:48:03.880 --> 00:48:06.119
door so they can go in there and, like, kill
00:48:06.119 --> 00:48:08.300
the judge so the kid was innocent. So the kid
00:48:08.300 --> 00:48:10.320
could be tried. That's what it was. Yes. And
00:48:10.320 --> 00:48:12.380
Dave got involved with it because he saw it happening.
00:48:12.579 --> 00:48:16.480
Right. That's exactly what it was. So there is
00:48:16.480 --> 00:48:20.639
a scene, and I love this. Babyface is meeting
00:48:20.639 --> 00:48:23.199
under the docks with Hunk to talk about this
00:48:23.199 --> 00:48:28.099
plan and set it in motion. And he walks up and
00:48:28.099 --> 00:48:30.099
there's this great shot where it's a low angle
00:48:30.099 --> 00:48:32.500
looking up at them. So not only are you seeing
00:48:32.500 --> 00:48:35.360
Babyface and Hunk and Dave all in frame, but
00:48:35.360 --> 00:48:37.219
in the back you're seeing one of those high rises
00:48:37.219 --> 00:48:41.139
and skyscrapers. And that's the reminder that
00:48:41.139 --> 00:48:43.619
I'm talking about where this movie says, listen,
00:48:43.659 --> 00:48:46.019
don't forget that while all of this is going
00:48:46.019 --> 00:48:49.420
on and people are devising ways to murder and
00:48:49.420 --> 00:48:52.679
to steal and kidnap, people are living their
00:48:52.679 --> 00:48:56.780
dream just up there. And I love that. It's such
00:48:56.780 --> 00:48:59.619
incredible storytelling. Well, it's kind of a
00:48:59.619 --> 00:49:02.019
dream. But then there's something that's told
00:49:02.019 --> 00:49:05.039
after that, that I think is really telling, where
00:49:05.039 --> 00:49:09.300
you mentioned that Dave and another character
00:49:09.300 --> 00:49:12.380
played by Wendy Berry, Kay, they're kind of having
00:49:12.380 --> 00:49:15.739
a bit of an affair. And she wants to run away
00:49:15.739 --> 00:49:18.500
with him. Because she believes that he has more
00:49:18.500 --> 00:49:21.659
coming to him than where she is now. So we see
00:49:21.659 --> 00:49:24.000
that even when she's up on this high rise and
00:49:24.000 --> 00:49:26.880
partying and having fun, that's not an end goal
00:49:26.880 --> 00:49:29.519
for her. It's not enough. So she's trying to
00:49:29.519 --> 00:49:32.639
chase something different. Yes. But then there's
00:49:32.639 --> 00:49:34.820
also the element where she's like, that's not
00:49:34.820 --> 00:49:37.119
going to be permanent with Dave. Yes. She's like,
00:49:37.199 --> 00:49:38.739
oh, you know, I can get the husband to leave
00:49:38.739 --> 00:49:41.380
for like a year. We can have a solid year together.
00:49:42.409 --> 00:49:45.190
She's just kind of like everybody in this movie.
00:49:45.530 --> 00:49:47.510
is a little selfish. Even the people in the high
00:49:47.510 --> 00:49:49.210
-rise, she's kind of the only example you get
00:49:49.210 --> 00:49:52.230
of that, that the corruption exists everywhere.
00:49:52.590 --> 00:49:54.409
You definitely get it with the cops in this movie.
00:49:54.530 --> 00:49:56.590
You get it from the cops. The judge is also kind
00:49:56.590 --> 00:49:59.250
of fair, but not really. He's really on the line
00:49:59.250 --> 00:50:01.909
of like, oh, he might be a good person. But you
00:50:01.909 --> 00:50:03.670
kind of get the idea of when you look up there
00:50:03.670 --> 00:50:05.630
that it's just, oh, well, they're happy, they're
00:50:05.630 --> 00:50:06.989
content where they are, and that's where they
00:50:06.989 --> 00:50:09.289
want to be. Right. And Kay is the illusion of
00:50:09.289 --> 00:50:12.510
that. Or rather, Cade dispels the illusion of
00:50:12.510 --> 00:50:14.929
that. Yeah. Well, I think it shows, too, that
00:50:14.929 --> 00:50:17.110
like you have people up top that maybe they don't
00:50:17.110 --> 00:50:18.889
belong to be there. And then you have people
00:50:18.889 --> 00:50:22.389
down below like Drina and Dave and hopefully
00:50:22.389 --> 00:50:25.269
Tommy, if they can change his ways quick enough,
00:50:25.409 --> 00:50:30.210
that do deserve a better life. But after Dave
00:50:30.210 --> 00:50:33.510
eavesdrops on this plan, he's like, well, I'm
00:50:33.510 --> 00:50:36.670
going to turn you in. And that's what leads to
00:50:36.670 --> 00:50:41.130
this shootout where. He is pursuing Babyface
00:50:41.130 --> 00:50:43.389
into like a warehouse, and there's some incredible
00:50:43.389 --> 00:50:46.170
lighting in that scene. Well, the thing that
00:50:46.170 --> 00:50:48.030
leads up to that is he tells him like, hey, look,
00:50:48.110 --> 00:50:51.090
I'm going to stop you. And I can't recall exactly
00:50:51.090 --> 00:50:54.349
who does who, but between Hunk and Babyface,
00:50:54.570 --> 00:50:58.590
they stab Dave in the back with a knife. They
00:50:58.590 --> 00:51:02.050
slice his arm. Yeah. And then push him into the
00:51:02.050 --> 00:51:05.349
dock or into the water from the dock. And they
00:51:05.349 --> 00:51:08.110
presume he's dead. We presume he's dead as well.
00:51:08.670 --> 00:51:10.469
and they go about their business and the way
00:51:10.469 --> 00:51:13.110
this is shot is with finality right we're not
00:51:13.110 --> 00:51:14.869
like we we aren't led to believe that he's going
00:51:14.869 --> 00:51:18.289
to survive this so we do see like a few scenes
00:51:18.289 --> 00:51:20.130
later that he has survived and he is crawling
00:51:20.130 --> 00:51:23.130
back and he's going to obviously still try to
00:51:23.130 --> 00:51:25.469
stop baby face face and hunk from doing this
00:51:25.469 --> 00:51:28.579
and that's what leads to the chase right is now
00:51:28.579 --> 00:51:31.460
we are filming the shadows. This is where I think
00:51:31.460 --> 00:51:34.320
the production design of the set really shines.
00:51:34.519 --> 00:51:36.239
Yeah, for sure. Because we're used to kind of
00:51:36.239 --> 00:51:39.320
like the one street, the outside of the door
00:51:39.320 --> 00:51:42.699
for the high rise. We're like maybe the building,
00:51:42.860 --> 00:51:45.340
maybe a couple apartments here and there between
00:51:45.340 --> 00:51:48.460
Jarena's and Babyface's mother. But we aren't
00:51:48.460 --> 00:51:51.239
seeing too much more of the like real estate.
00:51:51.460 --> 00:51:54.159
I shouldn't say real estate, but the map of this,
00:51:54.219 --> 00:51:56.739
like the connecting streets. This is a very 3D
00:51:56.739 --> 00:52:00.269
set. You know, multi -dimensional set where you're
00:52:00.269 --> 00:52:02.210
not only going left to right, but you're on the
00:52:02.210 --> 00:52:04.769
rooftops. You're everywhere. You're in the alleyways.
00:52:04.809 --> 00:52:06.889
You're waiting around corners for people to walk
00:52:06.889 --> 00:52:09.269
over. And this is where I think it really has
00:52:09.269 --> 00:52:12.849
a chance to shine. And we see Babyface and Dave
00:52:12.849 --> 00:52:15.469
getting in a fight. And that's what kind of starts
00:52:15.469 --> 00:52:18.369
the chase. Yeah. And now the chase is like up
00:52:18.369 --> 00:52:21.210
fire escapes, across buildings, down other fire
00:52:21.210 --> 00:52:25.409
escapes. And here is when I really fell in love
00:52:25.409 --> 00:52:28.789
with the set. Just I could not believe how much
00:52:28.789 --> 00:52:30.510
they built. I couldn't believe how they were
00:52:30.510 --> 00:52:33.210
able to film this. I think that if they didn't
00:52:33.210 --> 00:52:34.730
build this out, they wouldn't have been able
00:52:34.730 --> 00:52:36.530
to get some of the shots that they did. Totally.
00:52:36.550 --> 00:52:39.409
So cinematography in our direction, I think,
00:52:39.409 --> 00:52:42.829
are at the hands of production design. Honestly,
00:52:42.929 --> 00:52:44.489
when you talk about outstanding production, I
00:52:44.489 --> 00:52:46.150
think this is kind of what we're talking about,
00:52:46.289 --> 00:52:49.230
where it's everything morphing into one project.
00:52:49.289 --> 00:52:52.230
Like everything existed for this to be a Best
00:52:52.230 --> 00:52:56.289
Picture nominee. So at this time, you had just
00:52:56.289 --> 00:52:58.909
done some research. Production design was kind
00:52:58.909 --> 00:53:02.409
of thrown under art direction. It was observed
00:53:02.409 --> 00:53:04.530
under art direction is the best way to put it.
00:53:04.550 --> 00:53:09.210
So Richard Day and his set is really the thing
00:53:09.210 --> 00:53:13.650
that I think sells this movie. And it is... I
00:53:13.650 --> 00:53:16.389
mean, this chase sequence is fantastic, but I
00:53:16.389 --> 00:53:18.130
think the way that we get the shots that we do
00:53:18.130 --> 00:53:20.329
and the set that was built, it's really all a
00:53:20.329 --> 00:53:22.530
credit to Richard Day and, of course, Toland
00:53:22.530 --> 00:53:25.590
Cinematography. Yeah, Toland Cinematography blew
00:53:25.590 --> 00:53:29.530
me away in this movie. The finale here as well,
00:53:29.670 --> 00:53:31.530
I mean, there's stuff that happens. We are running
00:53:31.530 --> 00:53:35.110
a little bit long as well, so I'll just end at
00:53:35.110 --> 00:53:39.530
this shootout. It's incredibly violent. I think
00:53:39.530 --> 00:53:44.530
both individuals get shot, but the demise of
00:53:44.530 --> 00:53:47.769
Babyface was so incredibly violent, I was shocked.
00:53:48.130 --> 00:53:52.889
You have him taken out by Dave on the fire escape.
00:53:53.150 --> 00:53:55.570
I think he's shot twice on the fire escape, and
00:53:55.570 --> 00:53:58.929
he falls, like, three stories to an alley below.
00:53:59.269 --> 00:54:01.489
And pretty visible, too. Like, you don't see
00:54:01.489 --> 00:54:04.289
him shot so much, but you do see him fall. Yes.
00:54:05.679 --> 00:54:08.099
And when you see his body on the floor, he's
00:54:08.099 --> 00:54:10.639
still alive, but he's very clearly not going
00:54:10.639 --> 00:54:15.210
to make it. And cops approach. And he says something
00:54:15.210 --> 00:54:18.829
like, stay back, I'm done for, or something like
00:54:18.829 --> 00:54:22.849
that. And a cop steps forward and Babyface shoots
00:54:22.849 --> 00:54:26.789
the cop, which that shocked me as well. In the
00:54:26.789 --> 00:54:28.650
time during the production code, you have...
00:54:28.829 --> 00:54:31.590
Not only the violence of a gangster shooting
00:54:31.590 --> 00:54:33.409
a cop, but you also have like the corruption
00:54:33.409 --> 00:54:36.590
of the police in this movie, which is insane
00:54:36.590 --> 00:54:40.989
to me. But then the police just unload on baby
00:54:40.989 --> 00:54:43.090
face. Well, we think about how we just talked
00:54:43.090 --> 00:54:46.230
to a couple. weeks, months ago about the informer
00:54:46.230 --> 00:54:48.789
and how every shot there was, if there's a gunshot,
00:54:49.010 --> 00:54:51.829
we're either going to see the gun being shot
00:54:51.829 --> 00:54:53.289
or we're just going to hear it. We're not going
00:54:53.289 --> 00:54:55.469
to see the person being shot. And then we look
00:54:55.469 --> 00:54:58.070
to now where there are so many gunshots, it is
00:54:58.070 --> 00:54:59.949
someone being hit, someone falling that far.
00:55:00.210 --> 00:55:02.489
And then like you mentioned, a cop being shot,
00:55:02.650 --> 00:55:06.250
which is shown on film. And then when you say
00:55:06.250 --> 00:55:09.489
unload, you are not joking. They are maybe five,
00:55:09.690 --> 00:55:12.139
six feet away from him. And they're unloading
00:55:12.139 --> 00:55:14.440
to where, like, he must have been shot north
00:55:14.440 --> 00:55:16.559
of, like, 10, 15 times. Well, they say it. They
00:55:16.559 --> 00:55:19.360
say 12 times. Yeah. They said, like, five times
00:55:19.360 --> 00:55:23.199
in the torso. A couple in the head. Yeah. I think
00:55:23.199 --> 00:55:24.659
it was two times in the head. And I'm just like,
00:55:24.760 --> 00:55:29.460
wow, that's crazy what we're doing. And I think
00:55:29.460 --> 00:55:33.059
it is a necessary violence at the end of this
00:55:33.059 --> 00:55:37.679
movie to really hammer in the—I've said it, like,
00:55:37.780 --> 00:55:43.409
16 times. Cautionary tale. I've said it so many
00:55:43.409 --> 00:55:45.530
times. I was going to say Louis Pasteur. Yeah,
00:55:45.530 --> 00:55:48.949
that's the one. I think it's so necessary for
00:55:48.949 --> 00:55:53.809
the cherry on top of this cautionary tale. And
00:55:53.809 --> 00:55:56.610
ultimately, Dave being the one to take out this
00:55:56.610 --> 00:56:00.269
gangster, he receives a reward. And his decision
00:56:00.269 --> 00:56:03.670
is to take Drina and Tommy and go live a better
00:56:03.670 --> 00:56:08.230
life elsewhere with that reward money. I just
00:56:08.230 --> 00:56:11.550
think this movie is incredible. And I think that
00:56:11.550 --> 00:56:15.630
gangster movies do have a habit of being so successful
00:56:15.630 --> 00:56:18.750
in the way they're presented because this was
00:56:18.750 --> 00:56:21.070
one of the most popular genres through the early
00:56:21.070 --> 00:56:24.829
30s and the late 20s. So if you're making a gangster
00:56:24.829 --> 00:56:27.469
movie, you kind of have to do something different.
00:56:27.590 --> 00:56:29.789
You have to really think about, well, how can
00:56:29.789 --> 00:56:32.690
we film this that's going to draw people in and
00:56:32.690 --> 00:56:35.949
not just feel like another one of these? That's
00:56:35.949 --> 00:56:37.489
something that we're not getting in other genres.
00:56:38.329 --> 00:56:40.469
It would be very easy for them to follow suit
00:56:40.469 --> 00:56:43.150
of most other films that are based on plays and
00:56:43.150 --> 00:56:46.289
Broadway plays of, well, look, we can film like
00:56:46.289 --> 00:56:49.889
this, so why don't we? And instead, they reinvented
00:56:49.889 --> 00:56:53.329
things. They literally built a set to move the
00:56:53.329 --> 00:56:56.469
camera around and get these shots. So this is
00:56:56.469 --> 00:56:58.789
a real invention. of something like that. And
00:56:58.789 --> 00:57:00.590
there's exactly what you want to see from these
00:57:00.590 --> 00:57:02.610
kinds of movies. I think that's the thing. When
00:57:02.610 --> 00:57:05.570
this genre appears in the Academy Awards, you
00:57:05.570 --> 00:57:09.710
really see a movie that has had to push its innovation
00:57:09.710 --> 00:57:13.130
in order to find the success in being nominated
00:57:13.130 --> 00:57:15.269
for Best Picture. I think you see it with this.
00:57:15.309 --> 00:57:18.190
You see it with horror in the modern day or as
00:57:18.190 --> 00:57:21.730
the Academy moves forward. And I think right
00:57:21.730 --> 00:57:24.010
now you kind of see it with musicals because
00:57:24.010 --> 00:57:28.210
it's such a saturated genre. That when it does
00:57:28.210 --> 00:57:30.369
show up at the Academy Awards, you're like, okay,
00:57:30.429 --> 00:57:33.110
well, I see the innovation. I see the new things
00:57:33.110 --> 00:57:35.849
that it's bringing every time. And you're not
00:57:35.849 --> 00:57:39.469
getting that with things like Louis Pasteur or,
00:57:39.510 --> 00:57:43.130
God, what's something else that hasn't been as
00:57:43.130 --> 00:57:46.349
recent? Like Cavalcade, you know? These aren't
00:57:46.349 --> 00:57:48.429
movies inventing the wheel. They're just telling
00:57:48.429 --> 00:57:50.949
a story. And those are the most boring films
00:57:50.949 --> 00:57:54.039
to me. This is incredible. Yeah, incredible is
00:57:54.039 --> 00:57:55.440
a good word for it. I think that's an excellent
00:57:55.440 --> 00:57:59.019
note to end it on. Now, tell me your rating.
00:57:59.099 --> 00:58:01.679
Has it changed from what you put down? It has
00:58:01.679 --> 00:58:04.559
not right now. Okay, so we're matched. Yeah,
00:58:04.639 --> 00:58:08.440
and that match is four stars. It is. This rocks.
00:58:09.380 --> 00:58:13.059
This rocks. That's a great way to put it. I had
00:58:13.059 --> 00:58:14.639
a really good time with this. It was a lot of
00:58:14.639 --> 00:58:16.579
fun to watch as much as it can with something
00:58:16.579 --> 00:58:20.780
this dramatic and dark. It's perfectly balanced.
00:58:21.039 --> 00:58:22.840
I think that there's not a moment that feels
00:58:22.840 --> 00:58:25.699
like this is going too slow. There's good levity,
00:58:25.699 --> 00:58:29.239
but not without being too on the nose or changing
00:58:29.239 --> 00:58:32.679
the tone much. I think Dave, the role of Dave
00:58:32.679 --> 00:58:36.719
played by Joel McCree. I'm sorry I cut you off.
00:58:37.400 --> 00:58:40.519
How dare you? I was about to say by the life
00:58:40.519 --> 00:58:44.099
of Emile Zola. And you correct me with the right
00:58:44.099 --> 00:58:47.079
thing. No, Joel McCree, thank you. Joel McCree,
00:58:47.260 --> 00:58:49.960
Sylvia Sidney, Humphrey Bogart, they're all fantastic
00:58:49.960 --> 00:58:52.199
in this. Obviously, Claire Trevor is taking a
00:58:52.199 --> 00:58:57.139
very huge nomination here. Did she win? Oh, no.
00:58:57.239 --> 00:59:01.019
She did not. Nobody won. Nobody won. And you
00:59:01.019 --> 00:59:03.760
know what? What better way to describe the story
00:59:03.760 --> 00:59:06.980
of Dead End by saying nobody won? Nope. Yeah.
00:59:07.340 --> 00:59:10.360
Except that restaurant owner. He had a good sign.
00:59:10.360 --> 00:59:13.739
And you know what? Yeah. Visual joke on an audio
00:59:13.739 --> 00:59:19.079
podcast, am I right? With double features. Did
00:59:19.079 --> 00:59:21.719
you get one? I did. I did. Do you want to go
00:59:21.719 --> 00:59:25.940
first? Sure. I love that this story is viewed
00:59:25.940 --> 00:59:30.659
from the perspective of the kids. I think that
00:59:30.659 --> 00:59:33.820
so many movies do that. Once, oh, what is it?
00:59:33.860 --> 00:59:37.440
A Bronx Tale does that. I think that even something
00:59:37.440 --> 00:59:40.920
like 310 to Yuma, his son is such a prominent...
00:59:41.150 --> 00:59:43.409
figure in that movie yeah well he's looking at
00:59:43.409 --> 00:59:46.570
like his uh he's looking at police versus it's
00:59:46.570 --> 00:59:48.050
one of my favorite movies yeah he's looking at
00:59:48.050 --> 00:59:50.130
the police versus like a gang and like trying
00:59:50.130 --> 00:59:52.309
to like judge which one he likes best right well
00:59:52.309 --> 00:59:55.130
yeah is justice worth overstepping boundaries
00:59:55.130 --> 00:59:57.690
and things like that totally um so i i like the
00:59:57.690 --> 01:00:01.110
idea of choosing a movie where you do see a kid
01:00:01.110 --> 01:00:03.550
who's having to like really think about who's
01:00:03.550 --> 01:00:07.659
going to be influencing him So I went with American
01:00:07.659 --> 01:00:11.719
History X. Very different. Very different. Yeah.
01:00:12.139 --> 01:00:16.019
You have Edward Norton, who is a just blatant,
01:00:16.019 --> 01:00:20.039
awful racist in that movie. He's like part of
01:00:20.039 --> 01:00:23.019
the neo -Nazi party. And it's very intense. And
01:00:23.019 --> 01:00:25.099
his younger brother, Edward Furlong, in that
01:00:25.099 --> 01:00:28.820
movie, based on the way they were raised by their
01:00:28.820 --> 01:00:33.179
father, who was also, you know, very racist in
01:00:33.179 --> 01:00:36.489
a... Different kind of way, I guess. You're having
01:00:36.489 --> 01:00:39.150
to see how Edward Furlong navigates this. Having
01:00:39.150 --> 01:00:42.510
to see people that mean so much to him just interact
01:00:42.510 --> 01:00:45.969
with the world and make decisions. And I think
01:00:45.969 --> 01:00:50.710
that it culminates in what is very much a cautionary
01:00:50.710 --> 01:00:55.780
tale story. Yeah. No, that's a great comp. Very
01:00:55.780 --> 01:00:57.539
different than what I had thought you were going
01:00:57.539 --> 01:01:00.800
to say. Yeah. I just thought of that movie the
01:01:00.800 --> 01:01:03.280
other day. Did you? Yeah. Not for, you know.
01:01:03.579 --> 01:01:05.139
I didn't look at it long and be like, oh, American
01:01:05.139 --> 01:01:07.179
History X. Right, yeah. Really difficult, as
01:01:07.179 --> 01:01:11.440
is this movie, so great comp. I chose to also
01:01:11.440 --> 01:01:15.059
look at the Dead End Kids and look at the idea
01:01:15.059 --> 01:01:19.960
of being thrusted into crime by family, by friends,
01:01:20.199 --> 01:01:23.239
and it be the only thing that you know, so there
01:01:23.239 --> 01:01:26.460
is no way out. I went with the David Michaud
01:01:26.460 --> 01:01:29.760
film from 2010 that somehow spawned multiple
01:01:29.760 --> 01:01:33.829
seasons on TNT, Animal Kingdom. Oh. Um, animal
01:01:33.829 --> 01:01:37.090
kingdom is a great movie. Uh, this came out,
01:01:37.230 --> 01:01:39.789
uh, when I was working at movie stop and I was
01:01:39.789 --> 01:01:43.590
able to catch this. Uh, this was the introduction
01:01:43.590 --> 01:01:48.070
to many people to not Melissa Leo. This is the
01:01:48.070 --> 01:01:49.789
introduction for many people to Jackie Weaver.
01:01:49.869 --> 01:01:53.269
Um, obviously for, um, a great turn. I think
01:01:53.269 --> 01:01:55.050
she was actually nominated for this role, uh,
01:01:55.130 --> 01:01:56.690
but it wasn't for best picture. I did double
01:01:56.690 --> 01:01:59.630
check. Did I? She was nominated. It was not nominated
01:01:59.630 --> 01:02:02.230
for Best Picture. Nailed it. Ben Mendelsohn,
01:02:02.230 --> 01:02:05.389
Guy Pearce, Joel Edgerton, a real who's who at
01:02:05.389 --> 01:02:07.750
the time. Well, now, at the time, maybe not so
01:02:07.750 --> 01:02:10.489
much for Ben Mendelsohn. But Guy Pearce was definitely
01:02:10.489 --> 01:02:13.269
the most known at this time. This is just a great
01:02:13.269 --> 01:02:15.190
movie. I had such a good time with this, and
01:02:15.190 --> 01:02:17.409
for the same purposes as this. Kind of watching,
01:02:17.449 --> 01:02:22.099
like, we are... glorifying a little bit of the
01:02:22.099 --> 01:02:24.460
crime in this, but obviously the family element
01:02:24.460 --> 01:02:27.500
goes a long way in that, and it is just a spectacular
01:02:27.500 --> 01:02:29.400
turn from everyone involved, including Jackie
01:02:29.400 --> 01:02:32.579
Weaver, great nomination. So, Animal Kingdom.
01:02:33.280 --> 01:02:37.159
Can't speak to the TV series on TNT, but a fantastic
01:02:37.159 --> 01:02:40.260
movie. Wild. I have never heard of this movie.
01:02:40.420 --> 01:02:43.079
Really? Yeah, not once. Dude, it's great. Yeah,
01:02:43.079 --> 01:02:43.780
I'm looking for reviews. So you weren't doing
01:02:43.780 --> 01:02:46.219
the death rates in 2010 then, clearly. No, started
01:02:46.219 --> 01:02:49.929
in 2017, so. Very excited for you to watch this,
01:02:50.030 --> 01:02:52.070
because I think this is just like a... Like,
01:02:52.070 --> 01:02:54.630
if you told me in 2026 that Joel Edgerton, Guy
01:02:54.630 --> 01:02:57.670
Pearce, and Ben Mendelsohn were in a movie with
01:02:57.670 --> 01:03:00.190
Jackie Weaver, as older brothers, I'd be like,
01:03:00.269 --> 01:03:03.730
done. Where can I sign up right now? Yeah, I
01:03:03.730 --> 01:03:06.610
don't even think I know who Jackie Weaver is.
01:03:06.869 --> 01:03:10.809
So, I've got a lot to learn. She shows up a lot
01:03:10.809 --> 01:03:13.090
in other movies. Silver Linings Playbook. Yeah,
01:03:13.150 --> 01:03:15.769
I've seen her name in the movies I've seen her
01:03:15.769 --> 01:03:18.199
in, but I can't put her... To the character.
01:03:18.760 --> 01:03:21.639
But, dude, great double feature because I've
01:03:21.639 --> 01:03:25.340
immediately added it to my watch list. Very excited
01:03:25.340 --> 01:03:28.820
for you to get into that. That covers Dead End,
01:03:28.880 --> 01:03:31.699
though. Great William Wyler gangster movie. I
01:03:31.699 --> 01:03:34.639
think everybody should check this one out. Really,
01:03:34.739 --> 01:03:36.980
really powerful stuff. Really beautifully shot.
01:03:37.280 --> 01:03:39.719
And the production design is just mind -blowing.
01:03:40.000 --> 01:03:42.199
If you have seen this movie and you have thoughts
01:03:42.199 --> 01:03:44.260
on it and you would like to send them in to us
01:03:44.260 --> 01:03:47.090
to read on our ceremony episode... You can send
01:03:47.090 --> 01:03:52.530
us an email at OUTAOPodcast at gmail .com. We
01:03:52.530 --> 01:03:55.210
are looking forward to as many of those write
01:03:55.210 --> 01:03:58.090
-ins as possible. And if you would like to support
01:03:58.090 --> 01:04:01.050
the show, again, patreon .com slash OUTAOPodcast.
01:04:01.389 --> 01:04:05.690
Next episode, we will be covering... 100 men
01:04:05.690 --> 01:04:08.630
and a child. A child? Well, that child happens
01:04:08.630 --> 01:04:12.170
to be a girl. Perfect. 100 men and a girl. 100
01:04:12.170 --> 01:04:15.380
men and a girl. which is the return of Henry
01:04:15.380 --> 01:04:19.500
Koster directing. As well as? Dreena Durbin.
01:04:19.800 --> 01:04:21.639
Deanna Durbin. Deanna Durbin. That's what it
01:04:21.639 --> 01:04:24.119
is. Nice. Yes. You were caught in Dead End, Dreena.
01:04:24.119 --> 01:04:26.420
I was. That's exactly what it was. So stay tuned
01:04:26.420 --> 01:04:30.280
for that episode. As always, I'm Kyle. And I'm
01:04:30.280 --> 01:04:34.059
Matt Windyberry. And we'll see you at the movies.