#072: Uncut Gems with Phillip Iscove

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You are now listening to the Someone's favorite productions podcast network.
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Hello Radio Land, Welcome back to One Track Mind, the
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only commentary podcast that matters, because as far as I know,
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it's the only one. My name is Ryan Luis Rodriguez.
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You're wonky at Affable hosts for this series where every
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week we're going to analyze film through the prism of
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audio commentaries, features without which the entire medium of podcasting
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would not exist. Directors, writers, actors and crafts. People analyzing
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their own films in front of a microphone set the
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stage for the current culture, and it's about damn time
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someone showed the proper appreciation. If that sounds to stuffy,
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I promise there will be jokes. This week we're joyfully
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joined once again by Philip Iskov, co host of podcasts
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like It's the two Thousands, for a discussion of the
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audio commentary for the twenty nineteen Safty Brothers, Nerve Wracking, Stunner,
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Uncut Gems.
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Take it away.
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Me, Phil, Welcome back to One Track Mind. So happy
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you could be on the show once again.
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It's my pleasure. Thank you for inviting me now.
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Usually whenever I invite a guest and by the way
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you might be the quickest turnaround between repeat guest appearances.
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I'm on the show since you were just here last
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December discussing the Princess Bride.
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It's true, it's true, And I was.
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Gonna send you the stack of movies that I send
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every guest again, but instead you responded to my email
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with is uncut Gems available? And I'm like, yes, yes
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it is. We don't even need to do this whole rigmarole.
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I looked at my previous asks and uh, you know,
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and just deduced that this would be the best one
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to do.
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So what about Uncut Gems makes you want to discuss
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it on this podcast?
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Well, I mean there's a couple of reasons. There's the
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the I guess the somewhat lame reason, which is I
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haven't listened to the commentary on this. I have this
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criterion and I hadn't listened to it. Uh, And I thought, okay,
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let's uh, let's let's dive into this. I hadn't watched
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Uncut Gems in a beat, so I was excited to
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sort of even you know, if I'm not watching it,
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watching it with commentary to sort of, you know, go
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go on that Journey again. You know, this is one
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of those. So I've only seen this and Good Time
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of the Safti's ouvra, So I wouldn't say that I
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am that I can go as deep as some you know,
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excuse me, there are some people that you know have
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loved these guys since Daddy long Legs, right like that
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just that can that can just do that. Good Time
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was a movie that I saw. A friend of mine
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suggested we go and see it. I had no idea
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what it was, truly. I was like, oh, this is
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the movie where Robert Pattinson has blonde hair and looks like,
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you know, he just rolled out of a gutter.
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And has an acid in a sprite bottle.
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Indeed, and I was like, uh, okay. So I hadn't
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seen a trailer. I didn't know anything about the Safties.
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That movie was fucking exhausting. Like I left that theater
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needing like a xanax. I was like, this is I
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respect it, you know what I mean? Like I was
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just like, but Jesus Christ, like this thing is a lot. Yeah.
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And then on cut Gems was announced and you know,
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Adam Sandler, and I was like, listen, I'm all for
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Adam Sandler taking swings, you know what I mean. Like
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sometimes it's punch drink clubs. Sometimes it's Rain on Me
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or whatever that movie was, but like rain over that one.
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But I was like, yeah, he's getting in bed with
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these guys. Sure, this could be interesting. But again I
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had to like sort of emotionally prepare myself for it
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because I had a feeling that it was going to
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be another sort of This is all just a long
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way of saying that I do think that this movie
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has a power and an intensity that's kind of unlike
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anything else I've ever seen and has sort of stayed
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with me in a way that is just really like palpable.
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And then I watched this with commentary, and somehow it
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became more stressful because they don't let each other fucking speak,
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so you just have like ping ponging stories and you're
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just desperately trying to hold on to this. Plus you're
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watching a movie that is also intensely stressful. So like
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the whole thing was just I'm thrilled I did it.
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But never again have you seen an interview with the
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safties together. Because they are such brothers, they talk over
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each other constantly and constantly interrupt and one of them,
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either Josh or Benny, will actually put out the hand
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to go, no stop, I'm trying to say something. Will
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you shut up let me finish?
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They do on the scene.
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Yeah, exactly. Yeah, I've never seen brothers in showbiz act
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like that when a camera is rolling. Maybe behind the
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scenes I can understand, but not in front of a camera.
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It's remarking. It's it's so funny because like the Coen
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Brothers are the exact opposite, right, they are like straight
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up laconic, right like they are. They are monocyl habic.
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Basically you can tell that they don't like being interviewed,
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and yet you know they're they also feel like brother
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Like they feel like peas in a pod, right, Like
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they're two guys that sit there and enjoy each other
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and know the stories that they're going to tell. And
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it's just that there is a lovely energy there. This
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is just kind of an exhausting energy. It's also I
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mean not I'm not intentionally picking to Jewish brothers, but
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they are kind of the two sides of Judaism in
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a lot of ways too. Of just like that really
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kind of like chaotic Jewish energy and then the kind
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of like old school kind of like my grandfather was,
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who would just kind of sit and listen a lot.
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So what the Coen Brothers, to go back to, the
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Coen Brothers remind me of are the Wachowski's before they transitioned,
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before they became the Sisters. They were very respectful in
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interviews but very clearly did not want to be there
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at any time. And now that they are their true selves, Yes,
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Like listening to Lana and Lily, they're just like, Oh,
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I'll tell you anything you want to know. You want
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to know about the matrix, I'll talk about the matrix.
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You want to talk about Jupiter ascending. Yeah, let's talk
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about that right now. It's just it's yeh are those
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things where they don't interrupt each other like the Safties,
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But there's this energy that's been injected into their personalities.
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So it's such a relief to see to see, Yeah,
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I mean the.
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Safties are also I'm trying to think of the best
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way to describe this, but they seem to kiss up
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against a criminal element that I think is part of
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it too, right, Like I think that that they have
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been exposed to a much more sort of I don't
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really know what the right way to describe it is,
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but just sort of a more undesirable element of society
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at times. And I think that that sort of makes
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them feel dangerous in a way that I think a
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lot of other filmmakers don't. And I say that in
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a good way, like I think it makes their films electric,
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but I think it also creates a little bit of danger.
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It makes them genuine because they'll put people on screen
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where you're like, that person's never been in a movie before.
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That's clearly sobody that either worked with their father or
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knew them well, or that they experienced on the street.
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There's all there's a very palpable sense of verisimilitude to
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what they do, even if.
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It is height Absolutely they talk about it a ton
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on the commentary about sort of this is a guy
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I met at the casino the night before we shot
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this scene and I liked his energy, or this is
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a guy who helped us out, you know, five years previous,
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when we were in early stages of the film. They
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have an ability to sort of it just feels very real.
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I mean in a way that is that is really
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intense and the fact that, like you have a movie
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star like Adam Sandleer that can meet that energy and
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wants to be in that sandbox with with this, with
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these people, I think speaks volumes to the type of
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energy and the type of directors that they are. But
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I it is this movie is it's so chaotic, and
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yet it feels very like the way they talk about
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it on the commentary, This movie felt like, in its
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own way, like a Mike Lee movie, right where they
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were making shit up as they were going along and
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rewriting stuff and just that type of talent to be
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that sharp on the fly is obviously incredible, But also
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for the film to feel so predestined right like it
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doesn't feel like it's been made on the fly in
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a way that it has is just pretty magnificent. I mean,
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I was also watching this and listening to this, and
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I was a little bummed that these guys aren't gonna
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be making movies together. It seems I don't know what
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what's what? You know, we have two new Safti Brothers
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movies coming out this year theoretically, and you know they've
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I'll be curious to see if it's gonna be a
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kind of like a Coen Brothers situation where you kind
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of watch these film you're like, yes, these movies are good,
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but they could be amazing if they were working together
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on them. We'll see.
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It crushed me when they announced that they were breaking
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up because they were working on a remake of Forty
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eight Hours that then developed into something else, and the
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second they said it became something else, I was like,
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I want to see what that something else is. And
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then they're like, yeah, we're not working together anymore. And
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then it's like, okay, well then am I ever gonna
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fucking see it? Like, that's not fair. That's not fair
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to me, as.
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They were working with Adam Sandler on a new thing
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that they were that they were you know in it
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seemed like in interviews Sandler was like, yeah, that things were,
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you know, we're good to go whenever, whenever they're ready.
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I don't know. I mean, listen, these guys are brothers,
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the Coen Brothers. Now we're hearing rumblings of them getting
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back together. I mean I don't think that, Like it's
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not a partnership like normal partnerships. So I would be
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surprised if we don't see more films from them. I
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think that for Josh and Benny, if you a little
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bit like we're so early in their careers, is the
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other thing, like these guys are pretty young all things
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considered that I imagine that they just kind of want to
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be able to do their own stuff, and then I
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imagine they'll do stuff together as Well's I can only hope,
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one can only hope. Yeah.
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Here is the plot synopsis on the back of the
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four K Criterion Blu ray, which, by the way, if
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you if you have a four K player and you
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don't have uncut gems.
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As part of your collection, what do you do?
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You have not seen the glow in the dark club
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scene until you've seen it in four K. It is remargnificent,
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mechaniss amazing. Okay, So here we go. This jolt of
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pure cinematic adrenaline affirmed directors Josh and Benny Safti as
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heirs to the gritty, heightened realism of Martin Scorsese, a
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executive producer, and John Cassavetti's Adam Sandler delivers an almost
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maniacally embodied performances. Howard Ratner, a fast talking in New
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York jeweler, and gambler in relentless pursuit of the next
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big score. When he comes into possession of a rare opal,
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it seems Howard Ship has finally come in, as long
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as he can stay one step ahead of a wife
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Adina Menzel who hates him, a mistress Julia Vaux who
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can't quit him, in a frenzy of loan sharks and
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hit men closing in on him. Wrapping a vivid look
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at the old school Jewish world of Manhattan's Diamond District
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within a kinetic thriller, uncut Gems gives us one of
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the great characters in modern cinema, a tragic hero of
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competing compulsions on a shoot the Moon quest to transcend
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his destiny. I will never be able to write a
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plot synopsis for Criterion as long as I live.
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I mean that that is a Yes, that's a fun one. Yeah,
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it's a great disk that people should buy. I'm a
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little surprised there isn't like more stuff on it, but
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I guess I also didn't realize that the special features
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are on the Blu ray disc not on the four
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K discs, so I have to go watch those right away.
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With all Criterion dis all the bonus features are always
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on the blue.
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Rine because they're not shot in four case, there's no
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reason for, you know, for for them to be on there.
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Plus I imagine also you don't want to compress as much,
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so you you just have more bandwidth, I would assume
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to some degree. You know. The thing that really hit
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me watching it this time, especially with the commentary, and
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there is an irony to the fact that we are
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recording this episode during passover, So there is that for
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for for all your Jewish listeners out there. So that
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was because they literally have a passover saider in the
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middle of this film and for me to be watching
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it while it was passover just was a happenstance that
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I thought was quite quite funny. But this season, I mean,
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this is a very Jewish movie, but it's also a
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very sort of like specifically Jewish movie as well. I
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your listeners might not know this, but I'm from Toronto originally,
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so I'm Canadian and the Toronto Jewish community is drastically
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dissimilar to the Long Island Jewish community that this film
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is about. There's there's a specificity and you can hear
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the way this apptees talk about how they wanted that
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to be infused in this movie. I imagine that the
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non Jewish viewers won't necessary. I mean, don't know about
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this community, but can sense the energy that is being
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infused in it through this cultural sub sect. And I
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think that it does sort of ian as someone who
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grew up around Jewish people. There is a anxiety and
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a sort of a continual kind of feeling of like
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fear that's just like kind of always around you. To
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some degree, I imagine part of that has to do with
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the Jewish background. We don't need to go there, but
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there is all of that there, and I think that
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to have this movie have that in it this time,
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I was just really sort of like, yeah, there's there.
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It's palpable, there's that. There is a a tangible feeling
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of of of desire to prove your worth everywhere, which
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I which I found really fascinating. And plus all these
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people and I've complained about this on my podcast, but
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there's so many faces in this movie, people that have
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like really interesting faces and really interesting like looks to
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them and vibes to them. And you mentioned Cassavetti's on
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the back of the box. He was another guy that
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always populated his movie with like movies with people that
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looked like real people. We don't do that anymore because
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we want everyone to look like a fucking AI brobot
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or something. And I just feel like watching this, I
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was like, Yeah, these people and these are real fucking people.
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It's great.
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Like Cassavetti's would go to a bar and he'd see
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somebody and taking a drink and says that guy, I
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think I know what his story is, and the three
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days later he'd be writing pages for him in the
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next movie. And he was absolutely right in making that decision.
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Absolutely And I think this aptus have a similar kind
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of I mean they talk about it on the commentary,
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but what films they were inspired by? What types of filmmakers,
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And you can see it. It's it's sort of it's
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their take on that stuff. I also think, like, you know,
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you obviously remember this. But so this film comes out
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in twenty nineteen, right, it's nineteen that it comes out,
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and which was an amazing year for movies. Some might
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argue the last great year before I made the last
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year of movies. Yeah, well there's that to so, I mean,
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it's it, but it was such a great year and
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this was just such a great capstone because it was
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like December of twenty nineteen, and I just remember thinking like, wow,
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Adam Sandler's clearly getting an Oscar nomination for this thing,
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Like how could he possibly not? And for him to
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not is such a fuck you from that from the
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Academy to hit because like, this guy, say what you
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want about whether or not you like his comedic stylings,
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has made so much money for this industry. The least
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they could do is be like, Yeah, you're really fucking
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good in this movie. You've proven that you're a really
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good actor. Here's an Oscar nomination. As opposed to this like,
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you know, weird kind of thumbing their nose at him.
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I just I found I really found it kind of gross.
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But then he shows up at the Oscars this year
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in a fucking sweatsuit, and I'm just like, that's great.
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He doesn't give a shit.
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It's one of those things where like when I was
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watching when I was in high school and I went
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to go see Punch Drunk Love with my mom, which
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became my favorite movie for like six months, it was
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like all I could think about. I was like, well,
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he's getting a nomination of course, and then nothing, and
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I'm just like, okay, and I understand I'm not getting
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a nomination for Eight Crazy Nights. That makes sense to me.
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But for Punch Drunk Club, he is done. He takes
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all the Adam Sandler isms that we know about him
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in his persona and he completely inverts it and subverts
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it and comments on it the entire time without failing
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to give a complete, genuine performance and in for an
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industry to say like, yeah, but you made mister Deeds,
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so sorry.
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Right, And also I would also say too, like the
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fuck you to the Safties as well, like they don't
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get a screenplay nomination, they don't get anything for this movie.
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Or I'm just like I understand that they're like pretty
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out there, but like, come on, Like I'm looking at
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the Best Actor nominees and I'm like, wa Keen Phoenix
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for Joker, Antonio Benderis for Painting Glory, DiCaprio for Once
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Upon a Time in Hollywood, A Driver from Marriage Story,
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and Jonathan Price for the Two Popes. Listen, I love
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Jonathan Price. What are we talking about here? Like, I mean,
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I truly like, I I'm sure Antonio Bderis is great
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in Pain and Glory and I and I, you know,
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I'm all for him being nominated there, but like Jonathan
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Price is the one where you're just like, for real.
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I mean, obviously I wouldn't have even nominated WAKM Phoenix
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for Joker, but that's just me personally, and I like
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WAQM Phoenix.
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I'm on board with that. I'm on board with.
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That, you know. But all this being said, I'm just
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like it is one of those things where this movie
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was such a phenomenon in its way, right, Like, this
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movie did quite well. This movie found a real niche
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and obviously Adam Sandler people went to see it, and
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I don't know, this is one of those movies I
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think that the Academy in hindsight, even now in twenty
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twenty five, six years later, you gotta be like, what
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are you doing? But what twenty years from now people
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are gonna be like, this was unbelievable.
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I think it was, for a little bit, the highest
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grossing movie that A twenty four ever put out. Correct,
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And it feels right because I don't know about you,
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but I am an amc A lister and I actually
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signed up two weeks before Uncut Gems came out, and
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so my second week, my three free movies were Uncut Gems,
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A Hidden Life, which was my favorite movie of that year,
360
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fucking brilliant Terry Mallick deserved everything for that, got absolutely
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not even a courtesy nomination. And Cats, That is the
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triple feature that I saw in one afternoon, and my
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brain almost glted out of my ears in that order.
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It concluded with Cats, It's it's unreal.
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It's unreal. H I. So I went to see Uncut
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Gems at a guild screening actually by myself, and about
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halfway through it, there was a moment where I was like,
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do I need to go outside to just take a second,
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like this movie is like? And I didn't because I
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was like, fucking like, don't be an idiot, So like
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I just, you know, I obviously just stayed and by
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the end, I was just so enrapped over that I
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went to see it again when it came out in
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theaters properly whenever. It was a few weeks later, a
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few months later, whenever, and it just yeah, I just
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it is. It's a really intoxicating movie. It does it
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you kind of feel like you're on something. Yeah, but
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it's it is, it's it's pretty spectacular.
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It was. I had two panic attacks that afternoon. One
380
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was during Uncut Gems, during the last thirty minutes when
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he has the his I guess his brother in law
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or whatever Arab Bagozzian's character is in relations.
383
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It's brother in law, brother in law.
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And the two goons and they're waiting there while he's
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watching a basketball game and like and constantly getting in
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their faces and like yeah, fuck yeah, fuck yeah yes.
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That scene literally, I was like, I have been in
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social situations like this, and I wasn't trapped behind bulletproof glass,
389
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and it still went just as poorly. And the whole time,
390
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I'm like, what are you doing, dude, don't stop doing this,
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just know when to end, and he never does. And then,
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of course, the second panic attack I had was when
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I was watching Cats and the dancing mice started, and
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I was just like, I'm not living on Earth anymore.
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I don't know what planet I've beamed over.
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00:22:33.079 --> 00:22:36.640
Well, dancing mice, you're freetting the cockroaches, which also are
397
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dancing with true, so it is, yeah, I this movie
398
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is I mean, obviously it's a high wire act because
399
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you are being put in Howard's position, and Howard is
400
00:22:51.000 --> 00:22:54.720
only happy when he's up against it. It seems happy
401
00:22:54.799 --> 00:22:57.240
is the wrong word. I think he only feels satisfied
402
00:22:57.839 --> 00:23:01.200
when he's chasing something. I mean it is you know,
403
00:23:01.519 --> 00:23:04.759
he's a gambling addict, so if he doesn't have that
404
00:23:04.920 --> 00:23:09.759
juice in his veins, I think he probably is a depressive,
405
00:23:09.880 --> 00:23:12.480
right Like I think he probably is just sort of
406
00:23:12.559 --> 00:23:15.680
riding this roller coaster that ultimately that is his life,
407
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and we are on this roller coaster with him over
408
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the course of I think the movie is what two
409
00:23:19.839 --> 00:23:21.599
or three days is what I kind of gleaned. It
410
00:23:21.599 --> 00:23:26.240
feels like it's not three days. Yeah, And you know,
411
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there are the moment I remember pretty vividly from the
412
00:23:29.480 --> 00:23:32.599
first time I saw it is the moment when he's
413
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in the back room in his office with Kevin Garnett
414
00:23:36.079 --> 00:23:38.160
at the end near the end of the film and
415
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he makes the decision. You can see the gears as
416
00:23:41.839 --> 00:23:45.640
he's talking to Kevin about the odds against him, like
417
00:23:45.759 --> 00:23:49.880
literally what bookies are betting against Kevin Garnett, And he
418
00:23:49.960 --> 00:23:53.599
starts to convince not just Kevin but himself of what
419
00:23:53.720 --> 00:23:59.079
Kevin's possible, like what's possible of Kevin's performance in that game,
420
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and decides to fucking bet at all all the money
421
00:24:05.000 --> 00:24:07.400
that he got from Kevin on this opal and the
422
00:24:07.519 --> 00:24:11.400
audience you could hear them audibly go like, oh no,
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like you're just like, you know, this is a terrible idea,
424
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but at the same time, you're like, maybe he can
425
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get through, like you know that the odds are against him,
426
00:24:24.480 --> 00:24:26.839
but you're also just like, maybe this guy can fucking
427
00:24:26.920 --> 00:24:33.000
do it. And yeah, it's he's he's such a fucking
428
00:24:33.079 --> 00:24:38.039
annoying person that, like, I imagine that if he had
429
00:24:38.119 --> 00:24:41.880
locked those guys in that vestibule or whoever you want
430
00:24:41.880 --> 00:24:43.559
to call it, that sort of between the two doors,
431
00:24:44.160 --> 00:24:46.839
and he hadn't been such a schmuck about it, right,
432
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Like he hadn't been like rubbing their faces and shit
433
00:24:50.640 --> 00:24:54.759
through the whole fucking game, and then he won, maybe
434
00:24:54.799 --> 00:24:57.319
he would have survived. But he doesn't know how to
435
00:24:57.519 --> 00:25:01.839
like be good and also a winner. He's just a
436
00:25:01.880 --> 00:25:02.559
sore winner.
437
00:25:02.960 --> 00:25:04.680
He gets the gun in his face, He's like, I
438
00:25:04.720 --> 00:25:07.680
don't tell I'm telling you it's bulletproof glass. It's not
439
00:25:07.720 --> 00:25:11.680
gonna heartnight, It's gonna bounce back to you. It's one
440
00:25:11.720 --> 00:25:14.440
of those things whe're just like so good and I
441
00:25:14.480 --> 00:25:18.039
love that. I forget who proposes it in the commentary,
442
00:25:18.079 --> 00:25:21.319
either Josh or Benny, but they say that the audience
443
00:25:21.519 --> 00:25:24.039
if there, if it's a good audience, they're praying that
444
00:25:24.119 --> 00:25:27.160
he makes the right decision in any situation, and he
445
00:25:27.240 --> 00:25:30.839
never does, so that the entire movie, You're like, eventually
446
00:25:30.920 --> 00:25:35.119
he's gonna make one correct choice, and Nope, he really doesn't.
447
00:25:35.400 --> 00:25:38.119
I mean, here's the thing. If we were to play
448
00:25:38.160 --> 00:25:42.680
this thing out to the end, right, and he gets
449
00:25:42.680 --> 00:25:45.640
the money from Kevin Garnett, he pays off Arno and
450
00:25:45.680 --> 00:25:49.480
the guys, right, he's gonna get himself into this situation again,
451
00:25:50.000 --> 00:25:54.759
Like there's an inevitability to this guy. It doesn't. It's
452
00:25:54.799 --> 00:25:59.039
he's just built this way. It's why I was so
453
00:25:59.440 --> 00:26:03.640
charmed and surprised by how lovely the sentiment that Josh
454
00:26:03.680 --> 00:26:06.480
has at the end of this movie where he's like,
455
00:26:07.240 --> 00:26:10.480
we're all uncut gems as cheesy as that sounds, we're
456
00:26:10.519 --> 00:26:14.440
all superficially broken people, right, Like it's that's just what
457
00:26:14.519 --> 00:26:17.240
it is, and we need to do a better job
458
00:26:17.240 --> 00:26:20.960
of seeing beneath the surface and seeing the good and
459
00:26:21.000 --> 00:26:25.079
I was just like, that is a shockingly heartfelt notion
460
00:26:25.319 --> 00:26:31.519
for a movie like this, Like this movie is I
461
00:26:31.599 --> 00:26:33.759
understand that that final shot when we go into the
462
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bullet wound and we see sort of the enormity of
463
00:26:35.880 --> 00:26:38.799
the universe and we see sort of the potential and
464
00:26:38.839 --> 00:26:41.960
the stars and just all of that, it is a
465
00:26:42.079 --> 00:26:44.599
lovely kind of place to leave you. But you went
466
00:26:44.680 --> 00:26:47.519
in a bullet wound to the guy's face at the
467
00:26:47.640 --> 00:26:49.640
end of the like, yeah, it's it's great.
468
00:26:49.960 --> 00:26:53.240
It's like a Philip Glass score as it's going in
469
00:26:53.440 --> 00:26:55.519
and it's just like coy on a Scott's.
470
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Yeah, it's like, but you just shot him in the face.
471
00:27:00.119 --> 00:27:02.519
Like I know that you think you're you're giving us
472
00:27:02.559 --> 00:27:05.640
this euphoria at the end, but really it's just like.
473
00:27:05.759 --> 00:27:08.559
Okay, I love that they see the beauty and everybody.
474
00:27:08.559 --> 00:27:10.640
But they point out that the guy who shoots Howard
475
00:27:10.680 --> 00:27:14.640
in the face spoiler alert answered every question with let's
476
00:27:14.720 --> 00:27:17.680
leave it at that, meaning the guy has gone up
477
00:27:17.680 --> 00:27:21.200
to some serious ship. That guy has definitely been involved
478
00:27:21.200 --> 00:27:23.279
in organized crime. I don't know his name, so I'm
479
00:27:23.279 --> 00:27:26.119
not gonna if this is not this is not slander.
480
00:27:27.079 --> 00:27:28.920
Keith was the actor's damn. I believe he said it
481
00:27:28.920 --> 00:27:30.839
a million times in the I.
482
00:27:30.799 --> 00:27:33.079
Can't remember, all I know. I see that face and
483
00:27:33.079 --> 00:27:35.400
that faces in my nightmares, and just like, it's really
484
00:27:35.400 --> 00:27:37.200
scary if you see that face come at you in
485
00:27:37.519 --> 00:27:40.079
a in a in a in an alleyway turnaround.
486
00:27:41.039 --> 00:27:43.759
There's a moment I think it's like halfway through the
487
00:27:43.759 --> 00:27:47.200
basketball game where it cuts to him and you can
488
00:27:47.200 --> 00:27:48.960
just see on his face that he's decided he's gonna
489
00:27:49.000 --> 00:27:52.200
murder this man. Like you're just like, yep, that's it.
490
00:27:52.680 --> 00:27:55.359
He's done. Now there's which is why I sort of
491
00:27:55.400 --> 00:27:57.079
say what I was saying earlier, which is like there's
492
00:27:57.119 --> 00:28:01.680
a world where he kept that guy in space where
493
00:28:01.720 --> 00:28:04.039
he could maybe have just like beat the shit out
494
00:28:04.079 --> 00:28:07.119
of him and not actually killed him. But he pushed him.
495
00:28:07.599 --> 00:28:12.480
Howard doesn't know how to not push people. And I've
496
00:28:12.480 --> 00:28:14.480
known people like that. I'm sure you've known people like
497
00:28:14.519 --> 00:28:15.400
that where it's just.
498
00:28:15.519 --> 00:28:19.640
I was that person. I mean I am. I am
499
00:28:19.640 --> 00:28:23.759
a bipolar autistic man. I was that person. I had
500
00:28:23.759 --> 00:28:25.920
to grow out of it after years, but I was
501
00:28:25.960 --> 00:28:28.880
a kind of I was a real prick. I'll tell
502
00:28:28.880 --> 00:28:31.119
you that. I was such a bully as a kid.
503
00:28:32.799 --> 00:28:34.799
I was not. I will surprise you, I imagine not
504
00:28:34.839 --> 00:28:35.920
when no, you seem like.
505
00:28:35.880 --> 00:28:39.200
A genuinely nice person, Phil, So I completely believe it.
506
00:28:41.160 --> 00:28:44.640
I think that here's the thing. I actually do think
507
00:28:44.680 --> 00:28:48.119
that Howard's a good good maybe might be the wrong word,
508
00:28:48.200 --> 00:28:52.920
not a horrible person. Yes, he's obviously a philanderer, and
509
00:28:53.319 --> 00:28:56.519
yes he obviously you know, walks that fine line of
510
00:28:56.559 --> 00:29:01.000
the law. But I don't think that fundaments mentally, Howard
511
00:29:01.240 --> 00:29:05.759
is an evil human. I think that I think fundamentally
512
00:29:06.359 --> 00:29:09.200
Howard is just he doesn't know how to be any
513
00:29:09.240 --> 00:29:13.960
other way, right, And I think that you can see,
514
00:29:14.000 --> 00:29:16.000
like one of the best scenes in the film is
515
00:29:16.039 --> 00:29:20.839
the scene that with a Dina Menzel. She's in her
516
00:29:20.880 --> 00:29:29.240
button it's for dress, and he you genuinely get the
517
00:29:29.240 --> 00:29:31.519
impression that he that he loves her and he wants
518
00:29:31.559 --> 00:29:33.720
to get back together like that, he wants to try
519
00:29:33.720 --> 00:29:40.480
to make another go at this thing. Now admittedly it's Dina, right,
520
00:29:40.519 --> 00:29:42.640
that's I believe what the characters is it. Dina is
521
00:29:42.680 --> 00:29:47.559
her name. Uh, he hates him with every answer for beings.
522
00:29:48.279 --> 00:29:52.000
So there's there's no world where she was ever going
523
00:29:52.039 --> 00:29:55.799
to really engage in that conversation. But that scene is
524
00:29:55.920 --> 00:30:02.000
really great because Howard seems heartfelt. I imagine he would cheat again.
525
00:30:02.000 --> 00:30:03.440
I imagine he would run back into the arms of
526
00:30:03.519 --> 00:30:07.880
Julia Fox anyway. But in that scene you can see
527
00:30:07.920 --> 00:30:10.960
the guy that fell in love with a what a
528
00:30:11.039 --> 00:30:15.960
twenty something a Dina Menziel and she, you know, loved
529
00:30:16.039 --> 00:30:17.799
him for all of his quirks and all of his
530
00:30:17.880 --> 00:30:22.960
worts and all that. The movie slows down in that
531
00:30:23.079 --> 00:30:27.720
scene and it's quiet and it's human, just shows how,
532
00:30:28.039 --> 00:30:30.880
you know, phenomenal, not just the performance, but the sappies
533
00:30:30.920 --> 00:30:32.720
are as directors. It's it's really something.
534
00:30:32.880 --> 00:30:36.240
Yeah, and I love it with a Julia Fox character
535
00:30:36.400 --> 00:30:39.400
when he is at his lowest, she presents him with
536
00:30:39.480 --> 00:30:43.519
the tattoo on her on her posterior, and he is
537
00:30:43.559 --> 00:30:46.799
the great line. Now, you can't get buried with me,
538
00:30:47.559 --> 00:30:48.880
which is one of those things that I was like.
539
00:30:48.960 --> 00:30:52.160
I was like, I'm not an expert on Judaism. Obviously,
540
00:30:52.319 --> 00:30:56.200
I'm an ex Catholic atheist, so I'm as far away
541
00:30:56.200 --> 00:31:00.240
from being a Jewish person as possible. But that fed
542
00:31:00.359 --> 00:31:02.960
me into something that made me like, look at this
543
00:31:03.039 --> 00:31:06.119
as kind of like cultural anthropology, Like I can study
544
00:31:06.119 --> 00:31:08.720
this and go like, oh, so that's a culture I
545
00:31:08.759 --> 00:31:12.079
have no idea about, but clearly that is something that
546
00:31:12.160 --> 00:31:14.440
is important to the tribe.
547
00:31:14.559 --> 00:31:18.599
It is I'm going to prove that I don't know
548
00:31:18.759 --> 00:31:23.319
its origins necessarily. I I don't know if it goes
549
00:31:23.440 --> 00:31:27.480
back prior to the Holocaust or not, because as you
550
00:31:27.599 --> 00:31:30.119
might know that, you know, prisoners of the of the
551
00:31:30.160 --> 00:31:35.000
concentration camps were tattooed, They had numbers tattooed on them. Now,
552
00:31:35.039 --> 00:31:36.880
I don't know if there's a I imagine there's a
553
00:31:36.920 --> 00:31:39.240
corollary there. That's that's what I'm assuming. I don't know
554
00:31:39.240 --> 00:31:43.440
if it goes back even farther than that. But yes,
555
00:31:44.279 --> 00:31:49.720
in theory, there are certain the more orthodox cemeteries that
556
00:31:49.759 --> 00:31:53.480
will not allow a tattooed person to get a tattoo
557
00:31:53.519 --> 00:31:55.240
Jewish person to be buried in that cemetery. It is
558
00:31:55.279 --> 00:31:58.400
a funny moment for him because she right, first of all,
559
00:31:58.400 --> 00:32:02.200
the tattoo says, Howie, it does like it's just and
560
00:32:02.240 --> 00:32:04.920
it's in just in the most garish sort of you know,
561
00:32:05.039 --> 00:32:09.680
tattoo font You could imagine it's such a it's a
562
00:32:09.839 --> 00:32:14.000
it's a wonderful scene. I the relationship between Howard and
563
00:32:14.079 --> 00:32:20.640
Julia is fraught, but it's the point where put like
564
00:32:21.079 --> 00:32:24.720
kind of lovely and romantic in its own fucked up way.
565
00:32:26.599 --> 00:32:31.039
I you do root for them. I don't see kids.
566
00:32:31.279 --> 00:32:33.160
Their first scene when he goes to the apartment, she's
567
00:32:33.240 --> 00:32:35.079
just laying down with a girlfriend in the bed. He
568
00:32:35.160 --> 00:32:37.559
just climbs in, and it's not like a creepy thing.
569
00:32:38.039 --> 00:32:40.680
He just climbs in just to be near her. He
570
00:32:41.119 --> 00:32:44.000
loves that proximity, he does.
571
00:32:44.759 --> 00:32:51.680
He Yeah, it is very interesting. How Like the commentary
572
00:32:51.720 --> 00:32:57.279
talks about how Julia decided that, similar to her character
573
00:32:57.480 --> 00:32:59.440
who hadn't slept for two days, that she would also
574
00:32:59.519 --> 00:33:02.759
show up on the first day of shooting having not
575
00:33:03.160 --> 00:33:05.960
slept for two days. The impression I got was they
576
00:33:06.000 --> 00:33:09.680
were none too pleased with that decision, but then ultimately
577
00:33:09.720 --> 00:33:12.640
it worked itself out. But but you have me a
578
00:33:12.680 --> 00:33:14.480
fucking actors sometimes, man, you know what I mean, Like,
579
00:33:14.839 --> 00:33:17.720
there's just there's no accounting for what they're going to
580
00:33:17.799 --> 00:33:20.039
decide to do in some weird kind of, you know,
581
00:33:20.880 --> 00:33:27.440
meta way. I do think that she's really, really, really
582
00:33:27.480 --> 00:33:30.119
good in this movie, and it's a Mary.
583
00:33:30.200 --> 00:33:32.119
Kanye's the same.
584
00:33:32.160 --> 00:33:34.720
They're Mary. They dated, they dated for a while. I
585
00:33:34.720 --> 00:33:39.160
don't know that. I don't know that they were married. Listen,
586
00:33:39.240 --> 00:33:44.079
Julia Fox is her own thing. God bless her, let
587
00:33:44.079 --> 00:33:47.400
her do what she does. I would like to see
588
00:33:47.440 --> 00:33:54.400
her act more. She pops up in the Sodaberg movie
589
00:33:56.200 --> 00:33:58.960
No Sudden Move, She's in that, and she's also in
590
00:33:59.119 --> 00:34:03.319
presence as well. Well. I'd love to see Sodaberg give
591
00:34:03.400 --> 00:34:04.960
her something, a little meteor.
592
00:34:05.119 --> 00:34:06.039
Give her a haywire.
593
00:34:07.000 --> 00:34:10.280
Sure. I just she Both of her appearances in his
594
00:34:10.280 --> 00:34:12.519
films have been like one or two scene characters, and
595
00:34:12.559 --> 00:34:16.039
I kind of he definitely sees something in her, and
596
00:34:16.800 --> 00:34:19.639
I'd love to see that sort of happen more. Palm
597
00:34:20.239 --> 00:34:23.880
Clement Tiefe was also in Uncut Gems for I didn't
598
00:34:23.880 --> 00:34:26.079
even catch it, Like if you blink you'll miss.
599
00:34:25.840 --> 00:34:28.960
Her two seconds. And they even point out that was
600
00:34:29.000 --> 00:34:31.039
Palm and then it's done.
601
00:34:31.280 --> 00:34:34.000
They're like, oh, yeah, we had some scenes. She was great,
602
00:34:34.079 --> 00:34:37.599
but so like I also never put together that it's
603
00:34:37.639 --> 00:34:42.239
Tilda Swinton and Natasha Leone as audio cameos.
604
00:34:42.360 --> 00:34:45.039
Natasha I knew, Tilda, I didn't. Dollan was a complete
605
00:34:45.039 --> 00:34:45.679
surprise to me.
606
00:34:45.920 --> 00:34:48.000
Yeah, both of them. I was like, wow, what is
607
00:34:48.079 --> 00:34:50.400
Natasha's role, I couldn't she was.
608
00:34:50.400 --> 00:34:52.960
The manager of the of the Celtics.
609
00:34:53.360 --> 00:34:57.760
I think so, sure, sure, sure, sure would watch that show.
610
00:34:57.800 --> 00:35:00.639
By the way, just to leon as the manager the Celtics.
611
00:35:00.880 --> 00:35:02.840
That's what she does when she's not solving mystery, she
612
00:35:02.960 --> 00:35:05.320
goes and she helps out to Celtics. Yeah sounds great.
613
00:35:05.400 --> 00:35:08.119
I love great. Yeah, this is just one of those.
614
00:35:08.159 --> 00:35:11.360
It is just very interesting to me that, like, there's
615
00:35:11.360 --> 00:35:14.400
no question Adam Sandler opens doors, right, Adam Sandler gets
616
00:35:14.440 --> 00:35:18.119
this this budget to where it is, which was what
617
00:35:18.239 --> 00:35:21.519
was it fifty sorry, nineteen million dollars, which is in
618
00:35:21.599 --> 00:35:23.039
the greatest scheme of things, not that much. It made
619
00:35:23.119 --> 00:35:27.599
fifty I imagine that Sandler was paid scale, you know,
620
00:35:27.760 --> 00:35:32.039
or something very low for him. It opens doors. At
621
00:35:32.039 --> 00:35:34.800
the same time, I think you get Tilda Swinton and
622
00:35:34.840 --> 00:35:37.239
Natasha Leone because they want to be in a Safti
623
00:35:37.280 --> 00:35:40.840
Brothers movie, right, Like they they know that they that
624
00:35:40.920 --> 00:35:44.239
there's this coolness factor of these guys and what they're
625
00:35:44.239 --> 00:35:46.480
going to bring, which I think is just really exciting.
626
00:35:46.760 --> 00:35:48.599
You sense, you really do get the sense that you're
627
00:35:48.639 --> 00:35:51.239
watching this movie just feels like you're watching the birth
628
00:35:51.280 --> 00:35:53.400
of something really exciting.
629
00:35:53.159 --> 00:35:56.119
And the thing with like with Sandler Opening Doors, it
630
00:35:56.519 --> 00:35:58.599
it makes me sad when I look back at all
631
00:35:58.599 --> 00:36:01.119
the movies that he could have been in, Like it
632
00:36:01.159 --> 00:36:04.760
was originally the Jamie Fox role in Collateral and then
633
00:36:05.000 --> 00:36:07.960
left that, which I think Jamie Fox is the best
634
00:36:07.960 --> 00:36:08.960
part of that movie.
635
00:36:09.480 --> 00:36:11.800
Oh really, I would love to see.
636
00:36:11.559 --> 00:36:15.199
What Sandler would do with that kind of character. And
637
00:36:15.239 --> 00:36:17.719
then like in Glorious Bastards, he's supposed to be the
638
00:36:17.760 --> 00:36:20.880
Eli Roth roll, which oh my god, would have been
639
00:36:21.039 --> 00:36:23.519
ninety thousand times better than Eli Roth. And I have
640
00:36:23.559 --> 00:36:25.920
no problem with him, We have no beef.
641
00:36:26.199 --> 00:36:28.360
I don't I don't love him in that movie. I
642
00:36:28.360 --> 00:36:30.719
think he's I think he's actually bad in that movie.
643
00:36:30.760 --> 00:36:35.159
But I uh, yeah, I remember when he was when
644
00:36:35.960 --> 00:36:39.000
because in early days of Inglorious Bastards, I was working
645
00:36:39.039 --> 00:36:41.559
at UTA at the time, the Talent Agency, and I
646
00:36:41.599 --> 00:36:45.400
remember like that script was circulating and it was you
647
00:36:45.440 --> 00:36:47.559
know who's who and who's going to get these roles?
648
00:36:49.639 --> 00:36:52.119
And I remember like Adam Sandler's playing the bear Jew
649
00:36:52.159 --> 00:36:56.159
and I was like, Okay, that sounds pretty crazy, but sure,
650
00:36:56.480 --> 00:36:58.800
I I'll be perfectly honest with you, I think it
651
00:36:58.800 --> 00:37:01.679
would have been distracting. I'm not I'm not sure.
652
00:37:01.480 --> 00:37:04.800
That it actually like the Mike Myers cameo a little bit.
653
00:37:06.000 --> 00:37:10.880
It doesn't weirdly. It's the one thing that Tarantino is
654
00:37:10.920 --> 00:37:15.800
not great at is cameos. They they all tend to
655
00:37:15.960 --> 00:37:19.760
feel weirdly shoehorned in. I don't. I don't know what
656
00:37:19.800 --> 00:37:21.880
it is about the including by the way his own
657
00:37:21.920 --> 00:37:27.679
fucking but especially especially on cameos, but like everyone just
658
00:37:27.719 --> 00:37:30.360
feels a little like it just feels kind of weird,
659
00:37:30.480 --> 00:37:33.280
Like when Julia Sweeney shows up in pulp fiction, You're like,
660
00:37:34.360 --> 00:37:35.519
what is this?
661
00:37:35.800 --> 00:37:35.840
What?
662
00:37:36.079 --> 00:37:40.880
Why is this? So there's a part of me it's
663
00:37:40.920 --> 00:37:43.199
like if Adam Sandler all of a sudden is wielding
664
00:37:43.239 --> 00:37:46.480
a giant bat and bashing in people's brains. I don't,
665
00:37:46.599 --> 00:37:48.519
I don't know if it works. I could be wrong.
666
00:37:49.360 --> 00:37:54.679
We'll never know. He would have been better than Eli Roth.
667
00:37:54.760 --> 00:37:58.639
I think I can safely say that Adam Sandler's had
668
00:37:58.639 --> 00:38:02.639
a bunch of like moments of sliding doors, moments where
669
00:38:02.679 --> 00:38:05.840
he's like but like all people of his stature, that's
670
00:38:05.840 --> 00:38:08.840
just kind of how it goes. I'm thrilled to get
671
00:38:08.880 --> 00:38:12.239
this movie because from what I heard, it was almost
672
00:38:12.280 --> 00:38:17.480
Jonah Hill for a beat there, Oh no, and like
673
00:38:17.519 --> 00:38:23.280
that yes, yes, but that was that was definitely like,
674
00:38:24.079 --> 00:38:28.320
you know, a bullet dodged. I think that Jonah might
675
00:38:28.320 --> 00:38:30.199
have been able to make it work. I don't know,
676
00:38:30.880 --> 00:38:34.599
but like it's just interesting. There's also stuff on this
677
00:38:34.639 --> 00:38:38.880
commentary tract of things that I never noticed, Howard's eyes
678
00:38:39.000 --> 00:38:43.480
shrinking when he looks at the opal, they literally shrink
679
00:38:43.519 --> 00:38:46.880
his like it's it's really unsettling now, and now I
680
00:38:47.000 --> 00:38:49.679
like knowing that that happened, I'm like, that's why that
681
00:38:49.719 --> 00:38:51.880
moment's so creepy. Outside of what he's saying as well,
682
00:38:51.920 --> 00:38:56.559
but just like it is this kind of oddness that
683
00:38:56.639 --> 00:38:59.559
they add. It's just it's incredible.
684
00:39:00.119 --> 00:39:02.519
And I love that they started writing this script in
685
00:39:02.599 --> 00:39:07.400
twenty ten and they say that in the documentary that's
686
00:39:07.400 --> 00:39:09.639
on the Blue Rey disk the final draft was the
687
00:39:09.679 --> 00:39:12.840
one hundred and sixty eighth draft, and that Kevin Garnett
688
00:39:12.920 --> 00:39:14.920
was never originally supposed to be and it was supposed
689
00:39:14.920 --> 00:39:17.639
to be a Mari Stodemeier, but then they decided to
690
00:39:17.960 --> 00:39:21.199
make it a period piece instead of contemporaneous. And so
691
00:39:21.880 --> 00:39:24.239
twenty twelve, who do you Have? Who's the biggest athlete
692
00:39:24.280 --> 00:39:26.960
out there. Clearly you got Kevin Garnett. And I say
693
00:39:26.960 --> 00:39:29.960
that as somebody who doesn't watch basketball, so I assume
694
00:39:30.280 --> 00:39:31.159
he's pretty huge.
695
00:39:31.440 --> 00:39:33.440
I don't know anything about basketball, and I don't want
696
00:39:33.440 --> 00:39:35.880
to say anything. I'm not a big basketball person. I
697
00:39:36.000 --> 00:39:38.320
enjoy watching playoffs like everybody else when it feels like
698
00:39:38.320 --> 00:39:40.960
there's stakes, but ultimately I'm not a person that has
699
00:39:40.960 --> 00:39:43.920
an investment in a particular team. I mean, Toronto got
700
00:39:43.960 --> 00:39:46.320
the Raptors in ninety five, and I jumped on the
701
00:39:46.320 --> 00:39:50.280
bandwagon a little bit for some time. But it does
702
00:39:50.320 --> 00:39:53.159
seem as though a lot a lot of it hinged
703
00:39:53.239 --> 00:39:56.920
on the game itself, which is that they wanted a
704
00:39:57.039 --> 00:39:59.599
game that was going to match up with the story
705
00:39:59.639 --> 00:40:02.679
that they had in mind, which you think is really interesting,
706
00:40:02.719 --> 00:40:08.320
Like that's how they seemed like kind of gambling junkies
707
00:40:08.320 --> 00:40:10.639
in their own way. So it seemed as though, like
708
00:40:11.039 --> 00:40:13.719
the realism of it was really important to them that
709
00:40:13.760 --> 00:40:16.480
they'd be able to have a game that they could
710
00:40:16.719 --> 00:40:18.960
deconstruct within there.
711
00:40:19.119 --> 00:40:22.400
They wanted a good game, a bad game, and then
712
00:40:22.440 --> 00:40:25.000
a great game, and it just so happened that twenty
713
00:40:25.039 --> 00:40:27.119
twelve was the year that that lined up and it
714
00:40:27.239 --> 00:40:29.880
just it's one of those things that's it's serendipitous. It's
715
00:40:29.960 --> 00:40:31.679
kind of like, well, then this was meant to happen.
716
00:40:31.719 --> 00:40:36.320
This is absolutely like and Kevin Garnett surprisingly good performance,
717
00:40:36.920 --> 00:40:40.119
I would say, on the level of lebron James in
718
00:40:40.280 --> 00:40:45.960
train Wreck, which is one of my favorite athlete performances
719
00:40:46.039 --> 00:40:47.679
I think of recent memory.
720
00:40:47.519 --> 00:40:51.079
I totally agree with you. I mean, obviously a different tenor,
721
00:40:53.000 --> 00:40:57.920
but I do think that, Yeah, Kevin Garnet's really good
722
00:40:57.920 --> 00:41:01.199
in this movie. They got very it was fortuitous in
723
00:41:01.280 --> 00:41:03.159
terms of some of the actual footage they could use
724
00:41:03.199 --> 00:41:06.280
from the basketball game itself. So like I think ron
725
00:41:07.400 --> 00:41:12.480
uh the co writer co editor, Yeah, Bronstein says, uh,
726
00:41:13.320 --> 00:41:16.760
he looks like he doesn't have vocal. It's like, I mean,
727
00:41:16.800 --> 00:41:20.119
they just they had sort of stuff that just really
728
00:41:20.159 --> 00:41:24.239
worked in their in their favor. There's a couple of
729
00:41:24.280 --> 00:41:28.400
things that I love. Lines that I love from the commentary,
730
00:41:28.679 --> 00:41:30.800
Josh Saftey saying you only get a smoothie if you're
731
00:41:30.800 --> 00:41:36.280
in a good mood because it take his time, and
732
00:41:36.320 --> 00:41:37.960
also like, no one buys a smoothie if they're in
733
00:41:37.960 --> 00:41:41.360
a bad mood. I understand the fact that Julia buying
734
00:41:41.360 --> 00:41:47.360
a smoothie could seem triggering. Uh to Howard Uh that
735
00:41:47.440 --> 00:41:50.000
the line that Sandler improvised of oh you're a jew again,
736
00:41:50.079 --> 00:41:55.760
welcome back is amazing to the guy on the street. Yeah,
737
00:41:55.880 --> 00:41:59.760
it's it's i'd be remiss as well, just you know it,
738
00:42:00.559 --> 00:42:02.119
and I am Jewish and all of that. But like
739
00:42:03.239 --> 00:42:06.000
the afi comen, which in Passover is when the kid
740
00:42:06.079 --> 00:42:08.119
they hide a piece of matza with money in it
741
00:42:08.199 --> 00:42:11.360
and the kids search around trying to find it. That's
742
00:42:11.360 --> 00:42:15.159
a that's a Passover tradition for the children. So the
743
00:42:15.199 --> 00:42:17.320
fact that like there's a search for the afi comen
744
00:42:17.639 --> 00:42:20.239
in the middle of a scene is such a like
745
00:42:20.519 --> 00:42:22.199
kind of a deep cut, I guess to some degree,
746
00:42:22.239 --> 00:42:23.079
which I really loved.
747
00:42:23.440 --> 00:42:26.360
And it's never exposition. You just gotta you just got
748
00:42:26.400 --> 00:42:29.519
to watch the environment and see the kids running through
749
00:42:29.559 --> 00:42:32.039
and the one that holds it up clearly is the
750
00:42:32.039 --> 00:42:34.519
one that finds it. But I think that they even
751
00:42:34.519 --> 00:42:36.960
said on the commentary, I think Josh says, this is
752
00:42:37.000 --> 00:42:39.599
the first time this has been in a mainstream movie,
753
00:42:39.679 --> 00:42:41.760
and I do think he's correct because I've never seen
754
00:42:41.760 --> 00:42:42.440
that in a film.
755
00:42:42.599 --> 00:42:45.760
Yeah, and by the way, you just said it best
756
00:42:45.880 --> 00:42:49.119
you wouldn't know what's happening unless you knew what's happening, right, Like,
757
00:42:49.239 --> 00:42:54.239
no one is actually explaining what's happening. So to your point,
758
00:42:54.480 --> 00:43:01.079
like the cultural fabric of this film is there if
759
00:43:01.079 --> 00:43:03.679
you know what it is, and if you don't, it's
760
00:43:03.760 --> 00:43:05.960
I don't want to say window dressing, but it's definitely
761
00:43:06.000 --> 00:43:08.920
giving you a vibe that I think is helpful.
762
00:43:09.000 --> 00:43:13.719
It's world building, it's it's further establishing this subset.
763
00:43:13.239 --> 00:43:16.960
Of our of of our of.
764
00:43:16.920 --> 00:43:20.719
Our country that is ingrained in the old ways that
765
00:43:20.880 --> 00:43:23.719
brought them over from the old country. And it's one
766
00:43:23.760 --> 00:43:26.000
of those things, and those things just don't go away.
767
00:43:26.039 --> 00:43:30.880
They're they're perpetuated throughout generations and it's I love that.
768
00:43:31.039 --> 00:43:33.840
It's it's part of the garnish of the film. It's
769
00:43:33.880 --> 00:43:36.599
never the point of the film. It's just there to
770
00:43:36.679 --> 00:43:40.440
show you this is a world that exists. You can
771
00:43:40.519 --> 00:43:44.719
either engage with it or not. But we're from this world.
772
00:43:45.000 --> 00:43:47.960
We want to share this world with you, and at
773
00:43:47.960 --> 00:43:50.239
the same time, we also want you to worry that
774
00:43:50.360 --> 00:43:52.880
the world is going to end at any moment, because
775
00:43:52.960 --> 00:43:55.360
that's the vibe that I get whenever I watch this film.
776
00:43:55.920 --> 00:43:58.320
Yeah, which by the way, is kind of the way
777
00:43:58.320 --> 00:44:02.480
it feels to be Jewish sometimes for what that's worth.
778
00:44:03.960 --> 00:44:04.000
You.
779
00:44:04.440 --> 00:44:08.760
You definitely feel at least I'm speaking for myself, but
780
00:44:08.920 --> 00:44:10.440
I think I speak for a lot of Jewish people
781
00:44:10.440 --> 00:44:13.960
in the sense that, like history has not been kind
782
00:44:13.960 --> 00:44:17.800
to our people. It tends to feel like the walls
783
00:44:17.800 --> 00:44:19.760
are closing in, or you got to watch your back.
784
00:44:19.840 --> 00:44:24.199
You just don't know, and that is generation to generation generation, right,
785
00:44:24.239 --> 00:44:27.960
And I think that this movie is weaponizing that feeling,
786
00:44:28.159 --> 00:44:31.280
right of like, you know, you gotta grow eyes in
787
00:44:31.280 --> 00:44:33.800
the back of your head sometimes, and Howard it is
788
00:44:33.840 --> 00:44:35.320
not great at doing that.
789
00:44:36.119 --> 00:44:39.079
There's that line I won't let you exterminate me that
790
00:44:39.280 --> 00:44:44.519
is just so powerful, absolutely, just like just knocks me
791
00:44:44.559 --> 00:44:46.760
on my ass. Every single time I see that moment.
792
00:44:46.519 --> 00:44:51.000
That is just absolutely it's it's yeah. I mean, I
793
00:44:51.000 --> 00:44:53.800
think that's part of it too. I think that Arno
794
00:44:54.039 --> 00:44:58.599
not being Jewish is also a part of this movie.
795
00:44:59.719 --> 00:45:05.199
I think I think that this sort of detunt between
796
00:45:05.199 --> 00:45:08.159
Howard and Arnau is in a lot of ways a
797
00:45:08.199 --> 00:45:11.880
cultural one as well, of you're not one of us.
798
00:45:12.800 --> 00:45:16.079
And also I don't like that you wield power over me.
799
00:45:16.719 --> 00:45:19.199
There's this I think that's very much a part of
800
00:45:19.239 --> 00:45:22.360
what's going on. And I think that the fact that
801
00:45:22.360 --> 00:45:25.280
they're both killed at the end just goes to show that,
802
00:45:25.400 --> 00:45:27.639
like an eye for an eye just doesn't work right,
803
00:45:27.800 --> 00:45:32.880
Like it's it's just it's it's their deaths. You know,
804
00:45:32.920 --> 00:45:36.840
it's interesting watching it this time. Howard's death is so
805
00:45:37.320 --> 00:45:42.559
fast that you almost don't even know, you almost can't
806
00:45:42.599 --> 00:45:46.119
process what's happening. He's just like and he's dead. Arnau
807
00:45:46.519 --> 00:45:50.079
has a much more almost tragic and sadder death in
808
00:45:50.119 --> 00:45:54.400
the sense that he's trying to escape. He knows that
809
00:45:54.440 --> 00:45:56.440
it's gotten away from him. He knows that this has
810
00:45:56.519 --> 00:46:01.199
gone sideways and that these guys are murderers, and he
811
00:46:01.320 --> 00:46:04.119
tries to escape and he can't and then he shot,
812
00:46:04.239 --> 00:46:07.440
and you get the impression that he's alive for a
813
00:46:07.480 --> 00:46:10.760
beat or two before he hits the ground, and it's
814
00:46:10.960 --> 00:46:14.480
just it's really harrowing. It's really hard to watch. It's
815
00:46:14.559 --> 00:46:15.519
it's a really tough.
816
00:46:15.320 --> 00:46:19.000
Even after all the stuff he puts, uh he puts
817
00:46:19.000 --> 00:46:21.400
Sandler through. It's it is it's one of those things
818
00:46:21.400 --> 00:46:24.800
where it's like this is this is completely avoidable, and
819
00:46:25.000 --> 00:46:26.920
just it's that's what makes it tragic.
820
00:46:27.360 --> 00:46:30.320
Yeah, it's it's you know, you you have the moment
821
00:46:30.480 --> 00:46:32.199
when they hang him out of the out of the
822
00:46:32.239 --> 00:46:39.039
window of his office that Arnaut is culpable in. Arno's
823
00:46:39.039 --> 00:46:41.599
culpable in all of the various things that happened to
824
00:46:41.599 --> 00:46:47.039
to Howard. So on some level it's hard to say
825
00:46:47.039 --> 00:46:50.039
you feel quote unquote sorry for him, but you do
826
00:46:50.199 --> 00:46:52.440
in the sense that I don't think at any point
827
00:46:52.880 --> 00:46:56.039
he ever wanted Howard to die, right Like, I don't
828
00:46:56.039 --> 00:47:00.440
think he ever wanted legitimate harm to happen to this man.
829
00:47:01.719 --> 00:47:04.079
And I think that's part of the frustration for arna
830
00:47:04.239 --> 00:47:07.519
is that he actually just wants Howard to fucking pay
831
00:47:07.639 --> 00:47:10.960
him so that he can stop doing this, right Like,
832
00:47:11.159 --> 00:47:14.880
that's what's fueling Arno in so many ways. It's hard.
833
00:47:14.920 --> 00:47:17.199
It's a hard movie, man, It's a tough it's it's
834
00:47:17.239 --> 00:47:20.639
it's a it's a rough ride. But at the same time,
835
00:47:20.800 --> 00:47:23.599
like it's a doozy and it's so entertaining. You know,
836
00:47:23.760 --> 00:47:27.960
I think that I don't know that I will partake
837
00:47:28.000 --> 00:47:33.639
in another Safty Brothers commentary because it's it's it's, it
838
00:47:33.679 --> 00:47:39.360
is it is. So it's hard to listen to because
839
00:47:39.599 --> 00:47:42.039
there are in so many different tangents. But then on
840
00:47:42.119 --> 00:47:45.599
top of it, it's also like so much inside shit
841
00:47:46.480 --> 00:47:49.920
that I found myself just being like twenty percent of
842
00:47:49.960 --> 00:47:52.880
this commentary I could never be able to get anything
843
00:47:52.880 --> 00:47:55.280
out of because I don't know what they're talking about.
844
00:47:57.280 --> 00:47:59.639
But I'm glad I did it, obviously, But I will
845
00:47:59.679 --> 00:48:02.199
say that, like, there were some great moments. I got
846
00:48:02.199 --> 00:48:04.039
some great little bits out of it. I'm thrilled that
847
00:48:04.079 --> 00:48:07.119
I that I listened to it. But it was tough, Phil.
848
00:48:07.239 --> 00:48:09.480
It was an honor having you on the podcast again.
849
00:48:09.639 --> 00:48:11.679
Tell the lovely listeners what you do when you're not
850
00:48:11.840 --> 00:48:13.239
stuck here talking to me.
851
00:48:15.679 --> 00:48:18.840
I do a podcast with Emily Saint James called Podcast
852
00:48:18.840 --> 00:48:21.000
Like It's the two Thousands where we talk about the
853
00:48:21.000 --> 00:48:25.960
films of the aughts through various mini series where current
854
00:48:25.960 --> 00:48:26.800
when is this dropping?
855
00:48:27.079 --> 00:48:29.440
This is dropping in May, so I think you might
856
00:48:29.480 --> 00:48:31.199
be wrapping up Beyonce around that.
857
00:48:31.440 --> 00:48:35.639
We will be wrapping up Beyonce around then. We're currently
858
00:48:35.679 --> 00:48:39.840
doing a mini series on the six films of Beyonces.
859
00:48:40.519 --> 00:48:45.880
We don't count the Lion King because who does. But yeah,
860
00:48:45.920 --> 00:48:48.039
so we talked about films of the two thousands. In
861
00:48:48.079 --> 00:48:50.400
the past, we've talked about the top ten box office
862
00:48:50.480 --> 00:48:54.599
we've talked about. We did a long Tom Cruise miniseries,
863
00:48:54.599 --> 00:48:55.880
which is a lot of fun to talk about all
864
00:48:55.920 --> 00:48:58.000
of his films and the sort of wild ride that
865
00:48:58.039 --> 00:48:59.719
he went through in the two thousands.
866
00:48:59.480 --> 00:49:02.800
Mission and all three is my favorite of those episodes. Oh,
867
00:49:02.960 --> 00:49:06.679
thank You Live Hannah terrific guest.
868
00:49:06.719 --> 00:49:07.400
And of course.
869
00:49:07.159 --> 00:49:11.559
Emily, just Emily is amazing. If I could have anybody
870
00:49:11.639 --> 00:49:14.559
from from that show other than you on this show, God,
871
00:49:14.559 --> 00:49:16.039
I want to talk to Emily. I want to. I
872
00:49:16.079 --> 00:49:16.360
want to.
873
00:49:16.880 --> 00:49:17.239
I want to.
874
00:49:17.360 --> 00:49:20.159
We will make it here and find out what's going
875
00:49:20.199 --> 00:49:21.280
on up there, because.
876
00:49:21.039 --> 00:49:22.960
We'll make it happen one of these days, I promise
877
00:49:23.039 --> 00:49:26.239
you that. But yeah, and then on the Patreon, I
878
00:49:26.320 --> 00:49:29.880
do a mini I do a podcast about the nineties
879
00:49:29.880 --> 00:49:33.639
where I do mini series about various nineties things. In May,
880
00:49:34.079 --> 00:49:36.599
we will be or I will be talking about the
881
00:49:38.079 --> 00:49:44.159
nineteen ninety four Best Villain MTV Movie Award nomination. So
882
00:49:44.480 --> 00:49:49.079
we're talking about Alicia Silverstone in The Crush, Wesley Snipes
883
00:49:49.159 --> 00:49:53.239
in Demolition Man, Macaulay Culkin and The Good Sun, and
884
00:49:53.320 --> 00:49:57.239
John Malkovich in In the Line of Fire. Uh So,
885
00:49:57.719 --> 00:50:01.079
that's a lot of fun and then yeah, I mean
886
00:50:01.119 --> 00:50:03.440
it's and then shortly thereafter, actually I'm doing a mini
887
00:50:03.480 --> 00:50:06.119
series with Tom Mason and Katie McGrath, who will be
888
00:50:06.119 --> 00:50:10.400
talking about Terry Gilliam and David Fincher's nineties films. So
889
00:50:10.599 --> 00:50:11.559
that'll be a lot of fun.
890
00:50:11.920 --> 00:50:16.559
Speaking of women, I love Katie McGrath. Little boy, she's
891
00:50:16.679 --> 00:50:17.920
gonna listen to this, So it's okay.
892
00:50:18.000 --> 00:50:21.760
If I say I have the biggest qrussure, she would
893
00:50:21.840 --> 00:50:24.039
I'm sure she would be flattered.
894
00:50:23.599 --> 00:50:24.400
To your supergirl.
895
00:50:25.639 --> 00:50:26.079
She is.
896
00:50:26.800 --> 00:50:27.440
I miss her.
897
00:50:28.320 --> 00:50:33.480
She is a truly truly lovely, funny uh and just
898
00:50:33.599 --> 00:50:38.559
really just normal human. I'm so thrilled that that, through Tom,
899
00:50:38.800 --> 00:50:42.000
we've been able to sort of build this this trifecta
900
00:50:42.199 --> 00:50:44.000
of of the three of us talking about films. It
901
00:50:44.000 --> 00:50:46.480
has been a lot of fun. Uh. In fact, in
902
00:50:46.519 --> 00:50:49.320
April we talked sense of sensibility the three of us.
903
00:50:50.440 --> 00:50:53.440
So yeah, it's just uh, we just you know, just
904
00:50:53.440 --> 00:50:55.840
hanging out with people talking movies. You know what else
905
00:50:55.920 --> 00:50:56.239
is name?
906
00:50:56.440 --> 00:51:03.880
Well, Phil, thanks again, it's my pleasure. So that was
907
00:51:03.920 --> 00:51:06.280
one track mine. But before we take off for the week,
908
00:51:06.320 --> 00:51:15.679
it's the moment you've all been waiting for, it's Ryan's recommendations.
909
00:51:15.760 --> 00:51:19.440
Since I only own two Saftie Brothers films, I can't
910
00:51:19.480 --> 00:51:23.719
possibly use them as a basis for my recommendations, So instead,
911
00:51:24.159 --> 00:51:28.119
I've chosen three masterpieces from the same boutique home video
912
00:51:28.119 --> 00:51:32.800
distributor Criterion collection, specifically a director who couldn't be more
913
00:51:32.840 --> 00:51:38.840
different than the Safties, Wes Anderson. First up, Anderson's second film,
914
00:51:38.960 --> 00:51:43.440
nineteen ninety eight's Rushmore, my first experience with the director,
915
00:51:43.800 --> 00:51:47.280
which I watched months previous to the next film we'll discuss.
916
00:51:47.760 --> 00:51:52.079
It follows Max Fisher, a student at the private school Rushmore,
917
00:51:52.360 --> 00:51:55.199
who spends most of his time being members of various
918
00:51:55.239 --> 00:52:01.800
clubs and societies while simultaneously being, according to Brian Cox's character,
919
00:52:02.239 --> 00:52:05.639
the worst student the school has. It's one of those
920
00:52:05.639 --> 00:52:09.960
films that is so distinctive, so esoteric, and personal, that
921
00:52:10.039 --> 00:52:14.480
it's a surprise to learn that it isn't Anderson's directorial debut.
922
00:52:15.280 --> 00:52:18.519
The best feature on the Criterion Blu Ray has to
923
00:52:18.559 --> 00:52:23.280
be The Fisher Players present a series of small adaptations
924
00:52:23.599 --> 00:52:27.079
of the box office hits of nineteen ninety eight, presented
925
00:52:27.400 --> 00:52:30.920
as if the lead character of Rushmore has staged them
926
00:52:31.480 --> 00:52:35.920
like his Vietnam Play films like Armageddon and The Truman Show,
927
00:52:36.400 --> 00:52:40.280
all for the nineteen ninety nine MTV Movie Awards. The
928
00:52:40.360 --> 00:52:44.039
weird thing is I remember these interstitials more than I
929
00:52:44.079 --> 00:52:47.840
remember the awards ceremony itself, and this was a time
930
00:52:47.880 --> 00:52:52.280
when I never missed any awards issuing from that particular network.
931
00:52:52.480 --> 00:52:55.199
Next up the first film of Anderson's that my mother
932
00:52:55.360 --> 00:52:58.159
was kind enough to attend with me, two thousand and
933
00:52:58.159 --> 00:53:01.599
one's The Royal Tenenbaum. To say that it was a
934
00:53:01.679 --> 00:53:05.920
formative experience with one of my new favorite auteurs is
935
00:53:06.000 --> 00:53:08.880
to speak obviously, but it's a film that I can
936
00:53:08.920 --> 00:53:12.039
put on at any time and get the same experience
937
00:53:12.360 --> 00:53:17.440
every time, crying at three particular moments that I shan't
938
00:53:17.519 --> 00:53:21.639
bother you with, only to say that dirtbag Van Morrison's
939
00:53:21.679 --> 00:53:25.880
rendition of everyone at the concluding funeral sequence makes my
940
00:53:26.039 --> 00:53:32.679
eyes leak like crazy. It's basically Anderson's magnificent Amberson's, only
941
00:53:32.840 --> 00:53:37.639
less messy and far more eccentric. His symmetrical compositions have
942
00:53:37.760 --> 00:53:41.840
increased in intricacy during the three year gap between films,
943
00:53:41.920 --> 00:53:45.360
so much so that even more than Rushmore, this should
944
00:53:45.400 --> 00:53:48.679
be considered his first film The best feature on the
945
00:53:48.679 --> 00:53:54.840
Criterion Blu Rays easily with the filmmaker Portraits by Albert Masels,
946
00:53:54.880 --> 00:53:58.480
in which the acclaimed documentary filmmaker directs his gaze toward
947
00:53:58.519 --> 00:54:03.599
Anderson and his directorial style. And finally a film that
948
00:54:03.719 --> 00:54:06.599
was once my very favorite for at least six months
949
00:54:07.000 --> 00:54:10.199
two thousand and fours, The Life Aquatic with Steve Zissou,
950
00:54:10.679 --> 00:54:13.599
which I had the good fortune to see at Disneyland
951
00:54:14.000 --> 00:54:18.599
on Christmas Day, which it's about as magical an experience
952
00:54:19.000 --> 00:54:22.559
as I can possibly communicate. The film was reportedly a
953
00:54:22.679 --> 00:54:25.440
nightmare to make, but it doesn't come off that way
954
00:54:25.480 --> 00:54:29.639
from a viewer's perspective. It's basically a parody of and
955
00:54:29.800 --> 00:54:35.000
tribute to the seafaring documentaries of Jacques Cousteau. In fact,
956
00:54:35.039 --> 00:54:39.480
the titular character's name was originally Jacques ze Sue before
957
00:54:39.559 --> 00:54:44.880
lawyers involved, but it packs in genuine weirdness. Come for
958
00:54:44.960 --> 00:54:48.960
the Henry Selick stop motion underwater creatures, stave for the
959
00:54:49.039 --> 00:54:53.719
live French language covers of David Bowie songs. My favorite
960
00:54:53.719 --> 00:54:56.320
feature on the Criterion Blu Ray should be no surprise,
961
00:54:56.880 --> 00:55:01.239
an audio commentary from Anderson and co. Write Noah Bombback
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00:55:01.719 --> 00:55:05.960
recorded at the very pub in which they wrote the screenplay.
963
00:55:06.360 --> 00:55:09.360
You can hear people in the background placing orders as
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00:55:09.400 --> 00:55:12.159
the commentary progresses, and it makes me want to go
965
00:55:12.280 --> 00:55:15.360
back in time and be a fly on those walls.
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00:55:15.960 --> 00:55:19.280
For more reviews and recommendations, check out my letterbox page
967
00:55:19.599 --> 00:55:28.199
at letterbox dot com slash one track Mind. That'll do
968
00:55:28.239 --> 00:55:31.119
it for this week? Is there anything I overlooked? Reach
969
00:55:31.159 --> 00:55:33.719
out to me at one that is the Numeral one
970
00:55:33.719 --> 00:55:38.440
track Mind podcast on Instagram, one Trackmind dot Bsky dot Social,
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00:55:38.599 --> 00:55:42.480
on blue Sky, on Facebook, on Podchaser, or send an
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00:55:42.519 --> 00:55:46.280
email to one track Mind podcast at gmail dot com.
973
00:55:46.519 --> 00:55:49.719
If you enjoy what you hear, please rate and review
974
00:55:49.760 --> 00:55:52.920
the show on Apple Podcasts, Spotify, or the source of
975
00:55:52.960 --> 00:55:56.599
your choice. Positive feedback helps keep the show alive and
976
00:55:56.639 --> 00:55:58.840
I want to keep making it until it just isn't
977
00:55:58.920 --> 00:56:02.800
fun anymore. Also check out the official Patreon page at
978
00:56:02.800 --> 00:56:06.199
patreon dot com slash one track Mind podcast, where you
979
00:56:06.199 --> 00:56:09.480
can get every episode early in commercial free and an
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archive of three hundred hours of bonus content, including every
981
00:56:13.440 --> 00:56:17.480
episode of The Coolness Chronicles and The Shirley Chronicles. Also
982
00:56:17.599 --> 00:56:20.639
check out the other podcasts that I technically co host
983
00:56:20.760 --> 00:56:23.840
Reels of justice a fake court of opinion. We're in
984
00:56:23.880 --> 00:56:27.679
a prosecutor, defender, judge and jury try to conclude whether
985
00:56:27.760 --> 00:56:30.519
or not a movie is guilty of being a bad movie.
986
00:56:30.800 --> 00:56:33.719
You can find it anywhere you listen to this podcast.
987
00:56:34.400 --> 00:56:37.920
Special thanks to the amazing Lacy Barker for the podcast artwork,
988
00:56:38.239 --> 00:56:42.000
Build Churm for original themes and special special thanks to
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00:56:42.000 --> 00:56:47.679
our equally amazing patrons, Rose R. Case A, Katherine H
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00:56:48.079 --> 00:56:53.480
ll n I, Kathleen d ZT, Bobby L, Michael A,
991
00:56:54.239 --> 00:57:00.239
Ian C, Kitty K, Kelly B The Vern, Mary M,
992
00:57:00.239 --> 00:57:04.199
Bill M and Tracy R. Thanks for listening and until
993
00:57:04.199 --> 00:57:06.159
next time. You're gonna cut.
994
00:57:05.960 --> 00:57:18.800
That right, Darn, that's the end.
995
00:57:20.199 --> 00:57:22.400
Are you a film fan who loves the ultimate home
996
00:57:22.480 --> 00:57:27.440
video experience, look no further than The disc Connected. Your host,
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Ryan Verel, is your go to source for the latest
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and most accurate information on home video releases, exclusive interviews
999
00:57:34.679 --> 00:57:38.400
with industry insiders and filmmakers, and has established a thriving
1000
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community where every film and physical media enthusiast feels welcome.
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From hidden gems to blockbuster hits, The disc Connected brings
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you insider knowledge and a welcoming space to share your
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love of cinema. Watch every Thursday night at nine thirty
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Eastern six thirty Pacific for the live announcements show, and
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follow the disc Connected on social media.
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To stay updated.
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Subscribe to The Disconnected on YouTube or on the podcast
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provider of your choice, and dive into a world where
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every movie night is an adventure.
1010
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