KOPYA NG SALIN 🔗
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[SPEAKER_02]: Your love for the half thing is leaf, as clear as slow as you're.
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[SPEAKER_05]: Alright, so we're talking about Master and Commander the far side of the world.
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[SPEAKER_05]: This is what released 2003, filmed in the tank that was originally built for Titanic.
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[SPEAKER_05]: that James Cameron obviously needed the big boy tank down in Bahá'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á'á
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[SPEAKER_05]: 97 is when Titanic came out, so it was built around like 96, like the 95, 96, yeah.
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[SPEAKER_04]: Maybe all hope is lost.
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[SPEAKER_04]: That's just, oh yeah, if you can, oh wow!
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[SPEAKER_05]: Andy pulling out an actual movie.
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[SPEAKER_05]: I live as asked that was definitely filmed there.
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[SPEAKER_05]: I was just going for the number.
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[SPEAKER_05]: I didn't expect you to start naming the movies, but if you could do that, it's bonus points for sure.
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[SPEAKER_05]: I'm wondering, Pirates ended up shooting there.
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[SPEAKER_01]: I happened to have words.
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[SPEAKER_01]: Because you're in that sketch in an early hours.
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[SPEAKER_01]: You got three films.
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[SPEAKER_01]: I'm going to say, oh, I'm so open.
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[SPEAKER_01]: I imagine Pirates, that production would have utilized that space.
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[SPEAKER_01]: That's three huge, major motion pictures.
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[SPEAKER_01]: Maybe maybe not, but I don't know, I'm going to say, oh, break.
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[SPEAKER_04]: Andy, what's your luck with me?
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[SPEAKER_04]: Yeah, yeah, I'll lock that into.
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[SPEAKER_04]: I think over, I'm going to say over 10.
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[SPEAKER_05]: Okay, oh, I, you are both correct.
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[SPEAKER_05]: We got 14 pictures over the course of 20 years, which is not a bad, not a bad run, right?
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[SPEAKER_05]: I know that shit's got to be so expensive, but it's like you can't really stack those back to back anyway.
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[SPEAKER_05]: famously, the ocean not great for maintenance work, but not so all is lost is one of the movies that was filmed there and he was right on the money.
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[SPEAKER_05]: Weirdly, Pirates of the Caribbean, I don't think was.
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[SPEAKER_05]: Let me Google this real quick to confirm.
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[SPEAKER_04]: That my doubt came from the fact that CG became such a crutch, you know, that you might just stop using the tank.
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[SPEAKER_05]: I do, so weirdly, the ship in this movie does get used in one of the Pirates sequels.
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[SPEAKER_05]: The ship that we're with for the majority of this movie is Barbosa's ship in Mar, Pirate movie he was on.
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[SPEAKER_05]: So I didn't see him or I didn't see Pirates listed as one of the movies that filmed there though.
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[SPEAKER_05]: which is interesting.
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[SPEAKER_05]: So we got Titanic.
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[SPEAKER_05]: Obviously first, tomorrow never dies.
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[SPEAKER_05]: Deep blue sea, in dreams, the weight of water, Pearl Harbor, and then Master and Commander, Kung-Pow, enter the fist, which is like, what the fuck with Kung-Pow, obviously.
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[SPEAKER_04]: So obvious.
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[SPEAKER_05]: Good shit should have called it really negative points for not knowing that ghost of the abyss jumper all is lost against the sun Little boy and chap a quidic the movie about dead Kennedy killing that girl Oh, yeah It's just a wild wild run, but we get some more some more All right, I had a tack couldn't figure out a transition there.
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[SPEAKER_05]: I'm not Eric that failed
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[SPEAKER_01]: I was hoping you would, because I was going to go with...
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[SPEAKER_01]: I was trying to find it with the... Oh, the maintenance.
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[SPEAKER_01]: I was going to go with the maintenance with the pulbed.
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[SPEAKER_01]: You've seen it afterwards.
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[SPEAKER_01]: I thought I had the dock or what I'm going to go with the surgery.
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[SPEAKER_01]: I was trying to find the link there.
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[SPEAKER_01]: So we'll just pretend I did and move on to 03s!
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[SPEAKER_01]: Measure commander parts out of the world.
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[SPEAKER_01]: I'm not bad to this.
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[SPEAKER_01]: Welcome to Make Me Watch for your couple of Phil filmmakers who have for ever students.
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[SPEAKER_01]: Welcome to Make Me Watch for your couple of Phil filmmakers who have for ever students of cinema on an eternal quest to watch more movies on your host E. Join by a couple co-host Sean McGee and Andy Steinhower back at the pod after a long hiatus is going on guys how are we?
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[SPEAKER_01]: Hello good to be back.
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[SPEAKER_05]: Oh yeah.
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[SPEAKER_05]: Been too long.
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[SPEAKER_04]: I've been too long.
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[SPEAKER_01]: We were coming back to our like year old little series here for the peanut butter jar movies are we not you want to know something I noticed about this a peanut butter jar movie We go ahead and come at the audience so
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that we don't we're not just run a pass that it's been a year so some that's your favorite ones from a fair enough fair enough and you go ahead and explain what was a peanut a peanut butter jar movie for the audience that doesn't know
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[SPEAKER_04]: Well, there's a compulsive thing that people like me do, where you get up to our peanut butter, and there's that wholesome goodness inside.
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[SPEAKER_04]: So you just get every little last scrape out of that thing.
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[SPEAKER_04]: You think you're about done, and there's another 20 sandwiches in there at least.
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[SPEAKER_04]: So it's a movie you go back to again and again and again and again and you just have a list of things that you never saw before that make you appreciate it more and more.
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[SPEAKER_04]: The previous ones that I said were Master and Commander, which we just did,
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[SPEAKER_05]: Yeah, yeah.
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[SPEAKER_05]: Gone girl.
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[SPEAKER_05]: Uh-huh.
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[SPEAKER_05]: Gone girls in interest, you know, funny.
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[SPEAKER_05]: I don't think I've ever watched Gone Girl.
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[SPEAKER_01]: Oh, I love the book.
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[SPEAKER_01]: I was, I think I was a little, I wanted those to do, so it was, oh, it's not it.
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[SPEAKER_01]: Read out to my imagination of the book, though.
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[SPEAKER_01]: So I, I, I,
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[SPEAKER_01]: I don't know if I ever really fell in love with it.
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[SPEAKER_01]: But that's an interesting one.
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[SPEAKER_01]: Is that the, is that your favorite self-deprecating boy?
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[SPEAKER_01]: It's you, yeah, yeah, yeah, yeah.
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[SPEAKER_04]: Yeah, gone, gone girls, one of my favorite, favorite movies of all time.
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[SPEAKER_04]: I mean, it's, it would be a horrible movie if it weren't for fincher being really good at what he does.
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[SPEAKER_04]: It's, it's fincher every moment is so uncomfortable and heightened and gross.
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[SPEAKER_04]: It's just, so good.
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[SPEAKER_01]: I mean, you might have to ready on your peanut butter tie, raise high apologize, what did you want to say?
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[SPEAKER_01]: Oh, no, no, you're good.
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[SPEAKER_05]: I was going to say you might have to bring Gong girl back because I don't think I've actually watched that movie.
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[SPEAKER_05]: So I'd be curious to hear you take on it.
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[SPEAKER_05]: The common theme I've noticed in the movies that you have been bringing to the podcast though, all arguably post 9-11 movies.
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[SPEAKER_05]: Obviously Starship Troopers is famously like a post 9-11 movie made pre 9-11.
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[SPEAKER_05]: But I think this movie is very, very heavily
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[SPEAKER_05]: I don't know if it gets made in a world, you know, spoil my Grover Cleveland's time machine, but, like, it feels like this is put into production shortly after 9-11.
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[SPEAKER_05]: I think production started in 2002.
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[SPEAKER_05]: So, it's just a, like, man, war is really terrible, but the boys, the boys.
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[SPEAKER_05]: But then obviously killing them softly too, I think, is like a maybe like not so much indirectly post 9-11, but it's obviously like the downfall of the American Empire commentary.
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[SPEAKER_05]: And yeah.
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[SPEAKER_04]: It's a reflection on the bush years, so that one's pretty obvious.
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[SPEAKER_01]: Yeah, yeah, fair, fair, fair.
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[SPEAKER_01]: But before we dive into all of that fellas, let's thank our listeners for listening wherever they happen to be listening from You all could be doing anything else with your time or happy here with us follow our socials in the show notes while scrolling down there Please rate review give us five stars support us Join us on patreon for some interesting stuff got some stuff over there McGee gonna toss it to you see what people could be Or I don't know which you would pay with this film this week
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[SPEAKER_05]: I mean, I, you know, spoiled my, my run up top, but I do, I think killing them softly is a funny follow up to this as like book ending the bush years.
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[SPEAKER_05]: Or this is a little bit more of the optimism and then it wears off and it's just pure like pessimism by the time we get to killing them softly.
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[SPEAKER_01]: I love it and on today's episode we're going to kick off with Andy's pick for the week.
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[SPEAKER_01]: It's in a math 2003's Master in Commander.
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[SPEAKER_01]: We're going to dive into this film with our world famous segments that break down the plot performance and our favorite behind the scenes stories.
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[SPEAKER_01]: Without further review.
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[SPEAKER_01]: Without further ado.
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[SPEAKER_01]: Let's get into our review of O3's Master in Commander.
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[SPEAKER_01]: Can you guys tell a little rusty?
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[SPEAKER_02]: Hahaha.
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[SPEAKER_02]: Butterfly.
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[SPEAKER_01]: Just a very good hand.
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[SPEAKER_03]: You're in very good hands.
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[SPEAKER_03]: Seven weeks sailing.
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[SPEAKER_03]: And he happens on our exact position.
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[SPEAKER_02]: Well, then, perhaps he was looking for us.
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[SPEAKER_03]: Damn, he was good.
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[SPEAKER_02]: An act of war will cripple them.
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[SPEAKER_03]: With basic repairs, we can get home as we are.
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[SPEAKER_03]: We're not going home.
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[SPEAKER_02]: The power of nature will threaten them.
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[SPEAKER_03]: Our enemy had all the twice our guns, more than twice our numbers, and we are supposed to start them.
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[SPEAKER_02]: Turn between fulfilling his duty.
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[SPEAKER_00]: Captain's not called Lucky Jack for no reason.
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[SPEAKER_00]: Phantom or no?
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[SPEAKER_00]: Lucky Jack, 11.
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[SPEAKER_02]: In the lives of the men he commands.
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[SPEAKER_02]: Steady!
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[SPEAKER_02]: He must face the invincible.
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[SPEAKER_03]: Fight like you, Charan.
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[SPEAKER_03]: A hunter becomes the hunted.
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[SPEAKER_03]: My land has not a moment to lose.
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[SPEAKER_03]: Two things exist, sir.
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[SPEAKER_03]: The men would follow you anywhere, but as a friend, I would say that we should have turned back weeks ago.
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[SPEAKER_03]: It's needed to ship, they won't strengthen that within yourself, and you will, um, they respect.
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[SPEAKER_01]: Alright, so that was from the trailer of O3's Mastering Commander, far side of the world.
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[SPEAKER_01]: Be far side of the world.
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[SPEAKER_01]: I probably butcher that three or four times.
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[SPEAKER_01]: You got to go on a reference to your IMDB title.
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[SPEAKER_01]: Listen to AMB, some other folks that have gotten this.
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[SPEAKER_01]: You know, the stand-load clear that I have.
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[SPEAKER_01]: Here's the log line if you're unfamiliar with this film.
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[SPEAKER_01]: A brash British captain pushes his ship and crew to their limits in pursuit of a formable French war vessel around South America.
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[SPEAKER_01]: This is directed by Peter Weir.
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[SPEAKER_01]: This is photographed by Russell Boy.
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[SPEAKER_01]: This is written by Peter Weir and John Kali, I believe, Kali based on the novels by Patrick O'Brien.
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[SPEAKER_01]: And this is starring Russell Crowe as Captain Jack Aubrey and Paul Bettney as Dr. Stephen is in Morton.
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[SPEAKER_01]: I think it's more, more team.
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[SPEAKER_01]: And he, if you guys remember, it doesn't matter.
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[SPEAKER_01]: Paul Betney, Russell Crowe, they're teaming up.
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[SPEAKER_01]: Right off of a fresh up
of a beautiful mind onto a beautiful ship.
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[SPEAKER_01]: Andy, we're gonna throw it to you, brother, why are you making this watch this?
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[SPEAKER_01]: This has been on the list for a while.
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[SPEAKER_01]: Curious, what makes this a peanut button, movie for you?
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[SPEAKER_04]: So for all the peril and violence and suffering and conscripts and literal horror elements, this movie really never makes the cynical choice.
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[SPEAKER_04]: I mean, there's a child who gets his arm amputated on screen, and you just get to like watch this actor deal with that.
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[SPEAKER_04]: And then the next scene is like optimistic too.
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[SPEAKER_04]: There's all sorts of that crap in this movie and it just it never manages to fall into depression or an overall like dauerness.
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[SPEAKER_04]: This is also, and correct me if I'm wrong, but this is one of the last films that I can remember that looks like old Hollywood.
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[SPEAKER_04]: You know, where everything is beautiful and heightened in the blues or blue and the reds are really red, but also people are like sweaty and shiny right like this isn't one of those Marvel movies where everybody's got a gallon of powder on their face like they sweat they look like people they just look like very heightened people and I missed that look and I appreciate that look and I can't think of too many films that come after this that pull that off.
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[SPEAKER_05]: Yeah.
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[SPEAKER_05]: No, I think it's especially because it's like it's a war movie in its heart, but it's still it's straddling that line between the like post 9-11 war movie where it's a little more.
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[SPEAKER_05]: I mean, not that we didn't do that in Vietnam, more movies too.
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[SPEAKER_05]: But the 80s, 90s kind of who were a shit that was, you know, go out on where we were just like big Hollywood action.
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[SPEAKER_05]: Everything's polished, everybody's handsome.
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[SPEAKER_05]: And then, you know, going more into like, no, like, worse, worse hell, more and ever changes sort of shit.
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[SPEAKER_05]: And this movie kind of straddling that line incredibly well.
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[SPEAKER_05]: I'm sure there are other movies that look this good that have come out, but yeah, it just finds that balance in a really interesting way.
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[SPEAKER_04]: I was just, I was thinking about that recently because I watched jaws and I'm like, these people look like hell, a lot of the time on screen.
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[SPEAKER_04]: It's, it's all very heightened, it's all very beautiful.
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[SPEAKER_04]: Like, you know, it's, it's Steven Spielberg doing his thing.
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[SPEAKER_04]: But like, they, they sweat like crazy.
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[SPEAKER_04]: And their clothes have like, you know, dirty shit on it that costume, that the costume department didn't put there.
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[SPEAKER_04]: And, you know, that, that doesn't really exist in Hollywood anymore.
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[SPEAKER_04]: Well, Hollywood actually exists anymore, but, yeah, you got it.
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[SPEAKER_05]: I can be one of my- The costuming on this movie is so impeccable.
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[SPEAKER_05]: Is that good?
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[SPEAKER_01]: Oh no, that could be one of my puppies in terms of costuming.
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[SPEAKER_01]: Everyone, like, a little rip or tear in my- Inclodation, making it look like it's lived in.
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[SPEAKER_01]: I'm right there with you guys.
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[SPEAKER_01]: Oh no, I- I somewhat disagree with your takes on.
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[SPEAKER_01]: It's not feeling down or down.
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[SPEAKER_01]: I think it does balance tone really well.
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[SPEAKER_01]: I think there are.
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[SPEAKER_01]: moments of levity, but I think there are really moments of like severe, like, there's going to be a couple of scenes in here.
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[SPEAKER_01]: I talk about that.
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[SPEAKER_01]: They're like, woo, I don't catch your social anxiety in a way that I had very rarely seen, particularly in a leadership role that I'm just like, wow, almost as well as I've seen in like sports film, the best of sports films, like how that, how that was handled or treated.
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[SPEAKER_01]: Um, but yeah, you know what, I found I knew of this film, particularly during it's time or during it's Oscar run.
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[SPEAKER_01]: Uh, I don't think I was, you know, much into period dramas at that point to really kind of give it the time of day.
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[SPEAKER_01]: Uh, and I maybe that was the impression that, um, has lasted with me all these years up until Andy brings it up for a movie he wants to talk about.
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[SPEAKER_01]: Uh, it's, uh, I was kind of maybe fighting a little, a, a, a, a, a, like, kind of be a really long, and it, since then I've grown accustomed to age of innocence or watching my own kind of like period dramas that I love, uh, this was, I, I think I was prepared for that and this turned out to be a whole of a hell up more entertaining than I thought it was going to be, I was just like, I was really an action adventure, uh, in vain of, and I've, I don't know.
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[SPEAKER_01]: How do I say this in the same pretentious voice that I did with the, uh, this doesn't match the giddly and full-end voice, but I've read Moby Dick and so I've, I've been familiar with the story of, of A-hab and you see that kind of see-fearing adventure told over
and over again, uh, at different other facets of, of media.
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[SPEAKER_01]: This is a really interesting version of that in my opinion.
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[SPEAKER_01]: I, I know this is based on, I've never read the, uh, series of, um, uh, based on I'm not sure if you guys are fans of the book.
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[SPEAKER_01]: But I was getting a lot of that, a set of capped in and you know, the seam and trying to like kind of pull them back.
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[SPEAKER_01]: This is much brisker of a pace than the title would suggest too.
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[SPEAKER_01]: Like I, this mood really kind of quick for like the two hours that we've been with it.
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[SPEAKER_01]: I was really impressed by the pacing.
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[SPEAKER_01]: Great performances.
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[SPEAKER_01]: We're going to get into some of the supporting roles.
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[SPEAKER_01]: My man Billy Boych shows up again.
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[SPEAKER_01]: I can't wait to talk a shout him out.
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[SPEAKER_01]: But what I really, really, really walking way impressed with was the goddamn sound design for this one.
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[SPEAKER_01]: Now this could be, I have a, again, let me turn on my annoying voice.
16:07.303 --> 16:14.869
[SPEAKER_01]: I have a pretty sweet sound system, like now let's go to this was the star of the goddamn show.
16:14.889 --> 16:18.452
[SPEAKER_01]: And I'm going back and watching some of the special features so you're seeing a lot of the,
16:19.350 --> 16:38.857
[SPEAKER_01]: out of the, as a principal photography, they're, they're, they're having two user imaginations and screen and shout over what would be what I'm, quote, canon fire and, uh, bowels breaking and cracking what not, um, when you see it all put together, like that, we're going to talk about the opening, that first opening, like just the design of that first of f***ing phenomenal, too though.
16:39.595 --> 16:41.737
[SPEAKER_01]: Oh my, you feel like you're in the middle of a bad way.
16:41.817 --> 16:43.118
[SPEAKER_01]: It was incredible.
16:43.138 --> 16:48.641
[SPEAKER_01]: Yeah, beyond the, we're getting to the cinematography, but the sound alone is like, this is, I love this.
16:49.442 --> 17:03.792
[SPEAKER_04]: So I feel like the, with the audio, there was some guy in the room who's like, I want to sneak one of those, like, classic Hollywood yells that somebody will recognize in and they're like, get out because they just, they're just like, this has to sound like.
17:03.812 --> 17:04.512
[SPEAKER_04]: I'm screaming here.
17:04.912 --> 17:06.113
[SPEAKER_04]: Yeah, no will on screen.
17:06.413 --> 17:09.255
[SPEAKER_04]: You know, the cannons don't sound like cannons and other movies.
17:09.296 --> 17:27.469
[SPEAKER_04]: The explosions don't sound like explosions and other movies I mean God they dug so deep to make this feel But like auditorally like like it does Oh, yeah, I think I want to ask her for your sound design setting is one of it's I said I think one of the Oscars at one was Yeah, of course it yeah, yeah, yeah, and it was it editing or picture no picture, right?
17:27.589 --> 17:28.189
[SPEAKER_01]: Senator soccer.
17:29.450 --> 17:30.151
[SPEAKER_01]: Yeah
17:30.827 --> 17:43.352
[SPEAKER_01]: So, yes, sound and picture and wins for a buffer or incredible in this film, but I'm going to stop hooking up the other time here, Andy, three for three, he, Andy does not miss, he comes on the pot.
17:44.273 --> 17:45.213
[SPEAKER_01]: Love this one too.
17:45.733 --> 17:47.214
[SPEAKER_01]: I can't wait to break it down with you guys.
17:47.634 --> 17:50.215
[SPEAKER_01]: Was there, do we want to talk a little blue ready guys?
17:50.295 --> 17:54.317
[SPEAKER_01]: Anybody in mind who would also love this to do people talk pretty fondly about this in the film community?
17:54.337 --> 17:55.097
[SPEAKER_01]: Who do we think?
17:55.819 --> 18:00.884
[SPEAKER_04]: Um, yes, uh, dads, future dads, female dads, and dads without kids.
18:02.746 --> 18:05.749
[SPEAKER_05]: This is the quintessential like mask movie for sure.
18:05.849 --> 18:10.954
[SPEAKER_05]: It's just like hanging with the boys through the good times and the bad baby.
18:10.994 --> 18:17.521
[SPEAKER_01]: There is a degree to think about a screen of mine.
18:18.390 --> 18:26.712
[SPEAKER_05]: I literally, I was just like, there's every mask presenting person in the world in a lot of ones that aren't as well.
18:27.092 --> 18:37.395
[SPEAKER_05]: I think this is just like a very, there's something about both the pacing and the relationships and the, the,
18:40.251 --> 19:08.542
[SPEAKER_05]: the performances and the the way that everything's written there's just such a wealth of depth to this movie that yeah it's I think that everyone at some point is one of those what it's a great peanut butter movie that's a good at the best description of it that I can think of that's one why it's so hard to come up with who notably would have this on the shelf because it's like man I think I probably go back to this one maybe like once a decade not there it's not one that I put on all the
19:09.610 --> 19:15.916
[SPEAKER_05]: but there's like, you know, the fucking self-surgery scene is gonna flow across my timeline.
19:16.257 --> 19:23.024
[SPEAKER_05]: And then I'm gonna put the movie on because that's just like, I'm like, oh, yeah, that movie does rip fucking hat.
19:23.044 --> 19:24.045
[SPEAKER_05]: Like, awesome.
19:24.834 --> 19:25.634
[SPEAKER_04]: You're once a decade.
19:25.674 --> 19:29.555
[SPEAKER_04]: I'm I'm like more like once a year for this one because I'm just a simp for old boats.
19:32.516 --> 19:37.037
[SPEAKER_01]: Join us in our captain Ron episode if you guys have not heard it.
19:37.678 --> 19:38.658
[SPEAKER_05]: Oh, we're got you.
19:38.858 --> 19:39.978
[SPEAKER_05]: I kept in Ron too.
19:40.258
--> 19:43.659
[SPEAKER_05]: I like you conveniently omitting Captain Ron from the biggest.
19:43.719 --> 19:45.700
[SPEAKER_05]: You're like three or three.
19:45.740 --> 19:46.880
[SPEAKER_05]: We just won't talk.
19:46.940 --> 19:48.201
[SPEAKER_01]: No, but that was a big, right?
19:48.261 --> 19:49.541
[SPEAKER_01]: That was that was a long.
19:49.561 --> 19:50.501
[SPEAKER_05]: He was on it though.
19:50.521 --> 19:51.421
[SPEAKER_05]: We were really.
19:51.461 --> 19:52.382
[SPEAKER_01]: We have.
19:52.422 --> 19:53.302
[SPEAKER_01]: We have, um,
19:53.642 --> 19:56.024
[SPEAKER_01]: You do have three right.
19:56.044 --> 19:57.645
[SPEAKER_01]: This is started troopers.
19:57.925 --> 19:58.846
[SPEAKER_01]: This is five.
19:58.966 --> 20:03.509
[SPEAKER_01]: Oh, I don't remember, but I don't know if I can't, I don't know if I can.
20:04.029 --> 20:05.070
[SPEAKER_04]: I don't know if you can.
20:05.150 --> 20:06.150
[SPEAKER_04]: I think that was a long run.
20:06.170 --> 20:07.832
[SPEAKER_04]: I lost in one of the first episodes.
20:16.182 --> 20:16.582
[SPEAKER_01]: He said it again.
20:17.002 --> 20:17.542
[SPEAKER_05]: Oh right.
20:17.663 --> 20:26.006
[SPEAKER_05]: I think I think we brought it up in like one of the first episodes that Andy was on it came up in the episode and that's why we were both like Oh fuck, we need to make air watch.
20:26.226 --> 20:27.066
[SPEAKER_05]: Oh, is that what it was?
20:27.286 --> 20:30.947
[SPEAKER_05]: So I thought it was a kind of a mutable us okay?
20:30.967 --> 20:33.448
[SPEAKER_05]: Well, which is the same thing for this episode.
20:33.528 --> 20:38.510
[SPEAKER_05]: It was like I think Master and Commander came up during Starship Troopers Then we were both like oh fuck air.
20:38.610 --> 20:39.690
[SPEAKER_01]: It's what's this movie?
20:41.391 --> 20:41.811
[SPEAKER_01]: I love it.
20:42.411 --> 20:43.752
[SPEAKER_01]: Oh, I wanted to
20:44.059 --> 21:06.245
[SPEAKER_01]: You know what so for I said really Scott because I thought really Scott directly this for the longest time of until Peter we're credit I thought this is a really Scott movie It's got his it's got his his fingerprints in there There's like always so surprised This is a really okay Also the other thing was our our our guy Oh, shoot what's his name?
21:07.870 --> 21:08.471
[SPEAKER_04]: Paul Bettany.
21:09.512 --> 21:11.633
[SPEAKER_04]: I for for years watching this movie.
21:11.653 --> 21:12.834
[SPEAKER_04]: I'm like, oh, yeah, that's guy pierced.
21:13.435 --> 21:18.319
[SPEAKER_01]: Yeah, I can see good fears in the real team.
21:18.559 --> 21:19.180
[SPEAKER_01]: That's buddies.
21:19.360 --> 21:24.344
[SPEAKER_05]: I mean, that's because I think Paul Bettany probably got like hairline transplant not long after this movie.
21:24.404 --> 21:26.105
[SPEAKER_05]: So he's a completely different person.
21:26.185 --> 21:28.827
[SPEAKER_05]: So I know it's not your fault as a lair.
21:29.148 --> 21:33.471
[SPEAKER_01]: We want to break that act because my scene that I'm going to choose for give people to watch is this opening.
21:33.491 --> 21:34.692
[SPEAKER_01]: I think this opening is incredible.
21:35.169 --> 22:01.732
[SPEAKER_05]: wonder if you guys have anything else you wanted to cover maybe we just jump right with the self surgery which I brought up already so it's I think that's the one that I think there's being like actual naval battles that we're going to get into and talk about your scene are I some of the other I don't know it's it's the bone marrow like the the really fucking juicy parts once you get into it but that that fucking self surgery scene man I think about it so much
22:02.552 --> 22:10.219
[SPEAKER_01]: Because we've seen versions of this scene and you know what should we break it down in spoilers is this maybe a better spoiler conversation God, I love that scene too.
22:10.259 --> 22:20.228
[SPEAKER_01]: Yeah, yeah, so let's We're gonna hop into the break it into our focus group and break down the film getting the spoilers coming up after this I welcome back from break right in our focus group.
22:20.288 --> 22:25.493
[SPEAKER_01]: I'm breaking down the plot from here on how we will be clearly in this film We're gonna throw it to Andy to cover the big bang here.
22:25.513 --> 22:29.236
[SPEAKER_01]: That's a similar fizzle and he has something you want to say about the opening of this film
22:30.037 --> 22:38.460
[SPEAKER_04]: Yeah, well, what really the two two kind of plots hit me in the scene is it's one was the B plot with Mr. Blakey the kid who loses his arm.
22:39.841 --> 22:43.142
[SPEAKER_04]: That just hit a little different now that I have children.
22:44.522 --> 22:46.483
[SPEAKER_04]: So yeah, his whole thing.
22:46.563 --> 22:49.024
[SPEAKER_04]: I mean, this kid he loses his arm in the first.
22:49.964 --> 22:54.026
[SPEAKER_04]: 15 minutes of the film, and you see all that on screen, and then it's brutal.
22:54.506 --> 22:59.088
[SPEAKER_04]: And then you kind of see this kid, this character really, really changed throughout the film.
22:59.248 --> 23:03.690
[SPEAKER_04]: I mean, he's technically in command of the entire ship for a small time, short time, right?
23:15.713 --> 23:26.278
[SPEAKER_04]: And that book that Captain Jack gives him with Lord Nelson, Lord Nelson, famously, if you like old boats as much as I do, lost most of his right arm to grape shot.
23:27.219 --> 23:33.902
[SPEAKER_04]: So that's why he gives him that book to show him that he can still, you know, do things to be in advance and what he's doing.
23:34.062 --> 23:37.224
[SPEAKER_04]: And I thought that was really beautiful, beautifully done in subtle.
23:37.804 --> 23:40.806
[SPEAKER_04]: And then there's this other relationship between Captain Jack and the
23:43.696 --> 23:48.400
[SPEAKER_04]: Captain Jack is the classic like my own, you know, he's he's larger than life.
23:48.740 --> 24:05.233
[SPEAKER_04]: He's got enough quote unquote blood in
the boat to be related all that type of stuff, but then, but then he's up against the doctor Paul Betney doing one of Paul Betney's most interesting performances because he usually plays like scary intellectual guy.
24:07.293 --> 24:29.640
[SPEAKER_04]: Where are they both, they're both like these like tyrann historic versions of what a man can be in this idealized world and the fact that they're like friends and there's this pull from from the the kid to both of them is just like one of the most interesting Most interesting written dynamics that I've seen especially in a period piece
24:30.786 --> 24:51.411
[SPEAKER_01]: And that's the part that really just kind of got on me with this with this film this watch through, you know, we're before it's like explosions and I'm wondering if I could if I could just jump in here real quick, do you think I know that this is where you are in light of the film, you know, where where we know decades now.
24:52.094 --> 25:06.564
[SPEAKER_01]: I'm wondering if you guys feel like we need this opening in this style of explosions, the bomb, like the bomb-basics start to really hook audiences, particularly at that time, maybe even now, that if you feel, was this, could we've gotten started in a much slower pace way?
25:06.584 --> 25:15.370
[SPEAKER_01]: I know one of the books that they were talking about, I don't know that, I think they said this is the fifth book in the series that they're adapting here, but one of the books was like starting with their early friendship and this then a third.
25:15.390 --> 25:19.353
[SPEAKER_01]: I'm wondering how necessary you guys feel, because I will say for me personally,
25:20.771 --> 25:22.653
[SPEAKER_01]: She's right right away.
25:22.673 --> 25:24.715
[SPEAKER_01]: We had to like, oh, this is the movie.
25:25.296 --> 25:26.276
[SPEAKER_01]: Okay, they're rich.
25:26.497 --> 25:28.238
[SPEAKER_01]: Yeah, I love this and I'm hooked right away.
25:28.298 --> 25:33.584
[SPEAKER_01]: I'm a little bit more receptive to the movie starts shifting into slower gears, but I'm wondering you guys it may be her.
25:33.764 --> 25:36.386
[SPEAKER_01]: Yeah, particularly you and it being a bigger fan of this franchise.
25:36.406 --> 25:41.051
[SPEAKER_01]: Maybe the old folks if you needed this opening, this style opening for the success of the film.
25:41.791 --> 25:48.718
[SPEAKER_04]: Yeah, I loved it because I clearly influenced by saving private Ryan and the matrix, right?
25:48.758 --> 25:48.998
[SPEAKER_04]: Yeah.
25:49.018 --> 25:57.666
[SPEAKER_04]: I mean, you have all these people who are like tense, but kind of bored, there's the changing of the watch where you see these silhouettes of guys climbing
25:59.147 --> 26:25.939
[SPEAKER_04]: the mast and coming down and and it's just it they they really like you are on a boat this is the downbeat and then then everything erupts the world explodes there's splinters everywhere like that whenever they're fighting the air has shit in
it like whenever they start shooting there's either smoke or splinters or literal explosions or blood or flesh yeah like that was the other thing it's you don't think about everywhere yeah like when they start throwing up has the
26:28.059 --> 26:30.540
[SPEAKER_01]: Oh, that's just on the floor and it just moving around.
26:30.640 --> 26:32.280
[SPEAKER_01]: And if you were just like, oh, there we go.
26:32.640 --> 26:43.823
[SPEAKER_04]: Walking around is like, you know, you tossing the sand down because I love, I love, I think it was a wonderful opening because they give you this like soft down beat and then a hard down beat.
26:43.843 --> 26:45.683
[SPEAKER_04]: They're like, this is life on the ship.
26:46.763 --> 26:48.164
[SPEAKER_04]: And this is a war.
26:48.504 --> 26:52.765
[SPEAKER_04]: And now we can tell you this story that we just pounded into your head that this is what life is like.
26:53.005 --> 26:56.826
[SPEAKER_04]: And I thought, I, I, no notes, no notes on the opening.
26:57.606 --> 26:57.946
[SPEAKER_05]: McGee.
26:58.306 --> 27:16.557
[SPEAKER_05]: No, I think I'm right there with you, because it's like, I think structureally opening this movie with your giant action chaos and closing the, not like, you know, having the climax being your other primary just pure chaos like, like he said, going back to that kind of
27:19.434 --> 27:40.171
[SPEAKER_05]: the calm action burst of the saving private Ryan and stuff, the middle, it gives it so much room in the middle to do so many different things without losing its pace, because you started so fast, then you kind of come to a coast, then you start to pick up speed, like we literally hit a doldrum, but even that doesn't feel
27:41.312 --> 27:42.976
[SPEAKER_05]: like it gets tedious.
27:43.557 --> 27:44.859
[SPEAKER_05]: I mean, for them, not for us.
27:45.661 --> 27:51.212
[SPEAKER_05]: Um, but the then everything cult, you know, culminating in the action again, where you're getting
27:52.667 --> 28:02.230
[SPEAKER_05]: Chaos again, but it's still portrayed a little bit differently, like we're definitely seeing where we're earning heroic shots now.
28:02.710 --> 28:05.711
[SPEAKER_05]: And there's 10th moments, you're still losing like individual pieces.
28:05.731 --> 28:12.914
[SPEAKER_05]: There's a lot of small storytelling going on inside of these giant chaotic scenes, which also really helps for the...
28:13.534 --> 28:27.136
[SPEAKER_05]: cohesiveness of it like this doesn't feel like we're just doing shaky cam to make things intense like we're we're packing this with every tiny little action storytelling beat so that it feels chaotic but
28:28.117 --> 28:30.539
[SPEAKER_05]: equally is communicating everything that it wants to.
28:31.199 --> 28:36.763
[SPEAKER_05]: So you're never losing the clarity in the chaos, which is just such a unique skill set.
28:36.843 --> 28:40.426
[SPEAKER_05]: And I think we're Peter, we're really just fucking knocks us out of the park.
28:42.768 --> 28:51.294
[SPEAKER_05]: Like, the opening, like you're saying, like both points that you brought up, or I think the different things that hit me on this watch too, not even, you know, obviously I don't have kids.
28:51.714 --> 28:56.017
[SPEAKER_05]: But the opening with like showing how young those fucking kids are,
28:56.435 --> 28:58.976
[SPEAKER_05]: where you're like, oh yeah, that is how ship works.
28:59.676 --> 29:13.021
[SPEAKER_05]: Like, they're, where there were like most pirates are teenagers, like the people of Manning ships are like, you know, we think soldiers are young that we send off to die now, like it did not get better back then.
29:14.441 --> 29:20.543
[SPEAKER_05]: So, seeing that, and then just when you have just enough time to comprehend it, he loses the fucking arm.
29:20.903 --> 29:24.605
[SPEAKER_04]: It's like, oh no, no, that is what happens when you put children in war, huh?
29:26.302 --> 29:27.105
[SPEAKER_05]: shit fuck
29:28.115 --> 29:38.402
[SPEAKER_05]: But then, I don't know, the pacing coming through where you get that same character arc where he gets his heroic moment in the end, in that new battle of chaos.
29:38.463 --> 29:46.028
[SPEAKER_05]: And so it's hitting the same notes, but we're like, now we're in a major key instead of a minor key, just fucking beautiful work.
29:47.009 --> 29:47.289
[SPEAKER_05]: Okay.
29:47.989 --> 29:56.556
[SPEAKER_04]: And there's a great line when they're arguing over authority later, and Paul Betney reminds us that a lot of the sailors are conscripts.
29:57.687 --> 30:05.953
[SPEAKER_04]: Yeah, and that that frames that whole scene differently, too, or it's like, oh, these guys are charging into war with sharp sticks on a boat on the other side of the world.
30:06.053 --> 30:07.294
[SPEAKER_04]: And they don't even want to fucking be there.
30:07.874 --> 30:09.255
[SPEAKER_01]: We'll explain that for me in the audience.
30:09.275 --> 30:12.177
[SPEAKER_01]: You said, help it me, cause them what now and what does that mean?
30:12.277 --> 30:12.618
[SPEAKER_01]: Cons.
30:12.658 --> 30:12.958
[SPEAKER_04]: Oh, it's.
30:13.258 --> 30:22.304
[SPEAKER_04]: He doesn't say conscripts, but there's a line when he's arguing with Jack about authority when they want to whip that sailor during the storm and part of it.
30:22.325 --> 30:36.615
[SPEAKER_04]: And he just lets it fly that he's like a lot of these people are pulled away from their professions and their families against their will and then you're going to go whip one of them for failing to salute and then Jack has that great line about like, um,
30:38.073 --> 30:43.077
[SPEAKER_04]: If you came, if you came, this is the wrong shop for Anarky, my friend or something.
30:43.758 --> 30:52.525
[SPEAKER_04]: But that was just a great scene about the whole thing about how authority is supposed to work on a naval vessel versus how unfair it is.
30:53.745 --> 30:54.226
[SPEAKER_05]: Yeah.
30:54.626 --> 30:56.067
[SPEAKER_05]: You'd see it in the costuming, too.
30:56.287 --> 31:01.772
[SPEAKER_05]: It's like, you know exactly who's an officer and who's a conscript, just on costuming alone.
31:14.614 --> 31:16.075
[SPEAKER_04]: They they wouldn't call them conscripts.
31:16.135 --> 31:30.847
[SPEAKER_04]: It's more my my I'm just using that word because it's kind of it is what they are But they're not all of the guys not where who weren't officers you can be you can be You can be a professional sailor and not be commit that's probably like like Pippin.
31:30.967 --> 31:31.808
[SPEAKER_04]: I'm calling him Pippin.
31:31.828 --> 31:32.449
[SPEAKER_04]: He's not Pippin.
31:32.489 --> 31:38.513
[SPEAKER_04]: He's Billy boy Billy boy Billy boy the the cox Wayne the cox and
31:41.256 --> 31:46.180
[SPEAKER_04]: He was probably not a conscript, he was probably a career person despite him not having officers clothing.
31:48.102 --> 31:53.687
[SPEAKER_01]: Anything you guys caught in this speaking of costume details and anything you guys caught in this, had you seen this before me?
31:53.707 --> 31:55.408
[SPEAKER_02]: I'm not sure where you're familiar with him.
31:55.468 --> 31:56.209
[SPEAKER_02]: Yeah, yeah.
31:56.309 --> 31:56.529
[SPEAKER_02]: Yes.
31:56.549 --> 31:59.392
[SPEAKER_01]: You guys caught in this more recent view is that you hadn't seen before.
32:01.445 --> 32:02.045
[SPEAKER_04]: I got a list.
32:03.146 --> 32:03.927
[SPEAKER_01]: Go for it.
32:03.967 --> 32:04.547
[SPEAKER_04]: Go for it.
32:04.567 --> 32:05.988
[SPEAKER_04]: Go for it.
32:06.288 --> 32:06.669
[SPEAKER_04]: Oh, man.
32:06.749 --> 32:07.009
[SPEAKER_04]: All right.
32:07.049 --> 32:09.030
[SPEAKER_04]: So most of the music, not most of the music.
32:09.070 --> 32:12.253
[SPEAKER_04]: A lot of the music starts diagetically and then moves into the score.
32:12.473 --> 32:13.454
[SPEAKER_04]: I really appreciated that.
32:13.474 --> 32:14.735
[SPEAKER_04]: Yeah.
32:14.755 --> 32:15.995
[SPEAKER_04]: Captain Jack.
32:16.015 --> 32:18.998
[SPEAKER_01]: I'm technically being from the employing of the violin.
32:19.018 --> 32:19.898
[SPEAKER_01]: I didn't even know.
32:19.918 --> 32:20.379
[SPEAKER_01]: Kind of bleed.
32:20.759 --> 32:22.040
[SPEAKER_01]: It turned it night.
32:22.060 --> 32:23.461
[SPEAKER_01]: Then I wonder if it was there any.
32:23.701 --> 32:26.163
[SPEAKER_01]: So there's no score during that opening battle.
32:27.283 --> 32:43.348
[SPEAKER_04]: There's no music at all, there's no scoring until that first time when they play together and then that turns into a thing and then you do have a legitimate music score during some of the tensor moments and stuff in the middle of the film.
32:44.088 --> 32:59.808
[SPEAKER_04]: and then it's sort of bookended with that happy jig that they do with the very end of the film, but quite a bit of the movie kind of starts diagetically or comes from a noise from sound design or they're they're just really like wanted to, I don't
know, masturbate,
33:03.812 --> 33:08.453
[SPEAKER_05]: I mean, it makes, because I think music is an important part of the life on a ship.
33:08.873 --> 33:16.395
[SPEAKER_05]: Like it's a tradition on sea to have some sort of like music-based camaraderie.
33:17.555 --> 33:25.076
[SPEAKER_05]: So I think working that into the movie that is so much of it's like heart and blood is living at sea.
33:25.837 --> 33:27.017
[SPEAKER_05]: It absolutely makes sense.
33:28.037 --> 33:43.544
[SPEAKER_04]: a couple other things, Captain Jack, when he's giving his anecdote about Lord Nelson, he tells the joke about like, past me the salt, but then he sees that that kid is like really having a hard time, right?
33:44.045 --> 33:54.350
[SPEAKER_04]: And so he tells this complete bullshit anecdote about how like when he says for the pride of the service but with him, you really saw that it meant something and it warmed your heart.
33:55.530 --> 34:01.572
[SPEAKER_04]: You can see Captain Jack's, was he the first, first lieutenant, a first lieutenant polling's.
34:02.312 --> 34:03.813
[SPEAKER_04]: He, you can see him agree.
34:03.873 --> 34:12.316
[SPEAKER_04]: He's like, yeah, that is really how he was, wink, wink, you know, because it was just there to, so you see how the legends, these men who maybe are kind of,
34:13.056 --> 34:21.342
[SPEAKER_04]: pieces of shit might turn into legends because they're used as tools to kind of prop everyone up and and you know, turn to a story.
34:21.983 --> 34:23.544
[SPEAKER_01]: That's true.
34:23.564 --> 34:25.145
[SPEAKER_01]: Did you have that same read on the honestly?
34:25.225 --> 34:28.627
[SPEAKER_05]: No, I noticed I didn't, I noticed a little bit of that.
34:28.727 --> 34:33.291
[SPEAKER_05]: I didn't quite have, you know, that's a little deeper than I took it, probably.
34:35.192 --> 34:38.635
[SPEAKER_05]: I noticed Paul Betney like rolling his eyes while the kid was just
34:42.207 --> 34:45.148
[SPEAKER_05]: And I did think not so much of like
34:46.100 --> 35:05.606
[SPEAKER_05]: this story is probably bullshit, but it was just like, oh, that kid is going to tell this story about the legendary Jack and it's just going to keep on cycling down the line where everybody has a story about the guy from the generation before them that told him a story one time, and he even gives him an opening joke to use.
35:05.646 --> 35:13.609
[SPEAKER_05]: And so it's like, that's just going to get repeated generation to generation as this kid, if this kid survives, which I don't think he does.
35:15.207 --> 35:21.672
[SPEAKER_01]: It's a really interesting rate on that, because I, maybe fall a little more in line with me.
35:21.932 --> 35:29.457
[SPEAKER_01]: I didn't take it as he, I definitely took it that he understood that the kid wanted some more, like he didn't want the joke, he wanted something to actually like chew on.
35:30.638 --> 35:33.700
[SPEAKER_01]: I do, in some way, think that check.
35:34.461 --> 35:43.587
[SPEAKER_01]: Not only was being earnest in the story, but kind of somewhat believes that about himself in some way or believes he can ascend to that type of, I was gonna say,
35:44.883 --> 35:46.263
[SPEAKER_01]: Captain Hood, whatever the fuck.
35:46.384 --> 35:49.164
[SPEAKER_01]: Like a story of legend, I wonder.
35:49.445 --> 36:10.432
[SPEAKER_01]: Yeah, I'm wondering if it was, but that's a, the way that would make it much more self-aware, and I think complicated little of the Paul Betney back and forth of like the pride thing of like your kind of out here, or were kind of a drift because of your pride.
36:10.452 --> 36:13.213
[SPEAKER_01]: I'm wondering if that, or how we can tin with that,
36:14.610 --> 36:29.055
[SPEAKER_01]: read Andy, like if you're, does he not see himself a bit as the captain he's trying to uplift in the story for the kid or do you, how do we mix up with his pride?
36:29.875 --> 36:36.277
[SPEAKER_01]: What are your thoughts on how self-aware Russell Crowe is in this film or his character in this film?
36:37.357 --> 36:38.577
[SPEAKER_04]: I think he's pretty self-aware.
36:38.737 --> 36:52.722
[SPEAKER_04]: I mean, you've got him in the middle of the film, again, when he's having that philosophical discussion with Paul Bettany, giving sort of an ends just to find the means kind of run around, but I really don't.
36:52.862 --> 36:54.722
[SPEAKER_04]: I don't think he wants to see that kid whipped.
36:54.802 --> 36:58.843
[SPEAKER_04]: I think he feels like he has to, because that's his duty to keep order or whatever.
37:00.104 --> 37:00.444
[SPEAKER_04]: I don't.
37:00.904 --> 37:08.247
[SPEAKER_04]: I don't think he, because I think when he's talking about Lord Nelson, and in my read on it, it's just that like, yeah, he met Lord Nelson once.
37:08.747 --> 37:15.609
[SPEAKER_04]: Lord Nelson was this larger than life character, but really, I want to say something about the salt and then we'll move on and giggle and be drunk with each other.
37:15.689 --> 37:18.210
[SPEAKER_04]: Yeah, he got it, but then he goes into this other die tribe.
37:19.471 --> 37:25.873
[SPEAKER_04]: I just, yeah, I think he's just using it as a tool to cheer up the crew and I think he sees it as a tool and his left
37:28.334 --> 37:29.694
[SPEAKER_04]: the doctor rolls as easy.
37:29.735 --> 37:31.455
[SPEAKER_04]: That's that's kind of that's kind of how I feel.
37:32.455 --> 37:51.341
[SPEAKER_05]: I totally agree with what you're saying because I think like for me a lot of the through line that I was following and this is just like how much this is like ideal leadership of like you know he's checking in on his people he fucks up he keeps somebody near him that challenges him like somebody who explicitly argues with him.
37:51.888 --> 37:55.049
[SPEAKER_05]: And he doesn't agree with it, but it's like his closest friend in the world.
37:55.769 --> 38:05.653
[SPEAKER_05]: And so even in this story, you get a mini version of that with Paul
Betney rolling his eyes, but ultimately him doing the inspirational speech, because that's what his crew needed in that moment.
38:06.534 --> 38:11.295
[SPEAKER_05]: And he's also doing the light-hearted thing to keep the old guys who are cynical bastards, like happy too.
38:11.355 --> 38:14.837
[SPEAKER_05]: It's like, okay, we're also going to sit below wine, have a laugh, have a good time.
38:16.058 --> 38:31.727
[SPEAKER_05]: Give everybody a little touch of what they need and also keep this guy nearby who checks me on my bullshit and knows that I'm actually absolutely lying out my ass is like that's how that's his style of leadership that then runs through the movie it's it's so idealized and perfect.
38:31.867 --> 38:33.288
[SPEAKER_04]: I mean in in real life.
38:33.348 --> 38:38.090
[SPEAKER_04]: I'm sure that's a lot messier and a lot more rarefied.
38:39.311 --> 38:41.913
[SPEAKER_05]: Yeah, I think that's why we're saying this movie so
38:42.893 --> 39:08.161
[SPEAKER_05]: like not dower in our minds because we're just like, man, if only this was what like more is hell, and if only it was as hell as this where you would be serving under people that you expected and respected you with your brothers towards a mission instead of just like what it actually is, which is, you know, sending the 17 year olds out to die in a field for
39:11.338 --> 39:12.539
[SPEAKER_01]: Yeah, I don't know.
39:12.920 --> 39:15.863
[SPEAKER_01]: It feels like that's what we're doing, but we're just putting a happy face on it.
39:15.943 --> 39:22.790
[SPEAKER_05]: I'm not really sure if I don't disagree, it's my same post 9 11 as fuck, but it's just hits it.
39:22.810 --> 39:28.276
[SPEAKER_01]: The doubt in this kind of comes from, I'm really, I'm really interested to get your guys' reaction.
39:28.356 --> 39:33.201
[SPEAKER_01]: And maybe we'll, I'll skip a few of these questions to kind of zero in on this.
39:35.427 --> 39:47.735
[SPEAKER_01]: The scene of social anxiety with the, I'm not sure what kind of, what his status was, but the dude that couldn't lead or didn't have the respective his crew, I'm gonna get into it in my show called Jonah.
39:48.176 --> 39:49.897
[SPEAKER_01]: But that suicide was really, say, well, what was up?
39:50.017 --> 39:56.682
[SPEAKER_01]: That, that, I kind of wanna get you guys to take on the suicide because I felt that that was a beautifully handled love that is a sequence.
39:56.702 --> 39:58.343
[SPEAKER_01]: I'll get into my, particularly with the shot.
39:59.403 --> 40:00.384
[SPEAKER_01]: kid losing his arm.
40:00.544 --> 40:06.888
[SPEAKER_01]: You I mean we could put a happy face as much as we want on it, but that's got to like it's a really interesting way to kind of open up a field.
40:07.629 --> 40:12.052
[SPEAKER_01]: I think it's real about showing the horrors of war.
40:12.312 --> 40:13.893
[SPEAKER_01]: Yeah, the Jonas stuff.
40:13.933 --> 40:14.673
[SPEAKER_01]: It's really interesting.
40:14.693 --> 40:21.978
[SPEAKER_01]: So how some how we're handling you guys sing it and it's not that we're I'm clearly reading what I feel like the film is giving us is like we're going to kind of
40:22.531 --> 40:28.713
[SPEAKER_01]: going to downshift this into more of the melodrama of it, are we gauging this differently or are you guys reading?
40:28.793 --> 40:30.694
[SPEAKER_01]: I'm wondering how some of this is working for you.
40:31.954 --> 40:35.155
[SPEAKER_01]: The categorized is not a doubt or film or having doubt or moments.
40:36.015 --> 40:47.179
[SPEAKER_04]: So I think a lot of movies would take those moments, those like super dark moments and then kind of ponder on them, kind of meditate on them
40:52.460 --> 40:53.120
[SPEAKER_04]: with the doldrums.
40:53.160 --> 40:57.942
[SPEAKER_04]: You have this guy who commits suicide because he's like, ah, I think my naval career is over.
40:58.082 --> 40:59.282
[SPEAKER_04]: Maybe I am cursed.
40:59.442 --> 41:00.842
[SPEAKER_04]: Like, the all-acru hates me.
41:01.243 --> 41:02.523
[SPEAKER_04]: I'm just going to kill myself.
41:02.903 --> 41:06.344
[SPEAKER_04]: And then smash cut to the sales opening up from the wind.
41:06.484 --> 41:09.905
[SPEAKER_04]: Like, he just, they're like, but here's the Darry.
41:09.925 --> 41:11.645
[SPEAKER_05]: He's not even a bad luck at all.
41:11.665 --> 41:13.026
[SPEAKER_01]: So maybe he we were right.
41:13.806 --> 41:14.166
[SPEAKER_01]: That's what it.
41:14.186 --> 41:14.986
[SPEAKER_01]: That's what I'm going to say.
41:15.006 --> 41:16.727
[SPEAKER_01]: So it seems like he was the curse.
41:16.787 --> 41:18.007
[SPEAKER_01]: And I'm wondering if that, like,
41:18.317 --> 41:23.360
[SPEAKER_01]: That to me, and that was actually going to be my priest Buddhist is do we believe in these kind of nautical curses.
41:23.801 --> 41:28.023
[SPEAKER_01]: But that to be really is a fucked up situation to be.
41:28.103 --> 41:35.328
[SPEAKER_01]: And somebody that clearly wants to lead, wants to respect if his crew tried, just that socially awkward social anxiety.
41:35.688 --> 41:38.390
[SPEAKER_01]: But it's leading him to go to be ostracized from his people.
41:38.490 --> 41:42.292
[SPEAKER_01]: And then it's a fact, maybe, what the curse of that life would be like?
41:42.312 --> 41:44.073
[SPEAKER_01]: I think it's like really fucking tough.
41:44.354 --> 41:45.494
[SPEAKER_01]: It's a self-fulfilling time.
41:46.791 --> 41:49.952
[SPEAKER_01]: So that reaction kind of surprises me a bit of a shot.
41:49.972 --> 41:51.413
[SPEAKER_01]: I interrupted you if you want to speak to them.
41:51.613 --> 41:53.454
[SPEAKER_01]: Oh, no, you're good, sorry.
41:54.094 --> 41:56.595
[SPEAKER_05]: I think it's a self-fulfilling prophecy a little bit.
41:56.655 --> 41:59.617
[SPEAKER_05]: It's the bit because they given that line right before.
41:59.637 --> 42:02.058
[SPEAKER_05]: They're like, oh, Captain thinks the wind is going to start tomorrow.
42:02.098 --> 42:02.998
[SPEAKER_05]: Which is what happens.
42:03.498 --> 42:07.820
[SPEAKER_05]: So it was like, they already felt thought the wind was going to come in on that day.
42:07.840 --> 42:11.702
[SPEAKER_01]: Yeah, it's the fact that it caught a bit of a matter of things in your books.
42:12.535 --> 42:16.036
[SPEAKER_01]: leaving you has to believe that he may kind of believe that they're our curse.
42:16.096 --> 42:25.600
[SPEAKER_01]: So it's not as if he was like, I could be pragmatic person, like the people were really kind of led to you believe in what you believe in a small kind of wind vest.
42:26.120 --> 42:30.722
[SPEAKER_05]: I think reality is constructed in the mind of the observer.
42:30.862 --> 42:38.565
[SPEAKER_05]: And so there's a bit of like, you know, if the collective consciousness believes in a curse, like, you kind of
42:42.923 --> 42:43.924
[SPEAKER_01]: And you're fan of curses.
42:44.625 --> 42:47.868
[SPEAKER_01]: What was your fan of all boats of fan of the curses, too?
42:47.928 --> 42:48.388
[SPEAKER_04]: Big fan.
42:49.289 --> 42:53.673
[SPEAKER_04]: I've got like three curses out on people right now, and those guys are fucked up.
42:55.355 --> 43:07.986
[SPEAKER_04]: No, no, I just thought that whole sequence was more about the place of discipline and how important it is to these characters, especially the officers.
43:09.068 --> 43:21.966
[SPEAKER_04]: and just how everyone's coping with this time when they have nothing but time on their hands and heat and it's just a really bad situation, you know, where a lot of the a lot of the
43:23.868 --> 43:49.772
[SPEAKER_04]: non-commissioned crew thinks it's a curse and thinks like the only way that they can control their situation is to think it has to be done by something you know it's a lot easier it's like it's kind of like conspiracy theory people right it's much easier to believe there's a conspiracy than the world works like this so it's kind of well he's he's cursed and he's the curse and
43:53.313 --> 43:59.994
[SPEAKER_04]: Whereas the commissioned officers are more of the opinion that this is a doldrums.
44:00.174 --> 44:00.615
[SPEAKER_04]: It sucks.
44:00.735 --> 44:01.655
[SPEAKER_04]: I can't create wind.
44:02.395 --> 44:10.617
[SPEAKER_04]: And we have to, we have to whip this guy so that the rest of the crew knows that this, this curse speak and this disrespect is not going to fly.
44:11.537 --> 44:14.257
[SPEAKER_04]: And that was just a, that was just an interesting part.
44:14.397 --> 44:22.079
[SPEAKER_04]: And then once that point was made in the movie, once that plot line was done, the wind comes back and we move on to the next thing.
44:23.060 --> 44:38.120
[SPEAKER_04]: and that's why it doesn't get dower because it just it's like and that's over that guys dead uh we're on to the next thing we're on to the next segment getting into underlights talking about the performances of this film coming up after this
44:40.496 --> 44:41.357
[SPEAKER_05]: Welcome
back from the break.
44:41.377 --> 44:43.398
[SPEAKER_05]: We're going under the lights freaking out performances.
44:44.059 --> 44:46.941
[SPEAKER_05]: Um, I mean our dynamic duo here Andy.
44:46.981 --> 44:49.863
[SPEAKER_05]: What do you what do you have to say about our our boys here.
44:49.883 --> 44:54.407
[SPEAKER_04]: I mean I think we're kind of near peak Russell Crow, but Paul that knee.
44:54.747 --> 44:55.728
[SPEAKER_04]: Oh, yeah with a bullet.
44:56.388 --> 45:01.514
[SPEAKER_04]: I think Paul Betney, I don't feel like Hollywood doesn't really know what to do with Paul Betney.
45:01.634 --> 45:15.070
[SPEAKER_04]: I mean, if anything, they have him as like the scary intellectual, you know, he's either a serial killer or he has celestial powers or he's Jarvis or whatever, but I loved how soft he was in this performance.
45:16.611 --> 45:44.665
[SPEAKER_04]: He was so, I mean, he's like a tyrann historic in his ability to keep the ship running as their doctor and as a naturalist and just as like kind of a really good guy, but he's so soft and non-threatening and I feel like the whole crew sees that in the audience sees it and I don't, I can't think of another performance where he's really gone too much into that.
45:45.411 --> 45:49.353
[SPEAKER_01]: He's had to make him so smaller in roles, but not as effectively.
45:49.573 --> 45:56.276
[SPEAKER_01]: Like I think his take as Jarvis, at least with Tony and those early scenes, he's playing the, you know, his assistant.
45:56.296 --> 45:59.057
[SPEAKER_01]: So he's, and then we have Marty J. doing his whole thing.
45:59.077 --> 46:01.218
[SPEAKER_01]: So he's kind of reducing himself a hear.
46:01.698 --> 46:08.081
[SPEAKER_01]: It feels like for an effect, at least do either calm down, or is a pros character or do kind of controls some of that pry that maniac in there.
46:09.821 --> 46:10.882
[SPEAKER_01]: I wholeheartedly agree.
46:10.922 --> 46:11.742
[SPEAKER_01]: Like I felt that way too.
46:11.762 --> 46:12.162
[SPEAKER_01]: There's a softer,
46:13.706 --> 46:18.727
[SPEAKER_01]: take on the performance, but when he did turn up a little bit, I felt it.
46:18.947 --> 46:19.387
[SPEAKER_01]: I like it.
46:19.487 --> 46:20.587
[SPEAKER_01]: I don't know if you guys are there.
46:20.748 --> 46:21.388
[SPEAKER_01]: Oh, yeah.
46:21.428 --> 46:22.908
[SPEAKER_05]: No, I certainly wasn't there.
46:23.268 --> 46:38.731
[SPEAKER_05]: I'll tell you my favorite moment for Bettney's performance was when the kid gives him the beetle and just the like the like frustration melting away into like realizing what he's doing and the
46:42.361 --> 46:49.103
[SPEAKER_05]: It's like you just really fucking put yourself out there that absolutely worked to melt my heart.
46:49.283 --> 46:50.203
[SPEAKER_05]: Now you're my boy.
46:50.343 --> 47:00.105
[SPEAKER_05]: Now I'm, you know, I'm making, I'm teaching you everything you want to know and that relationship budding from there, he just, he sells that
whole thing happening in just that instant.
47:00.405 --> 47:02.966
[SPEAKER_05]: And it's, the whole thing is just a fantastic performance.
47:03.466 --> 47:05.046
[SPEAKER_05]: I, I don't disagree with you at all.
47:05.066 --> 47:07.747
[SPEAKER_05]: I think this is peak, like, this is an incredible,
47:09.013 --> 47:09.753
[SPEAKER_05]: performance from him.
47:09.954 --> 47:11.555
[SPEAKER_05]: Did either you see one division.
47:11.955 --> 47:12.315
[SPEAKER_05]: Oh, yeah.
47:12.335 --> 47:12.975
[SPEAKER_01]: We talked about it.
47:13.276 --> 47:14.076
[SPEAKER_01]: I think it's okay.
47:14.136 --> 47:15.997
[SPEAKER_05]: It was like the end of one division.
47:16.017 --> 47:17.798
[SPEAKER_05]: He gets very soft.
47:17.858 --> 47:20.780
[SPEAKER_05]: And I think he's doing some interesting things there as well.
47:21.140 --> 47:23.182
[SPEAKER_05]: Not that obviously not in comparison to this.
47:23.362 --> 47:24.763
[SPEAKER_05]: I think he's has.
47:25.663 --> 47:42.270
[SPEAKER_05]: miles more on the page to work with here obviously and the relationship that they build with Russell Crow here obviously there's these like series of books so there's a depth of material that they're working with that I think really comes through and everybody's like there's so many little mini stories going on constantly.
47:43.450 --> 47:48.531
[SPEAKER_05]: Like, Goddamn, do they sell like the miles and miles of relationship that these two guys have?
47:49.612 --> 47:56.513
[SPEAKER_04]: The moment Sean, you're talking about with the beetle, I think of that as like a turn in acting in acting terms.
47:56.874 --> 48:01.295
[SPEAKER_04]: And I feel like this movie was just like lush with these beautiful turns like that.
48:02.975 --> 48:03.715
[SPEAKER_04]: There was that one.
48:03.735 --> 48:10.197
[SPEAKER_04]: There was Russell Crowe had this like beautiful moment when he's at the very end of the film when he's reading the names and ranks of the dead.
48:10.897 --> 48:33.099
[SPEAKER_04]: and he's going through and then he just he does this thing where he kind of stumbles over the kid who who died his name and rank and Russell Crow is is want to ham ham some things up but this one he like he like just stumbles over it enough where I just melted it was like saddest shit
48:34.166 --> 48:43.511
[SPEAKER_04]: And there's this film just has a lot of those moments where the line surprises you because the actor and the director got together and fucking talked about it for a minute.
48:44.471 --> 48:52.835
[SPEAKER_01]: Yeah, for as close as a relationship is portrayed, I do think there was one moment I missed between the two of them after their big fight.
48:53.115 --> 48:55.897
[SPEAKER_01]: I kind of wanted to record a reconciliation between the two.
48:55.937 --> 49:05.682
[SPEAKER_01]: Some kind of scene, it feels like we just kind of jumped into them being at dinner or at one of the music needs to be at the end of night, whatever that they have.
49:06.382 --> 49:14.066
[SPEAKER_01]: There was the fight, there was the beetle, and then it feels like we immediately jump into them being, I don't know, they were tasked with something.
49:14.266 --> 49:15.007
[SPEAKER_05]: Jam in and out.
49:15.087 --> 49:20.730
[SPEAKER_01]: Kind of wanted to have the scene to address that fight.
49:23.545 --> 49:35.027
[SPEAKER_04]: So I don't think their relationship was really repaired in the moment that comes to me when they they stop for the surgery.
49:35.707 --> 49:47.570
[SPEAKER_04]: The famous surgery scene and Paul Betonese character says we can't stay, we can't stay and you see that wrestle crow like really values this person and their relationships always like, ah, we'll stay, we get's fine.
49:48.310 --> 49:55.853
[SPEAKER_04]: And they argue a little bit about that and then Russell Crowe has his great line, posh, name a show, but shrub after me, something prickly and hard to eradicate.
49:56.733 --> 50:07.178
[SPEAKER_04]: And I feel like that's the moment when he feels appreciated and Captain Jack also sees what's really important in his circle.
50:07.618 --> 50:10.799
[SPEAKER_04]: And I feel like that's when their relationship is really repaired.
50:11.570 --> 50:18.314
[SPEAKER_01]: You know, it comes that I think maybe because it's stutter stepped a bit like there was the fight and there was another beat of them doing some activity.
50:18.354 --> 50:21.016
[SPEAKER_01]: And then we had him getting shot and then Galopolis Islands again.
50:21.216 --> 50:22.357
[SPEAKER_01]: It felt like it would.
50:22.457 --> 50:24.538
[SPEAKER_01]: But that may be a little bit even more true to life.
50:24.819 --> 50:26.279
[SPEAKER_01]: And like all those things occur.
50:26.299 --> 50:27.300
[SPEAKER_01]: Yeah.
50:27.660 --> 50:28.421
[SPEAKER_01]: But I like that note.
50:28.441 --> 50:30.442
[SPEAKER_01]: I like that point because that's something I'm not considering with this one.
50:31.082 --> 50:34.645
[SPEAKER_01]: Let's, let's talk about some of these side characters.
50:34.985 --> 50:36.066
[SPEAKER_01]: We can't go on it.
50:36.086 --> 50:36.906
[SPEAKER_01]: We got to talk pit.
50:37.006 --> 50:37.627
[SPEAKER_01]: We got to talk.
50:38.748 --> 50:42.430
[SPEAKER_01]: Oh, what was my old man's name that was getting his brain removed?
50:42.791 --> 50:45.212
[SPEAKER_01]: And hearing this like, uh, awesome.
50:45.633 --> 51:07.647
[SPEAKER_05]: Love this character and I realize I, uh, that's one of the, the, the comedic beats that they use to like, relieve the tension after one of the most tower moments is cutting to everybody gathered around, watching the brain surgery and it's so funny because using the silence and then like holding in that silence until it's funny,
51:08.167 --> 51:10.608
[SPEAKER_05]: is a absolutely brilliant directing bit.
51:11.088 --> 51:14.509
[SPEAKER_05]: Um, I'm vamping for you while you try to let it go down this thing.
51:14.529 --> 51:15.470
[SPEAKER_05]: Yeah,
be say something.
51:15.670 --> 51:16.670
[SPEAKER_01]: Oh my god, I love it.
51:16.710 --> 51:19.431
[SPEAKER_04]: Because yeah, they they go into this surgery.
51:19.571 --> 51:22.952
[SPEAKER_04]: And half the crew is sitting there in the open air watching the surgery.
51:22.973 --> 51:24.833
[SPEAKER_04]: And one guy's like, Hey, is that his brain?
51:25.233 --> 51:27.614
[SPEAKER_04]: And the doctor's like, no, that's not his brain.
51:27.634 --> 51:28.314
[SPEAKER_04]: That's just blood.
51:28.515 --> 51:29.375
[SPEAKER_04]: This is his brain.
51:29.795 --> 51:30.515
[SPEAKER_04]: And everybody goes, Oh,
51:32.776 --> 51:53.856
[SPEAKER_05]: And then the captain of the watch may be maybe getting that rank runk comes in and he's like get back to work You'd sons of bitches They all just the season what they were looking at and goes what the fuck yeah Is a good such a good button on the scene perfect perfect scene the kids are phenomenal
51:54.567 --> 52:01.332
[SPEAKER_01]: And by kids, I mean, the small one that loses his arm and the one that passes it being or I'm not sure how if he was shot by cannon fire.
52:01.452 --> 52:04.353
[SPEAKER_01]: He was attacked by he was a stable man.
52:04.674 --> 52:17.722
[SPEAKER_04]: He was stabbed in the chest with a cutless that's right because they it happens off camera, but you see is wound in later on, which I thought, I'm I'm all for keeping violence.
52:18.262 --> 52:20.783
[SPEAKER_04]: against children as off-camera as possible.
52:21.664 --> 52:31.528
[SPEAKER_04]: But again, we're in the Napoleonic War, which some people call the first World War, and there were children on the ships, and I thought it was really tasteful for what it was doing.
52:31.548 --> 52:32.829
[SPEAKER_04]: Yeah.
52:33.649 --> 52:40.672
[SPEAKER_04]: And same with the kid losing his arm, and the kids in the hole, like there were other shots where they just show a bunch of children.
52:41.332 --> 52:42.373
[SPEAKER_04]: Come on, I'm using here.
52:42.393 --> 52:44.674
[SPEAKER_01]: The children showed them children in the middle of the rock.
52:45.134 --> 52:48.077
[SPEAKER_04]: a little, that is a pretty white movie, holy shit.
52:48.117 --> 52:57.105
[SPEAKER_04]: But now I just, I loved, I loved that they included the children because, you know, that paints the picture.
52:57.265 --> 53:04.772
[SPEAKER_04]: I mean, yeah, it didn't steal the movie, it didn't, again, it didn't make it as dauers, it could have been, and yeah, I loved that.
53:05.233 --> 53:06.734
[SPEAKER_01]: Yeah.
53:07.335 --> 53:09.477
[SPEAKER_01]: So I'd be hard pressed to
53:10.469 --> 53:13.272
[SPEAKER_01]: because what's so fantastic beyond the costume to is to make up.
53:13.392 --> 53:19.279
[SPEAKER_01]: So it's hard for me to look at some of the small IMDV photos and confirm whether or not that was the first it.
53:19.319 --> 53:21.521
[SPEAKER_01]: But so many fantastic performances.
53:21.561 --> 53:31.413
[SPEAKER_05]: James Darcy, I know we didn't get into it, but that isn't one of the, oh yeah, he's the first lieutenant as I guess technically is rank.
53:33.036 --> 53:35.439
[SPEAKER_01]: incredible love them as a young performer too in there.
53:36.239 --> 53:40.323
[SPEAKER_04]: Oh as as James Darcy as the as the left tenant Mr. Pullings.
53:41.364 --> 53:41.485
[SPEAKER_04]: Yeah.
53:42.025 --> 53:42.305
[SPEAKER_04]: Okay.
53:42.345 --> 53:54.738
[SPEAKER_04]: What I loved about him is that in in a lesser movie he would have been like the sniveling you know he just had this this like look about him and I could see central casting want to make wanting to make him into this like
53:55.118 --> 53:58.679
[SPEAKER_04]: sniveling power hungry dude or something or he's not really up to the task.
53:59.159 --> 54:05.382
[SPEAKER_04]: But by the end of the movie, he's got his first command and he has been up to the task and he's done a great job.
54:05.522 --> 54:12.344
[SPEAKER_04]: And it was just really, it, it, it surprised me a little bit because again, in the lesser movie, he wouldn't have been cast that way.
54:13.564 --> 54:17.206
[SPEAKER_05]: I was honestly, I forget that he gets made captain at the movie at the end every time.
54:17.506 --> 54:19.807
[SPEAKER_05]: And I am, I was always surprised by it because I'm like,
54:23.993 --> 54:25.435
[SPEAKER_04]: I'm like, did he really do anything?
54:25.815 --> 54:29.139
[SPEAKER_04]: He he led the charge onto the into the into the ship.
54:29.219 --> 54:31.041
[SPEAKER_04]: He was dangling off the side of the ship.
54:31.742 --> 54:34.425
[SPEAKER_04]: And so he I mean, he did, he did a lot of shit, right?
54:34.985 --> 54:39.711
[SPEAKER_04]: But yeah, he was he was given like that special mission to jump in their first and yeah.
54:40.183 --> 54:40.944
[SPEAKER_01]: We got to go back.
54:41.084 --> 54:41.544
[SPEAKER_01]: I'm sorry.
54:41.624 --> 54:43.006
[SPEAKER_01]: I have to stop the podcast.
54:43.026 --> 54:46.208
[SPEAKER_01]: We got to go back because we got to talk about this scene.
54:46.449 --> 54:57.999
[SPEAKER_01]: We have to talk about the, I guess the first decision, one of the first unpleasant decisions that Russell Crow has to make in terms of sacrificing his crew or sacrificing this one man.
54:59.945 --> 55:03.167
[SPEAKER_01]: I categorized this as being a pretty downward instance in the field.
55:03.187 --> 55:12.734
[SPEAKER_01]: Yeah, I think it's really that almost made it into my shot of the like we can just barely make out the dude's face is the way sort of resting or like or was just like
55:13.336 --> 55:19.960
[SPEAKER_01]: But that, to me, has to be one of the most fucked ups situations that they're like, it is, you were just staring out at him, doing that.
55:20.040 --> 55:29.466
[SPEAKER_01]: And at a point in time, I'm not sure if he ever realizes that they're chopping the rope, but it kind of feels like it, at least the screens of the sound is like, I got to make it feel like it.
55:29.746 --> 55:32.968
[SPEAKER_01]: But that whole situation brutal.
55:33.049 --> 55:40.233
[SPEAKER_01]: And the look that he gives the older gentleman, the older, I can't worry, it's just like, they don't even share words,
55:43.515 --> 55:44.876
[SPEAKER_01]: get the X.
55:45.176 --> 55:46.837
[SPEAKER_01]: We can only make one decision here.
55:48.057 --> 55:48.337
[SPEAKER_01]: Yeah.
55:48.678 --> 55:50.278
[SPEAKER_01]: Really interesting in the way.
55:50.619 --> 55:52.059
[SPEAKER_01]: Structurally it's very early in the film.
55:52.119 --> 56:00.443
[SPEAKER_01]: We get some, I feel like we know what kind of captain this is who's going to make the hard decision if necessary.
56:02.364 --> 56:04.705
[SPEAKER_01]: And still remain popular amongst his crew.
56:04.745 --> 56:06.566
[SPEAKER_01]: Wondering how this scene works for you guys.
56:06.906 --> 56:07.807
[SPEAKER_01]: That particular moment.
56:08.047 --> 56:09.588
[SPEAKER_05]: Are we categorizing this as Dauer?
56:09.748 --> 56:10.268
[SPEAKER_05]: What do we think?
56:11.095 --> 56:15.237
[SPEAKER_05]: Oh, I mean, absolutely, but then we move on, it's over.
56:15.297 --> 56:15.717
[SPEAKER_04]: It's over.
56:15.857 --> 56:17.538
[SPEAKER_04]: That's, that's, we did it.
56:17.558 --> 56:18.578
[SPEAKER_04]: We did we have to.
56:18.678 --> 56:19.779
[SPEAKER_05]: And then we're on to S-23.
56:20.419 --> 56:22.680
[SPEAKER_05]: But you know what it reminds me of?
56:22.760 --> 56:31.384
[SPEAKER_05]: It reminds me of Reacher, the TV show because it's like, there's no moral quantities that the lead character faces at all.
56:31.424 --> 56:33.025
[SPEAKER_05]: He's never like falters.
56:33.545 --> 56:35.646
[SPEAKER_05]: That's not the drama of the show.
56:35.706 --> 56:36.467
[SPEAKER_05]: The drama is
56:40.275 --> 56:43.697
[SPEAKER_05]: And like, it's like, we're not here to see a moral laundry.
56:43.737 --> 56:46.619
[SPEAKER_05]: He's got to figure things out with his big brain or his big muscles.
56:46.899 --> 56:57.025
[SPEAKER_04]: But I think I think there's more, I think this is heightened because again, a lesser movie would have had Jack going, I won't let a man down and then some other guy going, like, you have to let him go, Captain.
56:57.045 --> 56:59.767
[SPEAKER_04]: No, I won't just really do leadership.
56:59.827 --> 57:01.428
[SPEAKER_04]: You really have to let him go.
57:01.788 --> 57:07.052
[SPEAKER_04]: And then he finally goes, okay, this, he just, he looks, he does the math and his head, he nods to the other guy.
57:07.452 --> 57:09.133
[SPEAKER_04]: And then the other thing that makes it heightened,
57:09.513 --> 57:12.636
[SPEAKER_04]: Is it's not like a button or it's not like a little slid of a knife.
57:12.916 --> 57:13.717
[SPEAKER_04]: They got to want it.
57:13.737 --> 57:23.805
[SPEAKER_01]: They got to pass out the axis It's in a destroy a bunch of rigging and it's friend do it too No, oh my god, another other fucked up thing is he hands the
axe over to his his home boy.
57:23.825 --> 57:27.948
[SPEAKER_01]: Oh, oh, man, come on Liam, go ahead take it.
57:28.208 --> 57:28.889
[SPEAKER_05]: It's so fun.
57:29.029 --> 57:37.736
[SPEAKER_05]: I mean, but then it's that's a brilliant move though because then if they're not questioning you They're questioning themselves because they knew in the moment that it had to be done to
57:38.477 --> 57:41.498
[SPEAKER_05]: So now they're not sitting at home having just stood there.
57:41.518 --> 57:51.981
[SPEAKER_05]: You know, you're sitting in your bunk sitting there thinking about it, just you either have the image of your captain killing your friend or you're thinking about that you participated in cutting him free.
57:52.081 --> 57:54.442
[SPEAKER_05]: Or thinking about your boss image, you kill your friend.
57:54.462 --> 58:02.765
[SPEAKER_05]: I think the fact that you had to decide in that moment to do it, that you didn't freeze up and do nothing.
58:02.985 --> 58:05.746
[SPEAKER_05]: You started fucking shopping because you knew it needed to be done.
58:06.723 --> 58:32.220
[SPEAKER_04]: Absolutely changes the tenor of the way that he's going to process that in the future from it being an externalized towards one man's decision to like no I voted he handed me an ex and I started chopping I believe there were darker points during the pogroms where they made people participate because then they were To be blamed as well, and then it was easier for the Russians are at the time to remain in power Yeah
58:32.540 --> 58:34.141
[SPEAKER_01]: I don't know, people rationalize that shit.
58:34.741 --> 58:36.903
[SPEAKER_01]: Definitely has time goes on.
58:37.023 --> 58:37.783
[SPEAKER_01]: Oh, yeah.
58:37.923 --> 58:40.105
[SPEAKER_01]: It's, but yeah, really interesting, though.
58:40.145 --> 58:43.027
[SPEAKER_01]: Really interesting, boys written, really interesting scene.
58:43.107 --> 58:45.608
[SPEAKER_04]: At the word, there we go to the next one.
58:45.668 --> 58:46.869
[SPEAKER_04]: That's the episode's over, guys.
58:48.030 --> 58:54.193
[SPEAKER_04]: I did want to share a really special line real quick, just to lighten things up a little bit.
58:54.293 --> 58:55.354
[SPEAKER_04]: Let's move on, Reed.
58:55.734 --> 59:00.497
[SPEAKER_04]: And the line is, that seam and ship, Mr. Polings, by God, that seam and ship,
59:06.946 --> 59:10.908
[SPEAKER_01]: I think I got to give it to Russell Crowe.
59:11.688 --> 59:12.829
[SPEAKER_01]: The lesser two weebles.
59:13.829 --> 59:15.510
[SPEAKER_01]: I love a man that looks a good pun.
59:15.790 --> 59:17.110
[SPEAKER_05]: You're as good fun.
59:17.150 --> 59:17.650
[SPEAKER_05]: Sounds it.
59:18.771 --> 59:20.111
[SPEAKER_05]: You're like, man, this is true.
59:20.171 --> 59:23.173
[SPEAKER_05]: I really love him because they're really not going to that joke.
59:23.873 --> 59:25.994
[SPEAKER_05]: Oh, you're good.
59:26.194 --> 59:29.055
[SPEAKER_05]: I also love Paul Batney being like knowing
59:29.518 --> 59:32.119
[SPEAKER_05]: Paul Bettney will not find a pun amusing.
59:32.739 --> 59:38.561
[SPEAKER_05]: So we'll make him the target of the joke because he's not going to laugh either way if I do it to someone else.
59:38.621 --> 59:44.663
[SPEAKER_05]: So I need to make him set me up to include him to make it even worse that he's not going to find this funny at all.
59:44.743 --> 59:51.045
[SPEAKER_04]: And another one during the surgery scene, Paul Bettney asks Captain Jack if he's all right.
59:51.525 --> 59:52.586
[SPEAKER_04]: And then giggles at him.
59:52.606 --> 59:55.467
[SPEAKER_04]: Oh, no, just a little, there's like a little smile at him every
59:59.834 --> 01:00:02.716
[SPEAKER_04]: And after certain of this, it's during the surgery.
01:00:02.816 --> 01:00:11.641
[SPEAKER_04]: All that has like shit in his own stomach and then Captain Jack looks kind of kind of green like you might throw up and then it's all about and he's like tells him to start peeling.
01:00:11.841 --> 01:00:16.804
[SPEAKER_05]: He tells the assistant to start peeling the flat back off camera.
01:00:16.844 --> 01:00:18.165
[SPEAKER_05]: You hear a little tear.
01:00:18.837 --> 01:00:33.770
[SPEAKER_05]: And Russell Crowe looks like he's about to fuck a puke and he has to look away and that's the win bet he's a man He's good Russell Crowe He's like My first time being around a wound and then they tear the flesh a little bit.
01:00:33.790 --> 01:00:40.076
[SPEAKER_05]: He's like, oh Jesus That was rough Oh my god
01:00:43.518 --> 01:00:46.141
[SPEAKER_05]: I mean, there's so many, this movie's fucking packed with good lines.
01:00:46.201 --> 01:00:58.253
[SPEAKER_05]: I think the one that stood out to me most on this watch though, like going back to the, the kind of theme of leadership that I've noticed of him just being this like ideal, no non-sense leader.
01:00:58.913 --> 01:01:07.302
[SPEAKER_05]: The inspirational speech he gives before the boarding party is so fucking good, because it's such a good combination of like,
01:01:08.449 --> 01:01:33.319
[SPEAKER_05]: No, we need to be fucking serious, but also let's go fuck those guys up, but let's be fucking serious, but we got to fuck them boys up, but we got to be serious, this really bad odds on this one, but we got to fuck those boys up, like it's just, he really keeps nailing exactly what the crew needs when the crew needs it, and it's like, that's a guy you follow into battle for sure, it's peace.
01:01:33.742 --> 01:01:35.863
[SPEAKER_04]: got the line the line when they're drilling cannons.
01:01:36.103 --> 01:01:41.445
[SPEAKER_04]: You do what your daughters do what your sons and daughters to see a guillotine and pick it up.
01:01:42.205 --> 01:01:43.786
[SPEAKER_04]: Every time he just sees it, he nails it.
01:01:43.806 --> 01:01:45.467
[SPEAKER_01]: Yeah, it was a close grade.
01:01:45.647 --> 01:01:48.268
[SPEAKER_01]: I mean, very.
01:01:50.172 --> 01:02:01.300
[SPEAKER_01]: Do you like this one better or the beginning of gladiator out there in the I can't remember the forest was, but the I that's the bookends of peak Russell Crowe right I mean you said you were talking about this being a pee.
01:02:01.320 --> 01:02:05.143
[SPEAKER_05]: I think this is the like End of young Russell Crowe peak
01:02:05.928 --> 01:02:08.990
[SPEAKER_05]: and gladiators like beginning of of Russell Crowe.
01:02:09.070 --> 01:02:10.071
[SPEAKER_01]: I just mean the speeches.
01:02:10.251 --> 01:02:15.875
[SPEAKER_01]: What do we think better better be like the speech better and gladiator you like the speech better investor commander the uh...
01:02:15.955 --> 01:02:31.886
[SPEAKER_01]: I don't know if you guys might hear from him or let's give them something from hell or whatever it was um... on how fresh it out you guys is mine that is that's that's a iconic iconic Russell Crowe speech that when I went around in the battle for two who doesn't grow gives that speech
01:02:32.574 --> 01:02:37.936
[SPEAKER_04]: I mean, gladiator to me feels like this is Hollywood, and this is a Hollywood speech, which I love.
01:02:38.496 --> 01:02:44.878
[SPEAKER_04]: Yeah, where this one kind of feels like I could almost see a real person saying that before we all go die for this guy.
01:02:45.458 --> 01:02:47.919
[SPEAKER_04]: So yeah, I'm feeling a little more realism right now.
01:02:48.019 --> 01:02:48.979
[SPEAKER_04]: Also, I just watched it.
01:02:49.019 --> 01:02:50.660
[SPEAKER_04]: So heavy resencibias, but.
01:02:52.355 --> 01:03:10.048
[SPEAKER_01]: Okay, there is the Hollywood sort of big Hollywood classical style with that that adds will be more heightened too that I like that because there were a lot of things in this film that felt really just like the men hanging in the hammocks and then just how that sway as people are just like walking through there they're like details like that where I'm just like
01:03:10.685 --> 01:03:13.107
[SPEAKER_01]: that makes this feel lived in a way.
01:03:13.247 --> 01:03:20.414
[SPEAKER_01]: And including the speech that we bring up, the patterns of the speech away was delivered, felt much more naturalistic as someone just speaking to a crowd.
01:03:21.315 --> 01:03:27.981
[SPEAKER_01]: But still, Russell brings a little bit of that that, that, that, that, that, that height and how he would nature that I love.
01:03:28.482 --> 01:03:29.082
[SPEAKER_01]: Breath of the Girl.
01:03:30.284 --> 01:03:36.751
[SPEAKER_05]: Yeah, that thing you bring up with the, the, the, like, hammock slang gently in the ship.
01:03:37.411 --> 01:03:43.137
[SPEAKER_05]: I love them showing off in this first scene that you get after you see the kid with the amputated arm.
01:03:43.598 --> 01:03:47.382
[SPEAKER_05]: And so we're doing a green screen removal of his lower arm.
01:03:47.762 --> 01:03:50.623
[SPEAKER_05]: and he's in the hammock slightly swaying too.
01:03:51.024 --> 01:03:57.447
[SPEAKER_05]: So they're like really selling
the effective losing his arm because it's like, that's such a bitch to motion track.
01:03:57.867 --> 01:04:02.109
[SPEAKER_05]: Him gently swaying across the ship that's gently rocking at a different rate.
01:04:02.749 --> 01:04:10.533
[SPEAKER_05]: And also your, yeah, CGI and the whole thing in 2003, like not peak CG years at all.
01:04:10.553 --> 01:04:15.776
[SPEAKER_05]: So this is very much is showing off shot that's just like only if you know what's going on.
01:04:16.176 --> 01:04:21.001
[SPEAKER_05]: Otherwise, completely innocuous, like nothing else going.
01:04:21.201 --> 01:04:22.362
[SPEAKER_05]: I'm going to see you.
01:04:22.442 --> 01:04:22.943
[SPEAKER_01]: I'm going to see you.
01:04:23.323 --> 01:04:27.227
[SPEAKER_01]: And raise you the production designer on the ship.
01:04:27.247 --> 01:04:36.596
[SPEAKER_01]: I'm watching the behind the scenes and they were talking about like landing wherever they were landing in England and having thinking that they were going to have another company do the metal work on there and realizing that they build.
01:04:36.836 --> 01:04:39.799
[SPEAKER_01]: So they had to do it all themselves and hire a crew to kind of do that with them.
01:04:40.159 --> 01:04:40.780
[SPEAKER_01]: The actual.
01:04:41.408 --> 01:04:54.873
[SPEAKER_01]: This feels like, and Andy brings this up is made one of the last bastions of a Hollywood film that feels like you can kind of grab pieces of the set or like walk around a little bit of two ships like that that they had to build.
01:04:54.893 --> 01:04:57.094
[SPEAKER_01]: Like this feels like a gargantuan.
01:04:57.294 --> 01:05:03.717
[SPEAKER_01]: You know, it feels like a gargantuan production that isn't selling it in that way, that may or may, that's it.
01:05:04.568 --> 01:05:06.169
[SPEAKER_01]: because the big adventure of that scratch set.
01:05:06.209 --> 01:05:11.131
[SPEAKER_01]: This is silly, I'm just telling the scope of this, but the enormity of the production.
01:05:11.191 --> 01:05:15.253
[SPEAKER_01]: Like that massive of a ship to shoot on, shooting in tanks, shooting outside.
01:05:15.273 --> 01:05:25.298
[SPEAKER_01]: It's just like the artisans involved, to kind of pull that together, and maybe I'm just coming off of the watch of that behind the scenes as well, but the amount of people to do the woodwork and the metal work for these ships.
01:05:25.958 --> 01:05:31.961
[SPEAKER_01]: I mean, you don't get the ship looking like this without that kind of, I don't know, that many people on it.
01:05:31.981 --> 01:05:33.602
[SPEAKER_01]: That many skilled hands on that.
01:05:34.615 --> 01:05:38.857
[SPEAKER_01]: I wonder if we were to do that in 2026 if there are that many people that can build a ship today.
01:05:39.418 --> 01:05:41.079
[SPEAKER_01]: But I got to do that kind of work.
01:05:41.159 --> 01:05:41.419
[SPEAKER_01]: No.
01:05:42.199 --> 01:05:42.540
[SPEAKER_01]: Yeah.
01:05:42.760 --> 01:05:44.000
[SPEAKER_04]: I would take that job.
01:05:45.021 --> 01:05:46.042
[SPEAKER_04]: I don't know how, but I take it.
01:05:47.002 --> 01:06:00.530
[SPEAKER_04]: I think part of why being practical makes it look so good and not this big flashy Hollywood is like in 2026 you'd have a fly by shot every scene that would be like look how big this is and only you know.
01:06:00.890 --> 01:06:04.852
[SPEAKER_04]: 10% of it's not CGI, but look how big everything like every fucking second.
01:06:05.352 --> 01:06:13.015
[SPEAKER_04]: And this film is not afraid to get close and stay close and do all these shots in the tank on the half and the quarter and half ships that they built and stuff.
01:06:13.055 --> 01:06:14.376
[SPEAKER_04]: It's not all just on this one.
01:06:14.716 --> 01:06:15.016
[SPEAKER_04]: I don't know.
01:06:15.056 --> 01:06:21.679
[SPEAKER_04]: I just I love I love how they were constrained by being pre CGI and that that really helps me.
01:06:23.039 --> 01:06:31.725
[SPEAKER_05]: Yeah, they're defined space and when they use it they use it fucking well But yeah, it's it's so much of it is able to be done in camera.
01:06:31.825 --> 01:06:37.869
[SPEAKER_05]: It lanes to it a lot Who I definitely need to shout out because I would just absolutely blown away by when these?
01:06:38.089 --> 01:06:47.495
[SPEAKER_05]: I don't know if it's states or states the costume designer which When I once I like looked into or I'm like, oh, what else do you work that it's like oh?
01:06:52.738 --> 01:06:57.602
[SPEAKER_05]: single person feels like you can tell exactly their entire history in their costume.
01:06:58.123 --> 01:07:07.670
[SPEAKER_05]: It's like the people who have like salt weathered costumes versus the like officers that are clearly like putting theirs, they don't have to be out in the weather.
01:07:08.147 --> 01:07:19.764
[SPEAKER_05]: when shit gets her off versus the guys that do, then you can see the people who obviously are being like issued clothing versus the stuff that's like now, you know, where we fucking have.
01:07:20.265 --> 01:07:20.505
[SPEAKER_05]: And then,
01:07:22.967 --> 01:07:33.331
[SPEAKER_05]: Billy Boyd kind of looking like you said like he's dressed where you're like, oh, that's a sailor like that's a guy is a professional sailor from his outfit.
01:07:33.431 --> 01:07:34.652
[SPEAKER_05]: He's a cock's weight is rough.
01:07:36.313 --> 01:07:41.795
[SPEAKER_05]: I have no idea what a cock's one does, but I know you would need to hire one apparently, at least that's what this movie's teaching me.
01:07:42.115 --> 01:07:43.075
[SPEAKER_05]: Just with a costume.
01:07:43.336 --> 01:07:44.356
[SPEAKER_05]: So it feels like.
01:07:45.068 --> 01:08:02.679
[SPEAKER_05]: knowing that the cost of designers married to the director, it's like, oh, yeah, how many just hours and hours and hours and hours of conversation, did they just pour over for each character of like plaring on this much meaning so that you can just, you know, had so much storytelling
just by a few visuals.
01:08:03.280 --> 01:08:03.800
[SPEAKER_05]: Chef's kiss.
01:08:05.061 --> 01:08:08.123
[SPEAKER_01]: We pick some of this of the same costume with them.
01:08:09.438 --> 01:08:16.965
[SPEAKER_05]: Oh yeah, with all of that, all of that talk and we pick the same best fit, but I mean, country little glasses are, I'm gonna pick every time.
01:08:17.385 --> 01:08:19.487
[SPEAKER_05]: Sorry, did you just say country little glasses?
01:08:20.327 --> 01:08:23.510
[SPEAKER_05]: Yeah, the football bet needs country little glasses in this movie.
01:08:23.970 --> 01:08:25.171
[SPEAKER_04]: The best thing I've ever seen.
01:08:25.552 --> 01:08:26.733
[SPEAKER_04]: I, I don't disagree.
01:08:26.853 --> 01:08:28.714
[SPEAKER_04]: I just, that's such a perfect description.
01:08:28.935 --> 01:08:29.155
[SPEAKER_04]: It's.
01:08:35.275 --> 01:08:36.076
[SPEAKER_01]: Oh, a shawl.
01:08:36.176 --> 01:08:36.516
[SPEAKER_01]: Grammar.
01:08:36.536 --> 01:08:37.637
[SPEAKER_01]: You're squaring here.
01:08:37.697 --> 01:08:38.117
[SPEAKER_01]: Shawl.
01:08:38.258 --> 01:08:39.839
[SPEAKER_01]: The shawl.
01:08:39.959 --> 01:08:41.901
[SPEAKER_04]: And is like a random other's curtains.
01:08:42.041 --> 01:08:42.401
[SPEAKER_04]: Shawl.
01:08:42.961 --> 01:08:43.422
[SPEAKER_04]: Yeah.
01:08:43.722 --> 01:08:44.963
[SPEAKER_01]: My bad.
01:08:45.063 --> 01:08:45.363
[SPEAKER_01]: Yeah.
01:08:45.944 --> 01:08:47.145
[SPEAKER_01]: I think you guys are both saying the shawl.
01:08:47.165 --> 01:08:47.705
[SPEAKER_01]: Right.
01:08:47.745 --> 01:08:48.986
[SPEAKER_01]: Did they weird audio thing?
01:08:49.026 --> 01:08:50.408
[SPEAKER_01]: Both of you guys do it, my bad.
01:08:51.368 --> 01:08:52.669
[SPEAKER_01]: Forgive me.
01:08:53.430 --> 01:08:54.491
[SPEAKER_05]: But I call them great.
01:08:54.511 --> 01:08:55.011
[SPEAKER_05]: Hey, it's great.
01:08:55.031 --> 01:08:55.812
[SPEAKER_05]: Mother's curtains.
01:08:56.032 --> 01:08:57.433
[SPEAKER_05]: There you go.
01:08:57.714 --> 01:08:58.474
[SPEAKER_01]: I heard curses.
01:08:58.494 --> 01:08:58.714
[SPEAKER_01]: Good.
01:08:58.754 --> 01:08:59.135
[SPEAKER_01]: Yeah.
01:08:59.315 --> 01:08:59.675
[SPEAKER_01]: It's great.
01:09:03.716 --> 01:09:15.170
[SPEAKER_01]: Oh, yeah, I like, it was, it felt like the most subconscious of the wardrobe selects, I'll be honest, I'm not really even
01:09:16.772 --> 01:09:23.474
[SPEAKER_01]: I'm wondering what it communicates about the character because everyone here is a very brown earth tone drab even in his own.
01:09:23.494 --> 01:09:30.716
[SPEAKER_01]: I don't know if this is the flare that he gets, maybe this is his hobby, so we're showing a little bit of his interior life here, a little bit of his joy that he gets.
01:09:30.757 --> 01:09:33.437
[SPEAKER_01]: So that's representing him at least for once.
01:09:37.856 --> 01:09:39.397
[SPEAKER_05]: I'm sorry, I'll stop.
01:09:39.897 --> 01:09:42.818
[SPEAKER_01]: You know what, it's not even your
guy, it's just, it'll mute what you say.
01:09:43.038 --> 01:09:46.379
[SPEAKER_01]: So I don't even hear what you, it'll just be like a muted version of what you said.
01:09:46.399 --> 01:09:49.100
[SPEAKER_01]: If it, I'm like, I don't know if that was a question or a comment.
01:09:49.300 --> 01:09:50.680
[SPEAKER_01]: I need to respond to the answer.
01:09:50.700 --> 01:09:52.841
[SPEAKER_01]: Well, I just keep talking.
01:09:53.121 --> 01:09:55.222
[SPEAKER_01]: Just keep talking to my man.
01:09:56.862 --> 01:09:57.582
[SPEAKER_01]: But yeah, yeah.
01:09:57.602 --> 01:10:03.844
[SPEAKER_01]: So I do like the choice, although I'm not, I'm a little curious about how it would
01:10:07.028 --> 01:10:21.364
[SPEAKER_01]: If the film's being self-aware, how this is funny, maybe we get a cheap, no, we get a quick laugh with the audience with this floral pattern thing or if there's something at the character, we'd have you guys respond to it or if you guys have any other choices for a best fit.
01:10:21.905 --> 01:10:26.750
[SPEAKER_04]: I'm talking to how to my ass here, but I think it felt probably period.
01:10:26.890 --> 01:10:27.932
[SPEAKER_04]: I mean, we're talking,
01:10:29.168 --> 01:10:31.269
[SPEAKER_04]: what just post enlightenment.
01:10:31.569 --> 01:10:36.470
[SPEAKER_04]: So he's a gentleman, he's a gentleman, he's the only gentleman on the ship.
01:10:36.750 --> 01:10:38.770
[SPEAKER_04]: He can wear flashy clothes.
01:10:38.790 --> 01:10:47.252
[SPEAKER_04]: And a lot of those people of that time, that was one of the first periods in human history where you had a class of people who just had time and money on their hands.
01:10:48.152 --> 01:10:58.515
[SPEAKER_04]: And so they might wear something flashy, they might do something like where an Oriental robe or the little like Shaw thing.
01:10:59.335 --> 01:11:03.878
[SPEAKER_04]: I bought a hook line and sinker, but also very flashy, very out of place.
01:11:03.898 --> 01:11:04.538
[SPEAKER_04]: I totally agree.
01:11:04.979 --> 01:11:13.364
[SPEAKER_04]: And the glass is which I am not going to repeat the name of because my son just walked in.
01:11:13.404 --> 01:11:14.044
[SPEAKER_01]: Sorry, two seconds.
01:11:14.124 --> 01:11:14.745
[SPEAKER_01]: Well played.
01:11:16.942 --> 01:11:24.965
[SPEAKER_01]: Oh, what about you, Sean, how to, how to be what this moment or costume you picked it was it just it was the last you picked it because of the glasses Didn't you have a glasses?
01:11:25.005 --> 01:11:26.426
[SPEAKER_01]: I mean every scene, right?
01:11:26.446 --> 01:11:28.066
[SPEAKER_05]: He has a glasses on a lot.
01:11:28.146 --> 01:11:33.208
[SPEAKER_05]: I love this outfit in general But I had to pick a shot specifically when he was wearing the glasses because they're perfect.
01:11:33.989 --> 01:11:35.509
[SPEAKER_05]: Oh, are we doing a shot for some?
01:11:36.290 --> 01:11:37.330
[SPEAKER_05]: Yeah, we're doing best fit.
01:11:37.590 --> 01:11:39.111
[SPEAKER_05]: Yeah, Sean's finishing out then we'll
01:11:41.292 --> 01:11:59.650
[SPEAKER_05]: I do think like and he's on the money there and I think historically around this time period like doc you're town doctor is probably going to be one of the richest people in town like in the like top a small town he's like top five richest people in town in a tiny like period time so
01:12:02.093 --> 01:12:05.916
[SPEAKER_05]: I think obviously he's going to be a little bit more well off than the most of the guys.
01:12:05.936 --> 01:12:12.400
[SPEAKER_05]: So like this is his street clothes like he's when he's doing military things he's on the ship and like doing his duties.
01:12:12.901 --> 01:12:17.084
[SPEAKER_05]: He's dressing practically because he's it's the living on the sea is rough.
01:12:17.104 --> 01:12:18.525
[SPEAKER_05]: There's no way to not dress practically.
01:12:18.745 --> 01:12:21.246
[SPEAKER_05]: when it's like the soon as he gets to let his hair down a little bit.
01:12:21.546 --> 01:12:23.206
[SPEAKER_05]: It's like recovering from an injury.
01:12:24.047 --> 01:12:24.587
[SPEAKER_05]: He's not on.
01:12:24.907 --> 01:12:26.267
[SPEAKER_05]: Basically not on call.
01:12:26.687 --> 01:12:28.108
[SPEAKER_05]: It's like, you know, he gets a little flowery.
01:12:28.728 --> 01:12:30.568
[SPEAKER_05]: He gets a little rich guy on us.
01:12:30.688 --> 01:12:31.869
[SPEAKER_05]: And it's like, yeah, well, that is.
01:12:32.769 --> 01:12:35.590
[SPEAKER_05]: Some of that probably I assume comes from the books where you do have.
01:12:36.300 --> 01:12:39.243
[SPEAKER_05]: books and books and books of this guy's personality established.
01:12:39.643 --> 01:12:53.836
[SPEAKER_05]: So it's very easy to say like when you get a window inside of him, you have an elaborate menu of options that just got to show in character by your costume here, which is obviously something that this movie does in spades.
01:12:54.596 --> 01:13:00.141
[SPEAKER_04]: A spider just absailed straight down in front of the screen, landed on the computer.
01:13:00.361 --> 01:13:03.264
[SPEAKER_04]: I chose to ignore it and now it's climbing back up to the ceiling.
01:13:03.966 --> 01:13:33.158
[SPEAKER_01]: That's it, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't, you didn't
01:13:34.284 --> 01:13:35.772
[SPEAKER_01]: Oh, I was just affirming.
01:13:35.852 --> 01:13:36.837
[SPEAKER_05]: I
said I could see that.
01:13:37.407 --> 01:14:01.531
[SPEAKER_04]: If you're into Paul Bettany's outfit, look up French Orientalism, there's these beautiful, beautiful oil paintings from around the Napoleonic Wars period where French people were using that really realistic oil painting style that was popular then, and then applying a lot of oriental themes to it, which were a lot brighter than a lot of the themes of the time for the Western world.
01:14:02.131 --> 01:14:02.692
[SPEAKER_04]: Wonderful art.
01:14:03.352 --> 01:14:04.992
[SPEAKER_05]: Bring an art history to the pod.
01:14:05.967 --> 01:14:07.408
[SPEAKER_05]: Last and up, the joy in here.
01:14:08.649 --> 01:14:14.793
[SPEAKER_01]: Let's continue to break down some of the art of this film as we get into the shot for shots segment coming up after this.
01:14:17.194 --> 01:14:18.315
[SPEAKER_05]: All right, welcome back from the break.
01:14:18.335 --> 01:14:21.677
[SPEAKER_05]: We're going behind the lens breaking down the film trash and shipping curtain clothes.
01:14:22.097 --> 01:14:24.799
[SPEAKER_05]: I'm doing the shot for shot segment, the world famous.
01:14:25.550 --> 01:14:26.971
[SPEAKER_05]: shot for shot segment.
01:14:27.211 --> 01:14:29.813
[SPEAKER_05]: As always, you can find the link down below to our Patreon.
01:14:30.374 --> 01:14:31.054
[SPEAKER_05]: It's a free post.
01:14:31.074 --> 01:14:35.998
[SPEAKER_04]: You don't have to sign up to see the shots we're talking about, but just should while you're there.
01:14:36.378 --> 01:14:37.859
[SPEAKER_05]: But just should while you're there.
01:14:39.080 --> 01:14:41.362
[SPEAKER_05]: You know, while you're there, she does a message during the mailing list.
01:14:41.382 --> 01:14:44.925
[SPEAKER_05]: Send you some dumb stuff in the mail from a Unclean's private stash.
01:14:45.425 --> 01:14:46.005
[SPEAKER_05]: It's a good time.
01:14:46.086 --> 01:14:46.406
[SPEAKER_05]: Check it out.
01:14:46.906 --> 01:14:49.748
[SPEAKER_05]: Anyway, I'm starting with my first shot here.
01:14:49.788 --> 01:14:51.750
[SPEAKER_05]: It's from like four minutes into the movie.
01:14:52.453 --> 01:14:53.394
[SPEAKER_05]: And he actually brought it up.
01:14:53.434 --> 01:15:07.104
[SPEAKER_05]: I think when we were talking about the beginning of the movie as this like quiet before the storm changing of the guard shot, where you have the Silhouette guys scrambling up the rigging while the guys other guys repel down.
01:15:08.004 --> 01:15:15.450
[SPEAKER_05]: We do this a couple times in the movie as like a changing of a guard, which is, you know, for a movie made of these like little vignettes that
01:15:16.439 --> 01:15:20.882
[SPEAKER_05]: It's thematically end up being tied together, but do are also weirdly self-contained.
01:15:20.902 --> 01:15:31.308
[SPEAKER_05]: I feel like I'm shocked that this isn't a movie that shows up all the time on TikTok in 52 part series or something of, it's got to be one of those movies, right?
01:15:33.081 --> 01:15:39.845
[SPEAKER_05]: Just because it is broken up so neatly, and I think that this is one of the visual languages that it uses to kind of break up the little vignettes.
01:15:40.866 --> 01:15:44.868
[SPEAKER_04]: Well, it's just like a text book, little scene too.
01:15:44.948 --> 01:15:47.650
[SPEAKER_04]: I mean, it tells us so much about what they're doing.
01:15:47.750 --> 01:15:50.031
[SPEAKER_04]: We know they're changing the guard because we all kind of get the bell.
01:15:50.432 --> 01:15:51.432
[SPEAKER_04]: There's the up and the down.
01:15:51.572 --> 01:15:53.734
[SPEAKER_04]: And it's also swipes with the darkness of white.
01:15:53.954 --> 01:15:55.034
[SPEAKER_04]: It swipes to the next scene.
01:15:55.755 --> 01:15:57.676
[SPEAKER_04]: It's just like films, films, films, cool, shit.
01:15:58.517 --> 01:15:59.097
[SPEAKER_04]: Films, cool, shit.
01:16:00.168 --> 01:16:00.368
[SPEAKER_05]: Yep.
01:16:01.189 --> 01:16:01.570
[SPEAKER_05]: Brilliant.
01:16:01.630 --> 01:16:02.851
[SPEAKER_05]: What about your roof shot here?
01:16:02.891 --> 01:16:04.753
[SPEAKER_05]: This is one, once we're kicking off.
01:16:06.083 --> 01:16:16.248
[SPEAKER_04]: Um, my first shot is, um, two boats, uh, I know there's some CG going on here, but, um, I'll be damned if this isn't just a painterly shot.
01:16:17.029 --> 01:16:19.030
[SPEAKER_04]: I mean, you can see everything.
01:16:19.070 --> 01:16:27.994
[SPEAKER_04]: You have total situational awareness, but it's all just clouds and cannon fire in these ships, silhouettes that you would recognize anywhere.
01:16:28.014 --> 01:16:30.816
[SPEAKER_04]: Um, uh, I just, I just thought it was very nice.
01:16:30.996 --> 01:16:35.338
[SPEAKER_04]: I feel like if this was on somebody's wall, they might sit down and write this movie.
01:16:36.487 --> 01:16:49.405
[SPEAKER_01]: Yeah, speaking of the similarity of the build of the ships, I thought the interesting plot point to disguise the ship is being like a wailing ship or something other than a naval, I don't know, vessel attacking vessel.
01:16:50.163 --> 01:16:55.749
[SPEAKER_01]: Oh, I didn't consider how similar these things look from afar and how you may attribute certain dangerous.
01:16:55.809 --> 01:16:56.570
[SPEAKER_01]: Oh, that's not them.
01:16:57.251 --> 01:16:58.972
[SPEAKER_01]: Let's keep going.
01:16:59.293 --> 01:16:59.513
[SPEAKER_01]: Right.
01:16:59.553 --> 01:17:05.219
[SPEAKER_05]: Like you've you've had scraps with this guy a couple times and you just walk past them on the street.
01:17:05.779 --> 01:17:08.002
[SPEAKER_05]: No fucking then turn your head at all.
01:17:08.322 --> 01:17:29.147
[SPEAKER_04]: Well, so you, you might, the, the older ships, the manor, compared to the American built frigates, the Americans had forests filled with white oak and other hardwoods, so they were, because the French were allied, you know, were post 1776, the French were getting these
01:17:30.287 --> 01:17:38.333
[SPEAKER_04]: brilliant holes that the Americans had both experience with with all the whalers they were producing and better wood straight up.
01:17:38.653 --> 01:17:45.038
[SPEAKER_04]: So the British were using these taller older ships and the French were using these futuristic more sleek ships.
01:17:45.579 --> 01:17:53.124
[SPEAKER_04]: So if you could maybe disguise it as a whaler just because it's a taller older ship whereas the French ship it's just there's no
01:17:56.867 --> 01:18:06.674
[SPEAKER_04]: So I thought that was a pretty clever plot point that I can't speak to with much authority, but from what I've kind of gathered, it seemed like a thing that could be done.
01:18:07.414 --> 01:18:07.854
[SPEAKER_05]: For sure.
01:18:07.874 --> 01:18:18.141
[SPEAKER_05]: I don't know that detail about the wood, but I absolutely giggle at the line when he's like, it's the future in a period piece.
01:18:18.702 --> 01:18:20.263
[SPEAKER_05]: It's such a funny inclusion,
01:18:21.021 --> 01:18:25.743
[SPEAKER_05]: Yeah, man, in the present time, it always feels like you're hurling rapidly into the future.
01:18:25.823 --> 01:18:35.087
[SPEAKER_05]: So it's very funny to, and explicitly, genre period peace, and have somebody just go, God damn it's weird to be living in the future.
01:18:36.188 --> 01:18:38.949
[SPEAKER_01]: It's like, actually, that is how we think.
01:18:39.729 --> 01:18:45.572
[SPEAKER_01]: I want to move on to my, um, I'm not even really sure this takes place is the sort of
01:18:51.939 --> 01:18:53.900
[SPEAKER_01]: I should have been more prepared for this segment.
01:18:54.740 --> 01:18:56.161
[SPEAKER_01]: I'll just have to get the actors made.
01:18:58.262 --> 01:19:08.187
[SPEAKER_01]: But this is actually the first officer is kind of told his situation in terms of his cue rating with the crew, it's obviously very low.
01:19:08.287 --> 01:19:14.870
[SPEAKER_01]: And this is after the whipping scene, so everyone is sort of rightfully addressing him due to his status.
01:19:15.644 --> 01:19:23.917
[SPEAKER_01]: It's a lot of silent fuck use is they're doing this so the subtext behind them all the whatever tip of the hat or whatever the Salute is
01:19:24.688 --> 01:19:41.042
[SPEAKER_01]: a fuck you, it feels like at or at least that's how he's interpreting it and the way sort of claustrophobic nature of this shot as we're kind of going through this tunnel of bodies saluting him and acknowledging him and like kind of throwing back the respect that he's so he's a great lead desire.
01:19:41.062 --> 01:19:46.886
[SPEAKER_01]: He's got this great like right back at him, a fucking phenomenal of a shot.
01:19:47.792 --> 01:19:53.597
[SPEAKER_04]: brutal and you feel for him too because he's just he's just socially awkward like he's victim of of just who he is.
01:19:55.279 --> 01:20:03.787
[SPEAKER_01]: And one of my favorite, I think, executions on that social awkwardness are that social anxiety, one might experience particularly in her leadership role.
01:20:05.208 --> 01:20:06.730
[SPEAKER_01]: The silent fuck you.
01:20:06.810 --> 01:20:11.094
[SPEAKER_01]: He's giving it just like, wow, well, that love the way that was handled.
01:20:11.134 --> 01:20:11.374
[SPEAKER_01]: So.
01:20:11.867 --> 01:20:28.649
[SPEAKER_05]: not many not many times we go from the perspective of middle management and a particularly effective one all got his victim of the peter britz and you want to watch your next shot here
01:20:29.439 --> 01:20:33.804
[SPEAKER_04]: Oh, my next shot is the thing we've already talked have to death.
01:20:33.864 --> 01:20:43.954
[SPEAKER_04]: It's the surgery scene and what I what I love about this is that it's four actors selling the shit out of it, right?
01:20:44.054 --> 01:20:48.959
[SPEAKER_04]: Like the stuff going on with their hands and that little mirror, you kind of maybe see it, but.
01:20:49.399 --> 01:20:53.842
[SPEAKER_04]: It's really just about these these guys just selling selling it to the camera.
01:20:54.302 --> 01:21:07.050
[SPEAKER_04]: I mean, even not guy peers is just really selling it with his with his whole like he's so focused, but then you see him break and go like really cringe sometimes and then these guys all have opinions about God.
01:21:07.171 --> 01:21:10.593
[SPEAKER_04]: It's just it's such good acting and they're not talking.
01:21:10.673 --> 01:21:11.693
[SPEAKER_04]: They're not a bunch of lines.
01:21:11.994 --> 01:21:14.015
[SPEAKER_04]: It's just gross and horrible.
01:21:14.275 --> 01:21:40.589
[SPEAKER_01]: really sounds like that's a really quick to do the the actor in the lower left frame what he's like rifling me the book any like friends in like he's just she's like the medical medical journal that pulpit he has he's like looks at it perfect moment absolutely perfectly of that love that dude's look sorry the guy at her but
01:21:41.350 --> 01:21:41.870
[SPEAKER_05]: No, you're good.
01:21:42.531 --> 01:21:50.336
[SPEAKER_05]: Oh, I was so much as I mentioned before, like the, so much of the scene is done in the sound design, too.
01:21:50.376 --> 01:21:59.903
[SPEAKER_05]: Like you're saying, it's leaning on the look from the actor just giving them a little bits of sound design and letting the audience as imagination fill in how horrible it is.
01:22:00.243 --> 01:22:02.844
[SPEAKER_05]: Because it's one of the worst fucking seat.
01:22:02.864 --> 01:22:07.808
[SPEAKER_05]: Like it's square, nobody can watch the scene and not square or rather else you're a fucking psychopath.
01:22:08.208 --> 01:22:09.089
[SPEAKER_05]: I didn't watch it though.
01:22:09.109 --> 01:22:10.871
[SPEAKER_05]: Sorry, it's a turtleneck.
01:22:10.891 --> 01:22:11.431
[SPEAKER_05]: Good do it.
01:22:11.792 --> 01:22:15.816
[SPEAKER_05]: I don't know what it's just you're just seeing somebody else turn away.
01:22:15.836 --> 01:22:16.857
[SPEAKER_05]: You're still hearing it.
01:22:16.877 --> 01:22:18.939
[SPEAKER_05]: So
it's like, all of you're getting it anyway.
01:22:18.959 --> 01:22:20.701
[SPEAKER_05]: You're here.
01:22:20.781 --> 01:22:26.367
[SPEAKER_05]: This this scene inflicts it on you whether you want to or not, because you can get some wax in your ears in time.
01:22:27.459 --> 01:22:28.940
[SPEAKER_05]: But yeah, absolutely brilliant.
01:22:29.000 --> 01:22:31.181
[SPEAKER_05]: I do also love Paul Betney doesn't do.
01:22:31.641 --> 01:22:37.163
[SPEAKER_05]: He doesn't like overdo it, which I feel not like it's easy to do in these type of scenes.
01:22:37.183 --> 01:22:42.245
[SPEAKER_05]: Like Eric said before, like we've seen self-surgery scenes where like you got to.
01:22:42.938 --> 01:22:47.802
[SPEAKER_04]: Uh, I want to burn, like, scouterize the wound with the gun power from my shell.
01:22:48.303 --> 01:23:02.014
[SPEAKER_05]: Like, how we, you know, we, it's not new breaking new ground on that by any means, but it's just in the performance and the attention to detail of like, I'm going to need an assistant to do some things like, oh, you know, hold for some flaps.
01:23:02.114 --> 01:23:06.878
[SPEAKER_05]: I'm going to do the actual probing myself because Jesus Christ, you are not hit up to it.
01:23:06.898 --> 01:23:06.958
[SPEAKER_05]: Uh,
01:23:10.598 --> 01:23:33.703
[SPEAKER_05]: I did the the build of it all is what elevates it beyond it's it's like contemporaries that aim for the same target Yeah, you had a less one to give me one go out all yeah, yeah, so the less shot I have here Just like the whole like Galapagos sequence is absolutely fantastic, but I love this fucking Lord of the Rings as hiking shot of them
01:23:34.832 --> 01:23:35.972
[SPEAKER_05]: just climbing this mountain.
01:23:36.232 --> 01:23:54.578
[SPEAKER_05]: You know for no reason, like big goofy boxes and crates full of lizards and whatnot and you know giant net that he's using as a walking stick and then like black sand and the white grass just making everything look like an alien landscape like it
01:23:55.797 --> 01:24:10.971
[SPEAKER_05]: this movie like for being such a like it's a war movie that's about like leadership and camaraderie and also science and like sacrifice and you know cost just
01:24:11.907 --> 01:24:35.271
[SPEAKER_05]: It has so many things built into it where I feel like that's why it was like earlier we said It was hard to pick just one person who would have this on the shelf because it's like this really does hit so many notes and gives you so many different It's just an incredible ensemble piece like one incredible attention detail incredible wielding of a massive cast
01:24:36.310 --> 01:24:42.612
[SPEAKER_05]: just all around that, like this is where my kind of stars came together, I guess I don't know.
01:24:42.812 --> 01:24:44.933
[SPEAKER_04]: It just pretty, I mean, how pretty is this shot?
01:24:45.013 --> 01:24:47.974
[SPEAKER_04]: It's so it's perfectly balanced left to write up to down.
01:24:48.274 --> 01:24:52.755
[SPEAKER_04]: It's got this great perspective so you can see how big and alien every us, it's just beautiful.
01:24:53.455 --> 01:25:01.198
[SPEAKER_01]: You know what's drawing the mind of me at other master, the master, for whatever, it was like PTAs, exterior years for the master, but like the desert landscape ones,
01:25:06.210 --> 01:25:11.813
[SPEAKER_01]: Yeah, I actually love the balance and the alien nature that she bovers speaking to her.
01:25:11.833 --> 01:25:13.334
[SPEAKER_01]: So great last shot.
01:25:14.715 --> 01:25:23.660
[SPEAKER_01]: I film, I mean, my thoughts on stars in line and you're probably right along with McGee's, just a massive artist and effort and had to have stars in line to get a piece like this.
01:25:23.720 --> 01:25:30.644
[SPEAKER_01]: So you don't write into them, actually, one of the behind the scene notes that I like was Peter Weir when being,
01:25:32.587 --> 01:25:34.668
[SPEAKER_01]: I don't know, sort of seduced into doing this.
01:25:34.728 --> 01:25:39.469
[SPEAKER_01]: He goes over to check out a wailing ship in England or something of that nature.
01:25:39.489 --> 01:25:42.410
[SPEAKER_01]: And they actually ended up purchasing that ship that he went to check out.
01:25:42.430 --> 01:25:44.371
[SPEAKER_01]: So there's things about getting him on board.
01:25:44.391 --> 01:25:47.852
[SPEAKER_01]: He goes to do a little research, finds the ship, they put the down payment.
01:25:47.912 --> 01:25:48.912
[SPEAKER_05]: I am a ship.
01:25:48.973 --> 01:25:49.953
[SPEAKER_01]: Yeah, it's like, it's fun.
01:25:51.137 --> 01:25:54.884
[SPEAKER_05]: It's in San Diego now, I guess you can like go and look at it as a tourist attraction.
01:25:55.124 --> 01:25:56.426
[SPEAKER_05]: I've been on it.
01:25:57.809 --> 01:25:58.310
[SPEAKER_04]: It's very cool.
01:25:58.330 --> 01:25:59.973
[SPEAKER_04]: It's definitely not a military vessel.
01:26:00.013 --> 01:26:03.960
[SPEAKER_04]: It's got a huge cargo holds, they dressed it up for the movie for sure.
01:26:04.378 --> 01:26:20.610
[SPEAKER_04]: Do they dial it or do they exhibit like, hey, we're showing off the ship from mastering commander or is it like it's own sort of To where it's occurring in exhibit, they they mentioned that it was the master and commander ship which was surprising because I didn't see it on like the thing when I bought the ticket, but yeah, you just go on it.
01:26:20.650 --> 01:26:21.211
[SPEAKER_04]: You walk around.
01:26:21.231 --> 01:26:21.971
[SPEAKER_04]: There's a tour guide.
01:26:23.472 --> 01:26:24.553
[SPEAKER_04]: It's it's cool.
01:26:25.594 --> 01:26:33.320
[SPEAKER_05]: As was this film, Andy, I want to let you, I got I got a dumb, a dumb anecdote to go out on that I love the story and I just want to use this clip.
01:26:34.580 --> 01:26:43.465
[SPEAKER_05]: Um, Billy Boyd, I saw an interview with him where he was telling the story about, you know, this crazy, difficult shoot, whatever Billy Boyd, the coxon.
01:26:44.485
--> 01:26:46.026
[SPEAKER_05]: Yeah, the coxon.
01:26:46.066 --> 01:26:47.187
[SPEAKER_05]: How do you say it is coxon?
01:26:47.207 --> 01:26:47.847
[SPEAKER_05]: Like a coxon.
01:26:48.327 --> 01:26:48.948
[SPEAKER_05]: Like a coxon.
01:26:48.988 --> 01:26:49.128
[SPEAKER_05]: Okay.
01:26:53.298 --> 01:26:56.439
[SPEAKER_05]: You know, I'm, I'm just accepted that.
01:26:56.479 --> 01:26:57.179
[SPEAKER_05]: I'm going to move on.
01:26:58.040 --> 01:27:10.064
[SPEAKER_05]: But yeah, so Billy Boyd's tell the story about the shooting, you know, you're like, they're drenched in you with these what rain tanks and wave tanks and whatever, whatever, these like every time you, you know, you just start to dry off.
01:27:10.104 --> 01:27:13.665
[SPEAKER_05]: They do another take everything's ready to do no another take and they get you again.
01:27:14.125 --> 01:27:18.446
[SPEAKER_05]: And it's just like this constant cycle, weeks into production, they finally get
01:27:21.277 --> 01:27:23.782
[SPEAKER_05]: And they're like, yeah, we gotta drain the tank and refill it.
01:27:23.802 --> 01:27:29.454
[SPEAKER_05]: If I don't know, it's because all of the supporting crew were just peeing off the side of the boat in between takes.
01:27:30.372 --> 01:27:35.336
[SPEAKER_05]: not knowing that the rain tanks are filled with the tanks that the water sits in.
01:27:35.676 --> 01:27:46.025
[SPEAKER_05]: So they had just been peeing on themselves for weeks, just pissing into the tank that is then getting cycled up into the rain that is then pissing down on their heads.
01:27:46.545 --> 01:27:53.051
[SPEAKER_05]: And once the somebody finally flagged it and they like had the shut production down so they could clean everything.
01:27:53.071 --> 01:27:54.332
[SPEAKER_05]: That was like a lawsuit.
01:27:56.713 --> 01:28:03.056
[SPEAKER_01]: I mean, you did it to yourself, you, you, you, no, let's say I wouldn't go use it in a port of party.
01:28:03.097 --> 01:28:05.038
[SPEAKER_01]: I mean, fucking pissed on because the first A.B.
01:28:05.118 --> 01:28:06.038
[SPEAKER_01]: is what I want.
01:28:06.058 --> 01:28:06.999
[SPEAKER_01]: What the fuck?
01:28:07.039 --> 01:28:07.499
[SPEAKER_01]: Let's do it.
01:28:07.519 --> 01:28:09.640
[SPEAKER_05]: You get a suit, suit, suit Billy Boyd.
01:28:11.341 --> 01:28:12.081
[SPEAKER_01]: Crazy, too.
01:28:12.922 --> 01:28:14.563
[SPEAKER_01]: Oh, love that story.
01:28:14.783 --> 01:28:15.844
[SPEAKER_01]: Let's go out on that.
01:28:15.924 --> 01:28:17.785
[SPEAKER_01]: Or I'm sorry, can we least give Andy a little word?
01:28:17.805 --> 01:28:21.206
[SPEAKER_01]: We want to thank you so much for being, you know, always bring in fires of the pot.
01:28:21.226 --> 01:28:22.127
[SPEAKER_01]: Thank you so much for this.
01:28:22.915 --> 01:28:24.777
[SPEAKER_05]: Um, and he thank you for being here, man.
01:28:24.917 --> 01:28:28.300
[SPEAKER_05]: I fuck, like, uh, Bangor as always.
01:28:29.401 --> 01:28:33.886
[SPEAKER_05]: Um, I knew Eric was going to like it, but I knew I was going to love what you had to say about it.
01:28:33.926 --> 01:28:35.227
[SPEAKER_05]: So I'm so happy you're here.
01:28:35.387 --> 01:28:35.907
[SPEAKER_04]: Thanks, fellas.
01:28:36.007 --> 01:28:36.688
[SPEAKER_04]: Happy to be here.
01:28:36.928 --> 01:28:38.029
[SPEAKER_04]: And, um, it's too bad.
01:28:38.049 --> 01:28:39.591
[SPEAKER_04]: There's no more good movies and existence.
01:28:39.611 --> 01:28:41.753
[SPEAKER_04]: So otherwise, I'd come back sometime, but, um,
01:28:41.993 --> 01:28:44.114
[SPEAKER_04]: Do you have a next pick in your pocket?
01:28:44.294 --> 01:28:46.196
[SPEAKER_04]: Or I'll think it's something.
01:28:47.777 --> 01:28:50.698
[SPEAKER_04]: I mean, I have some shit no more good movies.
01:28:50.959 --> 01:28:52.780
[SPEAKER_04]: That's the beauty of this podcast, right?
01:28:52.860 --> 01:28:54.381
[SPEAKER_04]: There's a lot of movies out there.
01:28:54.621 --> 01:28:56.042
[SPEAKER_04]: A lot of them are pretty good.
01:28:56.882 --> 01:29:01.185
[SPEAKER_04]: On the spot, I go.
01:29:01.525 --> 01:29:03.086
[SPEAKER_01]: Oh yeah, don't be worried.
01:29:03.126 --> 01:29:04.007
[SPEAKER_05]: Oh yeah, as I'm worried.
01:29:04.067 --> 01:29:06.049
[SPEAKER_05]: Well, I think what do we do next week?
01:29:06.069 --> 01:29:09.431
[SPEAKER_05]: Next week, are we finally going back to Easy Rider?
01:29:09.451 --> 01:29:10.832
[SPEAKER_01]: Yeah, that's right.
01:29:10.852 --> 01:29:11.312
[SPEAKER_01]: Let's do that.
01:29:11.472 --> 01:29:13.114
[SPEAKER_01]: Thanks again Andy, love that.
01:29:13.194 --> 01:29:14.074
[SPEAKER_01]: Next week, we can eat.
01:29:14.815 --> 01:29:17.617
[SPEAKER_01]: Let's talk to a little Peter Fonda, another beer.
01:29:18.417 --> 01:29:26.103
[SPEAKER_05]: Yeah, I continue with a Peter on vacation, universe, recovery and Easy Rider.
01:29:26.844 --> 01:29:28.685
[SPEAKER_01]: I look at his hover, Peter Fonda.
01:29:29.303 --> 01:29:42.906
[SPEAKER_01]: Um, continuing bad vacations, uh, some really interesting things, uh, if you didn't catch the live being, or if you haven't too catchers and they're probably suggesting to use, uh, both bad or great bad weaknesses.
01:29:42.926 --> 01:29:49.948
[SPEAKER_01]: Uh, I want to thank Andy again, uh, appreciate it, and before to the next one, the long heat, you guys have a good one.